VISUAL STUDIES
| Issue | Title | |
| No 7 (2024) | The dynamics of historical memory. “The Story of Aharon Barak: A Holocaust Story” | Abstract PDF (Rus) |
| V. Ya. Malkina | ||
| No 7 (2024) | “Tears were dripping”: imaginary and real worlds of a sad fairy tale by Georgy Danelia | Abstract PDF (Rus) |
| V. D. Evallyo | ||
| No 7 (2024) | Places of oblivion. Visualising ruins on social media | Abstract PDF (Rus) |
| E. I. Vikulina | ||
| No 7 (2024) | Family photo album as a visual narrative | Abstract PDF (Rus) |
| D. O. Demina | ||
| No 7(2) (2023) | Ideology and space in Soviet and USA Cold War documentaries | Abstract PDF (Rus) |
| M. F. Kazyuchits | ||
| No 7(2) (2023) | The thaw doll. “Completing” the fairy tale about Pinocchio in Soviet children’s screen culture of the 1950s – 1960s | Abstract PDF (Rus) |
| N. Yu. Sputnitskaya | ||
| No 9(2) (2023) | Abel’s funeral. An apocryphal motif in Russian iconography | Abstract PDF (Rus) |
| D. I. Antonov | ||
| No 9(2) (2023) | Aria of Isabella and the last word of Christ. Intermedial intertextuality in Johann Kupezky’s son portraits | Abstract PDF (Rus) |
| M. A. Rogov | ||
| No 9(2) (2023) | Show vs tell. In search of a definition of visual narrative | Abstract PDF (Rus) |
| O. V. Subbotina | ||
| No 7 (2023) | Boundaries of the genre: illustrations in a popular science book for children (by the example of the travel book by A. Litvina and A. Desnitskaya “Transsib. The train is leaving!” | Abstract PDF (Rus) |
| Z. V. Umanskaya | ||
| No 7 (2023) | The initiation in interactive visual novels as a ritual practice of the digital environment | Abstract PDF (Rus) |
| U. S. Baranova | ||
| No 7 (2) (2022) | Images collage in Japanese manga about supernatural beings of Mizuki Shigeru | Abstract PDF (Rus) |
| Yu. A. Magera | ||
| No 7 (2) (2022) | Sarmatian goddess with two horses | Abstract PDF (Rus) |
| S. A. Yatsenko | ||
| No 7 (2022) | Soviet propaganda porcelain: ideology vs art | Abstract PDF (Rus) |
| E. V. Luk’yanenko | ||
| No 7 (2022) | The search for a new subjectivity. The viewer as a cyborg (on the example of Adina Pintilie’s flm “Touch me not”) | Abstract PDF (Rus) |
| T. V. Kochina | ||
| No 9(2) (2021) | On the problems of “reading” the costume in the visual sources | Abstract PDF (Rus) |
| S. A. Yatsenko | ||
| No 9(2) (2021) | Dark queens of the Dark Ages. Constructing a new identity in historical series | Abstract PDF (Rus) |
| Yu. V. Kaporina | ||
| No 9(2) (2021) | Western European Middle Ages and “magic” space in South Korean television series: “Memories of the Alhambra” and others | Abstract PDF (Rus) |
| A. V. Tarasova | ||
| No 9(2) (2021) | Defining the documentary in сontemporary artistic practices. On the example of the film “Letters to Max” by Eric Baudelaire | Abstract PDF (Rus) |
| T. Yu. Mironova | ||
| No 9 (2021) | Illustration as an object of research in the Russian scientific space | Abstract PDF (Rus) |
| Zh. V. Umanskaya | ||
| No 9 (2021) | To see the invisible. Concept of exhibition “Open storage of pottery and construction materials collection of the State research institute and Museum of architecture named after A.V. Shchusev” | Abstract PDF (Rus) |
| S. I. Baranova | ||
| No 9 (2021) | Particularity of the transformation of the superhero comics in the Russian cultural space: by the example BUBBLE Comics | Abstract PDF (Rus) |
| M. V. Markova | ||
