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From the editor

Sergey S. Zengin

pp. 7-17

Alexander Glazunov’s Concerto for Altо Saxophone and String Orchestra: Traditions and Innovations

The article analyzes one of the most performed works by the world saxophone community – the Alexander Glazunov Concerto for Saxophone – from the standpoint of identifying its traditional and innovative features. This opus is distinguished by an interesting combimation of traditional features, due to the peculiarities of the genre invariant of the concert of the Romantic era, and innovative ones, including jazz, as a result of the changed musical thinking of the twentieth century. The discussed problem of traditions and innovations, despite the existing significant layer of scientific literature on various issues of saxophone performance, has not received a proper coverage to this day, which determined the relevance and novelty of this research. The results of the research were obtained using the historical genetic and historical style approaches, as well as the structural-functional method. The special character of the interaction of traditions and innovations in the Concerto was determined by the specific interweaving of academic and jazz features. The opus for the instrument, which at the time of writing was associated only with jazz art, combined rhetorical figures of the Baroque era, jazz allusions, polystylistics, a Romantic type of interpretation of form and thematism, very interestingly interpreted Romantic methods of framing, as well as an anthology of academic references to L. Beethoven, F. Chopin, F. Liszt, R. Wagner. In addition, the poetic sonata nature is combined with the suite nature and with signs of an early concert. The lavishness of the saxophone part in the spirit of the “20th-century Rococo” borders on the ecstatic melismatics of jazz compositions, and the obligatory saxophone soloing not only with a baroque concert, but also with the swing organization of material in jazz performance. The neo-style complex of thematic constructions of the Concerto, along with the use of a string orchestra in combination with a saxophone solo, forms an organic stylistic “bridge” to symphonic jazz hybrids of the swing era (in particular, Gershwin’s “Rhapsody in Blue”). The aforementioned “stylistic breadth” and “multiparameterism”, which were not found in any works of composers of the first third of the 20th century and appeared much later in the works of the postmodern era, suggest that Glazunov was, in some sense, ahead of his time.

Keywords: saxophone, concert, Alexander Glazunov, concert genre, concert for saxophone, traditions and innovations, Glazunov Concerto for Saxophone.

Antonina M. Ponkina, Vladimir N. Avilov

pp. 18-25

Ecumenical Trends in Contemporary Musical Art

The article examines the ecumenical trends of contemporary composing. The concept “ecumenism” and its interpretation in theological literature are touched upon. The concept is mentioned in the context of the modern sociocultural situation and in connection with the dynamically changing ethno-confessional picture of the world. It is noted that the popularity of the ecumenical movement in the twentieth century is associated with a humanistic turn in the thinking of Christians, in the awareness of their community, regardless of confessions and dogmatic differences. Attention is drawn to the works of Metropolitan Hilarion (Alfeyev); he partially shares these ideas in his position of defending Christianity through ecumenical unification capable of resisting the challenges of our time, the lack of spirituality, and militant atheism. In his multifaceted works, ecumenical ideas found a very diverse application: in his work in the field of inter-Christian relations, in the direction of research papers and publications, in the topics of educational television programs and films, as well as in composing. Alfred Schnittke comes to the ecumenical idea of the unity of various confessions and religions in his Symphony No. 4. The analytical part of the article notes that in traditional doxological chants the categories “abutment”, “tonality” are important components of musical poetics that symbolize eternity, inviolability of faith, earnestness of prayer. The combination of four different sound scales in Schnittke’s Symphony No. 4 became possible because their diatonic melody fits into the overtone spectrum of the main tone of the chord – the first degree of tonality. Therefore, despite the different modal keys of each of the themes of different confessions, they naturally united in a long organ point. Stas Namin’s song “Light and Joy” is touched upon, the main meaning of which is hymn praise, the unification of representatives of different confessions in a single emotional impulse. A unified approach and methods of working with heterogeneous musical material reflect the aspiration of composers working in different genres of academic and popular music to embody prayer requests for peace, love, and joy.

