Parallel cultural space is a phenomenon within
heterotopia. All cultural processes and phenomena,
taking place there, operated by special laws and
regularities. The author substantiates the fact that the
nobility in Russia XVIII-XIX centuries is a special
time-space with features of parallel cultural space. In
particular, a comparison with other privileged strata of
the population of the Russian state, the analysis of
internal processes and phenomena proves this fact.
Originating in the XII century, among the younger
princely nobility went quite a long way in the
formation of a special service estate. In the XVIII
century is its final form as an aristocratic layer Russia,
and the author argues that it is from this time can be
observed heterogeneity of the space in which the
nobility and there. His positions, access to the broad
cultural, political and social benefits provide excellent
conditions for the separation of the nobility in a single
cultural space, which, in turn, determines the new
phenomena. This fact forces us to take a fresh look at
the problem in a certain culture formation development
in the environment for cultural security problem and
reveals the principles of heterotopic spaces functioning
The 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
The 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
The image of the Other/Alien is the litmus test
according to which researchers can determine the state
of the disease of society, its fears and hopes in a
certain period of social and cultural development. The
author of this article on the example of fictional
Other/Alien, has manifested the images of superheroes
and supervillains of American comics; he proves the
relationship between attitudes of society, paradigmatic
for certain periods of the history, with the construction
clothing marker Other/Alien. Turning to the two
periods of XX century American history, the
researcher has traced the evolution of the
characteristics of narrative images, typical for these
stages, revealed the main socio-cultural processes that
influenced the creation of such images in popular
culture, and came to the conclusion that the mood of
the American Society of the Great Depression period
and the World war II is well reflected in the narratives
of the time, in particular, in the comics. Clothing of
superheroes like images Other / Alien were dictated by
certain cultural, historical, social, and political ideas.
During the Great Depression, Another becomes a
“good” alien. His appearance is caused by the mood
and hopes of people of that time; the character appears
to be able to change the usual course of things. The
Second World War gave birth to a new type of the
Other, the personification of all US national values.
Another - now is not an alien. He is one of us, but he
has the same supernatural powers aimed at justice, not
only in the mood of the American Society but in the
whole world
The 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
The author carried out a research about folk motifs in
maiden headwear in the Russian north. The author
finds out that headwear is an important part of
women’s clothing that reflected aging and social
changes in the lives of Russian women. Headwear had
certain elements of the Upper world– the sun, water,
goddess outstretching their hands into the sky. The
author found out that a lot of attention was attached to
a human head in women’s headwear: it had solar
symbol on most of the embroidery (a radiant disk).
If there were five elements on maiden’s bands, it was
an indicator of a child-bearing age and often was
followed by a marriage. A decorative element with 5
beams and female bodies with outstretched hands
indicated her maidenhood, a connection with the sun
and upper gods. Seven fragments of this pattern at the
top point to child- bearing goddess; 7 pointy lines on
the top on the headwear in the Russian north.
The author also explains the meaning behind motifs
on the headwear which represents a cosmologic
system; it emphasizes the connection with the
Universe. The author concludes that those motifs also
revealed a complex nature of human outlook as helped
ward off sinister forces. The symbols are multifaceted
and require profound understanding. The structure per
se expresses in every component a complex nature of
the world
The 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
The concept of archetype, introduced by Swiss
psychoanalyst Karl G. Jung, eventually went beyond
psychoanalytic research area. The concept of archetype
was represented in philosophical and cultural context
and in each of them, it has acquired a specific
connotation. Being the structural elements of the
human mentality, archetypes take key position in the
culture. Their formative functions contribute to the
expression of archetypes on the level of mythology
and religion. These eternal symbols, originated from
the depths of consciousness, are implemented
universally and spontaneously, being manifested
largely in religious culture. The article is devoted to
the peculiarities of the functioning of the archetypes
and identification of their main functions. In addition
to that, this article marks the problem of choosing
methodology for archetype research. This research
allowed to identify the main function of archetypes
such as regulative, integrative, protective and
communicative
The article reveals the role of cultural studies in the process of learning of sociocultural attitudes, value orientations, stereotypes revealed in the process of reading various literary texts. The leading method of cultural studies in the framework of the modern
cultural paradigm is the method of understanding. A teacher creates a problem situation which is necessary for the process of mental activity and that actualizes the value orientations of a personality and creates a space for reflection on the semantre field of the problem to solve
The author of the article considers the experience of
citing academic music in Japanese anime. Composers
of Japan, along with modern music, use fragments
from the world's musical heritage. The most cited are
the works of L. van Beethoven (Symphony No. 5) and
V.А. Mozart (the aria of the Queen of the Night from
the opera The Magic Flute, Sonata D-dur (K448) for
two pianos). In the process of citing the classical
heritage, music can either perform an illustrative
function, or play the role of the semantic initiating
anime as a synthetic art form