Abstract: This article analyzes the theme of book in the philosophy of Jacques Derrida, as well as the inevitability of transformation of its customary forms. The theme of book is central at least in the three texts by Jacques Derrida: “The End of the Book and the Beginning of Writing”, “Outside the Book”, and “The Book to Come”. However, in the process of analysis, the author goes beyond the boundaries of these three works of the philosopher, placing the problem of the “book to come” in a broader context of discursive practices of Jacques Derrida. The book in its common form is on the cusp of dispersion, i.e. decay of its usual structure and integrity. The former totality of linear writing, which is organically interrelated with the book form, yields to the new forms of submission of information and its archiving. This article describes how Jacques Derrida explicitly builds the form of the “book to come” letting it to the horizon of his writing, and thereby changing its very structure and fabric. A number of philosopher’s texts are distinguished by their polyphony, structural complexity, excess of quotations, scatteredness of phrases, words, and even sounds, phonemes, and syllables. All this leads to the disruption of the customary rules of reading, and forces us to form completely new strategies of the perception of writing and books, as well as all other practices that are inextricably entwined.

Keywords: Glas, diastema, trace, letter, coming book, book, deconstruction, Derrida, preface, grammatology

Abstract: The subject of this article is the works of the Russian artists of the late XIX – early XX centuries in the context of problematic of symbolism and Art Nouveau, as well as the scientific foundation that has developed as yet in studying this topic. Research methodology is based on the conceptual synthesis of classical art history approaches towards the analysis of artistic material with the theoretical interdisciplinary methods of humanities, such as iconology and hermeneutics, as well as the contextual-associative method developed by the author. The goal of this article consists in determination of the peculiarities of symbolism in Russia due to the transformation of the attitude towards the spiritual problematic of art of the turn of the XIX – XX centuries, which is relevant for the modern art history. The author is firs in the Russian art history to conduct a comprehensive analytical overview of the development stages of symbolism in the Russian visual art based on the years-long work with the archival materials, scientific publications (that cover over a century), and works of the Art Nouveau authors stored in the museum funds, many of which after 1917  appeared to be on the periphery of attention of art historians due to ideological reasons. The revealed individual characteristics of symbolism as a holistic artistic phenomenon, created on the level of modern humanistic knowledge, determine the novelty of this work and can valuable in further study of symbolism and Art Nouveau. Broadening of representations on the Russian art of the late XIX – early XX centuries, allow returning the heritage of the symbolist artists into the context of art, which is of undeniable importance from the perspective of restoration of natural logic of the development of the history of art in Russia, making this publication valuable in various fields of study of art and culture.

Keywords: Image, Poetics, Artistic Movement, Artistic Outlook, Silver Age, Symbolism, Art Nouveau, Russian Fine Art, Art Studies, Style

Abstract: The subject of this research is the theoretical works of Bernard Tschumi. The goal is to determine the place of the problem of corporeal experience in the theory of architecture of developed by the Swiss architect. For achieving the set goal, the author examines the key themes of his works –  the question of boundaries and limits of architecture, architecture as the place of occurrence of the event; as well as a number of concepts – “pleasure”, “limits”, “violence”. The texts created by Bernard Tschumi over the period from 1977 to 1981: “The Pleasure of Architecture” (1977), the article “Violence of Architecture” (1981), and a series of essays “Architecture and Limits” (1980–1981) served as the sources for this analysis. B. Tschumi did not dedicate works to the problem of corporeal experience alone; however, addresses this problem in the context of interaction between the audience and the building. His attention is focused on the viewer’s sensory experiences emerging in direct contact with the architectural object. On the one hand, this apposes B. Tschumi with the representatives of the phenomenology of architecture – S. Hall and J. Pallasmaa; all of them emphasizes the kinesthetic, nonverbal nature of corporeal experience in the perception of structures, their internal space and materials. On the other hand, B. Tschumi describes the relations between the body and the building as violent. Violence in the relations between man and architecture is ubiquitous: it is the interference of of a person into the architectural space, as well as feeling of discomfort provoked by the architectural space.

