The article provides a brief description of the life and activities in the diplomatic field of A.A. Bezborodko, a native of the small Little Russian town of Glukhov, who did not belong to the upper strata of the Russian aristocracy, nevertheless, made a significant contribution to Russia's foreign policy during one of the most striking periods in the country's history – during the reign of Empress Catherine II.

Key words: P.A. Rumyantsev, Kuchuk-Kaynardzhi Treaty, Empress, Crimea, Tatars, Polish-Lithuanian Commonwealth, Ottoman Empire, Crimean Khanate, England, Prussia, Austria, Turkey, Orthodox, Sweden.

 

Today, mass media and social media have become the main tools of political communication. In the context of mass digitalization and the widespread use of social media, their application in political communication is essential for ensuring the effectiveness of political communication processes. Mass media are traditional communication tools used in political communication, while social media, which have only gained popularity in recent decades, have become a new form of political communication tools that allow for reaching a segment of the population that is difficult for traditional mass media to reach, such as young people. For the younger part of the audience, as well as for the general population, the most preferred communication channels today are social media such as social networks (VKontakte) and instant messengers (Telegram, which currently has restrictions on its use in the Russian Federation). However, today, social networks and instant messengers are showing a downward trend in their use in social media, and traditional media outlets are increasingly gaining prominence as the primary channel for political communication.

Key words: political communication, mass media, social media, social networks, messengers, communication tools, communication channels, communication.

 

Empowering ideological and political theory courses with artificial intelligence is an inevitable result of the development of the era of educational informatization. To comprehensively promote the "live" of ideological and political courses, it is necessary to rely on AI technology to enable ideological and political theory courses, use digital coding, the Internet, and electronic equipment to complete the transmission of teaching information and the processing of teaching data, and create digital teaching scenes and online+offline flipped classrooms for ideological and political theory courses. It is also necessary to promote the integration of AI technology and education, build a high-quality teaching data database for ideological and political theory courses, and provide teachers and students with more intelligent teaching models and scientific evaluation mechanisms. Meanwhile, there will be a must to use AI technology to enable and increase efficiency for ideological and political theory courses, and promote the high-quality development of ideological and political education in the new era.

Key words: Artificial intelligence, Ideological and political theory courses, Teaching model, Evaluation mechanism.

 

This article is devoted to understanding hyperistoricism as a special kind of political consciousness characteristic of the inhabitants of the Caucasian region. The essence of this phenomenon is that long-past historical events are given a super-significant meaning and become an effective factor in current political life. The work examines both foreign and Russian theoretical concepts devoted to this issue, traces the roots of hyperistoricism on Caucasian soil, and provides a conceptual demarcation between historical consciousness in its usual sense and its hypertrophied manifestations. Based on the analysis of individual illustrative cases, the author demonstrates the dual nature of the phenomenon under consideration and formulates proposals aimed at harmonizing interethnic relations in the North Caucasus region in the context of preserving a unified Russian socio-cultural and political space.

Key words: hyperhistoricism, political consciousness, North Caucasus, ethnopolitical mobilization, historical memory, interethnic relations, Russian statehood, politics of memory.

 

Postmodern philosophers have made significant contributions to rethinking the nature of perception and interpretation of cultural phenomena. Despite their differences in approach, they share a common goal of overcoming the limitations of classical rationality and exposing the contingency of all meaning-making constructs. This article explores the profound impact of postmodern ideas on contemporary culture, art, and the social sciences. They contributed to the development of critical thinking, teaching us to notice contradictions, paradoxes, and the multi-layered nature of phenomena that defy straightforward interpretations. Postmodernists reject the idea of a single correct reading of cultural texts, emphasizing the inherent plurality of interpretations. They argue that meanings are not predetermined in works of art or literature, but are re-created each time they are perceived, influenced by both the individual interpreter and the broader socio-cultural context. According to postmodernists, our perception is always mediated by discursive practices, systems of signification, and power relations. From this perspective, language does not simply reflect reality, but actively constitutes it, setting the boundaries of what can be thought and perceived. Recognizing this conditioning of perception leads to the relativization of any hierarchical meanings and the recognition of the equality of different perspectives. Thus, postmodernism not only acknowledges the fundamental pluralism of cultural perception, but also celebrates it as a positive value.

