In the Renaissance, in connection with the increased public interest in ancient culture, the activities of Italian scientists-antiquarians intensifed. Interest in antiquity was shared by philologists, artists and architects. This was clearly manifested in the study of the history of languages, the history of literature, the history of art and architecture. Associations of scientists – humanists were created around archaeological work. The difculties in the formation of artistic terminology in the Renaissance were associated with the transition from church Latin to ancient, interest in the possibilities of using the Italian language and ancient Latin. Archaeological research and archaeological measurements were accompanied by philological research and attribution descriptions. The article deals with the works of F. Petrarch, L.B. Alberti, F. Biondo and other Italian humanists of the 14th – early 16th century, which contain ideas about the relationship between ancient Roman culture and the culture of the Renaissance.

According to the information-axiological approach of Yu.A. Vedenin and M.E. Kuleshova, spiritual and intellectual values transmitted in the form of information from generation to generation play a signifcant role inthe formation of the cultural landscape. The comprehensive study and actualization of cultural heritage as part of the cultural landscape reveals the role of traditional culture values in the modern socio-cultural situation. There is a close connection between the cultural landscape and local self-awareness through recognizable and meaningful images, concepts and symbols. Associative meanings and meanings of the cultural landscape of the territory affect the socio-cultural potential of the local society, the identifcation of its place in the external environment. At the turn of the 19–20th centuries the inhabitants of the Staritsky region were actively engaged in research in the feld of local history, archiving, sought to preserve the local cultural heritage in collective practices, collecting, in publications in historical periodicals. Historical and cultural landscape served as inspiration for research of I.P. Krylov, A.N. Vershinsky, S.I. Pokrovsky, A.D. Ushakov. The clergy played a huge role in preserving regional culture. The clergy of the Staritsky Upper Volga region were members of the Tver Scientifc Archival Commission, subscribers of historical journals, collectors of local folklore and archivists. The old manors, being at a distance from the provincial center, and possessing a powerful cultural and historical potential, had a great influence on the culture of the county as a whole, their artistic values served as the core of the collection of the county museum.

The article is devoted to the concept of the “old” and “the new” in the context of Christian culture of the twentieth century. Living connections within the tradition, their creative implementation is an issue discussed in “Parisian theology” in the 1930s. Church Tradition is not something frozen, but a constant process of spiritual creativity. Nun Maria (Skobtsova) is often perceived as an innovator, rejecting tradition. The article refutes this perception as erroneous. Mother Maria is not only an innovator, but also a conservator, she sees Christian history as alternation of epochs of creative enthusiasm or keeping the flame alive, ingenious discoveries or preservation of cultural treasures. It is the context of the epoch that justifes or condemns its doers: conservators or innovators. During crucial periods it is impossible only to maintain the tradition, it needs creative rethinking. The signifcance of organic succession of the “old” and the “new” as links of the same chain and parts to the organic whole is undeniable, but it is important to identify thе true spirit of Orthodoxy in them and to develop a new method. Mother Mary considers it necessary to distinguish worthy from unworthy both in the “old” and in the “new”, she calls individualism, spiritual self-preservation and stylization unworthy. The “Orthodox Affair” Association offers uncompromising methodological innovation – a conciliar (soborny) – personal method in creating a communial life and social service. Hopes for the monkhood in Russian diaspora to become the vanguard of church renewal did not come true.

The article compares group identities of communities of the Molokans of Moscow and the Kryashens of Kazan. I use R. Jenkins’ ideas on sufcient conditions for the formation of a group, E. Erikson’s description and definition of identity together with the concept of “textual communities” by B. Stock as a type of groups to understand the specifcity of group self-identifcation of Molokans of Moscow and Kryashens of Kazan communities. Drawing upon a thematic analysis of feld research data (interviews with members of Molokans of Moscow and Kryashens of Kazan), I make it clear that their identities can be characterized as the identities of textual communities (which is indicated by the presence of life-defning texts and attentive attitudes to them). Besides that, results of the research showed other features, expressed by the communities’ members during their self-description. There are similarities between the communities among them: perception of texts defning the communities’ lifestyles; early religious involvement since childhood and via families; attending church/religious assemblies; pronounced religious tolerance. There are also differences: choosing the role of a family member as a key social role for an individual is typical among the Kryashens while fnding a universal key social role among the Molokans is hardly possible. There are specifc elements too: a deeper interest to religion appears in later periods of life among the Molokans; the role of church and ethnicness is more important among the Kryashens.

