The purpose of this study is to determine the role of tradition in the work of S. Averintsev. The novelty of the study lies in the fact that the work of the author is considered as a trinity, which includes scientific research, translations and poetry of Averintsev. The article hypothesizes that Averintsev’s worldview is based on the philosophy of omniscience, the scientific transcription of which was the Russian school of historical poetics and, more broadly, the Romantic hermeneutics of culture. Central to Averintsev’s method is the concept of tradition, which allows the researcher to consider cultural phenomena that chronologically belong to different eras and styles within the framework of a single and unified semantic horizon – the “big time” of culture. The article substantiates the thesis that the dialogue with cultural tradition presupposes the procedure of self-removal, which he called “the chastity of non-personal inspiration”. Self-removal, as listening to tradition, is the main hermeneutic setting of his creative consciousness and forms the basis of his poetic, translation and scientific method. The method of interpreting cultural tradition is examined in spiritual poems, translations from German-language poetry, and an example from his work “Ancient Greek literature and Near Eastern writings”.

The personality and work of Academician S.S. Averintsev never ceases to occupy the imagination of philologists, culturologists, philosophers, theologians, historians and art historians. The humanities scientist, who had a vast outlook and an immense range of scientific interests, left his individual mark in many branches of knowledge. A specialist in ancient and Byzantine cultures, S. Averintsev constantly dealt with the problems of Russian culture, either directly or indirectly referring to its study, paying special attention to the place of Russian culture in world culture, its dialogue with the cultures that preceded it and adjacent to it – the Hebrew and other Middle Eastern cultures, with ancient, and above all ancient Greek, with Byzantine and Western European cultures. It is necessary to note the originality of the scientist’s approach to comprehending and analyzing millennial cultures, which were considered by Averintsev each time as a whole, as giant megatexts, which, in the course of their analysis, can be “folded” by the researcher to several capacious metaphorical formulas that can be compared with each other and trace intertextual connections. between them. The identification of such generalizing “microformulas” of huge megatexts is possible only in the historical context of “great time”, covering centuries and millennia of national and world history. Comparative-historical and typological analysis of cultural megatexts through their formulaic “clots” allowed Averintsev to carry out cultural-philosophical readings of any megatexts and trace in them allegorical allusions to the events of Russian culture and current modernity.

The article is devoted to the comprehension and analysis of O. Mandelstam’s creativity in the works of S.S. Averintsev. From the earliest years of Averintsev’s life, Mandelstam’s poetry played a special role in the formation of his literary taste and the formation of his scientific interests. Already in his very first publications about the poet, Averintsev formulates the basic principles of Mandelstam’s poetics, to which he remained faithful to the end: Mandelstam was always looking for contradictions, a deliberate collision of “yes” and “no”, because it is in this semantic space that genuine art is born. It was very important for Averintsev to compare Mandelstam’s poetry with the poetry of B. Pasternak, who was both closest to him and opposite to him, defining Mandelstam’s poetics as “closed”, and Pasternak’s poetics as “open”. However, reflecting on the attempt of both poets to become “consonant with the epoch”, Averintsev, not without satisfaction, notes that this attempt failed for both of them. The article shows that S. Averintsev’s research of O. Mandelstam’s creativity goes far beyond philological science and rises to the level of cultural and philosophical generalizations about the fate of culture, the world and man in it.

In the academic field, Soviet-American relations are more often studied in the context of the Cold War, while bilateral contacts in the first half of the 20th century are much less represented. Research focuses more on formal cultural diplomacy, implemented through the organization of cultural exhibitions, film festivals and creative initiatives, rather than on visits by foreign intellectuals motivated to see the Soviet country from the inside. The article examines the plot-forming categories of “space” and “time” in the travelogue works of American writers who personally visited the USSR in the 1920–1940s. The focus of the study is the travel diaries of Theodore Dreiser, Langston Hughes and John Steinbeck. Each travel journal operates within its own spatial boundaries and time period within the geography of the USSR and a given chronological period of the 20th century. The key aspect of this work is the analysis of the chronotope (according to M.M. Bakhtin), which represents the interconnection of temporal and spatial relations in the narrative. Being constructed by the writer, the chronotope consists of premises, signs, symbols and ideas that bear the imprint of the time of a given period and are inextricably linked with the figure of the author of each travel diary under consideration. This approach to the analysis of the diary text makes it possible to reveal the writer’s understanding of the reality around him, which he attributes with meaning in the context of the historical and political realities of the given epoch.

