Вестник Томского государственного университета. Культурология и искусствоведение

Вестник Томского государственного университета. Культурология и искусствоведение №3 2015

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ID	284914
Аннотация	Научный журнал был выделен в самостоятельное периодическое издание из общенаучного журнала «Вестник Томского государственного университета» в 2011 году.

Вестник Томского государственного университета. Культурология и искусствоведение .— Томск : Национальный исследовательский Томский государственный университет .— 2015 .— №3 .— 152 с. : ил. — URL: https://rucont.ru/efd/284914 (дата обращения: 26.04.2024)

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N. History of the Chinese Eastern Railway in book marks. 74 Degtiareva A.I. An introduction to reading in rural libraries (from the experience of libraries of Tomsk’s district of Tomsk region). 82 Kuzoro K.A. Event-management as a way of training a healthy lifestyle of municipal rural libraries (for example of the Tomsk region). 88 Lyapkova A.. <...> Potential of work with users – elderly persons in rural libraries of Tomsk region. 96 Maslov M.S. Modern information technologies in the educational sphere .106 Mirsanova T.Yu. <...> Transbaikalian Library named after Pushkin in the context of history.112 Mokropolova Yu. <...> Panfilova Marina I. St. Petersburg State University of Economics (St. Petersburg, Russian Federation). -mail: panfi-marina@yandex.ru. <...> DOI 10.17223/22220836/19/1 IMAGES OF ITALY IN CULTURE OF THE SILVER AGE Key words: Italian culture, Silver age, art, creativity, Renaissance, Catholicism. <...> Continuing traditional Italian theme, the Silver age analyzed it through the nature of creativity, art, culture, Christianity. <...> Konstantinova, S.L. (2005) “Ital'yanskiy tekst” russkoy literatury XIX–XX vv. [“The Italian text” of the Russian literature of the 19th–20th centuries]. <...> Berdyaev, N.A. (1994) Filosofiya tvorchestva, kul'tury i iskusstva: v 2 t. [The philosophy of creativity, culture and art. <...> Serebryakova Elena G. Voronezh State University (Voronezh, Russian Federation). <...> DOI 10.17223/22220836/19/2 THE LITERARY-PUBLICISTIC HERITAGE OF DISSIDENTS AS OBJECT OF CULTUROLOGICAL STUDIES Key words: dissidents, nonconformists, dissident's discourse, models of behavior. <...> The author proposes a cultural approach to the literary-publicistic heritage of the dissidents – the study of the specifics of the dissident discourse characterized not only texts, but also the perception of the world. <...> The study of behavioral models in the texts of nonconformists which are realized in social practice, the identification of mechanisms for establishing the behavioral norms and patterns - these scientific issues are also included in the circle of culturological attention The aims of this article are revealing the motives of dissidents’ reference to the literary and journalistic creativity; determining the place of writer’s practice in the hierarchy of values of other forms of social activities; characterizing the specificity of the dissident discourse and normative model of civic behavior, described in texts and appeared in social practice. <...> The author makes the following conclusion <...>

Вестник_Томского_государственного_университета._Культурология_и_искусствоведение_№3_2015.pdf

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Вестник_Томского_государственного_университета._Культурология_и_искусствоведение_№3_2015.pdf

       Tomsk State University Journal of Cultural Studies and Art History  2015  77-44127  04  2011 .  3(19)

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  «  .  » . , , ; . , . . , .   ; . ,  . , ., .  (); . , . . , , . .    ();   ,  , ,    «  .  » . , . , . , ., . . , , ; . , . , . . , . ; . , . . , . ; . , . , , . . ;. , . . , , . . ; . , . . , , . . ; . , . , ., . .  ;. , . . ; . , . . , , . . , ; . , ., . .  EDITORIAL COUNCIL P.L. Volk (Tomsk, Russia); D.V. Galkin (Tomsk, Russia); A.A. Sundieva (Moscow, Russia); O.L. Lavrik (Novosibirsk, Russia); Maracz Laszlo (Amsterdam, the Netherlands) EDITORIAL BOARD E.I. Chernyak (Tomsk, Russia) – Editor-in-Chief; K.A. Kuzoro (Tomsk, Russia) – Executive Editor; V.E. Budenkova (Tomsk, Russia); L.V. Bulgakova (Tomsk, Russia); N.A. Dolgikh (Tomsk, Russia); O.A. Zheravina (Tomsk, Russia); L.A. Korobeynikova (Tomsk, Russia); T.S. Korobeynikova (Tomsk, Russia); I.E. Maksimova (Tomsk, Russia); V.V. Sotnikov

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 ,  . ........................................... 5  .      ........................................................................... 17  ., ., .  ............................ 26 .  ....................................................................................................................................... 34 .   ,   ().................................. 39  .        «» ........................................................................ 47 . () .................................................. 51 .   ......................................................................... 59 :   .   .................................. 66 .  ............................................................ 74 .  ( ) ...................................................................... 82 .           (   ) .................................................................................................................................. 88  .     –    ................................................................................. 96  .       .......................................................................................................................................106 .   . .   .........................................................................................................................112 ., .  ..............................................................................................................................120  .        ............................................................128 . «»: ...................133 .  (      )...............................................................................................................138 ., .    :   .......................................................................................................................143 ..................................................................................................150

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Вестник Томского государственного университета. Культурология и искусствоведение №3 2015

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