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From the editor

S.S. Zengin

pp. 9-16

Problems of the French Avant-Garde Transformation in the Russian Theatrical Culture

The article analyzes the influence, adaptation and understanding of the French theatrical avant-garde in the theatrical culture of modern Russia. It examines the features, problems of transformation of the French avant-garde in the theory and practice of the Russian theater. The research interest in the transformation of the French avant-garde in the Russian theatrical culture is caused by a number of circumstances associated with the need to generalize modern theoretical ideas about the essence of theater and the sociocultural functions of artistry, which makes up its content, and with the need to comprehend the developing modern theatrical practices in the context of theater history. The main research material in the article was the works of the representatives of the French avant-garde Antonin Artaud, Jean Genet, Paul Claudel, Anne Ubersfeld, Patrice Pavis, and others; these works became available to Russian researchers and theater practitioners only at the end of the 20th century. The main research methods were dialectical and historical methods, analysis and synthesis. The main problem is that the almost century-old history of the theatrical avant-garde in France cannot be adequately perceived without a critical reflection and analysis of its meanings and stages of development. Most Russian studies of the theatrical culture of the French avant-garde consider it exclusively in the aspect of the history of the French theater, while the artistic practice of the Russian theatrical process is aimed at adapting the forms of this phenomenon. The analysis of this contradiction allows the authors to propose their own concept of understanding the phenomenon of the avant-garde. As a result of the study, the authors of the article come to the conclusion that an uncritical attitude to the “avant-garde” forms in the artistic and creative practice of the Russian theater exacerbates the gap between the theoretical substantiation of the modern Russian theatrical culture and its existence in theatrical works. The problems and methodological approaches presented in the article can overcome this contradiction to a certain extent and outline the prospects for further culturological studies.

Keywords: cultural transformation, French avant-garde, theatrical culture, postmodernity.

Mikhail K. Naidenko, Svetlana V. Mikheeva, Elena A. Goncharova

pp. 17-24

Sound as a Dramatic Factor in the Film Interpretation of Anton Chekhov’s Story “The Black Monk” (USSR, Germany, 1988, Directed by Ivan Dykhovichny)

Based on the analysis of the feature film The Black Monk (directed by Ivan Dykhovichny, music by Temur Bakuradze), the article discusses the role of sound represented by music and noise effects in revealing the concept of the film interpretation of the same name story by Anton Chekhov. It is noted that this story stands out both in the writer’s work and in the interest of cinematographers in it. Dykhovichny’s film is the only film adaptation so far, which is due to the unique character of the plot, image of the main character, and general philosophical and psychological concept of the work. With the universal meditative type of drama with a minimal amount of verbal text, a leading role in showing the changes of the inner world of the protagonist Kovrin, in addition to the visual means of cinema, belongs to thematized sound effects: chirping of birds, noise of water, wind, physiological sound of a pounding heart, growing rumble that convey states of agitation, selfcentration, depressive syndrome. The music in the film is represented by expressive musical leitmotifs. These include Kovrin’s theme, which embodies the general conception – the degradation of the main character’s consciousness under the influence of the obsession with the image of the black monk, and Tatiana’s theme. If Kovrin’s theme is represented by the cello’s low-register leittimbre and sonorous effects, in Tatiana’s theme, the feeling of air and flying is created by both the major key and the texture features. The logic of music develops so that the intonations and instrumentation of the black monk’s leittheme penetrate into Tatiana’s theme. From a lyrical theme characterizing the heroine, it turns into the theme of Kovrin’s degrading consciousness, which corresponds to the development of the plot and the conception of the story as a whole. Quotes from classical music by Beethoven and Mahler, as well as from the romance “My Friend, Give Me Your Hand for Happiness” (lyrics and music by K. Luchich), play a significant role in the film’s music. A fragment of Beethoven’s Mass and Adagietto from Mahler’s Symphony #5 sound in the film’s finale at the moment of the tragic climax epilogue and accompany the scenes of Kovrin’s death. The thematic material develops so that its intonations converge and Tatiana’s lyrical theme is gradually absorbed by the black monk’s theme. As a result, the entire musical thematic material focuses on showing Kovrin’s psychological state and the degradation of his personality.