Key words: modernism, postmodernism, culture, pluralism, perception, interpretation, text.

 

The article examines the interrelation of values such as freedom, humanism, and spirituality in the context of Eurasian culture. According to the author, Eurasian culture is formed on the basis of deep values that reflect the spirit of peoples through the images of being, thinking, morality, politics. These fundamental values underlie the accumulation and development of the cultural heritage of the various peoples of the region. It seems to us that the function of such a context is effectively performed by the cultural and value system integrating the Eurasian civilization. It is based on organically interrelated values – freedom, humanism, spirituality. These values are key elements in the process of forming a common cultural platform for further harmonious integration.

Key words: freedom, humanism, spirituality, values, Eurasian culture, cultural heritage.

 

The article is devoted to the study of the court etiquette represented in theatricalized performance «Great! With love, Catherine…" by the creative team «Jugendshtadt». The project activity of the team involves a wide range of activities with the aim of popularizing the historical and cultural heritage of the Germans in the Volga region. The theatricalized performance «Great! With love, Catherine…" (written and directed by D. Zhukockaya (Raff)) is one of these events, the staging of the play having been done in the Russian and German languages (2022-2023). The subject of the research is the discursive peculiarities; the object is the linguistic and extralinguistic markers of the court etiquette based on the script of the play. The representations of the ethnocultural realities, the rules and norms the court etiquette which blossoming fell at the period of Cathrine’s reign on the verbal level are viewed as the linguistic markers. The script lists the proper names of the noble representatives and court circles of the young future empress, the titles, the forms of address which were typical for the historical epoch under discussion. The interior details, the costumes, the decorations, the dance performing, the use of the theatre «shadow puppetry» are considered as the extralinguistic markers of the court etiquette representation. The analysis and synthesis as the general scientific methods, the descriptive method, the textual and semiotic methods as well as the interpretational analysis of the empirical material have been applied in the research. 

Key words: historical discourse, court etiquette, the German language, the Germans in the Volga region creative team «Jugendshtadt», theatricalized performance «Great! With love, Catherine…", semiotic space, linguistic markers, extralinguistic markers, theatre «shadow puppetry».

 

In the article, the authors consider the need to preserve the historical memory of generations about the Great Patriotic War. Special attention is paid to the role of museums and memorial complexes as the main keepers of authentic evidence capable of preventing or uncovering falsification of the results of World War II and downplaying the role of the Soviet people in the Victory over fascism. The evolution of museum practices is analyzed, starting from the first exhibitions and ending with modern expositions and other museum projects, and it is concluded that the synthesis of documentary and artistic forms most effectively ensures the preservation of historical truth and the continuity of generations.

Key words: The Great Patriotic War, heroism, patriotism and courage of the Soviet people, museums and memorials about the war, memory of generations, museum communication, preservation of historical memory.

 

This article examines the pop vocal performance as the fundamental unit of pop art. The focus is on pedagogical aspects: how to study the dramaturgy of a performance within the framework of professional training for vocalists. The article analyzes the compositional structure, dramaturgical criteria, and the role of direction. Methodological approaches to analyzing a performance with students are proposed. The conclusion is drawn regarding the necessity of incorporating dramaturgical analysis into the educational process.

Key words: pop vocal performance, dramaturgy, pedagogy of pop art, stage direction, vocalist training, stage image.

 

The article examines the phenomenon of the Moriscos – descendants of the Muslims of the Iberian Peninsula who converted to Christianity following the Reconquista – as a cultural-historical and theoretical object of study. Drawing on Jan Assmann's concept of cultural memory and Yu.M. Lotman's semiotics of culture, the author analyses the mechanisms of preservation of Arab-Muslim cultural identity under conditions of administrative and inquisitorial pressure. It is shown that the Morisco phenomenon embodies the principle of "dual identity" – official Christian and covertly maintained Muslim – whose existence testifies to the limits of administrative destruction of cultural memory. Special attention is given to the doctrine of limpieza de sangre, which shifted the cultural boundary from the religious to the biological level, making Morisco integration structurally impossible. Concrete forms of identity preservation are examined: covert religious practice (the doctrine of taqiyya), the aljamiado tradition of recording Romance texts in Arabic script as an act of identification, and everyday ritual and linguistic practices. The expulsion of the Moriscos of 1609–1614 is analysed as the culmination of the "semiotic project of identity purification" and as a cultural catastrophe whose consequences Spanish society felt for a century. The fate of Moriscos in the diaspora, particularly in Tétouan, is considered through Assmann's concept of cultural crystallisation.