Keywords: ecumenical trends in music, Metropolitan Hilarion (Alfeyev), Alfred Schnittke, Stas Namin, Tsvety band, prayer chants.

Anastasia A. Panteleeva, Svetlana I. Khvatova

pp. 25-32

The Art of Instrumental Performance оf the Sakhalin Region

The article considers the development of the art of instrumental performance in one of the most poorly studied regions of the country in the field of musical art – the Sakhalin region. The features of the historical processes of the development of amateur performances are considered. The role of the cultural policy of the island region in the preservation of the spiritual and intangible heritage of the peoples of the region, in the development and popularization of the musical art of the region is revealed. The aim of this work is to determine the current state of instrumental performance of the island region in connection with the transmission of folklore tradition and amateur performances. The latter predetermined the success of the emergence and development of professional creative teams. The novelty of the work is associated with the generalization and systematization of information on national, amateur, and professional instrumental groups. Due to the lack of fundamental research on the musical culture of Sakhalin, this work is of particular importance and relevance. On the basis of archival and source studies (collection, processing, systematization of information), generalization of publications about performing groups on official web resources and in the media, for the first time an attempt is made to present a genre panorama of instrumental performing art. The systematization of information about the correlation of the development of traditional, artistic, and amateur instrumental culture and professional performance will complement the picture of the development of Russian musical culture and art of the modern period, assess the formation of its individual sections, initiate further fixation, scientific understanding and description of incomplete processes occurring at the moment, and also hypothetically predict their dynamics.

Keywords: musical culture of Sakhalin, instrumental performance, folklore, traditional music making, concert and festival activities, creativity of indigenous small peoples of North.

Natalya V. Sadykova

pp. 32-41

Themes, Plots and Characters in Bright Sheng’s Operas

The article is the first to consider the operatic works of the contemporary ChineseAmerican composer Bright Sheng (b. 1955). An attempt is made to comprehend the composer’s figurative and thematic preferences in the operatic genre that represent various branches of the musical and stage art of the postmodern era. The main aim of the study is to analyze the vectors of development of the composer’s operatic creativity. In Sheng’s works, one can observe a variety of cultural contexts associated with a wide range of his composing interests, as well as the stylistic integration of his work, representing a conglomerate of myths and historical narratives from European and Eastern traditions. Therefore, one of the most important objectives of the research was to analyze the interaction in Sheng’s operas of the eastern and western – Chinese and European – specifics of musical thinking. The article notes Sheng’s interest in historical and legendary subjects. The literary basis of his operas were myths (“The Song of Majnun” and “The Silver River”), the Chinese classic novel of the 18th century (Dream of the Red Chamber), events of modern Chinese history (Madame Mao). The first opera, The Song of Majnun, is a myth about eternal love, in which Sheng managed to create a plastic musical language, first of all, a special ornamental type of melody. The Silver River chamber opera combines the traditions of Western European musical theater, drama, and dance with Peking opera. Madame Mao is a rare example of political opera with elements of satire. Dream of the Red Chamber is the embodiment of the famous Chinese novel on the music stage; it was an incredibly difficult task to create an opera libretto from it. The article concludes that, for Bright Sheng, traditional cultural identity is an extremely important aspect, and the peculiarities of his operatic aesthetics lie in the combination of the traditions of Western European opera with elements of Peking opera.

Keywords: Bright Sheng, composer, opera, Peking opera, libretto, plot, creativity. 

Cui Shuo

pp. 41-51

The Television Ballet Genre in the Works of Mikhail Lavrovsky: Problems of Choreography and Performance