Due to its allegorical nature, science fction narrative in Russian literature-centric culture becomes a transmitter of sociocultural metamorphosis. Science fction literature of the 2010s constructs fctional spaces appealing to the recipient’s emotional background. The primary purpose of this is to initiate a call to action by referring to the reader’s fundamental experiences and anxieties, hopes, ambitions, and frustrations. Reality is often depicted as traumatic, and by integrating eschatological motives, authors implement both escapist and expressive functions into their texts. The illustrative material for the article below is the novel “The Four” by Alexander Pelevin – it is especially representative within the context of individual creative practices, as the author makes a point of marketing his works via social media, and direct communication with the audience. The category of the end of the world is interwoven into the genre both metaphorically and as a structural aspect of the plot (apocalyptic/postapocalyptic fction), and in “The Four” it is extended throughout the narrative layers, both vertically and horizontally. From a purely religious impression, Apocalypse shifts into the everyday motive, and it ensures strong connection between the main character and the recipient by the means of shared experience. The recipient of the 2010s, just as the character whose path they observe, undergoes the chaos, colossal change, and suffering that comes with it. In other words, by referring to the end of days, science fction literature of the 2010s reflects the prosaic yet tragic everyday turbulence.

The author examines in the context of modern museum practice the materials of the colloquium “Museum and Science”, organized by the French National Committee of ICOM in 2021. The author notes the relevance of the topic which relates to the development of a new defnition of the concept of “museum” and the influence that ICOM France has in the International Council of Museums.

Many of the problems considered by French museum professionals and scientists characterize the state of the museum sphere in France but are also consonant with Russian museum practice. French museum specialists stress the need to bring the relations of museums, universities and laboratories to a qualitatively new level, the importance of strategic planning of scientifc work in consideration of the potential of each of the parties. Museology, as a scientific feld, has taken its rightful place in the system of knowledge about museums and is recognized by the academic and museum community as an integral part of it. Scientifc research, in which museums, universities and laboratories participate, can become the basis for a higher level of graduate training and their development in museum. The authors note the connection of museum science with a high level of public confdence in the museum as a source of reliable knowledge open to society.

The object of research of this article is Soviet propaganda porcelain, produced at the very beginning of the formation of Soviet Russia. The paper considers the beginning of the formation of a new porcelain production after the October Revolution of 1917, which took part in the framework of the Soviet monumental propaganda plan. This plan was developed by the leader of the revolution V.I. Lenin. The transformation of artistic techniques and images used on products made of “white gold” was also analyzed. The image on plates, vases, cups of communist slogans, symbols and portraits of revolutionary persons marked the beginning of the creation of such a unique phenomenon as propaganda porcelain, which was supposed to educate Soviet citizens in the context of party policy. The best Russian artists and sculptors of the frst quarter of the 20th century worked on its creation. Therefore, the propaganda porcelain turned out to be highly artistic, which was the reason for its success at the international exhibitions and popularity among foreign collectors. However, this fact, combined with the complexity of production, has formed a high cost of products. This did not allow plates and cups with party calls and portraits of the leaders of the proletariat to penetrate into the wider population and conduct ideological propaganda in the everyday life. At the same time, through the products exhibited abroad, a demonstration of Soviet attributes and culture in general was made, which positively influenced the recognition of the new Russia abroad as an objective reality.

This article examines an original director’s approach to the viewer on the example of the flm “Touch me not” (2019) by Adina Pintilie. The spectator’s position is analyzed not from the cinema theory point of view, which is considered insufcient to describe the new defning characteristics, but in terms of the modern philosophical trope about the cyborg by feminist theorist Donna Haraway. It allows us to describe in detail the process of formation of a new subjectivity that meets the conditions of modern culture. This article argues that the flm provides a successful attempt to build a new type of cinematic narrative, where the viewer has a new subjectivity since the combination of expressive means forces him to expand his inner freedom and abandon the usual point of view. Art allows to impose ideas on the viewer and control him, it can also teach the viewer to be aware of their limitations. In modern feminist philosophy, one of the conditions of a free future society is the ability to accept oneself as a complex being who can no longer be called a human in the ordinary sense. Modern man is surrounded by technology, partly separated from nature, but in their instinctive desires they are still close to the animal world. In modern philosophical feminist thought, the ability to accept this is a necessity for the conditions of the world of the future. Adina Pintilie’s experimental flm allows to conclude that the becoming of a new subjectivity with the help of narratives that encourage acceptance of this fact is possible beyond the limits of theoretical thought.