24.00.00 Culturology
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Description
The main topic of the present article is the perspective of the economic development of the hospitality industry in the Krasnodar region by the means of development of the accessible tourism for disabled people
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EXISTENTIAL PROBLEM OF FEAR IN THE М.Yu. LERMONTOV'S WORKS AS SOCIOCULTURAL CONCEPT
DescriptionThe article explores the notion of fear as an existential concept in M. Yu. Lermontov’s literary oeuvre. In many of the poet’s works, the characters, finding themselves in difficult limit situations, experience a wide range of emotions which Lermontov describe in detail using self-reflective approach. In analyzing the theme of fear featuring in Lermontov’s works as a socio-cultural concept, the author of the auricle describes each emotional state separately: fear of loneliness, fear of betrayal, a whole range of various strong emotions emerging in relation to fright and to the experience of horror. But the governing emotion in existential fear is a fear of Nothingness as an inevitable fate of every finite human self. The article describes a variety of ways to overcome fear and complex internal conflicts offered by Lermontov
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SHAMANISM IN YAKUTIA ON A JOINT OF CENTURIES
DescriptionL.D.Kolodeznikova's article illuminates the phenomenon of modern Yakut shamanism, which is reviving on a joint of 20 – 21 centuries. From all kinds of shamanisms in territory of Siberia the Yakut one is the most studied. Various forms of shamanism revival are displayed in modern Yakutia. First of all it concerns the field of national medicine and various forms of ceremonial actions. The author characterizes the modern societies’, associations’ and the separate person’s workings in the field of Yakut shamanism revival
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ЧЕРТЫ РЕПОРТАЖА В ПЬЕСАХ Н. КОЛЯДЫ
DescriptionIn this article we consequentially examine the features of reportage in the plays by Nikolay Kolyada. After confirming, their presence follows the conclusion that using reportage features like documentary, active role of narrator’s person, etc. eliminates the figure of author, who knows everything, and intensifies the effect of presence. The presence of these literary devices evidences that Nikolay Kolyada’s plays are mainly intend for readers
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THE VALUES OF THE ART OF RUSSIAN EMBROIDERY IN THE FOLK CULTURE AS A SOCIO-CULTURAL PHENOMENON
DescriptionA study of the Russian costume and household items was carried out. It is proved that folk art of embroidery has deep artistic and craft traditions and historical roots and is a special socio-cultural type of folk culture. The ornaments were one of the characteristic features of Russian clothing, its technical techniques of embroidery, specific ornamental motifs and colors, which determine its originality, being, as it were, a passport of culture, its historical path, intercultural and interethnic ties. It is determined that decorative decoration with embroidery of costume complexes, related to archaism, is the value of Russian folk culture at historical stages as universal values. The nature and quantity of embroidery, even the semantic meaning of ornamental patterns, depended on the expediency, characteristic of folk clothes, on reasons of economy, age and local differences, and various customs in accordance with which clothes were used. Images of ancient Slavic mythology came into folk embroidery and lived there for centuries not by chance. They decorated clothes, towels, and ghosts, which had important ritual significance during folk festivals and traditional rituals. The people faithfully observed the laws of fathers and grandfathers, along with them, from generation to generation, images of ancient mythology also came. The implication of the research is that the history of every country entirely depends on the artifacts which bear global information about the epoch they were created
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THEMES AND MOTIVES OF ORNAMENT FOLK EMBROIDERY IN THE RUSSIAN NORTH IN XVIII CENTURY
DescriptionThe article discloses a feature of graphic ornamental motives of embroidery in clothing and household decoration, typical for the North-West region of Russia in the XVIII century. The semiotic status of the Russian clothing and household decorations with decorative ornaments embroidery with figurative ornamental motives as a group of functionally related items have remained very high, having both utilitarian and sign pragmatics for millennia. Despite the sociohistorical processes, changing the external shape of the suit, the symbolism of embroidery patterns remained unchanged and continued to exist until the twentieth century. In connection with the political events, readier subjects and fine motives can be traced in the Russian folk embroidery due to the resettlement of Novgorod in the XV century. This is the way from Novgorod to Arkhangelsk and the path from Veliky Novgorod to Vologda where Novgorod settled, keeping their culture. It is proved, that there is a correlation between the zoomorphic pendants, amulets female ornaments of the tenth century and plot embroidered with iconic ornamental motives of the North-West region of Russia. People piously observed the laws of their fathers and grandfathers. The embroidery from generation to generation has been portraying images of ancient mythology. The most common images in the northern Russian embroidery were the goddess of Mokos, Rozhanitsy, birds, horses, moose, deer, and wild animals and plants, depicted in subject compositions. The zoomorphic motives are also the images of flying dragons, symbolizing lightning, they are often found in Russian folk tales. Fire Dragon was considered the protector of property and fire. The people’s attitude to fire was special: it was called "You sir, the King-fire", and it was regards’ a god. One of the main roles in the embroidery is given to the technical side. Counted Russian embroidery stitches do not only recreate the image, but also express its essence