| No 9 (2021) | Literary classics in Japanese manga: сomics by Tezuka Osamu | Abstract PDF (Rus) |
| Yu. A. Magera | ||
| No 5 (2021) | On the principles of depicting internal space in Russian iconography | Abstract PDF (Rus) |
| D. I. Antonov | ||
| No 5 (2021) | The Crucifixion from the Parliament of Paris (1448), its political and legal meanings | Abstract PDF (Rus) |
| O. I. Togoeva | ||
| No 5 (2021) | Engraving “The Triumph of Our Lady” in the Paris Book of Hours by Geoffroy Tory. Is it a pagan parade or Christian panegyric? | Abstract PDF (Rus) |
| O. V. Subbotina | ||
| No 5 (2021) | The Ecclesia theme in the apsidal mosaics of Rome as a reflection of the communicative visual strategies of the papal power | Abstract PDF (Rus) |
| I. V. Golubeva | ||
| No 4 (2021) | “Gardeners” of the dynastic trees of Russian princes and tsars. About variations of one micro-plot in the East Slavic art of the 17th century | Abstract PDF (Rus) |
| L. B. Sukina | ||
| No 4 (2021) | “Narrative geometry”. On the method for summing angles in Russian iconography | Abstract PDF (Rus) |
| D. I. Antonov | ||
| No 8 (2020) | On the images of peoples from the Sogdian diaspora in China | Abstract PDF (Rus) |
| S. A Yatsenko | ||
| No 8 (2020) | G. Richter’s “Atlas”: Strategies for representing modern visual practices | Abstract PDF (Rus) |
| I. N. Zakharchenko | ||
| No 8 (2020) | Visualization of Soviet childhood in drawings by Eugeniya Dvoskina | Abstract PDF (Rus) |
| Z. V. Umanskaya | ||
| No 8 (2020) | Representation of history: contemporary art in museums of conscience | Abstract PDF (Rus) |
| T. Yu. Mironova | ||
| No 3 (2020) | “The regnal family be blessed”. Two cases of interpretation of the idea the God’s chosenness of the ruling house of Romanovs in Russian artistic culture of the second half of the 17th – early 18th centuries | Abstract PDF (Rus) |
| L. B. Sukina | ||
| No 3 (2020) | Shaping the image of late Victorian London in the television series “Doctor Who” of the 1970s. (“The Talons of Weng-Chiang”) | Abstract PDF (Rus) |
| A. V. Tarasova | ||
| No 5 (2020) | Facial stigma. Medieval origins of the ‘Jewish nose’ | Abstract PDF (Rus) |
| M. R. Maizuls | ||
| No 5 (2020) | Veles and Christ. Visual models of idoloclasm in Russian iconography | Abstract PDF (Rus) |
| D. I. Antonov | ||
| No 5 (2020) | Georgian Icon of Our Lady. Traveling Shrine in Russia of the 17th century | Abstract PDF (Rus) |
| L. B. Sukina | ||
| No 8(2) (2019) | “Unfinished dissertation” by Boris Mikhailov: structural and narrative analysis of the photo series | Abstract PDF (Rus) |
| N. B. Chekh | ||
| No 8(2) (2019) | The “Kind Evil” in the late Soviet animated fairy tale movie | Abstract PDF (Rus) |
| A. V. Demkina | ||
| No 8(2) (2019) | South Korean genre TV-series in the context of cultural history: mystical thriller “The Guest” | Abstract PDF (Rus) |
| A. V. Tarasova | ||
| No 8 (2019) | Markers of “Soviet” in children’s illustration of 60–80s of 20th century | Abstract PDF (Rus) |
| Zh. V. Umanskaya | ||
| No 8 (2019) | Performativity and gesture in social movements | Abstract PDF (Rus) |
| N. S. Galushina | ||
| No 8 (2019) | Atlas as a visual image of cultural memory: the concept of G. Didi-Huberman | Abstract PDF (Rus) |
| I. N. Zakharchenko | ||
| No 5 (2019) | Maenad in motion: emotional potential of a classic pose | Abstract PDF (Rus) |
| E. S. Mikhailova-Smol’nyakova | ||
| No 5 (2019) | Hand on heart: Private text of English miniature portrait | Abstract PDF (Rus) |
