Department Of Cultural Studies Research Articles

New Trends in Cultural Studies in the System of Modern Humanitarian Education

The analysis in this article is based on the new trends in the system of cultural education in the context of students’ ideological training. Based on the materials of the International Scientific Conference within the framework of the XVIII Kolosnitsyn Readings, organized and conducted by the Department of Cultural Studies and Socio-Cultural Activities together with the Russian Cultural Society on November 17, 2023, the author reflects on the realities and prospects of humanitarian education. An obvious fact in the scientific discussion that took place is not only interdisciplinarity as the basis of modern cultural education, but also the emergence of new concepts and trends in its structure in the context of the challenges of the XXI century, which contributes to the activation of its axeological, aesthetic and ideological functions.

The concept of the academic course curriculum ‘Ethnic cultures of Russia

The academic program of the course is based on the author’s many years of experience in theoretical and field research on ethnic cultures of Russia and in teaching the course “Cultures of the peoples of Russia” to students of the Department of Cultural Studies at the Faculty of Foreign Languages and Area Studies of Moscow State University. The interdisciplinary and comparative approaches served as the theoretical foundation of this course. Thematically, the material is grouped according to the types of cultures of the peoples of Russia: semi-nomadic hunters and fishermen of the north; nomads of the steppes and mountains; settled mountaineers of the Caucasus; settled inhabitants of the plains; diasporas of the peoples of the near abroad, far from their ancestral homelands. To create a comprehensive picture of the studied peoples, the main attention is focused on the continuity of culture in the following way: from autochthonous traditions to modern professional art (ethnic literature, music, painting, and cinema). Different types of ethnic art and literature are regarded in the context of the processes of cultural identification of peoples in the context of globalization.

ИТОГИ НАУЧНОГО СЕМИНАРА «ТЕОРИИ И ПРАКТИКИ ПРИКЛАДНЫХ КУЛЬТУРНЫХ ИССЛЕДОВАНИЙ» 08 ДЕКАБРЯ 2022 ГОДА (МУЗЕЙНЫЙ ЦЕНТР «ПЛОЩАДЬ МИРА», КРАСНОЯРСК) В РАМКАХ I НАУЧНО-ПРАКТИЧЕСКОЙ КОНФЕРЕНЦИИ «СИБИРСКОЕ СОВРЕМЕННОЕ ИСКУССТВО»

This article presents a summary of the work of the educational, scientific and methodological seminar "Theories and Practices of Applied Cultural Research" (December 08, 2022, Krasnoyarsk, Museum Center "Ploshchad Mira"), organized by the Department of Cultural Studies and Art History of the Humanitarian Institute of the Siberian Federal University, which became part I scientific-practical conference "Siberian contemporary art". The seminar was devoted to the presentation of topical art studies in accordance with memorable dates for the world of culture and art: 1) 235th anniversary of the birth of the French artist and inventor Louis Daguerre; 2) 265th anniversary of the birth of the English poet and artist William Blake; 3) 95th anniversary of the birth of the Russian director Eldar Ryazanov; 4) 390th anniversary of the birth of the Dutch artist Jan Vermeer of Delft, also during the seminar, reports were presented on the topic "The Phenomenon of Chinese Documentary Film" and "Features of the Dialogue between the Work of Art and the Spectator".

Trazos de sangre y fuego: bionecropolítica y juvenicidio en América Latina

"Capital comes into the world dripping blood and mud from every pore, from head to toe" (Marx 2014, 646) and reproduces itself, according to Valenzuela, with traces of blood and fire. This book is in line with a critique of capitalism as an economic model that resorts to necropolitics in order to reproduce itself. Specifically, it is a model that develops strategies that produce life and death, that determine who should or deserves to die. During the 123 pages of his book, Valenzuela tells us about precarious lives, lives that can be sacrificed, disposable lives, lives that are expendable, lives on the edge, young lives exposed on the verge of juvenicide, death, corruption, unimaginable pain; all of these are destructive features of capitalism and the globalised condition of the world. Traces of blood and mud, juvenicide, classism and inequality, biopolitics, necropolitics, snuff torture and bioresistances are some of the concepts that the author brings to the discussion and which serve to define and analyse current social problems in Latin America which, although they may seem alien to us Europeans, are correlated with the moment of multiple crises in which we find ourselves and where the death of young people is not physical, but moral. In this line, Valenzuela mentions Carles Feiza (2015) who, from the set of strategies of social exclusion, economic juvenicide (destruction of youth employment) and symbolic juvenicide (media and cultural stigmatisation of young people), gives content to what he himself calls moral juvenicide. In order to cover such a complex subject, the author appeals to cases of crime, violence and also the resistance of young people in Latin America; scenarios that have occurred in recent decades and which are presented in this book as references that make explicit current phenomena to be problematised by the academy. The aim is to study the past in order to explain the present and to understand how power relations function from the perspective of biopolitics (control/resistance of the body) and bioproxaemia (symbolic dimension of the body-space/territory relationship). Finally, the author ends by calling for the struggle for freedom as a commitment to life in the face of the strategies of death that neoliberal capitalism systematically reproduces.José Manuel Valenzuela Arce, a sociology graduate, is currently a professor and researcher in the Department of Cultural Studies at El Colegio de la Frontera Norte. His work has been of great importance for the understanding of the socio-cultural processes that define the border between Mexico and the United States, as well as for explaining youth movements in both countries, a field in which he is an expert. He stands out mainly for his great ability to create and apply concepts, filling them with content that helps us to describe and understand current phenomena. &nbsp

A Book on the New Humanitarian Science of the XXI Century

The article is a review of a new textbook by N. B. Kirillova, Doctor of Cultural Studies, Professor, Head of the Department of Cultural Studies and Socio-Cultural Activities of the Ural Federal University, published this year by the capital’s publishing house «Academic Project». The author focuses on the problems of interaction between mass media and society. The textbook is designed for a wide range of specialists in humanities.