Key words: Moriscos, forced assimilation, dual identity, limpieza de sangre, cultural memory, aljamiado, taqiyya, expulsion of the Moriscos 1609–1614, semiotics of culture, Yu.M. Lotman, J. Assmann.

 

The article analyzes the structural and functional characteristics of Tuvan family rituals in modern conditions. Special attention is paid to their syncretism, which is manifested in a combination of elements of shamanic rituals and Buddhist rituals, as well as in the preservation of cultural heritage, adaptation of religion to a new environment and in changing cultural conditions, forming unique belief structures and ensuring stability in a new social environment. The scientific significance of the research lies in its contribution to the theory of cultural sustainability of small ethnic groups in Russia. The data obtained expand the understanding of the adaptation mechanisms of traditional societies in the face of global challenges. The work enriches ethnological research with new empirical materials on the specifics of Tuvan spiritual culture. In addition, it makes a methodological contribution, demonstrating the effectiveness of an integrated approach to the study of syncretic religious systems.

Key words: religious syncretism, shamanism, Buddhism, cultural heritage, ethnic identity, Tuvan culture, tradition, rituals, traditional culture.

 

The article is devoted to the role of museums as active transformers of the cultural environment using the example of projects in the Krasnoyarsk Territory. It examines how museums actualize cultural heritage, act as platforms for public dialogue and participation, solve social problems, strengthen the «power of the place» and contribute to the formation of Siberian identity. Based on the analysis of scientific publications and specific practices (pedagogical archeology, open-air museums, Krasnoyarsk Museum Biennale, V.P. National Center Astafieva, branch of the National Center «Russia») shows the mechanisms of the influence of museums on the urban and regional environment. Special attention is paid to the complex nature of museum activities and their implementation at the regional, interregional and international levels. The conclusion is made about museums as centers of social life and catalysts of cultural changes in Siberia.

Key words: museum, cultural environment, cultural heritage, Siberian identity, actualization, dialogue, innovation.

 

The article presents a comprehensive museological analysis of the transformation of the historical and cultural environment of the Moscow Classical Gymnasium building, founded in 1901 with funds from the outstanding philanthropist P. G. Shelaputin and designed by architect R. I. Klein. In the context of the Shelaputinsky Gymnasium, "dialogue" refers to the coexistence and interaction of various historical layers, meanings and functions in one space for more than 120 years. The author explores the evolution of the facility from the "perfect educational environment" of the early 20th century, which combined secular education with spiritual education in the house church of St. Gregory the Theologian, to the modern administrative center. The article examines the process of architectural degradation and fragmentation of space during the Soviet period, when the placement of the Academy of Communist Education and the Academy of the General Staff of the Red Army in the dormitory building led to the concealment of the author's idea under late dissonant structures. Based on the materials of the 2024 state historical and cultural expertise, the article analyzes modern restoration methods aimed at uncovering the original volumes and restoring the solemn neoclassical decor: columns, mascarons and vaulted ceilings. Special attention is paid to the problem of integrating modern security and communications systems of the Main Military Prosecutor's Office into the historical fabric of the monument on the principle of reversibility.

Key words: P.G. Shelaputin, R.I. Klein, Shelaputinsky gymnasium, museological analysis, restoration, cultural heritage, dialogue of epochs, neoclassicism.

