Developing Sphere of Culture in Russia: Analysis and Forecast

The article defines public-private partnership (PPP) as a management tool for the sphere of culture in Russia. The principles of implementation of PPP were developed. The problems of implementation of PPP were analyzed in various aspects: theoretical, legislative, economic, organizational and managerial. The comparative analysis of foreign and Russian experience in implementing PPP in the management of the sphere of culture was conducted. The problems of implementation of PPP in the sphere of culture are the following ones: economic, legislative, political and specific. The dynamics of the market development of implemented projects in the field of culture, leisure, tourism and restoration of cultural heritage in Russia was analyzed. Organizational and management mechanism for the development of PPP in culture was developed. KeywordsManagement tool for the sphere of cultureOrganizational and management mechanismPublic-private partnership (PPP)Principles of implementation of PPPProblems of implementation of PPPSphere of culture

The article deals with constructing the image of contemporary Russian culture in the US media. It states an important role of metaphors in this process. The most widely used metaphoric models of representing Russian culture are ana-lyzed on the basis of a number of articles in three American newspapers – The New York Times, Newsweek and The Washington Post (2010-2020), including the models "culture is war", "culture is politics", "Vladimir Putin is the godfather of culture", "culture is the power of modern Russia" and "culture is Russia". The study shows that in most cases Russian culture in American press is looked upon in close connection with politics and V. Putin's personality. The research data prove that the majority of metaphoric word usages tend to form the negative image of Russian culture in the eyes of US readers. Such aspects as the close ties of culture and politics, conservatism and reluctance to accept western values, significant impact of the ruling elite and oligarchs on culture are assessed negatively. Rich cultural traditions, the scale of issues addressed in the sphere of culture and personal support of some cultural institutions and figures by the president get the positive evaluation. At the same time culture is evaluated neutrally as the means of "soft power" – the ability to influence Russia's relations with western countries (as opposed to the hard power of constraint and finan-cial influence). In general, the study proves that nowadays metaphors describing our cultural life in American press are mostly used not as expressive means, but as the means of showing the negative aspects of culture in contemporary Russia.

At the legislative level, it is established that the culture of Russia, as well as natural resources, is the property of the country and an important resource for the socio-economic development of all its territories and improving the quality of life of the population. Improving the management process and strategic planning of development of the sphere of culture is due to the need for more efficient use of public finances and the level of investment attractiveness of the industry. Strategic planning tools play an important role in optimizing the process of managing of the sphere of culture. The analysis of state programs and strategies sections of the socio-economic development of the eleven regions of FEFD on the development of the sphere of culture, revealed the structural and methodological problems of the development of regional strategic planning documents in the sphere of culture. The main problems include: inconsistency of the structure and content of strategies and programs with methodical instructions (recommendations) and the procedure for their development; lack of a unified methodological approach to understanding the essence and basic components of strategies and programs; lack of a unified approach to the number, composition and presentation of target indicators; insufficient level of interconnection of regional strategic planning documents. A serious problem in the development of strategies and programs is the lack of uniform requirements for indicators for assessing the implementation of strategic goals and objectives, measures of government programs, as well as an interconnected system for assessing strategic planning documents developed at different levels of management. Differences in the structural elements and inconsistencies with the stated criteria are noted in the reviewed documents of all FEFD regions. The main reason for the discrepancy – is the lack of a unified methodology for the development of both regional strategies and government programs.