Keywords: perception, poststructuralism, intertextuality, Bernard Tschumi, corporeality, postdernism, theory of architecture, bodily experience, deconstructivism, contemporary architecture

Abstract: The subject of the study. The article analyzes a number of aspects of Brahms' intermezzo Op. 119 No. 3 in order to detect non-classical tendencies manifested in the structure of the musical fabric and the principles of shaping in this work. Research methodology. In the course of the study, the method of holistic analysis was used, which includes consideration of the features of harmony, textural originality, thematic processes and form-forming patterns in the Brahms intermezzo Op. 119 No. 3. Elements of comparative analysis were also applied (comparison of the principles of form formation in the composition under study and classical works, as well as comparison of the interpretation of the reprise of the three-part form in the Brahms intermezzo op 119 No. 3 and Chopin's nocturne Op. 48 No. 1). The scientific novelty of the work consists in the fact that as a result of the research it was possible to identify a number of non-classical qualities of Brahms' music, namely: the homogeneity of the sound fabric, a weak degree of differentiation of relief and background in texture, the absence of common forms of sound and passive fragments in musical form. The conceptual kinship of Brahms' principles of working with musical material with the technique of interpenetration of object and space, which became widespread in painting at the beginning of the XX century, was also discovered. Conclusions, the results obtained allow us to conclude that Brahms' intermezzo Op. 119 No. 3 implements a number of non-classical principles of working with musical material that anticipate the discoveries of composers of the Novovensky school (in particular, Webern). The results of the research can be used in the process of further study of Brahms' creativity and various theoretical aspects of music at the turn of the XIX–XX centuries, as well as in performing and pedagogical practice.

Keywords: the new Vienna school, game, non-classical worldview, musical shaping, homogeneous sound fabric, non-classical trends, spontaneity, late romanticism, intermezzo, brahms

Abstract: This article is a historical foray into participation of the Ural and the Chelyabinsk regions in the World Expos in the context of cross-cultural communication, in which the interaction between the exhibiting countries on the global questions of modernity takes place through the dialogue of cultures. In the broad sense, exhibition first and foremost is a significant attribute of culture and cultural life of a particular environment, and form of distribution of culture. The scientific literature features the following definition: “…exhibitions are the key presentation instrument of cultural policy of the country”. The real scientific achievements are concentrated in a single space. Each exhibition promotes different cultural traditions and contributes to the enrichment of cultures. As pertains to the participation of Ural, it is too early to speak of the full-fledged participation in the dialogue of cultures at World Expos; however, the region has made decent steps towards it. There is no doubt that the World Expo is an remarkable international event. Each host country makes every effort to ensure an immense scale of the event, attract wide audience of visitors and exhibitors. Therefore, the exhibition should be viewed from the global perspective.

Keywords: different forms of dialogue, world universal exhibitions, wealth of the Ural culture, dialogue of cultures, EXPO, social-cultural activities, exposition, culture, arts and crafts, the idea of the continuity of civilizations

Abstract: This article provides a brief systemic analysis of the key concepts of the so-called new science of art developed by the Austrian art historian Hans Sedlmayr. The result of Seldmayr’s pursuits are reflected in creation of his own philosophy of art and culture based on a particular worldview. The cognition of the whole, along with individual and unique, underlies this science. Understanding is the goal of scientific knowledge for Sedlmayr. It suggests not only abstract knowledge, but peculiar existential experience as well. Sedlmayr interprets the understanding of artwork as its contemplation, which in turn, is identical to its actualization or presence. In Seldlmayr’s art of science, epistemologies and ontologies merge into each other. He interprets artworks simultaneously as the event and as the social organism, which overcomes the linearity of time and fragmentation of plurality. This artificial complex system, built on the paradoxical identity of the single and plenty, is both finite and infinite. Sedlmayr’s views encompass classical and nonclassical approach towards cognition of the whole. He relies on the principles of monism, seeking to reduce all concepts to a single basis, single point of singularity that designates the synthesis of all the moments of the whole and can be expressed by a single category. The main category, which resembles the center of the opposites, is the “midpoint” (Mitte). The aforementioned ideas are consistent and logical only in such scientific worldview that identifies ontology and epistemology, which implies the unity of contemplation and phenomenon of the artwork. Therefore, in Sedlmayr's constructions, actualization or revival of the artwork is identical with its comprehension. The systemic approach towards the artwork reflected in the theoretical works of Sedlmayr extends the boundaries of art science and converges with philosophy.

Keywords: the understanding, the contemplation, the middle, the system, the whole, the science of art, The work of art, the event, interpretation, dasein