The aim of the article is to summarize the performing and choreographic activities of Mikhail Lavrovsky, the famous principal dancer and teacher of the Bolshoi Theater of Russia in the television ballet genre. This direction of his work covered the 1960s– 1990s; it had an obvious resonance in the criticism and the professional community, but lacked a systematic understanding there. This seems to be an obvious gap in Russian ballet studies because the professional experience of this dancer, choreographer, and teacher is more than of personal significance; it refers to the general laws of the art of stage dance of the 20th century. It reflects the evolution of aesthetic approaches to choreography, the typology of the heroic role in male performance, the methodology of creating choreographic compositions. It allows tracing the expansion of the creative interests of the ballet principal dancer through the new expressive possibilities of television. Methodologically, the article is based on this aspect, which has not previously been reflected in the scientific literature in relation to this dancer: the combination of the traditions of classical dance with the technical capabilities of its fixation by a television camera. In the works used for the analysis, the author notes a new quality of artistic synthesis. The conclusions of the article have practical implications. The author observes the mobile interaction of different types of arts in the final screen product, the genrethematic specifics of TV ballets of the 1960s–1980s (literature-centrism), the creation of a new film image of famous ballet figures (M.M. Plisetskaya, N.V. Timofeeva, E.S. Maksimova, V.V. Vasilyev, and others), the keen interest of the professional ballet community in new forms and methods of creating choreographic compositions, etc.

Keywords: ballet, Bolshoi Theater, Mikhail Lavrovsky, television, synthesis, role, choreography, expressiveness, classical and modern dance.

Lola A. Kochetkova

pp. 52-59

Russian Musical as a Unique Phenomenon of Art

The article aims to reveal the patterns of the evolution of the national component of Russian musicals in the second half of the 20th – early 21st centuries. The research objectives are: to analyze the literature and the source base of the study of the vocal and dance component of the musical; to clarify the conceptual and categorical apparatus of genre and stylistic devices in the Russian musical; to identify the main stages of the development of the vocal and dance component of the musical in the USA, France, the UK; to reveal the national characteristics of the Russian musical and its problems. The object of the research is the Russian musical as a distinctive phenomenon in art. The following research methods were used: analytical method – to analyze the literature and sources of the dance, vocal, theatrical components of the musical of the second half of the 20th – early 21st centuries, and to clarify the cause-and-effect relationships between the new expressive means of the musical and dance traditions; classification method – to structure and systematize the studied material; methods of historical reconstruction, content analysis, and event analysis – to reproduce individual musical and theatrical compositions described in memoirs and scientific commentaries; systemic-structural method – the analysis of the specific characteristics of the vocal and dance in the musical makes it possible to identify and analyze their systemic patterns; historical-genetic method – to define concepts by clarifying their origin, to analyze the place, methods, and causes of the emergence of research phenomena; biographical method – to reflect the most significant events in the social and artistic activities of individual persons; art criticism method – to analyze the musical and choreographic language in the musical. The novelty of the research is confirmed by the need for a comprehensive characterization of Russian musicals in the evolution of this genre in the second half of the 20th – early 21st centuries. The findings of the study allow stating that the experience of staging musicals in different countries testifies to the fact that, for shows to be successful in this genre, a high professional level of stage performance and a specific spectators’ readiness to perceive the aesthetics of the show are required. In this aspect, the musical is a complex musical and theatrical project, in which scenario drama and plastic-dance entertainment prevail and lead to the emergence of the corresponding form-shaping laws of the vocal and dance component.

Keywords: Russian musical, second half of 20th – early 21st centuries, genre, performing arts, musical comedy, rock opera.

Elena A. Trukhacheva

pp. 60-68

Features of the Tap Dance Genre Development in Show Performances of the Early 20th Century