Contributors’ Notes

Tymon Adamczewski is assistant professor at the Department of Anglophone Literatures of Kazimierz Wielki University in Bydgoszcz, Poland, where he teaches literary and cultural studies. He is the author of Following the Textual Revolution: The Standardization of Radical Critical Theories of the 1960s (McFarland 2016) and of several articles (in AVANT, Image [&] Narrative, NJES, Theoretical Practice, among others) which address diverse aspects of critical theories in various contexts. He has recently edited a monograph titled All Along Bob Dylan: America and the World (Routledge 2020) and is interested in the critical discourses of contemporary humanities, music and ecocriticism.Christine Bacareza Balance is Associate Professor of Performing & Media Arts and Asian American Studies, and core faculty in the Southeast Asia Program (SEAP) at Cornell University. Her writings on former Philippine First Lady Imelda Marcos, Asian American YouTube artists, Bruno Mars, Glee’s karaoke aesthetics, and spree killer Andrew Cunanan have been published in various journals. Balance is the author of Tropical Renditions: Making Musical Scenes in Filipino America (Duke University Press, 2016) and currently is working on a book titled Making Sense of Martial Law that analyzes the 21-year dictatorship of Ferdinand Marcos and how U.S.- and Philippines-based performances and events critique the “Marcosian imaginary.” With Lucy San Pablo Burns (UCLA), she co-edited the recently published artist-scholar collection, California Dreaming: Movement & Place in the Asian American Imaginary (University of Hawai’i Press, 2020).Erin Bauer is assistant professor of musicology at the University of Wisconsin-Whitewater. Her research examines the construction of sociocultural identity through systems of globalization. In particular, she explores the interconnection between genre and identity as a contemporary implication of global processes (media/migration, hybridization, and appropriation). Her current book project addresses the worldwide spread of Texas-Mexican accordion music, called conjunto, a regional tradition historically forming a symbol of working-class cultural identity. Her writing appears in Rock Music Studies, several essay collections, the Latin American Music Review, and Latino Studies. Bauer holds a Ph.D. in musicology from Claremont Graduate University.Sophie A. Brady is a Ph.D. candidate in musicology at Princeton University. Her scholarly interests include music and decolonization, twentieth-century experimental composition, global popular music, and the history of sound reproduction technology. Her dissertation examines the history of the musical avant-garde outside of Europe and North America, focusing on experimentation and recording at Radio Dakar and other Francophone African radio stations in the second half of the twentieth century.Zack Bresler is a Ph.D. Fellow in the Department of Popular Music at the University of Agder, Norway, supervised by Professor Stan Hawkins. Motivated by an obsession with immersive and interactive media, such as surround and 3D sound, virtual reality, and interactive art, Bresler is a popular musicologist whose research focuses primarily on pop music as it is presented in audio-visual new media with an eye towards the aesthetics of music productions, compositional design, listener experience, and staging.Steacy Easton is a writer and visual artist, living in Hamilton, Ontario. They have been published across North America, in commercial and academic spaces, about what Country means, for the past 15 years.Julia Ehmann is a post-doctoral researcher at the University of Hamburg and holds a scholarship from the German Research Foundation. Her research interests include the study of popular music histories, cultural heritage, as well as issues in fandom and reception studies.Natalie Farrell is a Ph.D. student in music history/theory at the University of Chicago. Her work has been published in Music and Letters, The Journal of Popular Music Studies, and The Flutist Quarterly. Her research on neoliberal trauma and musicians’ unions has been funded by grants from the Mellon Foundation and the Eastman School of Music’s Paul R. Judy Center for Innovation and Research. Her other research interests include Northern Irish prison music, affect theory, and popular music. In her free time, she likes to knit and spend time with her dog (who is named after Leonard Bernstein).Kate Galloway is a faculty member at Rensselaer Polytechnic Institute, where she teaches in the Electronic Arts, Music, Games and Simulation Arts, and Sciences/Critical Game Design programs. Her research and teaching address sonic responses to environmentalism, sound studies, digital culture, sound art, and interactive media.Eric Harvey is an associate professor in the School of Communications at Grand Valley State University. His book Who Got the Camera? A History of Rap and Reality will be published by the University of Texas Press in October 2021. His scholarship has appeared in Black Camera, The International Journal of Cultural Studies, Cultural Industries Journal, and Convergence; and he has also written about music, media, and culture for Pitchfork, Slate, The New Yorker, Rolling Stone, the Atlantic, the New Republic, and The Village Voice.Antoine Haywood is a doctoral student and Presidential Fellow at the University of Pennsylvania’s Annenberg School for Communication. A scholar of media, Antoine’s research focuses on understanding the contemporary relevance of public, educational, and governmental (PEG) access media. Using ethnographic methods and drawing on his 15 years of experience working in community media, he evaluates how local governments, nonprofit organizations, and citizens use geographically defined communication infrastructures to enhance civic participation, democratic communication, collective learning, and care. Haywood’s current projects focus on understanding how social impact occurs when Black, Indigenous, and People of Color (BIPOC) communities in Philadelphia use community-based info hubs to access digital platforms and tell stories about local issues. He is also a musician, vinyl record collector, video maker, and a proud native of Palm Beach County, Florida.Stephanie Hernandez is a Ph.D. student of English literature and music at the University of Liverpool. Using an interdisciplinary approach, she is researching the echoes of Romanticism in the popular music of the 1960s and 