Ideas and Ideals

The aim of this study is to analyze the socially conditioned concept of ‘maiden beauty’, quality of all unmarried maidens in Russian folk tradition. The analysis of beauty is supplemented by consideration of such categories of folk culture as: fate, will, freedom, playing an important role in refl ection within maiden and wedding folklore. These categories of worldview have retained their archaic connotations, characteristic of the Indo-European and East Slavic archaic worldview in general, and at the same time are key to describing youth as a social group within the Russian agricultural community. Considering the general confusion of
terms, their layering on each other within folklore, in this article an additional category of ‘force’ was introduced. ‘Force’ is also a part of the language of folk culture
as a synonym for vital forces: age, skillfulness, glory, fate, holiness, both for a person and for the mythopoetic ‘forces’: spirits-masters of the land, folklore characters and folk Orthodoxy. But devoid of mythopoetic connotation, ‘force’
acts as ‘that which allows the possible to become real’. In its most general form, ‘force’ is inherent in everyone, not only people, but also events, deities, spirits, the dead, things, due to the anthropologization of the world around us within
the framework of the folklore picture of the world. Revealing the Slavic idea of ‘vampirism’ as a variation of the archaic concept of ‘closed space’ in which all who are endowed with ‘force’ act, a value confl ict is shown: the danger of acquiring
power for an individual, and those who are allowed to do so: monks, elders. Maiden beauty becomes a form of power, a conscious act of invading oneself as the Other, into the perception of the people around, but also as a purely maiden
ability, it is also a manifestation of one of the forms of feminine essence, which must be realized in the short time frame of youth and a form of acquiring this force permitted within the framework of Russian folk culture.

The article presents a critical analysis of the logical and pragmatic foundations of the “science of memory” as an independent subject area of socio-humanitarian
research. Articulation of the mechanisms and ways of functioning of group (collective) memory helps the authors to reveal the consistent logic of the formation and development of the memoriological paradigm. The methodological
principles and tools used in the work are designed to smooth out the contradictions of internalist and externalist strategies of scientifi c analysis, demonstrating the complementarity of internal and external factors in the genesis of memoriological
knowledge. At the formative stage, social memoriology developed in a specifi c polemic with historiology in terms of challenging the exclusivity of historiographical
methods and techniques for studying the past. The modern stage of the relationship between offi cial historiography and memoriology is characterized by the smoothing out of differences in understanding the nature and essence
of historiographical activity, and the convergence of their methodological principles and rules. In the pursuit of increasing inclusivity and plurality in the representation of the past, there is a noticeable local tendency towards the resacralization, remythologization and partially profanization of historical experience. The article attempts to problematize the epistemological status of modern memorial research in the logic of the Nietzschean strategy of ‘forgetting’ as an
opportunity and ability of society to balance and poise group ‘mnemonic experience’ and the experience of organized collective amnesia. The recognition of the redundancy and toxicity of a part of historical experience, the social provocativeness of certain fragments of world and national
history gives grounds to assert that oblivion can prevail over memories at a time when ‘memory events’ are explicitly or implicitly capable of deepening existing forms of intolerance and xenophobia, as well as becoming a dangerous manipulation tool on the part of the main benefi ciaries of confl ict and destructiveness in society. In the current mental context, according to the authors, it is not the
maxim of the existence and functioning of group (collective) forms of memory that is being problematized, but their modern institutionalized and codifi ed explications
and embodiments in mnemonic practices of subjects of media police and media culture.

The idea that there is a special aspect of cognition existing in art practices was introduced in antiquity. Nevertheless, the terminological form of ‘artistic cognition’ is found only in the Russian philosophical tradition. At the same time there is no clear historical and philosophical comprehension of the specifi city of this concept and the reasons why it turns out to be relevant precisely as compared with scientifi c knowledge. The author of the article believes that the concept of artistic cognition was born and developed in the fi rst years of
Soviet power against the background of the convergence of art and science, especially in the context of futurism and socialist realism. This term can be traced to the work of the ‘cardinal’ of the Russian avant-garde N.N. Punin named “Art and the Proletariat”. It has two epistemological aspects. On the one hand, the new concept satisfi ed the existing ideas about the ‘objective reality’ as concrete for art cognition. On the other hand, largely due to the use of literary examples in the works of K. Marx, F. Engels and V. Lenin, artistic cognition was considered as a way of analyzing the historical and sociological aspects of the class struggle which is comparable to the scientifi c one. Although N.N. Punin’s work caused a resonance in the periodicals of the fi rst decade of
Soviet power, it was forgotten later on. A few decades later it was rediscovered in a purely philosophical environment in the critical representation of P.V. Kopnin, who proposed an epistemological version of the connectivity between
scientifi c and artistic cognition. The philosopher believed that scientifi c and artistic cognition are in fact just two sides of a united cognitive process. At the same time, he denied the signifi cance of the image in artistic cognition
which distinguishes his position from both subsequent and modern philosophizing on the topic. In the consideration of P.V. Kopnin, the specifics of artistic cognition turned out to be insuffi ciently defi ned and became the subject of research of the subsequent tradition.