Keywords: film interpretation, sound, film music, drama, leitmotif, leittimbre, noise effects, sonorousness.

Timofey V. Eroshchenko, Tatyana F. Shak

pp. 24-33

Preservation of the Cossack Folk-Song Traditions in the Creative Activities of Authentic and Youth Folklore Groups (On the Example of Terskie Kazaki and Rodnya Ensembles)

This article examines the problem of preserving the folk musical culture of Russia; the relevance of the problem is indisputable. By analyzing the creative activity of the authentic folklore ensemble Terskie Kazaki [Terek Cossacks] of the Cossack village Staropavlovskaya, Kirovsky District, Stavropol Krai, and the youth ensemble of folk songs Rodnya [Kinsfolk] of the Pashkovsky City House of Culture in Krasnodar, the relations of their succession are substantiated. The authentic folklore ensemble Terskie Kazaki, consisting of the indigenous inhabitants of the Cossack village Staropavlovskaya, has existed since 1972. This is one of the few folklore groups whose members have preserved more than 300 traditional Cossack songs of various genres. Among them are epic, military marching, historical, and dance songs, dance tunes. With the help of historical, comparative, descriptive methods, as well as a structural typological analysis of the musical material, the article examines samples of various genres, notes the characteristic stylistic features of Terek Cossack songs. Members of the youth ensemble Rodnya preserve samples of Cossack folklore in their repertoire by collecting songs in folklore and ethnographic expeditions, their subsequent study, and the ensemble’s own artistic interpretation. One of the most successful works of the youth ensemble was the ballad “Two Crosses Stand on a High Mountain”. The choirmaster’s idea of the ballad and stages of its implementation are also analyzed in the work. Members of the ensemble Rodnya widely use online technologies to popularize Cossack song folklore in modern society, including among the youth. The research novelty of this study consists in the detailed analysis of the continuity in the creative activities of folklore groups of different generations. This continuity creates the basis for the preservation of the folk song culture of Russia.

Keywords: traditional culture, Cossacks, authentic folklore group, genre, repertoire, style, interpretation.

Svetlana A. Zhiganova, Anastasia S. Nechitaylo, Viktor N. Kulik,

pp. 34-43

Crimean Tatar Folk Music as a Research Object in the Domestic and Foreign Folklore Studies of the Early 20th Century

The article examines the folklore and ethnographic activities of the domestic and foreign researchers at the beginning of the 20th century on fixing, decoding and popularizing Crimean Tatar songs, dances, tunes, which helped to preserve the musical and spiritual heritage of the indigenous people for future generations. Progressive representatives of the intelligentsia of European countries at the turn of the 20th century launched an active work on fixing and publishing, first, texts and, with the invention of the phonograph, melodies of folk songs and dances as a historical and spiritual heritage. Targeted scientific expeditions were organized to record the folklore of the Crimean Tatars at that time. The expeditions included folklorists and musicians who collected, processed and published collections of songs and dances of the Crimean Tatars and other Turkic peoples: Songs of the Crimea, Songs of the East by A. Konchevskiy; Crimean Tatar Songs by A. Refatov; Songs of the Crimean Tatars by S.B. Efetov and V.I. Filonenko; Songs and Dances of the Crimean Tatars by Ya. Sherfedinov. The authors of the article aim to study and systematize the research results the domestic and foreign folklorists of Crimean Tatar folk music (its originality, modal and rhythmic features) achieved in the early 20th century. Despite the seeming abundance of articles, both scientific and popular, about expeditions to study the culture of the Turkic peoples (and there were quite a few of them in the indicated period), the material on the study of musical folklore is found fragmentarily. The lack of studies of archival materials led to erroneous information and inaccurate data on the timing of expeditions, in the descriptions of the life and work of Crimean scholars, composers and folklorists. The novelty of this article is that it presents the most accurate dates and the content of the folklore and ethnographic work of B. Kuftin, A. Konchevskiy, A. Refatov, Ya. Sherfedinov, as well as information about the collection of Crimean Tatar songs by foreign researchers-orientalists A.A. Olesnitsky, R. Lyakh. The article also gives a brief modal-rhythmic analysis of the Crimean Tatar songs and dances taken from the collections of the above authors. Summing up the results of the research and guided by factual, historical and folklore material collected in Crimea at the beginning of the 20th century, the authors of the article conclude that a fundamental basis was laid for the formation of the concept “Crimean folklore” at the time. This concept is also based on the fundamental research of the folklore of the Turkic peoples by modern Crimean scholars, art historians, ethnographers, historians. Laboratories and research centers of institutes, academies, universities serve as the basis for the development of Crimean folklore studies. Thus, the study of the Crimea peoples’ folklore is a multifaceted theme, and it requires further development and research.