1970s. While completing her Bachelor’s and Master’s degrees in English literature, she worked at both The Beatles Story and Handel & Hendrix in London, which fostered her interest in the cultural legacy of historically musical spaces. Stephanie is also a music journalist, whose recent publications include Ultimate Classic Rock, Warner Music UK, Rhino Entertainment, and others.Kristina Jacobsen is an ethnographer, singer-songwriter and cultural anthropologist. An associate professor of ethnomusicology and anthropology (ethnology) at the University of New Mexico and a faculty affiliate in American studies, her research focuses on language reclamation, expressive culture, popular music, and arts-based research methodologies. Her first book, The Sound of Navajo Country: Music, Language and Diné Belonging (UNC Press, 2017), is based on two and one-half years of singing and playing lapsteel guitar with Navajo (Diné) country western bands on the Navajo Nation and was the winner of the 2018 IASPM-US Woody Guthrie Award for Outstanding Book on Popular Music. Jacobsen is a touring singer-songwriter, fronts the all-female honky-tonk band Merlettes, and is the founder and co-facilitator of the UNM Honky-Tonk Ensemble. Supported by the US-Italy Fulbright Commission and the Wenner-Gren Foundation for Anthropological Research, she recently completed one year of ethnographic fieldwork on the Mediterranean island of Sardinia for the book project, “Sing Me Back Home: Ethnographic Songwriting and Language Reclamation in Sardinia, Italy.” While in Sardinia, she also recorded an album (her fourth) of original songs collaboratively written with Sardinian songwriters and language activists, House on Swallow Street (released in spring 2021) with the Sardinian label, Talk About Records.Vincent Jenewein is graduate student in philosophy at Freie Universität Berlin. He is also a music journalist and a DJ/producer of electronic dance music.Steve Jones is UIC distinguished professor of communication, research associate in the UIC Electronic Visualization Laboratory and adjunct professor of computer science at the University of Illinois—Chicago, as well as adjunct research professor in the Institute of Communications Research at the University of Illinois at Urbana-Champaign. He was founding editor in 1987 of Tracking: Popular Music Studies, later renamed The Journal of Popular Music Studies. He is currently editor of New Media & Society, an international journal of research on new media, technology, and culture, and co-editor of Mobile Media & Communication, a peer-reviewed forum for international, interdisciplinary academic research on the dynamic field of mobile media and communication.Maria Kouvarou holds a Ph.D. in music from Durham University. Her research interests include popular music and society and critical theory, among others. As independent researcher she has published articles in Popular Music and Society, Historia Critica and Popular Music. She is also a creative writer and a performer.Jonathan Leal is a scholar-musician and post-doctoral fellow in the Society of Fellows in the Humanities (and in Fall 2022, assistant professor of English) at the University of Southern California. He is the co-creator of Wild Tongue, an album of original music by nine Latinx bands from South Texas, and Futuro Conjunto, a Chicanx transmedia album named one of the best Latinx music releases of 2020 by Pitchfork, Texas Highways, and Raymus Media magazines. His arts and culture writing has appeared in The Los Angeles Times, The Boston Globe, Air/Light Magazine, The Los Angeles Review of Books, The Rumpus, The San Francisco Classical Voice, and elsewhere. He is currently completing his first book, Dreams in Double Time, on music, race, and interiority.John Macintosh is a lecturer in English at the University of Maryland, College Park, where he completed his Ph.D. in 2019.Kimberly Mack is an associate professor of African American literature and culture at the University of Toledo. She’s the author of Fictional Blues: Narrative Self-Invention from Bessie Smith to Jack White (University of Massachusetts Press, 2020). Mack is writing her second book, The Untold History of Early American Rock Criticism (under contract with Bloomsbury Academic), about the Black, Indigenous, and People of Color, and white women who helped develop American rock criticism and journalism during the 1960s and 1970s. She has contributed her work to various music publications, including Music Connection, Relix, No Depression, PopMatters, and Hot Press.Andrew Mall is an avid record collector and associate professor of music at Northeastern University in Boston, where he teaches courses in ethnomusicology, popular music, and music industry studies. He is the author of God Rock, Inc.: The Business of Niche Music (University of California Press, 2021) and co-editor of Studying Congregational Music: Key Issues, Methods, and Theoretical Perspectives (Routledge, 2021). He is also book review co-editor of the journal Ethnomusicology, and vice president of IASPM-US.Jennifer Messelink is a Ph.D. candidate in musicology at McGill University. Her research focuses on race and gender in postwar easy-listening music. In particular, she examines generic formations, stylistic differences, and the historical significance of mood music and exotica—distinct types of popular instrumental music of the 1950s. Her research is supported by the Social Sciences and Research Council of Canada.José Vicente Neglia is a lecturer in the Department of Music at the University of Hong Kong. An ethnomusicologist by training, his current research concerns the politics of memory in popular music, for which he has conducted extensive research in Japan and North America on a genre of rock called garage rock. He is currently working on a project funded by the Research Grants Council (RGC) of Hong Kong on reissue recordings as a distinct form of media in rock music.Ryan H. Nelson is clinical ethics fellow at Baylor College of Medicine. He completed his Ph.D. in philosophy at the University of Utah in 2019.Matthew T. Phillips is a writer and artist based in Melbourne Australia. He has completed a Ph.D. in anthropology at Deakin University. He writes about the intersections of music, technology and consciousness.Elliott H. Powell is Beverly and Richard Fink Professor in Liberal Arts and associate professor of American studies and Asian American studies at the University of Minnesota. His work sits at the