The purpose of the article is to clarify the essence and place of decentralization in the system of culture of the Dnipropetrovsk region and the Development Strategy. To identify and investigate factors preventing active implementation of decentralization in the cultural sphere of the industrial region. The article reveals and discusses the main vectors of forces that should lead the sector of culture from the periphery of political interests and ensure its one of the main places in the public and political arena of Ukraine. The methodology is based on using analysis and observations to identify the phenomena of decentralization in culture and its further implementation in the region, particularly, the identification of factors that have a negative and positive impact on the sphere of culture through the prism of decentralization, and also the establishment of a ruinous force that encourages the preservation and multiplication of cultural values. The scientific novelty lies in the research into the problem of decentralization of culture at a higher level than that of the borders of the country. The Dnipropetrovsk region is an industrial region with a clear industrial specialization, which among the various areas has shortcomings in the sphere of culture, including in the mechanism of decentralization. The implementation of this dimension will allow reaching a solution to the problems that are urgent in the sphere of culture and lay a solid foundation for new innovation and cultural development of the Dnipropetrovsk region. Conclusions. As a result of the research, the main factors affecting the implementation of decentralization in the sphere of culture in the Dnipropetrovsk region were identified and the solution of problematic issues was proposed, namely by identifying priority areas, such as Active economic activity of cultural institutions, the attraction of investors, implementation of a new human resources policy, differentiation of management decisions at the local stage, which will contribute to the modernization of the level of culture in the region. Key words: decentralization, culture, reforming, Culture Development Strategy, Dnipropetrovsk region.

В статье изучается процесс формирования представлений о направлениях изучения современной культуры Сибири в региональной историографии, осмысления институциональных проявлений историко-культурной динамики. В ракурсе взаимодействия триады акторов культурной сферы - государство - общество - человек - охарактеризован культурный облик территорий Сибири с учетом традиционных институций - библиотек, музеев, театров, сферы наследия. Фестивали выделены как форма организации социокультурного пространства, синтезирующая профессиональную, народную и массовую культуру. The article presents a generalized picture of the culture of Siberia in a broad chronological and problem-thematic context based on the definition of the essence of socio-political processes in the post-Soviet period. The relevance is due to the need to develop and test new approaches to the study of modern culture of the last three decades. The object of the study is the culture of Siberia at the end of the XX - the first decades of the XXI centuries. The subject of the research is the dynamics of culture in the context of the relationship between its constituents - political and social. The purpose of the article is to form ideas about the directions of studying the modern culture of Siberia in regional historiography, to comprehend the institutional manifestations of historical and cultural dynamics. The authors focus on the interaction of the triad of actors in the cultural sphere: state - society - individual. The main vector of the state cultural policy was directed from separate legislative acts to the federal target program “Culture of Russia”, then the cultural sphere was given a strategic status in accordance with the national project “Culture”. Since the beginning of the XXI century, the government authority has consistently opposed the space of creative chaos in the sphere of culture of the 1990s. The authors note the socio-cultural features of the subjects of the Siberian Federal District, the connection with poly-ethnicity. The article describes the cultural appearance of the territories of Siberia, the process of preservation, adaptation and development of traditional cultural institutions - libraries, museums, theaters, and the sphere of heritage. The integration of professional and traditional folk culture with the socio-cultural environment of settlements has been expressed in organizing of festivals of various genres - musical, literary, historical, book, folk, ethno, culture and art festivals. It is noted that the culture of Siberia is increasing the potential of social influence, the rapprochement with Russian and world culture, the leveling of the differentiation of culture into metropolitan and peripheral.

The changes in the schemes of production and algorithms of communication most of which are often associated with the post-industrial society, in general, affect both spheres of culture, and, in particular, arts. In the middle of the XX century many aspects of culture could exist and develop independently. Now to optimally do it cultural actors unite in clusters. This transpires in creating both conceptual and situational unifications in the sphere of art culture, and in the business and political processes on which the clusters are based. The key distinction of cluster formations lies in the fact that by definition cluster formations develop decentrally, which leads to a series of difficulties in their defining and analysing. The advantage of a cluster consists in the total effect of interactions of all elements whose joint efforts yield the result surpassing each individual effect. The distinctive feature of an art cluster can be thought the existence of mobile and transformed elements making it possible to organize exhibition areas for various events and activities. The physical structure of these spaces is characterized by multi-element filling, and also by its coherence with season, an event subject, etc. The focus of this paper is the cluster structure formation features under conditions of the modern Russian culture.

