编号 1 (2024)

The object of study in the article is the space of dialogue between cultures, formed within the framework of the paradigm of multipolar development, which focuses on the set of systemic functions of higher education, ensuring, by strengthening the intellectual potential, the adaptability of society to modern challenges. As empirical material, widely known historical facts are considered, which are often ignored within the Euro-Atlantic theoretical discourse as unimportant, but are of decisive importance for the formation of a multipolar paradigm of cultural development. The methodological basis is a synthesis of structural-functional and sociocultural approaches of Russian culturology. A special instrumental method was chosen to use the technique of deconstruction, which implies understanding new content by incorporating known facts and meanings into a new context. Placing the historically formed sociocultural functions of higher education in the current context of the dialogue of cultures within the framework of a multipolar development paradigm emphasizes the interconnection of its key system-forming elements and the principles of strengthening its subjectivity in modern society.

The article is devoted to the consideration of civilization theories and the study of globalization and deglobalization by domestic scientists at the turn of XX-XXI centuries. The first part of the article reveals the interpretation of the civilization approach by such prominent figures of Russian science at the turn of XX-XXI centuries as E. B. Chernyak, B. S. Erasov, N. N. Moiseev, Yu. V. Yakovets, each of whom made a significant contribution to the formation and development of civilization science in our country. The second part of the article describes the criticism of globalization and westernization in the modern world in the works of A. S. Panarin, A. A. Fursov, Yu. V. Yakovets and A. N. Chumakov. The author made a conclusion about the optimization of future scenarios in the case when the future is understood as the embodiment of the unity of mankind while preserving the diversity of unique and equal cultures. The issue of intercultural dialogue as the beginning of a way out of the civilizational crisis created by the process of globalization is considered separately.

The article is devoted to the existential discourse about a miracle, which occupies its important place among other ways of talking about a miracle – religious, fairy-tale, technocratic, and other discourses. A miracle, taken in an existential way, is understood as a brief strong experience that affects the subsequent life of a person, and an experience full of surprise, joy and delight. An existential miracle pulls a person out of the ordinary course of life, in most cases it is a quick or sudden fulfillment of a passionate desire or hope, or a meeting with what was covertly desired. Vivid examples of an "existential miracle" are the experiences of a flash of love and love, creative insight, spiritual insight. The article shows the peculiarities of experiencing each of these types of "miracle". After the coverage of the plot in the present tense, a brief review of the situation "before the miracle" and "after the miracle" is given. It is noted that the experience of a miracle itself must be emotionally and culturally prepared: in love it is "the education of feelings", in creativity it is a previous work that allows you to make a qualitative leap of discovery, invention or creation of an artistic work. The least understood is the preceding phase of spiritual ecstasy or enlightenment. With regard to "life after a miracle", the author sees two options. The first, gloomy, means disappointment in the fulfillment of a wish and considering the experience of a miracle itself as an illusion. The second – positive – assumes that, to a greater or lesser extent, the experienced existential miracle becomes "a holiday that is always with you."

The article is devoted to the consideration of the creativity of A.V. Shchusev through the prism of the ecological-cultural approach developed by D.S. Likhachev. The author dwells on the characteristics of this approach and the legitimacy of its use for analyzing trends in Russian art of the second half of the 19th – early 20th centuries. It is emphasized that the task of forming a national style becomes actualized by the end of the 19th century, and is associated with a rethinking of national history and culture. Next, the author examines a number of factors that contributed to the formation of a new look at the traditions of Old Russian culture and the acquisition of the status of cultural heritage by monuments of Old Russian culture. The author emphasizes that Shchusev, who was engaged in the restoration of monuments of ancient Russian architecture, showed not only the talent of an architect, but also a researcher and archaeologist, thanks to which he became not only a recognized master of the neo-Russian style, but he proposed an innovative method of reconstruction. For domestic masters of the early XX century the neo-Russian style acted as an artistic guideline, an aesthetic ideal, making it possible to form a new artistic language on its basis.

The purpose of this article is a philosophical analysis of the ways of representing human corporeality in the art of music. The result of the research is the disclosure of the aesthetic and mythical content of classical ballet as a sphere in which human corporeality receives maximum musical expression. The author substantiates the thesis that the main content of ballet is music. The dance movements are subordinated to the development of the musical theme. The dancer's body acts as both a musical instrument and a musical image. The mythical content of the ballet lies in the affirmation of the symbolic unity of the physical and spiritual, bodily and divine principles. The article applies the methodological principles and principles of dialectics of G. V. F. Hegel and A. F. Losev, semiotic approach. The main result of the study is the development of an approach to the philosophical understanding of the phenomenon of academic dance.

The author of the article makes an attempt to characterize the domestic ensemble practice of singing in the cultural space of sacred music of the late 20th - early 21st centuries. Emphasizing the important role of two-voice singing in ancient Russian spiritual songwriting, the author examines what was realized at the turn of the 20th-21st centuries. a unique turn of musical art towards the restoration of this tradition, which was almost completely lost at the end of the 17th century. A feature of the process of reviving the two-voice practice of singing was also the fact that interest in the vocal duet was renewed in the field of academic sacred music in the works of outstanding composers of our time – V. Dovgan, A. Pärt, A. Terteryan, A. Mikita, etc. The specifics of the interpretation of modern music for the vocal ensemble remains very little studied, which represents a very interesting field for research. Examples of sacred music with a wide range of content – from liturgical samples to various genres of chamber-vocal and symphonic music – demonstrate the significance of this phenomenon for Russian culture.