intersections of race, sexuality, and popular music. He is the author of Sounds from the Other Side: Afro-South Asian Collaborations in Black Popular Music (University of Minnesota Press, 2020). His work can also be found in many journals and edited volume, such as GLQ: A Journal of Lesbian and Gay Studies, The Routledge History of American Sexuality, Jazz Research Journal, and The Black Scholar.Emmett G. Price III is executive editor of the Encyclopedia of African American Music (Greenwood, 2010) and editor of The Black Church and Hip Hop Culture: Toward Bridging the Generational Divide (Scarecrow, 2011). He Dean of Africana Studies at Berklee College of Music and is the founding executive director of the Institute for the Study of the Black Christian Experience (ISBCE).Francisco E. Robles is an assistant professor of English, Latino studies, and gender studies at the University of Notre Dame. His work appears in Latino Studies; MELUS: Multi-Ethnic Literature of the United States; Post45: Peer Reviewed; Post45: Contemporaries; ASAP/J; sxsalon; Killing the Buddha; and in Decolonizing Latinx Masculinities (University of Arizona Press, 2020).Jonathan Sterne teaches in the Department of Art History and Communication Studies at McGill University. He is author of Diminished Faculties: A Political Phenomenology of Impairment (Duke, 2021); MP3: The Meaning of a Format (Duke 2012), The Audible Past: Cultural Origins of Sound Reproduction (Duke, 2003); and numerous articles on media, technologies and the politics of culture. He is also editor of The Sound Studies Reader (Routledge, 2012) and co-editor of The Participatory Condition in the Digital Age (Minnesota, 2016). With co-author Mara Mills, he is working on Tuning Time: Histories of Sound and Speed. He also has a new project cooking on artificial intelligence and culture. Visit his website at http://sterneworks.org.Marco Swiniartzki is associated lecturer at the professorship for Western European History, Institute for History, Friedrich Schiller University of Jena. He has written the book The German Metalworker’s Union 1891-1933 (2017; translation) and many articles exploring the history of work, workers, industry and capitalism in Germany and Europe. Currently he works on his project Glocal Metal. Metal Communities in International Comparison and Transfer (1978-1995), supported by the Gerda Henkel foundation. In 2021/22 he will become fellow of the Historisches Kolleg, Institute for Advanced Study in History, in Munich. He was executive secretary of the Historical Commission for Thuringia, worked as an editor and reader, and has organized the thematic year 2018 about social movements for the Free State of Thuringia.Karen Tongson is the author of Why Karen Carpenter Matters (2019), and Relocations: Queer Suburban Imaginaries (2011). In 2019, she received Lambda Literary’s Jeanne Córdova Award for Lesbian/Queer Nonfiction for her body of work to date. She is chair and professor of gender and sexuality studies at USC. Her contributions have appeared in NPR, LARB (Los Angeles Review of Books), The Los Angeles Times, The AV Club, Entertainment Weekly, L.A. Weekly, BuzzFeed Reader, Süddeutsche Zeitung and Public Books, among other public and scholarly venues. She co-hosts and executive produces the podcasts Waiting to X-Hale with Wynter Mitchell-Rohrbaugh, and the limited series, The Gaymazing Race with Nicole J. Georges.Mikkel Vad is a musicologist, specializing in jazz and popular music history. He is a Ph.D. candidate in the Department of Cultural Studies and Comparative Literature at the University of Minnesota, where he is wrapping up a dissertation titled April in Paris, Autumn in New York: European Jazz in the US, 1945-1970s. He teaches problem-based courses on historiography, cultural theory, and sound, where students learn to think critically about music across genres, time periods, and cultures. His research and publications revolve around the themes of history (especially reception history and historiography), space and place (especially cultural geography and transnational music), technology and media (especially theory and analysis of the recording), and race and ethnicity (especially whiteness studies).Melissa A. Weber is a writer, researcher, and educator whose areas of interest include twentieth-century Black popular music, New Orleans music, and histories of hip hop and Washington D.C. go-go. She currently teaches history of urban music at Loyola University New Orleans and serves as curator of the Hogan Archive of New Orleans Music and New Orleans Jazz with Tulane University Special Collections. She has written for Red Bull Music Academy, Wax Poetics, and liner notes projects for labels such as Vinyl Me, Please; and has presented papers at Pop Conference and annual meetings for IASPM; the National Council for Black Studies; the Society for Ethnomusicology, Southeast and Caribbean Chapter; and the Dayton Funk Symposium at University of Dayton. Weber continues to host her Soul Power radio show at WWOZ FM New Orleans, as she has for the past 25 years.Eric Weisbard is professor of American studies at the University of Alabama and co-editor of The Journal of Popular Music Studies. His books include Songbooks: The Literature of American Popular Music; Top 40 Democracy: The Rival Mainstreams of American Music; and Use Your Illusion I and II (2007) in the 33 and 1/3 series. He organized the Pop Conference from its inception in 2002 through 2018, editing three books of conference writing: This Is Pop, Listen Again, and Pop When the World Falls Apart. Before that, he was a rock critic: music editor of the Village Voice, record reviews editor for Spin, editor of the Spin Alternative Record Guide, and a writer for Spin, the Voice, and other alt-weeklies—some of that work is collected on Rock’s Backpages.Clinton Bryce Williamson is a Ph.D. candidate in English at the University of Pennsylvania, specializing in nineteenth- and twentieth-century American literature. His dissertation, Nebulous Figures: A Cultural History of an American Riotocracy, 1848-1929, explores the ways in which a so-called lumpenproletariat crafted refusals to work as strategies for restaging value and assembling improvisatory commons in America during the latter half of the nineteenth century. Assembling a broad, multi-genre cultural archive, it argues that representations of and from those living on the margins of the wage modeled potential worlds rooted in wage labor’s absence.