Keywords: folklore, Crimean Tatars, expedition, Crimea, song, dance, harmony, rhythm.

Irina R. Kurovskaya, Mayya R. Kadyrova,

pp. 43-52

The Folk Song Tradition of Western Russian Settlers in the Conditions of Traditional Cultures of Late Formation (On the Example of the South of Tyumen Oblast)

One of the most important tasks of modern ethnomusicology is the study of regional versions of folk song cultures. The aim of this article is to study the transformation of the original folklore traditions of European Russia in the conditions of the traditional cultures of settlers’ new localization. Song folklore was most actively and systematically collected and studied on the territory of the West Siberian Trans-Urals in the late 20th and early 21st centuries. The object of research in this article is the local folk song tradition of the late settlers of the Lopaznoe village (Sladkovsky District, Tyumen Oblast), who arrived from Bryansk and Chernigov provinces in the second half of the 19th century. The research uses comparative historical and structural typological methods, as well as folklore analysis and the method of overt observation. The dialect speech of the late settlers, which affects the style of traditional song performance, is analyzed. The set of song genres that make up the core of the folk singing tradition in Lopaznoe is revealed: calendar and wedding songs, timed for rituals; song and game folklore and lyrical folk songs, not timed for rituals. The music and style of the song samples of the metropolitan traditions of Bryansk Oblast (Surazhsky District) were analyzed in relation to the song culture of the Lopaznoe settlers. The identified main characteristics and features of the song culture of Lopaznoe tell about the specificity of the traditional song culture of this village. Lopaznoe songs preserved the versification, tonality structure, and vocal elements of songs of the Western Russian tradition, which indicates stable features of the traditional song culture in the assimilation. Some cultural elements are transformed under the influence of the old-timers’ song culture, which indicates the formation of a new style of performance in the songs of the new settlers. The analysis of the folk song culture of settlers from Chernihiv and Bryansk who came to live among Russian oldtimers included the study of dialect features, which revealed the preservation of the akanye and yakanye dialect, and its influence on the soft manner of song performance. The traditional song culture was considered, on the one hand, from the viewpoint of its representatives, thus reflecting their ideas about the tradition, and, on the other, from the viewpoint of researchers. Research in the field of the folk singing culture of settlers from European Russia made it possible to identify the features and specifics of the Western Russian song culture in the south of Tyumen Oblast.

Keywords: folk song culture, Western Russian tradition, late settlers, folklore expeditions, song traditions.

