The article focusses on the two little-known manuscripts stored in the Library of the Academy of Sciences in St. Petersburg. Both manuscripts contain full text of the Orbis Pictus by Jan Comenius in Russian language, some additional texts and many inscriptions in Latin and German. It seems to be the earliest Russian translation of OP in two variants. The author gives preliminary paleographic and textological analysis of these manuscripts and she discusses the role of the German Slavists Ernst Gluck and Johann Paus, who taught in Moscow, in the creation of the Russian translation of Orbis Pictus. In Russian culture of the beginning of the 18th century the question of the relationship between Church Slavonic and the literary Russian language of a secular orientation has become extremely relevant and even political. Ernst Gluck and his follower Johann Paus both leaned towards the peculiar unity of the Church Slavonic and Russian languages and the equal possibility of their use in speech. The reviewed manuscripts have clear traces of the establishment of linguistic Slavic-Russian oppositions, on the one hand, and a parallel translation of Russian words into German and Latin, on the other. This seems to reflect ad hoc, in-depth work on the language, rather than just study notes. The translation lists of the OR retained the elements of the single Slavic-Russian language proposed by him and enriched the students’ speech.

“Orbis sensualium pictus” by Jan Amos Comenius is one of the most famous textbooks in the world. It was translated into many languages, gained functional diversity and numerous receptions. The authors actively used both the form proposed by Comenius and the idea of combining a language textbook with an encyclopedia of the surrounding world. One of these receptions was “Orbis pictus”. Bilderbuch zur Anschauung und Belehrung. Bearbeitet von Carl Lauckhard (1857, Germany). Lauckhardt’s work did not literally follow the logic and sequence of Comenius’ manual topics. Most of the subjects were retained, as if the “pictures” had been scattered and then reassembled in a different way, resulting in a similar but different “World”. Lauckhardt’s three-volume book is not a language textbook, it is a handbook compiled in the native language of a child who can already read well. It is closer to a natural history textbook, but without the rigorous systematization of the ‘kingdoms of nature’ inherent in that science. This publication deservedly received wide European fame. Among others it was listed by K.D. Ushinsky as one of 12 German and English sources used by him in compiling “Children‘s World”. In 1862 this manual was translated into Russian by Augusta Pchelnikova (Zeidler) and printed by M.O. Wolf. During the translation certain changes were made to the text: additions, cuts and corrections. The translator adapted the content to Russian realities. The article provides a comparative analysis of the original and the translation, and reveals the peculiarities of the Russian edition. Both manuals are considered in the whole context of didactic traditions and book publishing practices

Jan Amos Komenský was one of the most influential educators of 17th century Europe. As the bearer of the pedagogy of the new century, he influenced changes in pedagogical thought and education with his ideas and writings, and as one of the founders of pedagogy as a science, he was a role model for young educators. Throughout his rich career he insisted on teaching in the mother tongue and that schooling should not only be an educational institution but also one that fosters the moral character and spirit of the individual. He believed that learning should be fun and that in the process students should gradually progress from simple and basic concepts to complex ones. This greatest reformer in the history of education introduced a subject-oriented school system and insisted on lifelong learning. The aim of this paper is to show the place and role of Jan Amos Komenský in Serbian pedagogy in the late 19th century and the first half of the 20th century and to present the methods that were applied in the work of Serbian schools during this period.

The article is devoted to the issue of the interaction of sacred and artistic words in the individual author’s era. The purpose of the study is to trace how N.S. Leskov’s poetics reflected his attentive attitude to the originality of the biblical word. The material is the story “Languor of the Spirit”, the title and epigraph of which are quotations from the book of Ecclesiastes. On the basis of biblical and literary texts, the semantics of the combination “languor of the spirit” is determined. The study of the corresponding motive in Leskov’s story necessitated the analysis of the work based on the concept of the dialogue of “literature” and “language arts”, developed by S.S. Averintsev. The article indicates the main lines of comparison of the two creative principles formulated by the scientist. The features of “language arts” indicated by Averintsev are compared with the specifics of the genre, architectonics, plot, images of the heroes of Leskov’s story, thanks to which the dominants of poetics are established: an image of the world as an “olam”, an absence of portrait and landscape descriptions, a special concept of memory, an organization of the metaphysical perspective of the narrative around the motif of languor of the spirit. The results of the analysis allow to conclude about the interdependence of the elements of “literature” and “language arts” in the artistic creativity of the writer

The era of Russian Symbolism coincides with the period of cinematography penetration into urban everyday life. The new phenomenon needed to be comprehended. The verbally expressed layer of symbolists’ reflection on the nature of cinematography, expressed in fiction texts, articles and essays, was studied by N.M. Zorkaya, J.G. Tsivian and R. Bird. This article makes an attempt to analyze a nonverbalized type of reflection – symbolists’ mimetic game practices, where players bodily reproduced features of the cinematic experience. The sources of the research were the models of such game practices constructed by memoirists (A. Bely, L. Ivanova, V. Verigina, L. Ilyashenko). With the help of structuralist and semiotic methods, game gestures are analyzed as signifying game structures. It is established that their signified are disclosed as the problematization of 1) formal, structural and genre borders of film, 2) the phenomenon of voyeurism and the formative gaze of The Other, 3) the alienation of the actor’s body. The conclusion is made that at the time of the first decade of the 20th century the symbolists’ ideas about the nature of cinematic language were not yet clearly expressed, but existed in the form of a semantic conflict.