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EMBROIDERY IN THE IVANOVO REGION IN THE XIX – XX CENTURIES
DescriptionThe author carried out a research about the beginning of embroidery craft in Ivanovo region in the XIX – XX centuries. Flax weaving has become a foundation for embroidery—one of the most peculiar feature of Ivanovo region. The author proves that the folk craft of embroidery has deep artistic-vocational traditions and historical roots. Motifs of the ornament, symbolic designs were also common not only for North-Western Russia but also were widespread in the present Ivanovo region, former Vladimir, Kostroma and Yaroslavl provinces. The research found out that those who lived this territory used to live in Novgorod lands that was often proved by the motifs of the embroidery that were quite popular in that part in ancient times. The techniques of embroidery and patterns of the drawing echo with the ones from Arkhangelskay province in the XVIII – XIX centuries. By the end of the XVII and the beginning of the XIX centuries Ivanovo region was well-developed in crafts that became an important part of folk culture of the Upper Volga region. The author researches the organization of embroidery craft after the October revolution of 1917, formation of craft groups and their reorganizations. It was also found out that by the middle of the XX after the Great World War of 1941-1945 the craft was reorganized one more time. New experimental and creative workshops were formed; new production locations were built for factory workers on a state level, special favorable conditions were created for effective work. With the advent of Perestroyka in 1990s embroidery as a craft was almost lost. The implication of the research is that the history of every country entirely depends on the artifacts which bear global information about the epoch they were created
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SOCIOCULTURAL PROJECTS OF DM. MEREZHKOVSKY AND I. ILYIN
DescriptionThe article is devoted to utopian projects of Dm. Merezhkovsky «The Third Kingdom» and I. Ilyin «The Russian Idea». The methodological basis of the study is a phenomenological concept of «life-world». The utopia considered in the present paper as a phenomenon of sociocultural reality, including the characteristic features of the civilization on the basis of which it is formed. Projects directed to the synthesis of religion and culture through spiritual rebirth of man. The specificity of utopias is revealed – spirituality and metaphysics, which allowed to define them as sociocultural projects
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MM AND NEW CONCEPTUAL FILLING OF IMAGE OF FEMALE BEAUTY IN MODERN POPULAR CULTURE
DescriptionThe article analyses the transformation of the concept of female beauty in modern popular culture. It is established that under the influence of MM features of commercialization of female beauty, its representation as a certain product which is the subject of sale became dominant in a new image
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RUSSIAN COSTUME IN RUSSIA OF THE XIV– XVIII CENTURIES
DescriptionThe article dwells on the reason that brought about changes in Russian folk costume in the XIV–XVIII centuries. Long time ago Russian towns that were located on the banks of Volga as well as Nizhniy Novgorod that had close connections with South Baltic and with Ganza played a significant role. It also establishes a connection between Russian population and overseas merchants from the areas of the Caspean, Blue (Aral) seas, and South-Western coast of the Baltic Sea. The author reviews a range of goods that were sold. The author shares their findings about Nizhniy Novgorod and later on Russia could get the merchant goods from Europe’s major cities during the XIV–XVIII centuries. The author also determines the fabric that was imported from Asian and Western countries that was used for manufacturing clothes for Russian nobility, merchants, and rich peasants. The author introduces new findings about women’s garment (pinafore) and new method of embroidery. Russian North because if its location (sea and ground ways) and business was adopted urban traditions which resulted in a new type of a pinafore dress. The author dwells on the business between Russia, Persia and Central Asiaand also finds out the contribution of the people from the area of the Volga River who enriched a range of artistic expression in Russian folk costumes and introduced oriental motives in them. Bright and dynamic accents appeared inholiday costumes of Russian people. Those clothes were made from eastern and European fabrics. The author examines the clothes of that time and infers that the fabric and decorative elements that were imported form abroad considerably enriched Russian folk costume: new methods of embroidery and bright colors in decorative elements