Lilia V. Demina

pp. 52-67

Valentin Yustitsky as a Graphic Artist: Artistic Language and Stylistic Techniques (Based on Illustrations for Wilhelm Busch’s Fairy Tale)

The article is the first to investigate the features of the visual interpretation of the German literary tale by Wilhelm Busch “The Miller’s Bold Daughter” (1868) by the Russian artist Valentin Mikhailovich Yustitsky (1894–1951). The materials for the article are ten graphic sheets of 1924 by Yustitsky from the collection of the Saratov State Art Museum named after A.N. Radishchev. In addition, to clarify the meanings of the drawings for the plot, the author turned to Busch’s fairy tale in the German original and in its Russian translation (Konstantin L’dov, 1890) revealing what the artist was dealing with. Using the formal iconological method and systematization in tables, comparing Yustitsky’s drawings with illustrations by Busch in the German original and in the translation, the author revealed the nature of the distribution of illustrations in the text, the interpretation key moments of the tale and its characters, and analyzed the artistic techniques. The analysis shows that Yustitsky knew the illustrations of his German predecessor, he was able to creatively rethink his illustrative findings in a number of cases; Yustitsky also considered Busch’s light, ironic style; Yustitsky did not hide citationality, but he solved a different artistic problem. He was more thoroughly engaged in visualizing the characters, their intentions, the glorification and generalization of the image of the main character – the miller’s daughter. Having created a number of funny instructive pictures relevant for his time, Yustitsky translated the story from the plane of temporal and national specifics into a wider timeless context. At the same time, while working on the design of the fairy tale, Yustitsky actively formed and honed his artistic language, which from the early 1920s became the “visiting card” of his graphics. All of his works are made in the style of the so-called quick sketch drawing. This accurately reflects the rhythm of the poetic text, meets the task of a grotesque interpretation of characters and plots, and the humorous genre of the work as a whole. In the set of expressive means Yustitsky used, color is especially important. Compared to Busch’s blackand-white illustrations, it is color that enriches, renews, and modernizes the language of Yustitsky’s illustrations for this cycle. The studied illustrative series is one of the few dated by Yustitsky himself, thus it allows indicating the direction of the artist’s stylistic searches.

Keywords: Valentin Yustitsky, Wilhelm Busch, “Terrible Night or the Miller’s Bold Daughter”, fairy tale in verse, book graphics, illustrative series, creative method, artistic means, Saratov State Art Museum named after A.N. Radishchev.

Marina I. Borovskaya

pp. 67-74

The Creative Heritage of Vitaly Sidorov (1922–2010) in the Funds of the Krasnodar Regional Art Museum Named After F.A. Kovalenko

The article presents a study of the monographic collection of Vitaly Ilyich Sidorov, a front-line artist, the Honored Artist of Russia, in the Krasnodar Regional Art Museum funds. His works are a striking example of regional fine art. The author of the article, for the first time, analyzes the collection of Sidorov’s works in the museum funds, clarifies certain milestones in his creative career, considers the history of the works the museum received. In the study, the author uses previously unknown archival materials, as well as publications on the topic of Sidorov’s works by N. Kalugina, A. Strygin, Yu. Koryagina, Yu. Kutsenko, which made it possible to reconstruct the history of the creation of a number of Sidorov’s works in the context of the memoirs of contemporaries. A comprehensive study of all Sidorov’s works and an analysis of his works as part of the museum collection are required. To do this, the author aims to explore the peculiarities of Sidorov’s works, new archival materials, the artist’s professional contribution to the fine art of Kuban. The author introduces previously unpublished works into scientific discourse. Given the insufficient study of Sidorov’s creative biography, the author presents the main stages of his professional development in the overview. For the first time, Sidorov’s paintings and graphic works as part of the museum collection become the object of a specific research and serve as the main layer of cultural and art history analysis. The author employs the methodology of a systems approach, focused on the integrity and comprehensive consideration of the monographic museum collection. The practical significance of the study lies in the possibility of using its results in scientific, teaching, historical and promotional activities, in the practical work of art museums.

Keywords: museum, monographic collection, artist, creativity, artwork, fund research.