The article examines important aspects of the development of the tap dance genre in show performances of the beginning of the 20th century. In this context, the historical roots of the emergence of forms of show performances are revealed, their development in modern sociocultural conditions is analyzed. The features of such modern pop forms as music hall, cabaret, variety show, vaudeville, in which tap dance has become widespread, are considered in detail. The rare facts of the creative activity of famous artists of this genre are analyzed; the technical principles of performing percussion dance styles created by them are revealed. The relevance of the research is due to the fact that tap dance, being one of the spectacular and original genres of choreographic art today, increasingly occupies a prior place in various show programs; therefore, the study of its features, formed during its historical development, attracts the increasing professional interest of culturologists and art historians. The aim of the study is to analyze the features of the development of the tap dance genre in show performances of the beginning of the 20th century. The research objectives are: (1) to analyze the essence and significance of the performance show as a type of concert activity, which includes many genres, in the historical context of its development; (2) to identify the characteristic pop genres included in show performances of the early 20th century, in which the styles of tap dance were developed; (3) to consider the aspects of the creative activity of famous tap dance performers who formed their own styles. Thus, this article is an attempt to purposefully analyze the essence of tap dance in the forms of show performances of the early 20th century and the experience of understanding the performance specifics of tap dance styles formed under the influence of the performances. The main part of the article examines the features of show performances of the early 20th century in the historical context of their development, and also analyzes the specifics of the styles of tap dance that arose on the basis of these shows. As a result of the study, the authors of the article formulated the following conclusions. (1) The show performance is a unique form of leisure and entertainment activity, which has historically been formed in connection with a person’s need for spectacles. (2) An important component of all shows of the beginning of the 20th century was tap dance, whose representatives developed their own styles that were included in the programs of music halls, cabarets, variety shows, and vaudevilles.

Roman V. Trofimov, Irina A. Klimova

pp. 69-77

The Song Repertoire of Folklore Groups of Beloglinsky District as a Way to Preserve the Intangible Cultural Heritage

The object of this study is the folklore traditions of Beloglinsky District of Krasnodar Krai. The stated topic is related to the study of the peculiarities of the cultural traditions of the district that depend on the economic, social, political factors of the daily life of the population, which determines the novelty of the study. The systematic approach used in the study allowed considering traditions in their connection with the daily economic, political, and cultural life of the villagers. The cultural-historical approach contributed to the study of folklore traditions as part of the cultural environment of the Belaya Glina village and to the assessment of the formation of folklore traditions in the context of the time in which the events took place. To collect and systematize information, methods of document analysis, included observation and interviews were used, which allowed collecting unique materials for the research, for example, the memories of the participants of the first team of the folklore ensemble of Belaya Glina. The empirical basis of the study included archival materials on the history of the Belaya Glina village, works of Russian historians, local historians, cultural scientists and folklorists such as L.L. Khristiansen, M.V. Pinezhina, N.I. Bondar, S.A. Zhiganova, I.V. Belyavskaya, I.V. Matsievsky. The study revealed that, under the influence of a number of factors, certain folklore traditions were formed in Belaya Glina. Among these factors are, first of all, the traditional rural way of life and the simultaneous development of handicrafts and trade. The vital values of the population, the national traditions of various cultural groups living in a single location, as well as historical events that affected the life of the village were of great importance. All this was directly reflected both in the songs themselves and in the manner of their performance. It has been established that each form of the folklore message belonging to a particular genre and having general linguistic and cultural characteristics still retains its own features as the message of a certain community of people – representatives of a culture – living in a certain place, having their main occupation and features of life, which is convincingly presented in the study of the folklore creativity of Belaya Glina. The practical implication of the obtained results is associated with a deeper understanding of the cultural heritage of the Belaya Glina village, thanks to which the value foundations of the social way of everyday life and culture of the settlement are preserved and transmitted.

Keywords: regional culture, folklore, folk art, traditions, cultural heritage.

Ekaterina N. Shеverdinova, Natalya B. Akoeva

pp. 77-83

Creation of a Private Music Library as One of the Scholarly Activities of Padre Martin

Private book music archives of the 18th century are a special phenomenon of cultural life since most of them become an important basis for the collections of the National Libraries of Europe. Scholars and musicians compiled collections and used them as a basis for writing their own large-scale research works. The brief strokes from the life and work of the Italian composer, music theorist, famous teacher and clergyman Giovanni Battista Martini confirm all of the above. The library of Padre Martini, which by 1700 already had more than 17,000 volumes of various treatises, sheet music and all kinds of manuscripts (not counting the gallery of portraits of famous musicians), follows a special path of formation and development up to the present time. The analysis of the research activities of Padre Martini shows that his fundamental knowledge, which numerous musicians, politicians, clergymen, poets, and historians admired, was directly related to an irresistible craving for collecting rare literature. As a specific phenomenon of the Bologna musical culture of the 18th century, Padre Martini had a tremendous influence not only on many of his contemporaries, but also on future generations since his activities, research, and the collected valuable material grew into the current International Museum and Library of Music of Bologna. Undoubtedly, the private collection of Padre Martini determined his scholarly contribution to the world history of music, its theory and composition.