| A. A. Troitskaya | ||
| No 3 (2019) | Medieval Anger: Two Types - Two Systems of Manual and Facial Gestures | Abstract PDF (Rus) |
| A. E. Makhov | ||
| No 3 (2019) | "The Damned Trinity" as the hypermotif of Russian Iconography | Abstract PDF (Rus) |
| D. I. Antonov | ||
| No 3 (2019) | And throwing up her hands, she was stunned Lot's wife turning into a pillar of salt in Russian art of the second half of the 16th - 17th centuries | Abstract PDF (Rus) |
| L. B. Sukina | ||
| No 3 (2019) | Motions and emotions on the ceremonial portraits of Russian monarchs | Abstract PDF (Rus) |
| E. V. Pchelov | ||
| No 8 (2018) | The scientific and social representations in the content of a рopular science film, for example “E=mc² / Einstein’s Big Idea”, BBC, 2005 | Abstract PDF (Rus) |
| Zhanna V. Umanskaya | ||
| No 8 (2018) | “Pink Floyd – The Wall”. Viewer and the collective memory | Abstract PDF (Rus) |
| Albert P. Patrakov | ||
| No 8 (2018) | Interactivity and interpassivity of gamers in video game practices | Abstract PDF (Rus) |
| Maksim A. Podval’nyi | ||
| No 10-2 (2017) | Art at the Threshold of the other World | Abstract PDF (Rus) |
| Sergey Yatsenko | ||
| No 9 (2017) | The Ghost in an Illusive Disguise. Werewolves in Old Russian Iconography, Literature and Folklore | Abstract PDF (Rus) |
| Dmitrij Antonov | ||
| No 9 (2017) | The Imperial Eagle under the Phallus Tree. Iconography of the Fresco “The Source of Abundance” in Massa Marittima (second half of the 13th century) | Abstract PDF (Rus) |
| Dilshat Kharman | ||
| No 7 (2018) | The Two “Bodies” of the Icon: Communication with the Sacred Image as Appropriation of its Power | Abstract PDF (Rus) |
| Dmitriy I. Antonov | ||
| No 7 (2018) | Gestures and their functions in the late medieval images of the Passion: from narration to meditation | Abstract PDF (Rus) |
| Alexander E. Makhov | ||
| No 7 (2018) | “And God saw the light, that it was good”: Personifications of Light Western European Iconography of the Creation (11-13 centuries) | Abstract PDF (Rus) |
| Anna V. Pozhidaeva | ||
| No 7 (2018) | The Four Wings of the Apocalypse: The Depiction and the Text: The meaning of the miniature illustrating Revelation of John the Theologian | Abstract PDF (Rus) |
| Vera G. Podkovyrova | ||
| No 2 (2016) | Benshi: silent movie speaking stars | Abstract PDF (Rus) |
| Elena Nesterova | ||
| No 2 (2016) | An activation of the spectator in contemporary theatre: semiotic and performative aspects | Abstract PDF (Rus) |
| Galina Shmatova | ||
| No 6 (2017) | Visual representation of social differences at the end of the 19th century. “An artistic album of life photographs” by A.O. Karelin | Abstract PDF (Rus) |
| Evgeniy Savitskiy | ||
| No 6 (2017) | Digital art presentations in the context of multimedia expositions. Perception issues | Abstract PDF (Rus) |
| Irina Zakharchenko | ||
| No 6 (2017) | Visual representation of the everyday in new media | Abstract PDF (Rus) |
| Alla Drozdova | ||
| No 10-2 (2017) | “Praise the Lord from the Heavens” or Some observations on the Visual Bestiary of Russian Iconography | Abstract PDF (Rus) |
| Dmitriy Antonov | ||
| No 10-2 (2017) | Searching for the Lost Sample: Revisiting the origin of the Personifications of the Creation Days in West-European Cycles of XII Century | Abstract PDF (Rus) |
| Anna Pozhidaeva | ||
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