 

The article is devoted to the analysis of fundamental changes in the structure of the viewer's experience caused by the development of interactive cinema in the first quarter of the 21st century. The author examines the process of the recipient's transition from the traditional model of passive contemplation to a new hybrid form – the status of "viewer-user". The paper explicates in detail the concept of "narrative agency" as a key factor that provides the audience with tools to directly influence the sequence of events and the semantic structure of the work. Special attention is paid to the psychological and aesthetic phenomena of reception that arise in the context of nonlinear storytelling: "procedural identification", in which the subject identifies himself not only with the character, but also with the volitional act of choice itself, as well as the "aesthetics of responsibility" associated with the ethical weight of decisions. Using the example of the analysis of representative media products ("Black Mirror: Bandersnatch", "Erica", "Late Shift"), it is proved that the user interface in modern interactive cinema ceases to be a technical superstructure, turning into an organic element of "navigation aesthetics". The article proves that the role transformation of the audience leads to the deconstruction of the classical triad "author – work – viewer", where the figure of the author passes to the role of "architect of probabilities", and the viewing process is transformed into an act of conscious co-creation. 

Key words: interactive cinema, viewer-user, narrative agency, navigational aesthetics, nonlinear narrative, procedural identification, aesthetics of responsibility, tactile visuality.

 

The article provides an overview of recent research on the philosophy and art of Nikolai Roerich, published in South Korea. While this research is relatively new, it highlights a growing interest in exploring the relationship between the East and the West. In the Far East, Nikolai Roerich is well-known as an artist, set designer, philosopher, writer, traveler, archaeologist, and public figure. The article examines several relevant scientific publications that demonstrate the views of contemporary Korean scholars on the origins of N.K. Roerich's philosophy, its connections with the theosophy of E.P. Blavatsky, the interest in the Living Ethics in the Far East, the perception of the artist's paintings, and the cultural and historical significance of the Roerich Pact. The article analyzes research conducted in the 2010s and 2020s.

Key words: Nicholas Roerich, Living Ethics, Datsan Gunzechoinei, Paintings of N. Roerich, Roerich Pact.

 

This study provides a comprehensive analysis of the decisive influence of Japanese ukiyo-e woodblock prints of the Edo period on the genesis and evolution of the coloristic system in the works of Gustav Klimt and the artists of his circle, united around the Vienna Secession and the Wiener Werkstätte movement. In the context of the phenomenon of European Japonism in the second half of the 19th century, the study examines in detail not the superficial adoption of exotic motifs, but the profound structural transformation of Western pictorial consciousness under the influence of an alternative color paradigm. It is argued that the aesthetic principles of ukiyo-e–flatness, locality, and conventionality of color, the primacy of the decorative and rhythmic organization of the plane, and bold, non-imitative contrasts–served as a catalyst for Klimt and his contemporaries' radical reconsideration of the functions of color in painting. This influence contributed to the transition from naturalism and historicism to a synthetic, symbolic-ornamental style, in which color was emancipated from the task of illusoryly reproducing reality, becoming a key carrier of emotion, symbolism, and pure pictorial expressiveness. This study contributes to the understanding of the mechanisms of intercultural dialogue in Art Nouveau art.

Key words: Gustav Klimt, Vienna Secession, Japonism, ukiyo-e, color system, colorism, local color, flatness, decorativeness, ornament, Art Nouveau (Jugendstil), Hokusai, Hiroshige, synthesis of the arts.

 

The success of a grandiose program of state cultural policy aimed at turning culture into a strategic resource for the country's development depends on how well future managers of the socio-cultural sphere understand and share the goals of this policy, and what their willingness to implement the tasks set is. That is why the purpose of this article is to identify the features of the value orientations of future managers of socio-cultural activities, their assessments of the state and priorities of the development of national culture, as well as their readiness to fulfill the strategic objectives of the state cultural policy. The article analyzes the results of a survey conducted at the Faculty of Socio-Cultural Technologies of the St. Petersburg State University of Culture at the end of 2025, the respondents of which were first-year students. The study showed that the ideal manager, according to the respondents, should understand the specifics of culture, and qualities such as determination and erudition are of particular importance for success. Such a manager should be an excellent communicator, possess goal-setting and personal and working time planning skills, be proficient in project development and presentation technologies, as well as marketing tools. The professional worldview of future managers of socio-cultural activities is dominated by creative, social and meaningful cultural missions. The conducted research allows the author to assert that the concentration of attention in the educational and educational process on the implementation of the axiological component will undoubtedly contribute to the formation of educational and motivational resources of future cultural managers, who will soon have to put into practice the tasks of state cultural policy.