Dynamics of perception of higher education applicants of the educational process organization features at the Kharkiv State Academy of Culture in 2019–2021

The aim of the article is to study the dynamics of the perception of higher education students of the Department of Cultural Studies of the organization of the educational process in the Kharkiv State Academy of Culture. The article highlights the main directions of further work of the administration and teachers of the Department of Cultural Studies to coordinate actions to optimize the educational process.
 The methodology. To study the opinion of higher education students of the Department of Cultural Studies on the organization of the educational process at the Kharkiv State Academy of Culture, a survey was conducted in May 2020 and March 2021. The survey belongs to the type of “Mass common correspondence online survey”. The questionnaire “Applicants for higher education about the organization of the educational process at the Kharkiv State Academy of Culture” has 21 questions, 20 of which are closed questions. An additional open-ended question was added to allow respondents to express their views on the educational process. The questionnaire allowed for the omission of the question if the respondent did not have information.
 The answers were collected online, in Google forms. To achieve relative anonymity, only the year and specialty were recorded. No other personal data was registered. For questionnaires, a restriction on the period of recording results was introduced. The collection of answers to each questionnaire lasted 2 weeks.
 The results. The results of the analysis of the dynamics of perception allow us to conclude that during the year there was a significant increase in positive perception — 9 positions have changed significantly for the better in the perception of higher education students of the Department of Cultural Studies. However, there is an increase in the negative perception of several items in the survey — 3 positions have changed significantly for the worse in the perception of higher education students of the Department of Cultural Studies. 7 positions according to the perception of higher education students of the Department of Cultural Studies remained without significant changes.
 The scientific topicality. The article deals with the issues of the dynamics of perception of the organization of the educational process by higher education students of the Department of Cultural Studies of the Kharkiv State Academy of Culture. To research the opinion of higher education students of the Department of Cultural Studies on the organization of the educational process, a survey was conducted in May 2020 and March 2021.
 The practical significance. According to the results of the study of the dynamics of perception of the organization of the educational process at the Kharkiv State Academy of Culture, it is possible to offer to pay more attention to the proposals for higher education students to study separate programs abroad. It is also necessary to pay more attention to measures to attract the best teachers, to involve professional practitioners, experts, and representatives of employers in teaching and organizing the educational process.

Trends in Contemporary Lithuanian Children’s Folklore Research

Contemporary children’s folklore is interesting and dynamic as it covers both traditional and new genres and reflects present-day realia as well as younger children’s and adolescents’ psychological world. The aim of this article is to discuss major stages and trends in contemporary Lithuanian children’s folklore research. The present study is based on analytical descriptive, and comparative methods. In Lithuania, the research into children’s folklore was started quite late in comparison to many other countries. The first scholarly studies on traditional children’s folklore were published by Pranė Jokimaitienė in the second half of the 20th century, whereas the research into contemporary children’s folklore was undertaken only in the last decade of the 20th century on the initiative of the folklorist Gražina Skabeikytė-Kazlauskienė. After 1990, when folklore material’s collection from children and adolescents was started, the Archive of Ethnology and Folklore at the Department of Cultural studies at Vytautas Magnus University enlarged by many examples of contemporary Lithuanian folklore. At the beginning of the 21st century, the material’s systematisation, analysis, and publication started; a few dissertations on children’s and youth folklore were successfully defended. In 2013, the monograph Contemporary Schoolchildren’s Folklore (Šiuolaikinis moksleivių folkloras) was published.

Ural Cultural School: Beginnings, Realities, Prospects

The object of research in the article is the Ural culturological school, the history of which begins with the creation of the first professional department of cultural studies in the region at the Ural State (now Ural Fede­ral) University, which celebrated its 30th anniversary on April 9, 2021. The emergence of this department in Yekaterinburg, as well as in a number of leading universities in the country, contributed to the emergence and development of a new science — culturology, which is gradually beginning to establish itself in the system of traditional humanities and today occupies a prominent place in it.

The Mask Explains the World. Review of: Kirillova N. B. The cult of the mask: a historical context. — Yekaterinburg : Ural University Press, 2020. — 324 p.

The article is a review of the book by N. B. Kirillova, the Doctor of Cultural Studies, Professor, Head of the Department of Cultural Studies and Socio-Cultural Activities of the Ural Federal University. The book was published by the Publishing House of this university at the very end of 2020. The object of the research is a mask, the main ability of which, according to the author of the analysed scientific publication, is the ability to be a mediator between an individual and society.

Department of Cultural Studies, Religious Studies and Theology, Chernivtsi National University: Where Are You Going

The author of the article presents the Department of Cultural Studies, Religious Studies and Theology of Chernivtsi National University in historical retrospect and perspective.

Унікальні пам’ятки історії та культури українського Приазов’я у фондах Маріупольського краєзнавчого музею

Extensive use of arttfacts in museum studies in Ukraine, in particular in the process of comprehensive study of the history and culture of the Ukrainian Priazovye, makes the latter an important source for scientists and popular with fans of the Mariupol Museum of Local Lore, which determines the relevance of the article. Some provisions of the above issue were clarified by teachers and students majoring in «Culturology» at the Department of Cultural Studies and Information Activities of Mariupol State University (Head – Doctor of Culturology, Professor Y.S. Sabadash) in the course of «Museology» and museum training practice. It should be noted that the issue of «museum artеfact» is the subject of scientific interest from well-known experts in the field of museum studies: V. Babaritskaya, M. Belikova, L. Voronova, E. Didenko, V. Zaitseva, D. Kepin, R. Mankovskaya, R. Mykulchak, Y. Nikolchenko, E. Piskova, D. Sapozhnyk, O. Stetsiuk, S. Rudenko, M. Rutynsky, V. Yakubovsky and others. The purpose of the article is to identify the main trends in the coverage of the material world of culture and the category «artеfact» in the national museum on the example of the collections of the Mariupol Museum of Local Lore - unique monuments of history and culture of the Ukrainian Azov region. «Artеfact» (from the Latin arte – skill, art; factus – made) – a document that has a special socio-cultural and historical value, not inherent in the document (book) as a whole. In different spheres of human activity, the concept of «artеfact» has different interpretations In our case, we are talking about artеfact documents from the funds of the Mariupol Museum of Local Lore, which are unique monuments of history and culture of the Ukrainian Azov region. Artеfact documents studied by the authors of the article occupy an important place among the collections of the Mariupol Museum of Local Lore. Traditionally, they are widely used in historical and local lore studies. Artеfact documents stored in the funds of the Mariupol Museum of Local Lore are unique monuments of historical and cultural heritage of the people of Ukraine, invaluable objects for research and local lore work in the region.