The object of research of this paper is the subject fi eld of philosophy of education in its domestic historical and cultural empirical data. The subject of analysis is such a component of the philosophy of education as Russian pedagogical anthropology, which originated from the pedagogical research of K.D. Ushinsky; developed in the philosophical, theological and pedagogical works of L.N. Tolstoy and became an integral part of the cultural and creative activity
of the ‘senior’ symbolists of the Silver Age (Merezhkovsky, Gippius, Filosofov, etc.). Philosophy of education as a cultural phenomenon is considered from the position of identifying the fundamental issues of the educational process and
determining the signifi cance of educational activity in the formation of a person as an individual. In Ushinsky’s pedagogical anthropology, for example, the process of
upbringing is conditionally divided into natural (associated with family upbringing with its spiritual and moral guidelines) and artifi cial, schematised and quite aggressive
in relation to the traditional socio-cultural tradition. In Tolstoy’s work with his adherence to the philosophy of non-violence and free upbringing – the upbringing of children should be based on the beginnings of metaphysical or religious. Only
Christian values instilled through education, Tolstoy believed, are able to reveal in man his spiritual essence. This is one of the most important issues of the pedagogical
anthropology of the founder of the Silver Age culture. The methodological foundations of this study are based on the application of the principle of historicism,
the method of cultural-comparative analysis and the cognitive possibilities of philosophical refl ection. The results of the research are confirmed by the theoretical and practical relevance of the chosen topic, empirical material from the history of pedagogical practice and its comprehension in Russian philosophy of the turn of the XIX–XX centuries. The article formulates conclusions about the methodological
signifi cance of Russian pedagogical anthropology for the development of philosophy of education in Russia.

The development of digital technologies and the transformation of media spaces are reshaping not only the tools of artistic production, but also the very
paradigm of image perception. The aesthetics of fragmentation, the rejection of stereotypical smoothness and harmony – all of this creates a unique visual environment
for experimentation and the rethinking of artistic norms.
This scientifi c article analyzes three digital styles that fall under the term «ugly»-anti-design, meme art, and digital brutalism – united by a common visual aesthetic, the unconventional use of “marginal” imagery and surprising popularity. The classifi cation of contemporary visual styles is based on tools, creation techniques, contextual usage, as well as presentation and design features. The phenomenon of new ugly, expressed in these styles, is a sought-after trend
in modern culture, which tends to disorganization and the disruption of established rules. Aesthetic expression and symbolic meaning take precedence over functionality and practicality. These characteristics of «ugly styles» refl ect contemporary culture, serve as a means of communication and identity expression, and embody the challenges and changes of the modern world. The study includes a brief overview of the origins of these movements (where applicable) and their transformation under the infl uence of digital technologies, internet culture and social media. The cultural and social context of these phenomena is linked to the «new ugly» trend, which vividly demonstrates
how “ugly” styles become a language of visual protest, a form of ironic self-expression, or an approach of showcasing new ethics. The article examines and clusters visual practices that go beyond traditional notions of beauty and harmony,
as well as interprets the phenomenon within the broader context of contemporary culture.