Key words: state cultural policy, spiritual and moral values, manager of socio-cultural activities, all-Russian civic identity, patriotism, St. Petersburg State University of Culture.

 

The article examines musical ear as a complex, multifaceted phenomenon necessary for composing, performing, and actively perceiving music. It analyzes current approaches to classifying types of musical ear: absolute and relative pitch, melodic, harmonic, polyphonic, timbre, rhythmic, intonational, architectonic hearing, and others. Special attention is paid to the psychological and pedagogical aspects of ear development in vocal lessons. The author concludes that the development of musical ear is one of the key tasks of music education, and its effectiveness directly depends on the choice of teaching methods and techniques, among which singing and auditory analysis occupy a central place. The practical significance of the article lies in the possibility of using the proposed approaches in the work of vocal and solfeggio teachers at children's music schools, art schools, and general education institutions.

Key words: musical ear, types of musical ear, absolute pitch, relative pitch, melodic hearing, harmonic hearing, rhythmic hearing, timbre hearing, intonational hearing, inner hearing, development of musical ear, vocal lessons, musical abilities, music pedagogy, vocal education.

 

This article explores the Irbit fair phenomenon. Based on literary sources, it reconstructs the nature of the ancient barter market on the site of the modern city, whose successor was the All-Russian Irbit Fair, nicknamed the “Mirror of Furs.” It is concluded that the ancient barter market, located along the Great Fur Route, was linked to the fur trade between Northern Eurasia and the countries of the Near and Middle East. Furs were also the main commodity at the All-Russian Irbit Fair, a fact clearly demonstrated during its brief revival in the first half of the 1920s. The article concludes that the modern, revived Irbit Fair is evolving into a classic game and country fair.

Key words: phenomenon of the Irbit Fair, furs, the Great Fur Route, “Mirror of Furs”, game and country fair.

 

This article analyzes 21st-century visualized dystopias, identifying their common patterns and functions. It also examines the problem of conceptual stagnation and the changing meaning of dystopia in contemporary society. The aim of the study is to substantiate the conceptual stagnation of dystopias and identify the factors that may contribute to this. The following methods were used: comparative and contrastive methods, structural and functional analysis, and a sociological approach–analyzing the connection between the problems of modern society and the themes of dystopia, including the influence of socioeconomic formation. Discourse analysis–in the context of the rejection of utopian thinking and the rejection of idealism in modern society, analytical and synthetic methods were also used. The study demonstrates that contemporary visualized dystopias exhibit conceptual stagnation, repeating the same patterns without offering solutions. The key reasons for this include the dominance of the Western cultural paradigm, the film industry's focus on profit and the use of proven plot devices, the unresolved socioeconomic problems of the modern era, the rejection of utopian thinking, and the rejection of idealism in society. It has been established that 21st-century dystopia does not fully fulfill its function as a social warning because it: fails to offer alternatives to an undesirable future, focuses on the symptoms rather than the causes of problems, and reproduces the characteristics of the society being criticized.

Key words: Dystopia, inequality, socioeconomic formation, conceptual stagnation, genre patterns, commercialization of art, contemporary film industry.

 

