Вестник Томского государственного университета. Культурология и искусствоведение №2 2017

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       Tomsk State University Journal of Cultural Studies and Art History  2017  77-44127  04  2011 . ,  )  82514  »  «, , »,   26

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  «  .  » . , ,  ; . , . ,  . ; . , . , ., .    (); . , . . , , . .  );  ,  ,  , ; . , . ,    (); . ,. , , . .  () EDITORIAL COUNCIL P.L. Volk (Tomsk, Russia); D.V. Galkin (Tomsk, Russia); O.L. Lavrik (Novosibirsk, Russia); A.A. Sundieva (Moscow, Russia); Maracz Laszlo (Amsterdam, the Netherlands); A.N. Bagashev (Tyumen, Russia); T.K. Shcheglova (Barnaul, Russia)   «  .  » . , . , . , ., . . , ,  ; . ,. , . . , . ; . , . . , . ; . , . , , . . ; . ,. . , , . . ; . , . . , , . . ; . ,. , ., . . ; . , . . , , . . , ; . , ., . .  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); I.E. Maksimova (Tomsk, Russia); V.V. Sotnikov (Tomsk, Russia)

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 ,  . ..................5 .  1920–1930-. ..........................................................................................12 . «» ............................................................................................................19 .  XX .  . ...........................................................................................................................33 ., .  ..................................................................................................43 .: ............................................................................................................................57  .        .........................................................................................................68   ................................................................................................................76  . . –   ,      .  «» .........................................................................................83 . . :   .....................................................................93 . «» . 39 c-moll . ............................................................................................101 .  – .....................111   .      ........................................126 .    XVIII–XIX ..............................................................................131  .       XIX – . () ....................................140 . . . ........................................................................................149  .      XVIII . ................................................................................................................................159 . ...............................................................................................................165 .  (1985–2015 .)...............................................................................................173  .       ».............................................................................................................................182 ., :  XVI–XVII .....................................................189 .......................................................................................202

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CONTENTS CULTUROLOGY, THE THEORY AND CULTURAL HISTORY Avanesova E.G. The cosmopolitan strategy of intercultural dialogue ..............................5 Azarova P.E. The West Siberian city holidays in the aspect of value-sign system............12 Balash A.N. «The Voices of Silence» of André Malraux and the problem of authenticity of a work of art............................................................................................................. 19 Boiko O.A. Individuation Symbols in XXth Century Art: Picasso Case-Study.................33 Zakharchenko T.Y., Zakharchenko E.K. Technicizm in the city image. The impact and ways of overcoming.................................................................................................43 Poskonnaya J.V. Traditional ideology of the Altaians: cult of water and phenomenon of life ............................................................................................................................57 Trukhina A.V. Transformations of the hero concept in the modern Russian documentary film ........................................................................................................................68 ART HISTORY Kvashnin K.A. The Baroque epoch – the most important stage in the development of expressive intonation ........................................................................................................76 Mizyurkina O.V. Lubok, lubok principles and synesthesia in Stravinsky's ballet «Petrushka»..........................................................................................................................83 Opaley E.N. The Stravinsky’s choirs on the liturgical texts: Revisiting the work on the liturgical and pragmatic model .........................................................................................93 Predvechnova E.O. The semantics of the image-symbol Time in «Tragic Sonata» op. 39 c-moll by N.K. Medtner ..............................................................................................101 Prikhodovskaya E.. The Emotivny plan is a primary plot of the monoopera................. 111 CULTURAL HERITAGE Arkhangelskaya I.V. The principles shaped the perception of objects of industrial heritage in urban space ........................................................................................................................126 Vasilchenko Ju.S. The value of landscape painting in development of the Russian fine arts of XIX–XX centuries was ........................................................................................131 Volosnov R.U. The rural orthodox temple complex of Altai of the end XIX – the beginning of the -th centuries (planning and functionality of elements)..............................140 Gryzlova A.A. Formation and representation of the collection of porcelain wares of Khaita Porcelain Plant in exhibition activities of Sukachev Irkutsk Regional Art Museum....... 149 Kotenko A.L. The exhibition-bussankai as Japanese proto-museum form of XVIII century..................................................................................................................................159 Logunova E.A. On the question of study of Siberian Old Believers bookbinding (based on collections of the Scientific Library of Tomsk State University and Tomsk Museum of Local History).....................................................................................................165 Sugak E.S. Formation of the municipal museums Parabel district of Tomsk region (1985–2015) .........................................................................................................................173 Tikhonov V.V. The prospect of resettlement in the museum «Taltsy» .............................182 Shapiro B.L. Footwear, spurs and parts of a saddle: horseman material culture in Muscovy XVI–XVII centuries...............................................................................................189 INFORMATIONS ABOUT THE AUTHORS.............................................................202

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