The article deals with the issue of the artistic status of the modern author’s doll as a synthetic art form, in the context of the “Do it yourself” movement (DIY). The phenomenon of the creative process of master of puppetry and of puppets as an artefact of a creative activity is being studied. The imagery and artistic value of a modern author’s doll, as a self-sufficient and active phenomenon of mass culture, is determined in accordance with the criteria for evaluating objects of fine art. The morphology of the author’s doll is analyzed in a historical perspective and in the circumstances of current socio-cultural formats of «sales exhibitions» – on the examples of the projects of the International Doll Salon (“Spring ball of author’s dolls”, “Autumn ball of author’s dolls”), the activities of the Puppet Gallery “Vakhtanov” by I. Myzina and the Cultural Foundation “Dolls of the world” (exhibition “The art of the doll”). The idea of customization, as an integral factor in the dynamics of modern convergent culture, in the context of the study dialogues with the concept of “One of a kind” (OOAK) characteristic of the puppeteer community. Mass production and mass demand for Barbie and Blythe dolls is considered from the position of realizing the creative potential of the followers of the maker-culture subculture. The authorship of the doll is considered as a marker of the special status of this cultural object.

The article highlights issues related to the peculiarities of developing the theme of space in Soviet and American documentary (popular science) films of the 1950s-1960s. The article is devoted to the issues related to the peculiarities of the development of the space theme in documentary (popular science) films of the Cold War period. Analyzing materials (movies and TV films, scripts) of Russian and foreign archives, the author identifies key strategies that allowed the USSR and the USA to broadcast in documentaries about space and the universe, near-Earth and interplanetary flights such key ideas for those years, as colonization, technocratism, etc. Special attention is paid to the function of a commentator and visual solutions, which made it possible to implement the tasks of propaganda on documentary film and television material. Space themes in cinema and television of the USSR and the USA during the Cold War were supposed to clearly demonstrate the advantage of each of the rival superpowers. In popular science films about space, the technological rivalry between the two superpowers took the form of an ideological confrontation.

The article is based on documentary materials on the film “The Adventures of Pinocchio” (A. Ivanov-Vano, D. Babichenko). During the years of the Thaw, cinematographers argued about the need for a film based on the fairy tale story by A. Tolstoy. By this time, stereotypes had formed in solving the image of Pinocchio, which were gradually revised in Soviet children’s culture: in theater, illustrations, comics, filmstrips. The new film adaptation was made by A. Ivanov-Vano and D. Babichenko. Different assessments of this idea are given, the cultural and historical landscape on which the film originated is reconstructed. The reference point for the new animated film was the production of W. Disney. The previously unpublished documents on the production of the film, materials of the art councils of Soyuzmultfilm (RGALI) are analyzed. They allow us to construct key discourses within which leading children’s artists (E. Migunov, V. Suteev, L. Atamanov, F. Khitruk, etc.), which were authors of the main animation studio of the country “Souzmultfilm”, created their images.

The article discusses and systematizes the latest approaches of researchers of digital media, immaterial labor, publicity, and the sociology of knowledge to the conditions under which modern people can acquire expert status and how modern Internet technologies are used to construct an expert position online. For the traditional expert paradigm, the division into experts and ordinary people is important. The concepts of expert and expert activity are usually associated with official institutions. However, in modern mediatized society, this position is being revised. Technological innovation plays an important role in changing social perceptions of expert status. Researchers are analyzing the different formats and ways in which new types of “experts” publicly present themselves in the space of social networks and blogs.

The article formulates the concept of “deliberate anachronism”, which describes the widespread practice in modern culture of a mixing of different layers of time, the rejection of authenticity and the principles of historicism. Using the example of the community of the Suffering Middle Ages, it will be shown how elements of the past are used in the formulation of the present. The Suffering Middle Ages is a community that initially appeared on the Vkontakte social network and then spread widely. The main principle of the emerging materials – pictures with inscriptions – is the deliberate mixing of any medieval image with a short text corresponding to the present time. At the initial stage, the publications were associated with the culture of “funny pictures on the Internet”, ridiculing everyday, domestic situations. However, later, a significant part of the publications began to be made up of pictures that responded to the events taking place in society. This article will analyze this using the coronavirus pandemic as an example. Thus, a deliberate anachronism that “violates” historical time expresses modern historical experience, which, in the words of F.R. Ankersmit is a postmodern historical experience. Postmodern historical experience is understood as a concentration on the gap between the present and the past (some theorists call this phenomenon presentism), which becomes the basis of historical experience instead of the “independence of the past” in historicism. This mode of historical experience allows the materials of the community of the Suffering Middle Ages to become a successful system for formulating the present in the language of the past.

The article is devoted to the analysis of modern environmental discourse in the global public space. Multilateral conferences on environmental issues are becoming a recognized platform with a high degree of conventionality and legitimacy. The article examines elements and markers that make it possible to judge the value foundations of discursive statements and the relationships that arise between subjects. Studies of environmental discourse, conducted in the humanities from the perspective of an environmental cognitive turn, make it possible to present the complexity of modern public ideas about nature and man and form a new view on the content of discussions about the environment in the public field.