This article examines secular sacredness as an independent and self-sufficient phenomenon of the modern sociocultural space. The content and specificity of secular sacredness are analyzed in comparison with the religious manifestations of this phenomenon. It is established that the secular mode of sacredness includes the activity of a subject belong to the immanent world. This gives rise to a unique process of sacralization of object in real sociocultural spheres, embodied in a variety of variants. In accordance with the characteristics of secular sacralization, it forms a distinctive transcendence as a sphere of existence for sublime images conveying the value- semantic significance of objects sacralized in secular space. The independent existence of secular sacredness does not preclude its interaction with religious sacredness, giving rise to various combinations of the two. Verification of the theoretical presented in the text was carried out through reference to systemic (“civil religion”), artifactual (Eternal Flame) and activity-based (state national holiday) variants of the embodiment of secular sacredness in sociocultural practices.
The article analyses the functions and meanings acquired by the Russian national costume within the ritualised space of contemporary Russian state holidays. The author considers this process as a deliberate element of state cultural policy aimed at consolidating society and providing a visual representation of symbols that unify the nation. The empirical basis of the study is a narrative analysis of posts from the official website of the Ministry of Culture of the Russian Federation over a five-year period.The main findings of the work point to a consistent trend of the purposeful incorporation of folk costume, especially during holidays of historical and political significance (Russia Day, National Unity Day, Victory Day). The costume plays a dual role: on the one hand, it serves as a demarcating sign of cultural distinctiveness and “spiritual bonds,” and on the other, it acts as an integrating element visualising the unity of a multinational people. The author identifies key forms of the costume’s utilisation (flash mobs, theatricalperformances, immersive installations) and differentiates its roles (key/background, focused/participatory).The article argues that within the context of a state holiday, the Russian national costume undergoes decontextualisation and stylisation, transforming into a “simulacrum of tradition” - a universal visual code transmitting official values (patriotism, sovereignty, continuity). Despite the risks of losing authenticity, this process is assessed as natural and functionally justified from the perspective of the tasks of symbolic politics and the construction of collective identity. Thus, the costume emerges not merely as a decorative element, but as a complex semiotic resource in the dialogue about contemporary “Russianness.”
Статья посвящена исследованию потенциала и механизмов включения персонажа в контекст государственного праздника как ключевого условия для актуализации события, закрепления и оживления «изобретенных традиций», а также обеспечения преемственности поколений. В работе анализируются различные виды персонажей, предлагается четкое разграничение понятий «герой» и «персонаж», а также определяется функциональная роль персонификации в образно-смысловой структуре государственного праздника. Особое внимание уделяется разработке и представлению последовательного алгоритма работы по интеграции персонажа в процесс «генерализации» праздничного события, что позволяет системно подойти к его проектированию и реализации. В результате исследования делается вывод о том, что персонаж является одним из необходимых условий для полноценной «жизни» праздника и эффективным инструментом вовлечения в него участников, способствуя его динамичному развитию и поддержанию смысловой глубины. В работе применены методы экземплификации, проектирования и анализа, позволившие разноаспектно изучить проблему и предложить практические решения.
В статье раскрывается роль семьи как первичного института социализации в формировании патриотических представлений детей дошкольного возраста. На примере проекта «Театр песни» (ГБДОУ «Детский сад № 35» Красногвардейского района г. Санкт Петербурга) показана модель интеграции семейного и образовательного пространства: систематизированы формы вовлечения родителей в музыкально-театральную деятельность, обоснована их педагогическая ценность и связь с возрастными этапами развития ребёнка. Представлена схема сопряжения тематических блоков патриотического воспитания и возрастных возможностей детей, а также конкретные механизмы трансляции семейных ценностей в рамках совместной творческой деятельности. Результаты исследования могут быть использованы в практике дошкольных образовательных организаций для проектирования партнёрства с семьёй в сфере патриотического воспитания The article reveals the role of the family as the primary institution of socialization in the formation of patriotic ideas of preschool children. Using the example of the Song Theater project (GBDOU Kindergarten No. 35 in the Krasnogvardeisky district of St. Petersburg), a model for integrating family and educational space is shown.: The forms of parents' involvement in musical and theatrical activities are systematized, their pedagogical value and connection with the age stages of a child's development are substantiated. A scheme is presented for combining thematic blocks of patriotic education and age-related opportunities for children, as well as specific mechanisms for translating family values within the framework of joint creative activities. The results of the study can be used in the practice of preschool educational organizations to design partnerships with the family in the field of patriotic education
The article analyzes the transformation of festive culture in the 21st century and the emergence of the «festive monstrosity» phenomenon. The study aims to identify the mechanisms that turn the liminal space of celebration into an invasive environment that suppresses the participant’s subjectivity. The theoretical framework relies on J. Baudrillard’s concept of hyperreality, M. Bakhtin’s theory of carnival, and V. Propp’s morphology of the folktale. The methodology employs a synthesis of structural-semiotic analysis of game rules and a praxeological analysis of subject interaction models within algorithmic environments. The research is based on the Dungeons & Dragons campaign module The Wild Beyond the Witchlight, including the prelude adventure «Lost Things».The analysis reveals that the game’s narrative structure reproduces the initial functions of the fairy tale but blocks the phase of affliction liquidation, constructing a «myth of trauma» and establishing a normative lack of self. It is determined that monstrosityin this model manifests through the alienation of qualia - intimate personal properties. The study identifies specific agency recovery strategies -»normative grounding» and «narrative re-appropriation» - which allow the subject to seize control over the festive scenario and implement conscious management of their own vulnerability. The results demonstrate a direct structural homology between the fantastic festive environment and the operational principles of contemporary media platforms, where the imperative of engagement becomes a form of disciplinary control. The article’s contribution lies in developing a praxeological approach to studying monstrous images as interactive systems, which opens new perspectives for digital anthropology in the age of hyperreality.