The article considers the results of a comprehensive study of the architectural monument Panagia 1, from the Late Bronze Age (XIV–X centuries BC) in the Northern Black Sea region. Based on the analysis of the material complex and burial practices, the model of life support and the socio-economic structure of the ancient community of the Taman Peninsula are reconstructed. The author has established that the economic foundation of the community was based on a combination of pastoral cattle breeding with intensive use of coastal resources. A high degree of economic autonomy is confirmed by the development of domestic crafts: ceramic, bone-cutting, leather and furry production. Special attention is paid to the local metallurgical hearth, the presence of which is confirmed by the finds of flakes, slag and an ornate bronze knife. The author emphasizes the high adaptability of the population to the landscapes of Taman, where the functionality of tools and household utensils was harmoniously combined with artistic traditions. The analysis of spiritual culture, based on the materials of the funeral rite, revealed a stable system of ideological ideas. The regularity of ritual practices, starting from the strict orientation of the buried to the specific composition of the "memorial menu" and the use of astragaluses as protective amulets, indicates a developed ancestral cult and social hierarchy. The presence of decorative elements on utilitarian objects is interpreted as a sign of social stability, which allowed society to move from a survival strategy to the formation of aesthetic values. In conclusion, the prospects for further study of the monument are determined, related to the use of multidisciplinary methods: tracological and X-ray fluorescence analysis (XFA), as well as a detailed technical and technological study of ceramics based on the laboratories of the Institute of Archeology of the Russian Academy of Sciences. The generalization of a large-scale volume of data (over 10,000 finds) and their subsequent museification in the funds of the Tanais Reserve will make it possible to finalize the reconstruction of the adaptive mechanisms of the Taman population at the end of the Bronze Age. 

Key words: Taman Peninsula, geographical features, estuaries (Vityazevsky, Bugazsky, etc.), archaeological heritage, Late Bronze Age (PBV), Panagia 1 settlement, diet (dairy and meat, marine resources), household crafts (ceramics, processing of materials), marine gathering, production technologies (hearth firing vascular repair), multidisciplinary research.

 

Background. The article examines the influence of shamanic mythology on the formation of dramaturgical principles in Mongolian theatre. The relevance of the study lies in the fact that, in works on the history of Mongolian stage culture, shamanic heritage is usually treated as an element of ritual culture, folklore imagery, or ethnographic colouring, whereas its structural role in the organisation of conflict, the system of characters, and scenic space remains insufficiently explored.

Purpose. The purpose of the article is to identify the dramaturgical mechanisms through which shamanic mythology shapes the construction of Mongolian plays and stage action.

Methodology. The methodological basis of the study includes historical-cultural, comparative, and theatre-studies methods, as well as elements of mythopoetic and performance analysis. The article draws on works on Mongolian shamanism, Mongolian culture, and theories of ritual, myth, and stage action.

Results. It is established that shamanic mythology affects Mongolian dramaturgy not only at the level of subject matter but also at the level of deep structural organisation. Mythological models of passage between worlds, ordeal, mediation, and restoration of order generate a specific type of conflict in which confrontation unfolds simultaneously in human, natural, and sacred dimensions. The figure of the mediator between worlds becomes one of the stable dramaturgical centres, while the cosmological symbolism of the vertical axis, the circle, the world tree, the mountain, and the path determines the spatial composition of stage action. It is argued that, in Mongolian theatre, the shamanic myth functions not as an external folkloric ornament but as one of the structure-forming principles of dramaturgy.

Practical implications. The results of the study may be applied in cultural studies, theatre studies, the analysis of national dramaturgical models, and in courses on theatre history, mythology, and the traditional cultures of Central Asia.

Key words: Mongolian drama, shamanism, mythology, theatrical action, mediator, stage space, mythopoetics, conflict.

 

Background. The article examines the phenomenon of the “small theatre” in China as a key institutional and artistic environment in which the contemporary Chinese theatrical avant-garde was formed. The relevance of the study is determined by the fact that in Russian theatre studies Chinese avant-garde theatre is often described mainly through individual directors or through the influence of European artistic models, while the institutional role of small stages remains underexplored. Yet it was precisely the chamber performance space that emerged in the post-reform era and enabled Chinese theatre to develop new forms of scenic conventionality, directorial freedom, spectator contact and artistic experiment.

Purpose. The purpose of the article is to interpret the “small theatre” as a space for the formation of the Chinese theatrical avant-garde and to identify its significance in the artistic and institutional transformation of PRC theatre from the late twentieth to the early twenty-first century.

Methodology. The methodological basis of the research includes historical-cultural, comparative-typological and theatre-studies methods, as well as elements of institutional analysis. The article draws on studies of Chinese theatre in the era of reform and opening-up, scholarship on contemporary Chinese directing, small stages, intercultural reception and postdramatic processes.