Tatiana A. Salnikova

pp. 74-81

Kinetic Art in the Contemporary Art of Saratov (On the Example of Sergei Petrov’s Works of the 1990s–2000s)

The article discusses kinetic art in Saratov on the example of Sergei Petrov’s works of the 1990s–2000s. The artist is the only representative of this trend in the contemporary art of Saratov. The study analyzes, for the first time, what his creative ideas were during this period of time and what themes can be traced in his oeuvre, and identifies the characteristic features of his artistic language. The main materials for the study were: Petrov’s art objects of the 1990s–2000s (the property of the author of the article); his autobiography; photo and video documents (1996–2013) from the artist’s personal archive and the archive of the Sector of Contemporary Art of the Radishchev Art Museum in Saratov; a book of reviews from the exhibition “A Very Frivolous Idea” (1996); catalogs of the festival “Cultural Heroes of the 21st century” (1999) and the exhibition “The Artist in the Theater” (2002); newspaper publications (1997, 2002, 2003). Petrov’s works of the 1990s–2000s can be divided into three groups: (1) kinetic objects, (2) interactive kinetic installations, and (3) so-called “antikinetic” objects or “budi-art”. The main material the artist used for creating his works was metal parts of Soviet-era children’s construction sets as the main material. Some household items were included in the compositions as accents. As a result of the study, the author comes to the conclusion that the characteristic features of Petrov’s artistic language are: the intimacy of his works, the special role of sound and rhythm, the paradox of images, and attention to plastic expressiveness. The author notes that Petrov’s art developed in line with the world tendencies of kinetic art and was based on a synthetic principle, building on the interaction of motion and sound, and sometimes light. The artist’s works of the 1990s– 2000s also present themes of time, music, and Eastern philosophy (Buddhism). Petrov’s kinetic works demonstrate a high artistic level and have become an important part of the contemporary art of Saratov.

Keywords: contemporary art, Saratov contemporary art, kinetic art, Sergei Petrov, art object, installation.

Natalia A. Kurilova

pp. 81-91

Synthesis of Color and Form in Sculpture

The relevance of the topic of this article is determined by the need to substantiate the religious, philosophical, psychological, and semantic aspects of the study of artistic and plastic principles, for it is under their influence that modern concepts of the use of color in sculpture were formed. The article contains information about valuable and significant sculptural works that are an integral part of the world’s artistic heritage. It also discusses the stylistic evolution of sculptural works, the impact on the color scheme of aesthetic qualities, symbolism and artistic traditions of this period and culture. There are differences between the concepts “color scheme” and “painting”. When painting sculptural forms, coloring agents consisting of pigments and a binder are necessarily used. Color scheme is a broad concept and implies not only the use of colors, but also the identification of artistic qualities of the object due to the used material, surface texture, method of processing the form, illumination, etc. Both of these concepts are inseparable from the historical development of sculpture as a whole, from stylistic and sociocultural phenomena, and ways to implement them in creativity. The aim of this study is to determine the typology of varieties of color schemes of sculptural works, developed on the basis of an art history review and analysis of monuments. In this regard, the material presented in the article is structured transparently and presented in chronological order.

Keywords: monument, work, sculpture, plastic, shape, color, light, tone, shade, paint.

Artem V. Rychkov

pp. 91-100

The Use of Interactive Technologies for Organizing Activities of a Regional Museum

Having become dominant in almost all areas of professional activities, interactive technologies have also caused major changes in the museum world. With the introduction of technical and technological innovations, the modernization of the museum’s forms of activities affected not only repositories, but also the museum’s communication with the visitor. An urgent problem in this research was to identify the role of the museum in the educational, fostering and cultural spheres, its desire to provide comfort and conditions for self-education for its visitor. Testing technological innovations and interactive events in the museum space, the staff of the Astrakhan Museum-Reserve try not to turn the museum into an “entertainment center”, but to supplement the traditional functions of the museum with new forms of visualization. The relevance of the research consists in the need to show how, responding to the challenges of time, the museum complements the exhibition with original objects, interactive programs, projections, introduces new forms of work with a multi-age audience, attempts to combine interactivity and sensory perception of the museum object. The aim of the research is to present the organization of museum activities using new interactive forms of museum communication. The objectives are (1) to show the relevance for museum functioning of such interactive forms as creative classes, workshops, interactive excursions, didactic lectures, conversations, event theatricalization, quizzes, quests, flash mobs, games within expositions, exhibitions, installations, and (2) to identify visitors’ requirements to museum offers such as informativity, accessible communication form, interactivity, immersion in the atmosphere of a certain time, etc. The novelty of the research is not only in the theoretical substantiation for the theory of museum communication, but also in the demonstration of the practical activities of the Astrakhan Museum-Reserve in this area. This research was carried out within the framework of an interdisciplinary approach.