Оlexandr Litvinov – the founder of professional jazz education in Kharkіv (milestones in life and career)

Background. Musical culture of Kharkiv has a rich history associated with the names of prominent musicians such as R. Genika, I. Slatin and others. But the creative work of our senior contemporaries, artists, who created in the second half of the XX and early XXI century, made a great influence on the formation of the modern musical face of Kharkiv, the state of professional music education, too. O. I. Litvinov, a composer, pianist (as well as accordion player, performer on wind instruments), conductor and arranger, is no doubt among those artists. However, the creativity of this outstanding musician, who was actually the founder of professional jazz education in Kharkiv, is not currently the subject of widespread discussion in contemporary Ukrainian musicology. There are few sources that would cover O. I. Litvinov’s life and career. For the first time, he is mentioned as the founder of pops’n jazz performance department in a print publication dedicated to the 85th anniversary of KhNUA named after I. P. Kotlyarevsky. In the same context, O. Litvinov’s name is found in O. Kononova’s essay on the evolution of music education in Kharkiv in the jubilee edition dedicated to the 100th anniversary of the University. There is a biographical article in this very anniversary publication. In the earlier anniversary edition “Pro Domo mea” (on the 90th anniversary of the institution) there is some information about O. Litvinov regarding the history of the jazz department creation. Basic biographical data are briefly presented in the article of I. O. Litvinova in the Encyclopedia of Modern Ukraine. A small booklet dedicated to the major milestones of O. Litvinov’s life and creative work was published in the KhNUA (then KhSUA) named after I. P. Kotliarevskyi to mark the 75th anniversary of the musician. There are also several publications devoted mainly to specific dates in the creative life of the maestro (concerts, anniversaries, etc.): by H. Derev’ianko, L. Lohvynenko, M. Dvirnyi, A. Moshna, I. Polska, and O. Sadovnikova. Among purely research works devoted to this striking personality are the Master’s work by Yu. N. Shikova, which was written under the guidance of І. І. Polska at Kharkiv State Academy of Culture. The purpose of the article is to systematize existing information on the life and creative path of the prominent Kharkiv musician, give a brief description of the main features of his performing and composing style. Methods. The work employs historicobiographical, analytical and comparative methods, as well as a genre-stylistic approach. Results. O. Litvinov was born on November 17, 1927 in Zaporozhye. He received his elementary education at a piano music school. From 1943 to 1951 he was in military service, participated in the World War II. After the war, he continued to study music at Kharkiv Music College named after B. Lyatoshynsky, later at the Composition Faculty of Kharkiv Conservatory. He was expelled from there because of his passion for jazz. From 1951 he continued his musical activity as an artist of the MIA Variety Orchestra (in Dnepropetrovsk), in 1955–1956 he was a soloist of the Sakhalin Oblast Philharmonic and Khabarovsk Regional Philharmonic. In 1956–1958 he was the leader of the variety band of the Palace of Culture for Food–Industry Workers, in 1958–1961 he was the leader of the concert band of the Palace of Culture for Builders. From 1961 to 1973, he was the director of his own collective – Honoured Variety Ensemble “Kharkivyanka” at Kharkiv Electromechanical Plant. In 1965 he received the title of Honored Artist of Ukraine, in 1978 – People’s Artist. From 1973 to 1978 – Artistic Director and Conductor of the “Donbass”, Honored Mining Ensemble in Donetsk; from 1978 to 1980 – assistant at the Department of Cultural Studies, director of the Jazz Orchestra at Kharkiv Institute of Law. Since 1980 he worked permanently at Kharkiv I. P. Kotliarevskyi State Institute of Arts: first as a senior lecturer, later as an associate professor of the Chamber Ensemble Department, then as a professor of the Orchestra Wind Instruments Department. Since 1994 he created and headed the Department of Variety Orchestra Instruments, and at the same time he directed the variety-symphony orchestra of Kharkiv State Academy of Culture, the violin ensemble of the National Academy of Law named after Yaroslav the Wise. Since 1999 O. Litvinov was a full member of the Ukrainian Academy of Sciences of National Progress. In 2001 he became a diploma winner of the regional competition “Higher school of Kharkiv region – the best names” in the nomination “Head of Department”. In 2002 he was awarded the Honorary Medal of the Ministry of Culture and Arts of Ukraine. He died on March 15, 2007. O. Litvinov’s creative personality combines the image of composer, arranger, conductor, performer-multiinstrumentalist (apart from piano O. Litvinov played the accordion, organ, wind instruments, violin). O. Litvinov’s works employ the best achievements of world classics and Ukrainian academic music, in particular, the Kharkiv composition school, and embody the best features of jazz and, more broadly, variety music of the twentieth century. These stylistic origins often coexist organically in one piece by O. Litvinov. The performance style of O. Litvinov as a conductor is characterized by very clear, bright, emotional gestures, especially outstanding sounding of the orchestra, the ability to clearly show every change in the thematic development of the piece. The style of O. Litvinov’s arrangements was significantly influenced by the music of Hollywood films, the art of contemporary Soviet composers – Saulsky, Broslavsky, Pokrass, Dunaevskyi, jazz masters – Tsfasman, Utesov, Bernstein and others. Conclusions. O. Litvinov’s creative life was very bright and rich, and his musical activity was diverse and multifaceted. In the present works, the main focus is made more on the “polyphony” (according to A. Mizitova and A. Sadovnikova (2002, p. 17) of this life, its external events. Characteristics of the composer’s, performing, conducting styles of the artist are “inscribed” in this polyphony only as its “voices”. However, each of these voices needs, in our opinion, more detailed consideration. For example, O. Litvinov’s compositional heritage is very large, but only a few of his compositions are performed today and well known to the public. In fact, only one piece for violin ensemble (or for violin and piano), “Eternal Movement”, received true popularity among the performers and the public. Most other works are not published, and the fate of most scores is unclear. So, the direction of further research can be related to a more detailed study of some particular works of O. Litvinov that have survived as well as to deepening knowledge about his performing and pedagogical activity.