Keywords: Library of Padre Martini, private libraries, music archives of 18th century, collection of Giovanni Battista Martini, International Museum and Library of Music of Bologna.

Alevtina S. Kozubova

pp. 83-92

The Symbolic Portrait in the Works of Orest Kiprensky

The article considers three portraits by Orest Kiprensky painted in the 1820s: of Ekaterina Avdulina, of Alexander Golitsyn, and of Alexander Pushkin. The author analyzes their content and formal features. Taking into account the figurative complexity of these works, which differ from most portraits of that time, the author suggests that these portraits should be considered symbolic. The difference between allegory and symbol in the romantic era is briefly considered. The author tries to decipher the ideas of these works, identifies possible sources that influenced the creation of the portrait images. In addition to the theme of the “early fading of the soul” and the character’s reaction to the surrounding reality in Avdulina’s portrait that the literature on art history describes, the author suggests a version about “life’s hardships” based on the knowledge of some biographical facts of the depicted woman. The idea of Golitsyn’s portrait is almost inaccessible for us; the melancholic mood and closedness of the hero from the viewer (as evidenced by the gesture of the clasped hands), and the artist’s desire to liken his painting to Renaissance portraits predominate in the painting. The analysis of Pushkin’s portrait testifies to the artist’s desire to reveal the theme of the Prophet, as evidenced by the similarity of the painting’s content and form with Michelangelo’s Delphic Sibyl; these borrowings are confirmed by Kiprensky’s use of the theme of prophets and Sibyls in the 1820s and 1830s. Based on the magazine literature of the 1820s, the contemporaries’ perception of Kiprensky’s works as unusual in content and execution is considered. The main research methods used in this article are formal-stylistic and comparative. 

Keywords: Orest Kiprensky, symbolic portrait in Romanticism, allegory and symbol, portrait of Alexander Pushkin, portrait of Ekaterina Avdulina, portrait of Alexander Golitsyn. 

Yuri Yu. Gudymenko

pp. 92-104

The Image of the City in the Visual Arts of Kuban

The article deals with the issue of studying the “image of the city” as a phenomenon of urban space from the point of view of the artistic aspect, which is relevant for modern science. The article aims to determine the place and role of the urban landscape genre in the visual arts of Kuban of the Soviet and post-Soviet period; to analyze the main urban motives of the artistic image; to identify individual traits associated with the Cossack specificity and way of life of coastal cities. On the regional material, an attempt is first made to systematize paintings and graphic works in the urban landscape genre. The authors rely on the classification of the urban landscape proposed by T.G. Goranskaya, which makes it possible to carry out a diachronic-comparative analysis, to reveal the general and special in the development/interpretation of this topic. The use of methods of analysis, synthesis, retrospection, and classification helps to identify the range of motives in the landscape genre, to trace its evolution on the material of the works of individual Kuban artists. The study revealed that the attitude towards the urban landscape, as well as towards the landscape genre in general, varied and depended on various factors. In the ideological discourse of the Soviet era, the landscape was either exalted or moved to the periphery of the pictorial space; the industrial landscape prevailed. In the post-Soviet period, the popularity of a particular genre of visual arts was influenced by market relations, the demand of society, and the opening opportunities to experiment. In the works of Kuban artists, ceremonial/chamber portraits of the city, the retro city, architectural symbolic objects, the binary oppositions “old–new”, and the so-called anticity are becoming popular. The interest in regional history and culture (the revival of the Kuban Cossacks in particular) is also reflected in the landscape genre. The trends of the last twenty years show the demand for an increase in exhibitions/expositions in the urban landscape genre.