Keywords: museum, museum teacher, interactive technologies, educational activities of museum, cultural and educational sphere, museum communication.

Galina I. Vorobyеva, Nellya I. Оrfanidi, Natalya B. Akoeva

pp. 101-109

The Ideology and Sociocultural Landscape of Russia: Images of the Future Statehood and Civilization

The relevance of the study of the problems of the interaction of ideology and culture is due to the entry of humankind into a new era of understanding its own purpose, as evidenced by the planetary anthropogenic catastrophe caused, according to some experts, by the pandemic of the artificial coronavirus, when the fruits of scientific research returned like a boomerang for earthlings. This sociocultural drama has exposed all the flaws of the humanitarian impasse, exacerbated the old and highlighted the new external and internal contradictions at the state and civilizational levels. The globalist world order has led to an imbalance in international relations, and the technosphere is in conflict with the original idea of homo sapiens. In such a fatal situation, the human-creative function of culture comes to the fore. In the domestic mentality, this function acquires the meanings of the Russian idea that is salvific for humanity and is understood as the ideology of the development of statehood and civilization in the historical and cultural context. The aim of this article is an integral analysis of the role and influence of ideology and culture on the processes in the development of society, state and civilization, the determinant of which is the human-making mission of all interacting subjects. The author decodes the cultural and ideological centricity of the aim with meaning-making provisions and tasks facing the fundamental subjects, whose strategic functions are changing taking into account the turbulence of world sociopolitical and economic processes, new challenges and threats facing Russia. In this regard, according to the author, with all the achievements of the scientific and technical process and the technical equipment of a certain society, the main subject that sets the artificial techno-force in motion is homo sapiens, their cultural consistency and civic consciousness. They also remain the main active communicator in the external relations of the changing and transforming world community. Therefore, conspiracy theories about the simulacrum of the posthuman subject and the creation of the image of the posthumanself outside society contradict the cultural nature of humans. The imbalance in international relations, the world economic, sociopolitical and sociocultural crisis, resource depletion of the planet, the pandemic of historical memory, disease and fear to a certain extent deform globalist expansion, thus determining the consolidation of national life within the state framework and the priorities of cultural and civilizational preferences. The novelty of this study is the author’s demonstrative attempt to integrate the sociocultural anthropogenic, natural, territorial landscape into the cultural and ideological foundations of Russian statehood and civilization, which reveals the prospects for the historical development of the Eurasian range of peoples. This philosophical and cultural intention of the author is based on the civilizational theories of domestic and a number of foreign researchers, who argued that the peoples of Russia-Eurasia have an ethnocultural and spatial middle continent that has mastered the spiritual and cultural achievements of Eastern and Western civilizations over six centuries and found its original place in history, absorbed the life-giving traditions and values of many ethnic groups and cultures. At the core of this axiocentric place, the author places historical Russia as an axis of world geopolitical balance and geocultural foundation, providing the prospect of human development, subject to the formation of a new state ideology of national development and civilizational community of the Eurasian conglomerate of peoples. The article substantiates not only the provisions of the interacting subjects of society, state, and power, but also proposes the cultural and ideological structure of statehood, coupled with the Russian civilization in the following sequence: national idea – national ideal – national ideology – national development strategy, from which follow concepts, doctrines, programs and projects. The following conclusions are drawn in the article: (1) historical, ideological and sociocultural lessons of the past should be learned in the name of the future of the peoples of Russia and the Eurasian space; (2) the prospects for the development of the Russian landscape with its richest natural, anthropogenic and sociocultural potential, allowing for the development and strengthening of the Eurasian cultural and civilizational identity, are determined; (3) the expediency of defining the foundations of the Russian state ideology, state and national patriotism, coupled with the historical and cultural traditions of peoples, providing their living space and prospects for historical development is updated; (4) measures to optimize domestic policy are proposed: sociocultural, economic, political, spiritual, and moral.