Religion of Dolgans, Nganasans, Nenets and Enets

This study examines the peculiarities of traditional religious beliefs of indigenous peoples of the Krasnoyarsk Krai — Dolgans, Nganasans, Nenets and Enets. The authors use comparative historical and historiographical methods, as well as rely on the results of field research conducted by employees of the Department of Cultural Studies at the Humanitarian Institute of Siberian Federal University in the territory of compact residence of these peoples in Krasnoyarsk Krai from 2010 to 2018. The study provides an overview of the main features of the traditional religious beliefs of each of the designated indigenous minorities with the definition of their current state. The results of the study make it possible to determine the general and specific features characteristic of the religious beliefs of Dolgans, Nganasans, Nenets and Enets who live in the Krasnoyarsk Krai, both in their traditional form and in their present state

History of the Ukrainian Association of Researchers of Religion (UARR): Emergence and Institutionalization

The article is devoted to the history of UARR, its first steps – from the inception of the idea of creating a professional association of religious researchers to a constitutive conference and its decisions. On the basis of archival documents that we managed to collect, and surveys of participants of those events, the process of emergence and institutionalization of the society of religious scholars of Ukraine was restored. It was found that thanks to the enthusiasm of representatives of academic and university science, the solidarity of those who supported the tradition of studying religion, the awareness of the need to develop impartial scientific observation of the religious revival, in order to overcome post-communist stereotypes in relation to religion, in 1993 an association of researchers of religion appeared in Ukraine. The author dwells on the organizational aspects of the creation of UARR, highlights the role of certain scientific, educational, religious and cultural institutions which were the initiators of this process. UARR wouldn’t have appeared so quickly and efficiently without the broad support from interested people and organizations as well as friendly relations and assistance.
 The organizational basis of UARR comprised the principles of democracy in management, wide representation, creativity, personal and institutional interest both in the results and in the process of research of religiosity and history of religion in Ukraine.
 Special role in the creation of UARR belongs to the team of the Religious Studies Department of the Philosophy Institute of the National Academy of Sciences of Ukraine headed by Professor A. Kolodnyi who was supported by his colleagues P. Yarotskyi, B. Lobovyk, P. Kosukha and M. Babiy. M.Babiy prepared a draft Charter and all the constitutive documents for the state registration of the UARR as a public organization. Without the participation of the Department of Religious Studies of Taras Shevchenko National University (V. Suyarko, Y. Kalinin), Department of Cultural Studies of Kyiv Pedagogical Institute and its head M. Zakovich, it is difficult to imagine that the initiative to unite scholars on religion would have so successfully spread throughout Ukraine. At the time of registration of UARR at the Ministry of Justice of Ukraine (1993), regional divisions were created in 13 cities. The idea of creating an association was ardently supported in Lviv, Chernivtsi, Ternopil, Odessa, Sumy, Uzgorod, Zhytomyr, Rivne, Lutsk, which showed the all-Ukrainian character of the new organization.
 The article presents evidences of scientific, educational, publishing activity of Ukrainian scholars in the early 1990s, when the foundations were laid for subsequent successful years of activity of Ukrainian scientists. The first steps witnessed the scale and ambitiousness of plans for the development of religious studies in Ukraine. Its conductors took the matter seriously, systematically and scientifically and defined the main directions of UARR: organizational, scientific publications and educational activities. UARR still moves in these directions annually attracting new members to religious research and dissemination of scientific knowledge about religion and religious organizations.
 The purpose of the article is to familiarize the wider community of study of religion with the first years of the emergence and institutionalization of religious studies in independent Ukraine.
 Scientific novelty is that for the first time archival documents on the beginnings of creation and development of activities of UARR are introduced which are supported by testimonies of those people who participated in those events.

About Museological Education and Some Peculiarities of Teaching of Museological Disciplines

As part of the сеrtification training (internship), the author acquainted with the specifics of the teaching of museological disciplines in a number of higher educational institutions of Ukraine, and emphasizes the importance of museum education for researchers of the museum and on the need to improve the content, forms, and methods of this education.The role of institutions in the preparation of museumologists (museologists) has been discussed, in particular, the Department of archeology and museology of Taras Shevchenko Kyiv National University, the Department of Museology and Memory Studies of the Kharkiv State Academy of Culture, the Department of Museology and Memory Studies of the Kyiv National University of Culture and Arts, as well as the Department of Cultural Studies of the National University of Kyiv-Mohyla Academy. The author also analyzes the experience of providing educational services in the field of museology in Canada (I. I. Tyurmenko) and the program of professional education in museology (F. Weidakher etc.).The important for the implementation of program tasks is the presence of certain collections (museums, laboratories, etc.) at the departments, the funds of which can be used during practical classes / practices. In terms of some museological disciplines, practical classes on the basis of the leading museums are important.The author further focuses on the practices that take place, in particular, at the NaUKMA Department of Cultural Studies, namely, the introductory (museum) and the research (museum) ones.The article touches on the specifics of teaching museological disciplines, in particular, on the use of visual means.The article emphasizes that the development of the methodology of teaching museological disciplines is relevant today.Article received 23.04.2018

Траєкторії сталого розвитку українського суспільства: особистість і культура – V міжнародна конференція

On November 15, 2019, the Department of Cultural Studies and Information Activities of Mariupol State University held the 5th International Scientific and Practical Conference «Tracks of steel development of Ukrainian assistance: specialist i culture – V middle conference».