This article examines the infl uence of the Russian school of painting on the development of Chinese visual art, as well as the characteristics of creating the image of the country in the works of Russian and Chinese artists and how they are perceived by audiences, participants in art exhibitions, auctions, and biennials held in Russia and China in recent years. In modern academia, there are numerous scientifi c studies focusing on the issue of intercultural dialogue, as well as artistic creation. This research, which focuses on the problem of perceiving the image of a country through works of art, is based on the study of the lives, traditions, and values of people from another country. It also explores how Chinese artists refl ect the ideals and values of a different, sometimes radically different culture in their works, whether they are immersed in the historical and contemporary art atmosphere of another country during their studies at Russian universities or in China under Russian instructors. Based on the analysis of the works of A.A. Mylnikov and K.M. Maksimov, who taught Chinese students and their followers in the second half of the 20th century, the infl uence of the Russian classical school of realism on the formation and development of Chinese visual art as a whole is traced. Using the examples of two major exhibition projects, it is shown that the previously popular historical and narrative painting remains relevant today, alongside landscapes depicting natural and urban spaces. Based on the analysis of the creative works of Chinese painters such as Qian Shanxi, Wang Tianyou, He Yao, and Hu Deri Chaolü, who belong to different generations of the Chinese art world, the infl uence of the Russian realistic school of painting on the works of contemporary Chinese artists is traced. Most of these artists are attracted to the tradition of mood landscapes and philosophical landscapes, and they choose original creative techniques to bring them to life. This research provides an opportunity to observe the characteristics of the development and mutual infl uence of the visual arts of the two countries in promoting and strengthening the intercultural dialogue between Russia and China.

The article considers the Russian estate of the XVIII–XIX centuries as a unique cultural phenomenon embodying the idea of the Garden of Eden – a sacred space symbolizing the harmony of man and nature. The research is aimed at identifying religious, philosophical and aesthetic aspects of manor gardens, as well as analyzing the synthesis of Western European Catholic and Russian Orthodox traditions in their organization. The methodological basis of the work includes a comparative analysis of the symbols, compositional solutions and functions of garden and park ensembles of two cultural paradigms. Special attention is paid to the infl uence of the Orthodox and Catholic worldviews on the structure of gardens: if the Catholic tradition formed a strict, symbolic order of space, then Orthodox culture focused on the naturalness and sacredness of nature. Kuskovo Manor demonstrates a unique synthesis of French regular parks with the Orthodox concept of the garden as a spiritual space. The Catholic idea of the garden as a lost Eden is intertwined with the Orthodox idea of a created world embodying the divine principle. This interaction contributed to the formation of a special artistic language of the Russian estate, which combined Western European principles of gardening art and national tradition. The results of the study confi rm that the Russian estate of the XVIII–XIX centuries is not only an aesthetic, but also a philosophical space refl ecting cultural dialogue and mechanisms of integration of various worldviews. The revealed symbolic role of the estate as a guardian of the image of the Garden of Eden allows us to take a fresh look at the issues of identity and preservation of national heritage. The fi ndings can be used in the restoration of historical estates and in the formation of a state strategy for the protection of cultural monuments. The study demonstrates the importance of the Russian manor as a space of spiritual search and cultural synthesis, which allows preserving national heritage and rethinking issues of identity and cultural memory.

The article considers the Russian estate of the XVIII–XIX centuries as a unique cultural phenomenon embodying the idea of the Garden of Eden – a sacred space symbolizing the harmony of man and nature. The research is aimed at identifying religious, philosophical and aesthetic aspects of manor gardens, as well as analyzing the synthesis of Western European Catholic and Russian Orthodox traditions in their organization. The methodological basis of the work includes a comparative analysis of the symbols, compositional solutions and functions of garden and park ensembles of two cultural paradigms. Special attention is paid to the infl uence of the Orthodox and Catholic worldviews on the structure of gardens: if the Catholic tradition formed a strict, symbolic order of space, then Orthodox culture focused on the naturalness and sacredness of nature. Kuskovo Manor demonstrates a unique synthesis of French regular parks with the Orthodox concept of the garden as a spiritual space. The Catholic idea of the garden as a lost Eden is intertwined with the Orthodox idea of a created world embodying the divine principle. This interaction contributed to the formation of a special artistic language of the Russian estate, which combined Western European principles of gardening art and national tradition. The results of the study confi rm that the Russian estate of the XVIII–XIX centuries is not only an aesthetic, but also a philosophical space refl ecting cultural dialogue and mechanisms of integration of various worldviews. The revealed symbolic role of the estate as a guardian of the image of the Garden of Eden allows us to take a fresh look at the issues of identity and preservation of national heritage. The fi ndings can be used in the restoration of historical estates and in the formation of a state strategy for the protection of cultural monuments. The study demonstrates the importance of the Russian manor as a space of spiritual search and cultural synthesis, which allows preserving national heritage and rethinking issues of identity and cultural memory.