Keywords: cultural landscape, ideology, Russian statehood, sociocultural development, civilizational space, idea of man.

Nikolay G. Denisov

pp. 109-117

Transforming the Geocultural World System: The Limits of Globalization

The article discusses the current problem of modernity: the slowdown and inhibition of the processes of globalization, which is the primary basis for civilizational development, in the geocultural world system. According to the methodology of systems analysis, complex structured systems, in their development, reach the limits of complexity processes, which are transformed into decomposition or simplification processes due to the development of hierarchically arranged levels as structural elements of complex systems. Currently, in the development of the global world system, there are processes of suspension of universalization and the transfer of centers for further development to the macro-regional level and, therefore, to the level of competing civilizational geocultural spaces. In Russian scientific literature, two opposing approaches have developed to the basic foundations of competing civilizational spaces that claim that (1) sociocultural foundations or (2) technological foundations are at the core of civilizations. Therefore, it is important to determine the role of the potential of geocultural elements in the evolution of the global world system. For this, it is necessary to consider the value foundations of civilizational development as the interaction of dominant sociocultural systems and counter-systems in modern heterogeneous structural elements of competing civilizations. The tendency in Russian globalism is to prioritize the role of technological development, which is reflected in the works of A.N. Chumakov, a prominent researcher of globalization processes. Contrary to this tendency, relying on the works of N.Ya. Danilevsky, N.A. Berdyaev and M.S. Kagan, the authors of the article seek to show the dominant role of culture in civilizational development. They draw attention to the fact that it is the contradictions in the axiological systems of civilizations that cause conflicts at points of bifurcation in the modern development of the global world system as a social systemic integrity. This system, having reached the limits of complication in its evolution, transfers the emphasis of development to its constituent social subsystems – above all – to civilizational geocultural megaregions, which are structural elements of the geocultural world system.

Keywords: global world system, global geocultural world system, civilization, axiology, limits of universalization of culture.

Roza S. Lavo, Sergey A. Morozov

pp. 117-125

Cultural Development of the Region Through the Prism of the Integration of the Academic Medical Science and the Higher Medical Education System

On the basis of the unity of philosophical-cultural, historical-medical and regional analysis, the article reveals the problem of mutual influence of academic medicine, the higher education system and regional culture, which is relevant for regional development. The activity approach was chosen as the main methodological approach, which was supplemented by the principles of systems analysis, historicism, the ascent from the abstract to the concrete, as well as the method of monographic description. Due to the fact that the problem outlined in the work refers to regional development, archival materials and legislative acts related to the research topic were used as information sources. The theoretical basis was works on the history and philosophy of medicine, as well as on the theory of culture and regional studies. The article notes that the integration of science and the higher medical education system is a creative core in the culture of the region; without it, the solution of social, economic, spiritual, intellectual, environmental and other regional problems is impossible. The conclusions are illustrated that the developments of academic and university science in their unity with the education system are determined by regional factors: the state of health of the population of the region, its climatic and geographical conditions, the needs for health and healthy lifestyle. Of particular importance, according to the authors, in the culture of Krasnodar Krai are scientific publications, scientific medical schools and research centers: they are defined as factors of intellectual potential, and, consequently, indicators of cultural development. The role of medical academic science and medical school in preserving the best spiritual and moral traditions of the region is also emphasized. It is noted that the medical community, represented by its best members, laid the foundation for medical culture in the region, contributed to the formation of the value of the medical profession in the public consciousness. The systemic logic of the study made it possible to conclude that, on the one hand, academic medical science and the education system are a culturally significant social space in which innovative ideas are generated, the personality of a scientist is formed, social needs are met, social experience is broadcast, and institutional and intellectual potential develops. On the other hand, the Kuban academic science and the medical education system are the result of the development of the regional culture itself, they are its values and goals.