The article analyzes the essential aspects and forms of representation of performative practices. Performative practices are a cultural phenomenon reflecting the sociocultural state of the 20th-21st centuries. Having formed at the local level, this phenomenon has acquired global significance. We are in a situation of growing interest in performative practices: some researchers identify the performative turn, along with other “turns” in the scientific discourse of the twentieth century. In the modern field of art, a number of forms of performative practices have taken shape, working with social and existential issues of modern culture and society. Performative practices are closely related to the sociocultural context. Dialogue and activity in relation to the recipient allow performative practices to be a tool for representing various social phenomena and processes that are problematic for different groups. This calls for attention to the essential aspects of performative practices and the forms of their representation.

The article substantiates the possibility of using the concept of "pedagogy of culture" in the national science of education. The scientific status of cultural pedagogy is determined by the vector of interdisciplinary reflection on the cultural aspects of pedagogical activity and pedagogical processes in the field of culture. The philosophical idea of "pedagogy of culture" appeals to culture as a universal that defines all aspects of education, the processes of mastering culture by a person and the creation and continuation of culture by her. At the same time, all the semantic connotations of this concept are shifted towards pedagogy, and, for example, the concept of "pedagogical cultural studies" is based on cultural studies and, accordingly, is more associated with cultural studies, the philosophical theory of culture. The author's concept of the morphology of socio-cultural practices that ensure the functioning of pedagogical systems in the field of culture is proposed, which has the following composition: General pedagogy (generic concept). Pedagogy of culture (a specific concept). Subspecies of cultural pedagogy: Pedagogy of art and art education, Pedagogy of library and information activities, Pedagogy of socio-cultural activities, Pedagogy of folk art, Museum pedagogy, Media pedagogy. The author's proposed introduction of the concept of "pedagogy of culture" reflects the turn of pedagogical science to the study of the laws of education and upbringing in cultural institutions.

The article presents the experience of analyzing and typologizing the anthropopractics of music education and upbringing. The innovative possibilities of including elements of personal modeling of the value and semantic basis of musical art in the process of preparing a musician, proceeding from the humanitarian and anthropological methodology of musical psychology, pedagogy, musicology and performing arts, are revealed. The prospects of educating analytical thinking in the process of working on a musical work are proposed based on the analysis of real events of professional musical activity, identification, comparison of the anthropological foundations of musical and performing arts and the experience of building the educational process. The prospects of correlation of current variants of analysis and interpretation of musical material reflecting different eras, styles, forms with modern research by researchers, performers, teachers, as well as traditions demanded by practice and cultural and value orientations that have proven their viability, arising in the process of working with ideal representations described in anthropopractics of figurative intonation, plastic, artistic andthe creative potential of the performing arts.

The main tasks of a vocal teacher and accompanist in working with French repertoire are highlighted. The pedagogical conditions of effective organisation of the learning process are considered. In the course of the research the author revealed the stages of mastering the French repertoire in a vocal class. The conditions necessary for increasing the learning motivation, as well as for forming in the student-vocalist the basics of self-regulation and self-control of signing in French are determined. The author points out the necessity of reliance on methodological developments of linguistic science on the problem of phonetics and phonology, on musical-pedagogical research in the field of vocal and speech training. The author reveals the relevance of creating profile disciplines in modern education aimed at acquiring skills in working with French repertoire.

The article reveals the communication difficulties of adolescents with autism spectrum disorder (ASD), manifested in socially unacceptable communicative signals that cause their social maladaptation, lead to disruption of social interaction, and, above all, with peers. The article substantiates the need to develop the communicative abilities of adolescents with autism spectrum disorder (ASD) through their involvement in the orbit of additional inclusive education, namely in the field of inclusive theater. The article presents a model and a fragment of a program of psychological and pedagogical activities for the development of communicative abilities of adolescents with ASD in an inclusive theater. In addition, the authors give examples of means of inclusive theatrical pedagogy, based on the nosological characteristics of this category of children, manifested, among other things, in speech dysfunction, a decrease in the ability to establish emotional and social interaction. The article presents the data of a comparative analysis of experimental work.

The results of the study “The potential of electronic library systems for a university of culture” are presented. The objects of the study are the electronic library systems “Urayt”, “Lan”, “Rukont”, “Universitetskaya biblioteka online”, “IPR Smart”. The analysis was carried out during the frontal training of first-year students at the Moscow State Institute of Culture in information search algorithms in the ELS for typical information requests. The main drawback of ELS in the field of information search has been identified - the presence of a significant proportion of irrelevant documents in search results. The low quality of local linguistic means (rubricators and classifiers) used in ELS has been established, as well as a violation of the logical requirements for the classification of objects. Recommendations for improving search tools in ELS based on the development of linguistic support tools and eliminating such shortcomings as: the presence of a large number of irrelevant publications in search results, the inoperability of advanced search fields, and the lack of necessary filters to cut off search noise are formulated.

Over the course of several decades, archival volunteering has reached a new qualitative level and has become a sought-after specialized area in the UK volunteer movement. In the article, the author provides a comprehensive analysis of the fruitful cooperation of employees of archival institutions in Great Britain with volunteer assistants using the example of the implementation of numerous socially significant projects. The study examines the state of the field of archival volunteering, the functionality of volunteer assets and the types of work performed. The author pays special attention to volunteer management - organizing work with volunteers from the communications company, selection to training and motivation. Familiarity with successful foreign practices of archives working with the volunteer community is of great importance, since such practices can be used as examples of organizing volunteer work on the sites of domestic archival institutions.