Introduction. In connection with the strengthening and expansion of intercontinental cooperation in the sphere of economy, politics, culture and education, Russian Language Open Education and Teaching Centres have been opened in many African countries, which has actualised the need for developing the pedagogical support areas to promote the activities of these centres. Of particular importance in the context of trends in modern pedagogical doctrines is the integrated support of the Centre’s teachers and its students learning the Russian language and Russian culture at different levels. The aim of the work is to reveal the substance of the pedagogical support of the Centre’s activity and to test its effectiveness within the framework of teaching the Russian language and Russian culture in the Republic of Uganda. Methods. The research was carried out based on the Russian Language Open Education and Teaching Centre in the Republic of Uganda. A total of 16 teachers and 164 students took part in the experimental work. The methodology used in the survey involved observation method, questioning, test conversation, and different diagnostic methods (studying attractiveness factors of a profession, diagnostics of motives, verification of non-professional teachers’ knowledge of methodology, etc.). Pearson’s chi-squared test was used to test statistical hypotheses. KEYWORDS Results. The comparative analysis of the empirical data and statistical analysis made it possible to identify the positive dynamics and the indicators’ increased values by various criteria – cognitive, motivational and practical. The revealed data demonstrate an increase in the teachers’ experience level in the field of methodology for teaching Russian as a foreign language (χ2 = 4.800; p<0.05) as well as the students’ enriched knowledge of the Russian language and Russian culture (χ2 = 24.047; p=0.01). The Centre’s developed directions of pedagogical support have contributed to the effectiveness of teaching Russian as a foreign language outside the language environment. Conclusion. The developed pedagogical support programme for the Centre’s activities can be used in African countries that teach Russian language and Russian culture without immersion in the language environment. The work contributes to the theory and methodology of teaching Russian as a foreign language

The purpose of the article is to provide a comprehensive analysis of current digitalisation processes in the cultural sector of Ukraine in the context of war and recovery, particularly in relation to the implementation of the State Strategy for Cultural Development until 2030, the introduction of grant and international support programmes, and the development of innovative projects and practices for digital transformation. To determine the role of digital technologies in preserving national memory, ensuring the accessibility of cultural resources and integrating Ukraine into the European and global cultural space. Research methodology. A set of general scientific methods was applied: analytical method – to summarise state documents and determine strategic priorities for digitalisation; comparative method – in the process of comparing Ukrainian and international experience; systematic approach – when considering digitalisation as a multidimensional process covering institutional, technological and humanitarian components; review and descriptive method – to record current practices, events and research in the field of digital cultural heritage; structural and functional analysis – to identify key directions, tools and challenges of the digital transformation of culture. Scientific novelty. The article is a systematic review of current practices of digitalisation in the cultural sphere of Ukraine in 2025, combining an analysis of state strategies, international projects and the implementation of innovative technologies, which makes it possible to identify the key challenges and prospects for the integration of Ukrainian cultural heritage into the global digital space. Conclusions. In the current conditions of war in Ukraine, the digitalisation of the cultural sphere is becoming strategically important, as stated in the Strategy for Cultural Development until 2030 and implemented in numerous scientific and practical initiatives. The use of artificial intelligence, 3D technologies, digital archives and interactive narratives increases the accessibility of cultural resources, contributes to the preservation of national heritage and strengthens cultural identity. Digitalisation is becoming a socio-cultural phenomenon that integrates Ukrainian culture into the global digital space, creating new formats for audience interaction. In the future, there will be a need to develop uniform standards for digitisation and data integration, assess the effectiveness of AI and 3D technologies in cultural practices, analyse the educational and socio-cultural impact of digitisation, and study the legal and ethical aspects of creating digital copies. Additionally, a key area of research will be the examination of the economic and creative potential of digital platforms within the context of Ukraine’s post-war recovery and integration into the European and global cultural landscape.

