This article considers the national holiday of the Republic of Altai-El-Oyin. The purpose of the article is to characterize it in the aspect of neotraditionalism, highlighting the most indicative features and functions. When writing the article, various sources were used-materials from regional periodicals, field materials from one of the authors and electronic resources. The bibliography includes the works of Russian researchers: A.A. Popkov, E.F. Fursova, C.K. Lamazhaa, E.V. Erokhina, L.V. Anzhiganova. In their works, they define the term neotraditionalism and characterize its inherent individual features. The research methods included a system-structural approach, which made it possible to identify the signs and functions of neotraditionalism, historical and genetic in determining the character of El-Oyin as a construct based on revived traditions, the principle of historicism in recreating the history of the holiday from 1988 to 2024. When collecting field material, the methods of observation and open interviewing were used. The article provides definitions of the term "neotraditionalism" given by domestic researchers, and based on available research developments and field materials. The features of neotraditionalism inherent in El-Oyin were revealed: authorization, theatricality, reconstruction of national games, the inclusion of innovations taken from mass culture. The functions of the holiday are characterized: the actualization of traditions in an innovative form, the strengthening of ethnic identity through the transformation of holiday elements into a symbol of ethnic culture and increasing interest in the native language, the revival of tribal institutions, the awakening of creative search among young people, the presentation of ethnic culture at different levels, the commercialization of ethnic culture. Nowadays, El-Oyin occupies an important place in the structure of the festive rites of the Altai Republic and is a vivid example of neotraditionalism, since initially the holiday was considered as a mechanism for the revival of traditional culture. Based on ancient traditions, the national intelligentsia has developed new approaches to the holiday that take into account the ethnocultural identity of the people in modern conditions and the holiday itself is interesting within the framework of event tourism.
The life, fate and work of the Doctor in Art history T. Znamerovskaya (1912-1977) is one of the rare examples of their, partially unconscious, partially conscious, construction according to the patterns of poetry, prose and the life of A.S. Pushkin. Not only the poems of Znamerovskaya were written by the author according to the music of Pushkin's poetic style. But Znamerovskaya's life ideals were forged "according to Pushkin." This is an exceptional case when Pushkin became a true Teacher of his still young admirer, penetrating into her soul through the charm of his images. The article is devoted to the analysis of T.P. Znamerovskaya (1912-1977), associate professor of the Department of Art History of the Faculty of History of Leningrad University, the specialist in 15-17th Centuries Spanish and Italian Art History, - the memoirs partially published by the publishing house of St. Petersburg University, partially still waiting for publication and stored both in the Manuscript Department of the Russian National Library and in the home archives of students and relatives of the scientist. These are memories of the author's childhood, youth and mature years of life. These materials has only recently begun to be introduced in scientific circulation and contain inexhaustible information about Znamerovskaya childhood and inner world. According to these memoirs, it is clear how much importance in the childhood and mature years of Znamerovskaya the work of A.S. Pushkin and the personality of the poet himself was played for her. It all started with the beauty and musicality of Pushkin verse and the entertaining plot, but as a result, a whole person with a "Pushkin" worldview and a "Pushkin" understanding of beauty grew up. The article uses the method of biographical and source analysis. It is shown how significant the educational and ideological potential of A.S. Pushkin's creativity and personality has and how much importance he played in the formation of T.P. Znamerovskaya's personality. The article author has long been studying the biography of Znamerovskaya, but specifically the problems of the place and role of Pushkin work have not yet been reflected in her publications.