Stanley J. Grenz's communitarian ecclesiology

The article devoted to the study of Stanley J. Grenz's communitarian ecclesiology. Grenz sees the postmodern situation as helpful perspective, which challenges contractual ecclesiology that oriented to the individual. Grenz sees community as foundation for one's personal identity formation. In Grenz's mind, personal identity never private reality, but has communal element, for it shaped by the community in which the person participant. Community, therefore, integral to epistemology, to our identity formation, and to the sustaining of character, virtue, and values. Community forms the content of the Kingdom of God and the more central motif in the Bible. Grenz concludes that Kingdom sphere of in which humanity called to live. The church then is foretaste of the eschatological reality that God will bring to existence one day and thus a sign of the kingdom. The church the fundamental vehicle for mirroring divine image. Participation in the Christian community includes reforming one's personal narrative in accordance with the story of Jesus as well as accepting the story of this Christian community as one's own. ,serif;mso-fareast-font-family: Times New Roman;mso-ansi-language:EN-US;mso-fareast-language:RU;mso-bidi-language: AR-SA'>the Department of Cultural Studies

DEVELOPMENT OF CULTURAL SCIENCE IN CHINA

The author states that description of the complete picture of establishment and development of the modern Chinese humanitaristics does not appear possible due to the great number of authors whose works are published in the modern China. The author has chosen a limited area – the process of developing a branch of humanitarian studies which is new to China – the cultural studies. The Chinese postgraduate students of the FEFU’s Department of Cultural Studies and Art History have so far analyzed about 550–600 Chinese sources that, if necessary, have been translated into Russian by the post-graduate students themselves. The process of developing the cultural studies in China relies on the two category- and concept-related lines: 1) culture, national culture, folk culture, traditional culture; 2) cultural exchange, exchange processes, cultural globalization. Chinese researchers rely on the Marxist ideas and works of well-known foreign authors, primarily American. Extensive use of the original source and its interpretation are the distinguishing features of the Chinese methodological approach. Reference to the original source here is only a stimulus for the reflections of a Chinese author. Chinese researchers  greatly rely on the historical context of establishment and development of their national culture. Contacts and intercultural communication with Western countries are of a particular interest to the researchers. They re-evaluate the national history and civilization. Chinese idea of the modern globalization does not involve «high» theoretical generalizations; it allows a technological construction of the cultural and economic policy of China. Evaluations of the Russian history are very contradictory: ranging from admiring the Russian culture to accusing of the Russian nationalism. The author has come to the following conclusions: The fastdeveloping knowledge of culture in China can be qualified as Cultural Studies. However, the existing level of Chinese cultural studies is approximately equal to that of «red-brick universities» in England in 1970s. While relying on the Marxist ideas and concepts, Chinese researchers are gradually expanding the theoretical and methodological bases of their analysis. Nowadays, explanations and partially, forecasts, are the major functions of the Chinese cultural studies.

Sonia Nimr: Author – Palestine

Sonia NimrAuthor – Palestine You Chengcheng Click for larger view View full resolution sonia nimr is a prominent Palestinian author and storyteller, writing for children and youth both in Arabic and English. She was born in 1955 in a small town of Palestine where she finished her elementary and high school education. In her second year at Birzeit University in 1975, she was sentenced to three years in an Israeli prison for political reasons. During those three years, she developed a strong interest in writing children’s books. Still, she did not start writing children’s books until she worked as an education officer at the Museum of Mankind in 1989. In 1990, she received her PhD in Oral History from Exeter University. Currently, she teaches at the Department of Cultural Studies, Birzeit University. Aside from writing fiction, she is also passionate about translating children books from English into Arabic. Sonia Nimr’s preoccupation with oral history motivates her to collect traditional tales from around the world. She is masterful in weaving familiar ingredients of “rich imagery, patterned language and repeated action” into her telling and retelling of stories against the backdrop of Arabian land, culture, and folklore. Nimr hopes that these stories will challenge stereotypes and stimulate the sharing and valuing of folktales from diverse groups of people. Instilling humor and humanistic concerns in the traditional stories, Nimr tries to make each tale attractive to children. By the same token, she resists conservative teaching methods and encourages teachers to meet the children on more open and flexible premises, answering their needs with fantasy and folktales. Throughout her career as a children’s writer, Nimr has published a large number of books for children and young adults and accumulated several awards. She is the recipient of the 2014 Etisalat Award for Arabic Children’s Literature, one of the most important and prestigious awards for children’s literature in the Arab world, for her young adults book Rihlat Ajeeba Fi Al Bilad Al Ghareeba [Wondrous Journeys in Strange Lands]. This novel and Qisah Awalha khayal wa Akherha Khyal [Story that Begins and Ends with Lies] made the IBBY Honor List in 2014 and 2004. Viewing her writings as a mission meant for Palestinian children in particular and also for children that live in zones of conflict and war in general, Nimr is committed to exercising their imagination and keeping them in touch with their cultural heritage. A humanistic perspective emanates from her stories for children. SELECTED BIBLIOGRAPHY Story that Begins and Ends with Lies. Ramallah, Palestine: Tamer Institute, 2002. Print. Google Scholar A Little Piece of Ground. Sonia Nimr with Elizabeth Laird. London: Macmillan Children’s Books,2003. Print. Google Scholar Ghaddar the Ghoul, and other Palestinian Stories. London: Frances Lincoln Children’s books, 2007. Print. Google Scholar Wondrous Journeys in Strange Lands. 2013. Ramallah, Palestine: Tamer Institute, 2014. Print. Google Scholar King of Tales. Ramallah, Palestine: Tamer Institute, 2014. Print. [End Page 46] Google Scholar Copyright © 2016 Bookbird, Inc.