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 article is devoted to the social cultural and value analysis of the phenomenon of the gift. Building on the ideas presented in the works of classics of the socio-humanitarian brunch and modern researchers, the author clarifies and extends understanding of social cultural and value characteristics of the gift and giving action
In the article, the author is researching the resources of the historic and cultural tourism in the special natural territories in the Sakha Republic, particularly, in the territory of the National Natural Park “Ust-Viliusky”. In addition, it was made a short analysis of the problems of the historic cultural tourism development in the republic
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
In the article, the features of style and environmental organization of merchant’s mansion in the Kuban Region are studied. Using the different evidential materials the authors describe the artistic preferences of merchants and noblemen, those were fixed in the buildings’ architecture of the surveying historical period
The 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
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
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
We consider the particular manifestations of the movies in the Little Russian novels and works of St. Petersburg period of N.V. Gogol. Visuality, editor’s taste and changing of scenes are a manifestation of the creative manner of Gogol throughout the creative life, but we will focus on only two periods of his work
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