The article reveals the creative activity of the only state Jewish theater group that existed in the 1980s in the RSFSR, the Chamber Jewish Musical Theater (CJMT) in Birobidzhan. The author briefl y dwells on the peculiarities of the appearance and creativity of this troupe, which has its own unique style, which allowed it to earn success not only in the USSR, but also abroad. The object of the research was the performances of the Chamber Jewish Musical Theater dedicated to the tragic events of the Great Patriotic War, the genocide of the Jewish people carried out by the fascist invaders. The author emphasizes that attempts to address this topic were made by the fi rst Jewish collective of the Jewish Autonomous Region (JAR), the Birobidzhan State Jewish Theater named after L. Kaganovich during the Great Patriotic War, for propaganda purposes, as for the performances of the new Jewish theater, which appeared in the RSFSR in 1976, they were noticeably different from the productions undertaken by the fi rst Jewish collective of the JAR.

It should be noted that the article for the fi rst time reveals the content of individual plays based on performances – “Tango of Life”, “Higher than Life, Higher than Death”, staged on the stage of the Jewish theater in Birobidzhan during the jubilee years of Victory Day celebrations. At the same time, the theme of the performances analyzed by the author of the article was not devoted to the heroic struggle, not to the exploits of people committed on the fronts of the Great Patriotic War, but to the tragic fate of the Jewish people who were subjected to total genocide, ordinary people who found themselves in the territories occupied by the Nazis. As the author notes, this topic was raised for the fi rst time and with good reason. The scientifi c novelty of the research lies in the fact that the article for the fi rst time indicates the names and surnames of actors who played on the stage of the Jewish theater. Using a comprehensive method that combined a source-based analysis of articles from periodicals, archival documents and memoirs, it was possible to state that the performances discussed in the article played an important role in the creative activity of the young cast, revealed its capabilities as a drama troupe. In conclusion, the author states the relevance of this topic in modern conditions, due to the observed growth of nationalism in some countries of the world.

At fi rst glance, it may seem that the large-scale trend, once already designated by the author as a “cinematic discourse on the Soviet” [8, р. 430], has been being implemented unchanged within the contours of the domestic screen discourse for several decades now. Indeed, the number of retrotopic projects offered to the viewer annually since about the beginning of the “noughties” is astounding and diffi cult to account for. However, the author comes to the conclusion that the designated trend is far from homogeneity, and describes a signifi cant transformation of the canon of screen depiction of the Soviet – both as a collective past and socio-cultural prototext. The starting point for the analysis of the changes that have occurred is the consideration of two products of the fi lm industry – the television series “The Star of the Epoch” (2005) and the feature fi lm “Love of the Soviet Union” (2024), both of which are implemented in the same plot-factual coordinate system and go back to the circumstances of the creative path and personal life of the Soviet actress Valentina Serova. The study established that the eight-part fi lm by Yu. Kara, released in 2005, fi rstly, reproduces the Soviet in accordance with the principle of “minimal baggage” (the term was coined by L. Bugaeva); secondly, it attempts to critically refl ect on the Soviet (at least through voice-over comments), and thirdly, it has a pronounced dramatic nature, emphasizing the melodramatic aspects of the narrative. “Love of the Soviet Union”, on the contrary, portrays the protagonists as almost nothing more than glamorous extras, considering both personal and historical events as a pretext for the development and stylization of the Soviet as an extremely cinematic ecosystem. The creators of the 2024 fi lm, however, are not alone in their conceptual vision and, in fact, “sing” the Soviet in a mainstream tonality – as an unprecedentedly rich pool of tropes and a corpus of pictorial and expressive means, as a style and genre; a kind of Sovietcore. The author believes that such a reduction of the Soviet to decorum not only forms the leading strategems of the on-screen depiction of the Soviet, but, in general, it proves to be the prevalent pattern of its reception by the modern public consciousness. It is noteworthy that such a playful theatricalization of the Soviet turns out to be not only consonant with the “visual modes of being” of the digital era and commercially profi table due to its spectacularity, but acts as an actor, capable of signifi cantly transforming the perception of the Soviet by everyday consciousness; after all, the ideological component is completely extracted from popular narratives.