Keywords: medical science of Kuban, medical morality, ethos of scientist, medicalization of culture, Kuban State Medical University.

Sergey N. Alekseenko, Andrey N. Redko, Tatyana A. Kovelina, Irina L. Cherednik, Daria V. Veselova

pp. 126-130

The Integration of Traditions in Modern Society as a Factor of the Intangible Cultural Heritage Preservation

The globalizing modern world has affected most countries and peoples. However, in addition to innovative transformations in the economy and expanding communication opportunities, it leads to the leveling of the features of national cultures. Therefore, many countries around the world are concerned with the preservation and representation of the intangible cultural heritage. In accordance with the Convention for the Safeguarding of the Intangible Cultural Heritage (2003), the intangible cultural heritage includes the language of the people, festive events, rites, rituals, customs, folk traditions, skills, and traditional craftsmanship. The relevance of this research is dictated by the realities of the modern world and is to show the need to preserve cultural heritage in the age of globalization, when one’s national culture and roots fall into oblivion. The research aims to comprehend, in terms of science, the reviving and preserving of various layers of the intangible cultural heritage. The novelty of the research consists in the fact that the authors consider the problem of preserving cultural traditions not only in theoretical terms, but also based on the specific experience of the “Ataman” Exhibition Complex (Krasnodar Krai, Russia) in reviving and retransmitting the traditions of the Kuban Cossacks. Gastronomic and folklore festivals, ceremonial holidays, excursions, workshops introduce the traditions, rites, rituals of the inhabitants of the multiethnic Kuban, the way of life, religious beliefs and rituals of the Cossacks thus fostering respect for tradition in modern society and forming the social identity of Russians.

Keywords: intangible cultural heritage, tradition, rite, ritual, festival, workshop, “Ataman”.

Evgeniya A. Zenkova, Natalya B. Akoeva

pp. 135-144

The Domestic Practice of Adapting Latin American Telenovelas (On the Example of Not Born Beautiful)

The article analyzed adapted TV series, which is a new and little-studied phenomenon. The features of the domestic adaptation of Latin American TV series are considered. The article uses the example of the transformation of Latin American originals by structural and functional analysis to consider the principles of transferring the plot to a different cultural environment, their dependence on the local mentality. The transfer of archetypal images to a new cultural environment is examined on the example of the adapted TV series Ne Rodis’ Krasivoy [Not Born Beautiful]. The objectives were set to formulate success criteria, the reasons for the appearance of adapted works, the need for a careful study of the scenario during adaptation, and methods for overcoming the difficulties that arise. The types of characters and their archetypal images were considered and compared, and the casting of the original and adaptation actors was analyzed. On the example of the successfully conducted cross-cultural interaction, the transformation mechanisms for creating a liquid national product were found experimentally. The success of the adapted series Not Born Beautiful is explained by the fact that, despite the inconsistencies of the professional component of the plot, the protracted narrative, goofs, shortcomings in camerawork, monotony of locations, the audience’s attention was held due to the universality of the theme, the combination of melodrama with comedic ease, the versatility of archetypal characters and the elaboration of adaptation to the Russian mentality. The example of successful adaptations shows that it is possible to create a national TV series hit that will surpass the original in popularity and will be in demand with a national audience. Getting into the image, ease of perception combined with fairytale-like optimism, moderate drama with a happy ending, appropriate jokes and verbal swoops of charismatic characters are in demand in any historical era.

Keywords: Russian adaptations, TV series, TV series adaptation, modern popular culture, Latin American TV series.

S.V. Luzyanin

pp. 145-146

Information About the Authors (in Russian)