Keywords: visual arts of Kuban, landscape genre, cityscape, city image.

Natalya A. Gangur, Marina V. Komissarova

pp. 105-114

Actualization of Cultural Heritage of the Soviet Epoch in Museums of Kazan and Rybinsk

Examples of actualization of cultural heritage of the Soviet epoch are addressed in a comparative aspect. The topicality of the theme is determined by a contradictory attitude of modern culture to the heritage of the Soviet epoch. This tendency is based on the idealization of the Soviet history and culture and to the same degree on the criticism of different aspects of Soviet people’s life: everyday life, way of life, everyday culture. Based on the foregoing, the analysis of the ways of actualizing the heritage of the Soviet epoch in the museum sphere is of fundamental importance, since museums most subtly react to sociocultural changes and are aimed at fixing cultural memory. Kazan and Rybinsk museums are selected as examples because they are similar in their conceptions and tend to a humanitarian type of museum communication based on visitors’ commitment to museums artefacts. Actualization of the cultural heritage of the Soviet epoch is examined on the levels of museum names, compositions of the collections, methods of organizing expositions, and interactive techniques of museum work with visitors. The research is based on a sociocultural concept, in terms of which a museum is considered as a translator of the cultural heritage of the Soviet epoch in the modern sociocultural context. Methods of comparison, generalization, and analysis, allowing to consider things of the Soviet epoch as a part of the cultural heritage of that period, are used in the research. The Soviet Epoch. Rybinsk Hydroelectric Station museum is a massive museum project, beyond the framework of the industrial sphere declared in its name. The Kazan Museum of Socialistic Way of Life, a private museum, reflects the tastes and interests of its creator. 

Keywords: cultural heritage, Soviet epoch, actualization, Soviet Epoch. Rybinsk Hydroelectric Station museum, Museum of Socialistic Way of Life, Kazan, Rybinsk.

Svetlana A. Dobretsova

pp. 114-126

Ancient Coins of the Bosporan Kingdom: A Cultural Research

Based on an extensive range of various kinds of schematic drawings, examples from archaeological sites of Europe of different eras, and numismatic sources, the article presents a profound cultural analysis of archaic symbols on the coins of Bosporan coinage. This is the first attempt to interpret the incuse stamp (quadratum incusum) on the reverse of the early Bosporan coins as swastika symbols in the theory and history of culture, which allowed expanding the research field of the phenomenon under study and revealing new aspects of the analyzed problem. In the second half of the 20th – early 21st centuries, Russian scholars turned to the problem of studying the monuments of ancient numismatics, namely, to the square incuse stamp on the early coins of the Bosporan coinage of the last quarter of the 6th century BC. However, they did not study it as an independent symbol and its further transformation, and deprived it of its semantic load. The relevance of this research is due to the need for a cultural analysis and interpretation of the incuse stamps on the reverse of the early Bosporan coins as solar symbols and fertility symbols, which, to a certain extent, reflects the ideology of the ancient Hellas of the archaic era as a whole. The research object is the symbols on the reverse of Bosporan coins minted in the last quarter of the 6th – early 5th centuries BC. The research aims to analyze the archaic symbols on the reverse of the Bosporan coins, to trace their transformation in cultural studies. The novelty of the research is confirmed by new scientific results. Using a culturological approach and historical reconstruction, a model of the formation and transformation of a single series of ancient symbols on the reverse of archaic coins is constructed. The source base was Russian numismatists’ works on the monetary circulation and general historical review of the coin business in the Greek cities of the Northern Black Sea region. The analysis of the works on the problem has shown that the degree of its development within the framework of the theory and history of culture is still insufficient, which confirms the relevance of the conducted research. The following conclusions have been made in the course of the research. The analyzed symbols represent one of the most stable elements of the cultural language, which is least susceptible to changes. The article highlights a group of proto-symbols placed on the reverse of the coins of the Bosporan coinage (the last quarter of the 6th and 5th centuries BC), namely, a four-part square with four tablets, swastika images, an obliquely placed cross with dots in the interstices. All these symbols are a graphic representation of the Great Goddess and the “four cardinal directions”. The archaic symbols represent “reduced texts”. They originated in the ideas of the Neolithic agricultural people. Entering the cultural symbolic space of the Bosporus, they retained their original meaning. They are associated with agricultural magic, fertility, and sacred activities.