Today Ukraine is struggling with the war on its own territory. Russian invasion has provoked many discussions in the cultural sphere. In the end of February 2022 Ukraine's Minister of Culture and Information Policy Oleksandr Tkachenko called the world to impose cultural sanctions on the Russian Federation. It means to cancel Russian culture. Cancel culture refers to the popular practice of withdrawing support for (canceling) public figures and companies after they have done or said something considered objectionable or offensive. Cancel culture is generally discussed as being performed on social media in the form of group shaming. What ethical issues this phenomenon implicates? What does it mean for Ukraine? Cancel culture is a complicated phenomenon in the modern world. We can begin our analysis of the contemporary problem of the culture of cancellation in ethics and politics by analyzing the classic works of Hannah Arendt, Isaiah Berlin, and Michael Oakeshott. Oleksandr Klekovkin, a Ukrainian theater expert, actively promotes the idea of abolishing Russian culture in Ukraine. American lawyer Alan Dershowitz sees a negative aspect of the cancel culture phenomenon. So far, a clear understanding of this phenomenon has not been developed academically. The purpose of the article is an attempt to analyze the phenomenon of "cancellation culture" in ethical and political aspects, actualized in the conditions of the Russian-Ukrainian war in the context of the cancellation of Russian culture in Ukraine. If in a certain society, even under the conditions of a democratic political regime, the idea of at least a hypothetical possibility of solving all problems prevails, it will stop at nothing to achieve such an ideal state. This is the lesson we should have learned after two world wars. However, in practice, in many modern societies, there are again attempts to instill value monism, which manifests itself as "cancel culture". By legitimizing "cancel culture" as a modern trend, political systems significantly limit discursiveness and pluralism within society. After all, it becomes too uncomfortable to express an opinion that contradicts the generally accepted one. This threatens career, social status, and sometimes even safety.

786 SEER, 85, 4, OCTOBER 2007 Beumers, Birgit. Pop CultureRussia! Media, Arts, and Lifestyle.Popular Culture in the Contemporary World. ABC-CLIO, Santa Barbara, CA, Denver, CO and Oxford, 2005. xxxi + 399 pp. Illustrations. Tables. Notes. Bibliographical references. Glossary. Index. ?62.50. The editors of the series Popular Culture in theContemporary World empha size that its remit is to appeal to travellers and general readers, as well as to students of a particular culture. Birgit Beumers' contribution to the series, Pop CultureRussia! Media, Arts, and Lifestyle,is an accessible, informative and entertaining read and achieves this aim. It is also a valuable resource for students of late Soviet and post-Soviet Russian culture. The book is comprehensive in its selection of different spheres of contemporary life,with chapters dealing with theMedia, Visual Culture, Performing Arts, Music and Word, Popular Entertainment and Consumer Culture. The Introduction provides a clear and incisive account of the uses of culture during the entire Soviet era and up to the present day. Beumers takes the opportunity to situate terms such as 'popular', 'mass' and 'commercial' within the Soviet and post-Soviet contexts, explanations which serve the reader well in the thematic sections. In her Visual Culture chapter, Beumers gives a coherent sense of developments in film in the post-Soviet market and the role of animated films in Russian culture; she also deals with architecture, arts and crafts and icons. Under Performing Arts come theatre, estrada and the circus, as well as an excellent section on anecdotes and jokes. Consumer Culture includes an insightfuldiscussion of advertising and a survey of aspects of everyday life such as food, leisure, fashion and contemporary folk belief. Each of the chapters balances concise and coherent narrative of the cultural changes of the past thirtyyears with reference to historical events, public figures and appropriate case studies. The historical overview section that begins each chapter is crucial in explaining the institutions, individuals and practices that governed a given cultural sphere during zastoi, and enables the reader to make greater sense of the changes that began under Gorbachev and the shiftsthat continue to the present day. The chapter on theMedia is characteristic in its impressive handling of a huge amount of information. It provides an informative and nuanced narrative of a heady series of events, while working in small but memorable details ? the role played by references to advertising for Snickers in the construction of the public profiles of both Zhirinovskii and Putin (pp. 27, 29, 319-20) being one such example. The privileging of lyrics in some genres of popular music remains an important idiosyncrasy of contemporary Russian culture, and Beumers' chapter on Music and Word provides several song lyricsby bards and rock groups in translation. The emphasis here is on the glory days of perestroika era rock. This chapter might not seem themost natural place for a discussion of slang,which plays a part inmany other manifestations of the popular too, but the examination of youth culture and language iswell informed and com prehensive. Related to this is a very good working definition of the form of straight-faced mockery of sacred cows, known in Russian as steb; the impact REVIEWS 787 of steb,too, isby no means confined to theworld of rockmusic. The intention of theMusic and Word chapter is to reveal the origins of contemporary pop music 'on the one hand in the official Soviet pop culture of the 1960s and 1970s (estrada) and on the other hand in the underground bard and rock movement' (p. 199). This is a crucial undertaking and the account of Soviet popular music, official and non-official, iswide-ranging and lucid.One minor omission is the explanation of the institution of the state-licensed vokal'no instrumental'nyi ansambl' ? despite not defining this phenomenon, Beumers occasionally uses the acronym 'VIA'. Nonetheless, the chapter provides a much-needed account of theway inwhich both official and unofficial Soviet culture played a part in shaping post-Soviet trends. It also introduces an interesting discussion of the importance of gender, sexuality and transgression in the lyricsand visual culture of rock and pop since the 1980s. One of the real successes of Pop CultureRussia!, especially as a...