The relevance of the topic of gender issues in video games is determined by the modern social and cultural situation, where video games are becoming a significant phenomenon of mass culture, which, on the one hand, reflects the common ideas in society of gender models and roles, on the other hand, forms these ideas through its procedures and customization of avatar, character settings, and through visual, auditory and narrative means. This actualizes the need for a cultural and philosophical study of gender regimes, models and images that are represented by modern video games. The subject of the study is ways of fixing gender in the images of video game characters. The purpose of the study is to analyze the representation of gender images, characterized by a greater or lesser degree of complexity and multi-layeredness, within the framework of the concept of gender hermeneutics in video games created by the authors. Methods and approaches: structural-semiotic approach, psychoanalytic approach, phenomenological method, hermeneutic method. The article analyzes the construction and representation of gender images in video games from a relatively simple narrative to a complex and non-linear narrative. The authors identify and explore psychoanalytic and phenomenological methods of constructing gender images in video games, consider the phenomenon of "secondary semiotization" in games, correlated with the semiotic diversity of complex gender images.
The subject of analysis of this research was the evolution of the Turkery style as one of the varieties of Oriental style. The main source of study was the artistic culture of France, its painting, literature, music, theatre, decorative and applied arts in the period of the so-called "Great Styles" - the styles of Louis XIV, Louis XV and Louis XVI. It traces the evolution of the style from its beginnings to the French Revolution, which changed both the history of France and the history of its artistic culture. The final stage of Turkery style formation considered in more detail on the example of four Turkish boudoirs that belonged to Count d'Artois, the younger brother of Louis XVI. This problem has not previously come to the attention of domestic Turkery researchers. The boudoir as a type of cabinet was at the height of popularity in the Louis XVI era, where it came with the fashion for a private rather than public lifestyle. The boudoirs d'Artois, created in different years in the Palace of Versailles and the Palace du Temple have not survived, but some items of their decoration have survived: wall paintings, draperies, furniture, lighting fixtures, bronze. Currently it is in the collection of the Louvre, the Palace of Versailles, and the Museum of Decorative Arts in Paris. We traced the fates of some items before and after the French Revolution. We also noted that the post-revolutionary fates of the first Turkish boudoirs d'Artois and his sister-in-law, Queen Marie Antoinette of France, created at the same time, have similar features. We traced the evolution of the fashion for Turkish boudoirs, which went beyond the royal palaces before the revolution. The result of the research: Turkish boudoirs were a vivid part of the Turkery style and, more broadly, of the Oriental style. The fashion for everything conventional-Turkish created a peculiar aesthetics, which was not intended to actually reflect Eastern domestic life, but conveyed a romantic idea of the imaginary and idealized East in the Europeans eyes.
The article examines Russia's policy on preserving intangible cultural heritage. It highlights the historical context of collecting folklore and customs of ethnic groups, as well as the role of globalization and urbanization in the degradation of traditional culture. Particular attention is paid to international efforts to preserve intangible cultural heritage, in particular, UNESCO recommendations, and Russia's response to these recommendations. The concept of & bdquo;intangible cultural heritage" presented in documents of international and federal significance is analyzed. The Federal Law of 2022 on Intangible Ethnocultural Heritage is considered, which introduces a new approach to the classification of intangible cultural heritage objects, providing for the creation of the Federal State and regional registers. The criteria for including objects in the register and the features of maintaining registers in Russia are described. The article also raises the problem of the correct description of the material components of intangible cultural heritage objects in the Federal Register, the absence of information on the Open Data Portal of the Ministry of Culture of Russia on objects of intangible ethnocultural heritage. Analysis of the registers shows contradictions in the selection of objects and the reliability of their description, problems with the classification of objects by category and controversial points in the description structure. Registers in different subjects of the Russian Federation have different technical and qualitative conditions. The authors especially emphasize that a qualitative analysis of both federal and regional registers allows us to identify certain contradictions and ambiguous points, both in terms of the selection of objects and the compilation of their scientific description and the reliability of information about them. All this taken together does not allow us to obtain a full understanding of the semantics of an intangible heritage object. The need for unified approaches to identifying, describing and classifying intangible cultural heritage objects, as well as methods of attribution and establishing their value, is emphasized as an important task for creating a complete picture of Russia's cultural heritage. The article will be useful for understanding Russia's current policy in the field of preserving intangible cultural heritage.
