No 1(10) (2025)

The author considers mediatization generated by mass communication through the specifics of its impact on modern socio-cultural institutions, including the processes of socialization and enculturation of the individual characterizing media culture as a certain stage of cultural development corresponding to the information society.  The article characterizes the specific features of modern media culture, and also outlines the characteristics of mediatization, which in modern conditions acts as a technology of manipulation of consciousness and an instrument for representing the mythologemes of screen culture, as the modern phase of cultural development is also designated. The author comes to the conclusion that mediatization, at the present stage of its development using the entire arsenal of new information and communication technologies, has a purely mythological nature and, being a product of the postmodern culture of simulacra and total play, manipulates the consciousness of individuals, asserting the values of consumer society in it and other relevant socio- cultural mythologemes conditioned by the problematic geopolitical discourse of the era.

The study is devoted to the consideration of the features of the historical development of Ryazan in the second half of the XIX – early XX centuries. When analyzing architecture, the author used comparative and intermediate methods, atypical for modern art criticism, and the urban ensemble of Ryazan itself would be understood as a polymedial space. This approach, on the one hand, is the purpose of the research, and on the other, constitutes its scientific novelty. Architecture and its specific sign-symbolic language act as a socio-cultural medium. Moreover, these mediums are multiple, which is due to the use of a set of materials in construction that differ in different construction capabilities. The latter significantly affects the design and shape, size and decor of structures. The specific interrelation of objects of the urban environment eventually forms a special polymedial space. However, the principle of intermediality is related to other processes in urban architecture and is much less common. The author examines the process of adapting the forms and techniques of stone architecture in relation to brick and wooden buildings, and also proves the existence of its reverse effect on stone architecture, which repeats adaptive forms. Thus, a reasonable conclusion is drawn about the existence of complementarity in the architectural development of the specified time range and its causes are identified.

The article analyzes the formats and scenarios of designing and promoting collective identities within the political and cultural context of the Russian Federation. The goal of many such initiatives—particularly those launched at the political level—is to foster and reinforce collective notions of the unity of the Russian people, grounded in shared values of civic patriotism while simultaneously preserving national and cultural diversity.

To achieve this, the tools of mass culture are actively employed, including practices of reformatting and recoding, as well as infusing the content and semantics of cultural phenomena with multinational elements—phenomena whose meanings and narratives had previously been interpreted differently by the majority of the population. One example supporting this thesis is the celebration of an internationalized version of Carnival (Maslenitsa).

The article also examines various modes of presenting collective identity by national, ethnocultural, and religious communities, including migrant groups seeking to adapt to Russian conditions while maintaining their uniqueness and avoiding acculturation. The broad representation of these communities both online and offline contributes to shaping a multicultural and multiethnic image of Russian society.

The article is devoted to understanding the specifics of the formation and principles of operation of modern Russian front–line media using the example of a recently published book, the inter-author's project "The Field Notebook of the SMO". The special military operation that began on February 24, 2022 by decision of the President of the Russian Federation, Vladimir Putin, identified a number of problematic issues both in the field of worldview and an existential approach to understanding these issues, as well as in the field of purely practical, directly related to psychological assistance to our soldiers in SMO and clarifying key humanitarian issues. The book contains an original philosophical search and a real opportunity to reduce the psychological stress of Russian servicemen stationed in the area of a Special Military Operation by demonstrating vivid examples of spiritual culture in the light of a combination of scientific approach, religious motives, and relevant poetry. Using actual factual material, the author demonstrates the enduring importance of an open, honest and principled dialogue between military men, philosophers, cultural scientists, priests, poets, writers, journalists, bloggers, and all those who care about the fate of the Motherland and the world in this difficult time.

The article concerns the phenomenon of trash streaming in the Russian-language segment of the Internet, which also has the self-name The “Bottom Internet,” and analyzes modern Russian legislative practice regarding trash streams, as well as approaches to defining the phenomenon under study in Russian scientific literature. The author focuses on the attractiveness of trash streams for Runet users. The article highlights several motives of the viewing audience. Firstly, the attractiveness of trash streams is explained by a greater effect of authenticity compared to television reality shows ‒ the viewer can watch “real life” on the air. Secondly, the audience already during the online broadcast gets the opportunity to channel the suppressed aggressive impulses accumulated in everyday experience. Thirdly, trash streams allow individuals to go beyond everyday limitations and realize fantasies that cannot be realized in ordinary life. Finally, by interacting with trash stream participants through donations and ordering challenges from them, the anonymous audience modifies and shapes content – the most important symbolic benefit of the modern digital era. In this way, trash stream viewers receive a perverse sense of themselves as creators of content that crosses the line of acceptability.