This article traces the process of forming in the second part of the 19th century of interest in Russian tile as one of the original phenomena of national culture, reflected in the creation of its museum collections. The Historical Museum, founded in 1883, was amongst the first museums in Russia that established the major collections of tiles. Based on the study of its collection, the interest of researchers headed by I.E. Zabelin developed considering tile not only as a fragment of the decor of the building or of the stove, but as a self-contained art product and a museum item requiring attribution. The author examines the tiled stove of the middle of the 18th century from the SHM collection which is currently on the Moat bell tower of the Cathedral of the Protection of Most Holy Theotokos. The monument was a part of the collection of tiles formed in the first half of the 20th century in the branch of the Historical Museum «Pokrovsky Cathedral», and it has not been previously studied. This collection was transferred to the SHM Department of Ceramics and Glass in 2012, which did not only reveal new attributes of the tiled stove, but also restored the history of the monument. This article first describes the stove in detail, identifies the ratio of the original tiles to the 1920s copies, gives the analogues, and makes a statistical analysis of the painting composition. Although the stove was not included in the inventory of the collection of the famous Russian antique collector P.I. Shchukin in 1905 when the transfer to the Historical Museum took place, nor it was transported to the SHM funds after Shchukin’s death in 1917, detailed examination of unpublished archival documents allowed to attribute the monument with confidence to the Shchukin’s collection.

Scientific illustration as an independent genre represents the specifics of the concept of “scientific” that has developed over three centuries of the development of the scientific method of European classical natural science. The basic characteristics of the scientific method and its private tools (including illustrations) are impartial, non-judgmental, non-subjective, emotionless modeling of the objects being studied and depicted. Illustrated popular science publications for children, as a tool of non-formal education with a supposed dual addressing, find themselves on the boundary line between scientific and educational illustrations. The complexity of the format is that it must be scientific, children educational, entertaining and popular at the same time. In handdrawn illustrations for such books, two very different ways of presenting the material can be distinguished. The article discusses the status of illustrations in terms of the possibility of classifying them as scientific in a children’s guidebook, made in a sketchy manner.

In the article, using the example of interactive visual novels, the problem of analyzing new forms of human sensory experience in the era of digitalization is considered. The central theme is a digitized initiation ritual presented as part of the sensory experience of the player in the interactive novels. The logic of rethinking and artistic reflection of the archaic ritual in fairy tales is revealed, the plot of which has become the most popular in the computer games industry through the fantasy genre. The channels and mechanisms for involving the player in the initiatory plot through various channels are described. First, through the interactive interaction of the player with the media. Secondly, through the visual component of the video game. And, thirdly, through verbal means – a text that reveals the plot. The process of building internal and external communication is analyzed: between the player and the authors of the interactive visual novel; player and electronic media; the player and the historical Other – the bearer of the initial experience of the initiation ritual. The question is raised about the functions of interactive visual novels through which the player’s technological experience is transformed into a sensual one. The reasons for the actualization of the plot of initiation in popular culture are considered, in particular, in the segment of video games, which includes interactive visual novels.

Humanity has been inventing a robot throughout its history. The steam-powered Pigeon of Archytas and the automatic servant made by Philo of Byzantium belong to the antiquity. Automatons of St. Albertus Magnus, Bacon and Regiomontanus, the Jewish golems, the anthropomorphic idols of Daedalus, the “Iron man” of the Russian monarch Ivan IV, Leonardo’s mechanical knight, the Writer, the Draftsman and the Pianist of Pierre Jaquet-Droz. Each following epoch filled up the list of inventions seeking to come as close as possible to the likeness of the living. At the same time, the desire to reproduce any possible manifestations of vitality has always been accompanied by unaccountable fear of the artificial, non-living and its invasion into the living space. With the advent of cinema, these desires and fears have acquired a new “face” – the number of all sorts of doppelgangers, technical entities generated by the science has multiplied; new images – robots, cyborgs, androids. They have got not only a new aesthetic, a special screen appeal of animated machines, but also a new subjectivity – a certain type of perception based on the indistinguishability between artificial and natural. The modern media landscape offers opportunities for conceptualization beyond the oppositions: the extension of the idea of life, the existence of hybrids and human network extensions, variations of artificial intelligence, autonomous non-human agents and communities. In this regard, the new authenticity seems to be an inseparable combination of technical and natural existing in the same space, in the same body. The article explores the idea of new subjectivity of androids, cyborgs, replicants in modern science fiction TV shows, connected with a special vitality, perception, senses and cognition (“Extant” (2014-2015), “Humans” (2015–2018), “Westworld” (2016–2018), “Altered Carbon” (2018), “Raised by Wolves” (2021)

In modern cultural situation, an expansion of environmentally oriented practices is permissible. These include both artistic projects and projects of informational and organized ecological activity. The forms of these projects are quite diverse and characterized by social, educational, and artistic features. Sociocultural environment of the projects is analyzed as a discursive space, which is constructed by using the tools of information, scientific and technical exchange, with a focus on environmental problems. According to the influence of sociocultural environment, this let us to properly understand the forms of translation of these processes in the system of cultural communications of contemporary Russian society. These projects allow us to present the interaction of people and the environment from different points of view. The distribution of these eco practices contributes to the progress of sociocultural dialogue in society