Results. It is established that the “small theatre” in China functioned not merely as an architectural or spatial format but as a cultural model of new stage thinking. The study shows that the emergence of chamber venues was connected with transformations in cultural policy after 1978, the expansion of directorial initiative, the weakening of the normative repertory model and the rise of a new urban audience. It is demonstrated that the main features of the Chinese avant-garde were elaborated precisely in the space of small stages: montage dramaturgy, anti-illusionism, genre hybridity, new corporeality, a closer actor-spectator relationship, and the combination of Western theatrical experience with traditional Chinese scenic codes. It is argued that the activity of Lin Zhaohua, Meng Jinghui and related theatre structures turned the “small theatre” into the institutional basis of contemporary Chinese theatrical experiment.

Practical implications. The findings may be applied in cultural studies, theatre studies, theatre history, as well as in courses on contemporary Chinese art, intercultural theatre and the institutional history of stage practices.

Key words: Chinese theatre, small theatre, theatrical avant-garde, Lin Zhaohua, Meng Jinhui, director's theatre, reform and opening up, Chinese stage, intercultural theatre, postdramatic practices.

 

The art of beautiful writing – this applies to calligraphy. It pours soul into every letter and word, allowing us to immerse ourselves in a boundless world of art, where ancient patterns and modern romance are intertwined. Perhaps, for some, calligraphy in its modern form will become a profession. Calligraphy allows each word to convey precisely the desired image through its own style; it creates a special atmosphere, breathing new colors into the lines. Calligraphy is a creative process; it implies the creation of an individual writing style, imbuing characters with emotionality. After all, the calligrapher's task is not simply to present a text aesthetically, but also to correctly place accents, making it memorable and associative. Regular practice of calligraphy can improve one's handwriting. Today, interest in calligraphy is beginning to emerge, and this should be developed, starting in school and continuing in higher education.

Key words: calligraphy, education, training, beauty, lettering, history.

 

The purpose of this study is to find similarities in Yakut Tengrism and Japanese Tenri-kyo. For the first time Yakut Tengrism and the Japanese religion of Tenri-kyo are considered in comparative terms as religions of Revelation. The relevance of the research comes from the current tense situation in the world and the need for its peaceful resolution. It is necessary to look not for contradictions between peoples, but for commonalities, including similarities in their traditional spiritual values. Why do the Sakha (Yakuts) and the Japanese have the identical theonym Tenri? What is the reason for this? To clarify these positions, a phenomenological method is used, which focuses on the direct experience and experiences of Miki Nakayama, who revealed the God Tenri-kyo in October 1838, and the experience of the characters of the Yakut epic olonkho. There is also a historical tour of the appearance of these religious teachings, the places and times of their appearance are indicated, their rituals and basic concepts are briefly described. As a result of comparing the basic concepts of both religions, despite the different epochs and places of their manifestations, common parallels are revealed, explained by the universality of the religions of the revelations of the Creator God – Tenri, as well as possible ancient cultural and other contacts. The issue undoubtedly requires further investigation. 

Key words: Tengri, Tangara, Ayy, Tenrikyo, Revelation, Tengrism, Olonkho.

 

The article examines the features of scientific approaches to the personnel management system, highlights their key principles, analyzes the specifics of administrative, economic, psychological, and social management methods, as well as the types of organizational and managerial impact on employees.

Key words: personnel management, labor potential, human resource management, labor collective, organizational culture, management methods, personnel policy.

 

This article examines the interpretation and analysis of Plato's work "Polytheia" by modern Japanese scholars, the various aspects that attract their attention, and how Platonic concepts relate to the Japanese cultural and political context. Historically, Japan's acquaintance with Plato's philosophy began during the Meiji period (1868-1912), when the country experienced an active adoption of Western ideas. During this time, translations of Plato's works became available to Japanese intellectuals, marking the beginning of the academic study of his works. In the 20th century, the study of ancient philosophy, including Plato's work, became part of university curricula, reflecting the general processes of globalization in the education. Japanese scholars began to analyze "Polytheia" not only as a historical document but also as a source of ideas relevant to modern times.

Key words: Japan, Plato, Politeia, scientists, justice, Buddhism, Confucianism, education, democracy.