Keywords: cultural studies, numismatics, symbol, Bosporan Kingdom, Great Goddess.

Olga V. Galut, Valentina I. Ljah

pp. 126-138

Sacralization of the Cultural Memory of the Great Patriotic War in the Contemporary Russian Cinema

The study is supported by the Russian Science Foundation, Project No. 20-68-46013.

The article analyzes the phenomenon of cultural memory presented in an aspect of sacralization. The research object is the contemporary national cinema in the aspect of the sacralization of the cultural memory of the Great Patriotic War. The author considers the content-related aspects of cultural memory, designates mechanisms and vectors of cultural memory sacralization in the contemporary Russian culture. Sacralization is considered as a multidimensional and indispensable component of culture associated with mythologization, heroization, and modeling of a symbolic picture of values in culture. Based on the scientific tradition of cultural memory studies and the semiotic and sociocultural methods of analyzing cultural phenomena, the author identifies the main mythologems that model the archetype of the Sacred War. Sacralization aims at constructing a war hero image that acquires features of holiness. The image of Soviet people is heroized. It includes two hypostases: heroes of battles and heroes of home front. Mythologems of memorable events that are not subject to oblivion are sacralized. The author notes the specifics of the sacralization of the memory of the Great Patriotic War, which is associated with the actualization in contemporary cinema of the themes of the Siege of Leningrad and the legendary armored fighting vehicles (symbolic attributes) of the Soviet Army. Emotional aspects of cultural memory, less subjected to sacralization, are noted. The conclusions outline the goals and functions of cultural memory sacralization that have ideological, informative, value, and emotional aspects. The sacralization of the memory of the Great Patriotic War in contemporary cinema is aimed at preserving the image of the Sacred War and turning it into an archetype. Sacralization has an ambivalent character. A negative factor of sacralization is connected with the lack of a critical attitude and modeling of stereotypes of the perception of the image of the Great Patriotic War. A positive factor is connected with the search for an identity that contributes to society’s consolidation.

Keywords: cultural memory, sacralization, mythologization, national cinema, heroization, Great Patriotic War.

Tatiana I. Erokhina

pp. 138-146

On Actualizing the Museum of the Writer Shmelyov in the Context of the Literary Museums of Crimea

The article analyzes the history and the educational role of the modern literary museums in Crimea. The main object of analysis is the Museum of the Writer Shmelyov in Alushta. Its creation, contribution, and modern achievement are observed in the context of communication theory using special museology methods, axiological and communication ones. Comparing the museum work methods aimed at actualizing the memorized writers’ creative works and legacy in educational programs for children and youth, the research draws upon the materials of museum’s funds, business and personal correspondence, periodicals, and regulations. The article presents problems that the Shmelyov Museum faced and emphasizes its role as a local museum educational center for schoolchildren. The study aims to determine the importance of Shmelyov’s creative works through the prism of the multi-level museum communication within the museum system of Crimea. The methodological basis of the article is a systemic approach that is founded on the universal principles of objectivity, historicism, specificity, and analysis and synthesis methods in philological studies. The activities of the Shmelyov Museum are an important resource of cultivating historical memory and national identity via a dialogue of cultures as the basis of the modern theory of communication. Different types of communication of the memorial museums – first of all, exhibition, excursion, and beyond-excursion forms of educational work – help to attract people’s attention to the museum, increase the efficiency of its activities and its social significance.

Keywords: literary museum, creative work dissemination, museum establishment, SergeevTsensky Museum, Shmelyov Museum, educational programs, communication approach. 

Olga S. Turivnenko, Leva A. Karapetyan

pp. 147-148

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