Click to increase image sizeClick to decrease image size Additional informationNotes on contributorsBoris RudnikLev Jakobson is a professor at the Higher School of Economics, Moscow State University. Elena Koushtanina is with the Research Center of the Russian Ministry of Culture in Moscow. Boris Rudnik is a member of the Administration of the President of the Russian Federation, Moscow.

The article describes the problems of contemporary policy of Russia in the sphere of culture: public status of culture, recognition of culture as a powerful integration potential of society and a source of creative development of individual. There are analyzed the results of the Year of culture in Russia. There are outlined the main directions of theoretical and expert activities, related to the development of the conceptual basis and regulatory mechanisms of strategic management in the field of culture. It was shown that the achievement of compliance of the developed model of cultural policy with the cultural image of Russia is a long way which was started by the Year of culture.

The article proposes the author's classification of public organizations in the sphere of culture in Russia. Despite the autonomy of the activities of public organizations, the importance of their economic ties with the state, primarily grants, and subsidies, is recognized. This model of relations implies precise consideration of the needs of public organizations and the interests of the population and the state. For these reasons, the classification takes into account precisely economic factors. The proposed classification should contribute to the development of a competent state policy in this direction.

The research task is to analyze the theoretical grounds of the developing Russian culture industry; to propose the author's classification of culture services for resource-heavy (services as a product; services unsecured with commodities) and resource-light, for active and passive. Resource-heavy services (material-intensive, energy-intensive, labor-intensive) stand in close relation to the beneficial effect on the size, amount of material costs and quality of produced labor. The author defines the culture industry, the structure and relationship of markets and sub-markets of the cultural sphere. The structure of the culture industry can be presented as a collection of sub-markets and it is possible to determine the indicators of cultural organizations' activity. The author proposes the differentiation of services into "artistic" and "creative" following the culture industry's areas of responsibility. Artistic industries belong to the area of responsibility of socio-economic relations and creative high-tech intellectual products belong to the area of responsibility of material-economic relations. The problems of the culture industry's material-economic development can be solved only upon the condition of national management of all culture industry sectors. Methodically, the study is based on the fundamental scientific works and the functioning of the cultural and creative sphere, the specifics of cultural activity, and the work on the system analysis of processes and relations in the cultural sphere.

This article assesses how much the emergence of civil society and private market activities are challenging Cuba's ruling communist regime. The assessment is based on a conceptualization of a “civil sphere,” constituted by civil society and private market activities (or the “second economy”), and how this affects democratic transitions from state-socialist societies, using Cuba as a case study. Examining the multiple sectors at play reveals an increasingly organized and vocal opposition, but one hampered by continued government repression. Considering several theoretical and historically possible scenarios, this study concludes that under current conditions, the civil sphere's significant challenge is still not enough for a regime change in the Cuban state.