Review: The subject of this research is the relationship between science fiction as a literary genre and mediareality. Contemporary culture is filled with images from science fiction that are represented in media forms. New means of communication extend fantastic universums and enrich their plots through publishing fan fiction, role playing, etc. There must be some grounds the relationship between science fiction and mediareality is based on, so this is the subject matter of this research article. The research methodology is based on the techniques and methods adopted from the theory of literature, semiotics and mediaphilosophy. The researcher has also applied the historical method. The rationale of this research is caused by the fact that science fiction that had been so popular in the mid XXth century gave the content to the majority of works written in the media era. Totally and expansively growing mediareality has also involved fantastic discourse that has been at the peak of popularity for over quarter of a century. Mediareality is represented through the phenomena of contemporary fantastic discourse and the latter gets better opportunities for extension. The researcher emphasizes the need to analyze the grounds of this union in order to understand the trends of the cultural development. 

Keywords: Media, Philosophy of literature, Media culture, Mediarationality, Philosophy of absurdity, Absurdity, Mediaphilosophy, Speculative fiction, Mediareality, reader

Review: The article is devoted to the phenomenon of Chinese ink drawing, history of this gendre and essential features thereof. By analyzing the existence of an artistic item (ink drawing, in particular) in the cultural space, the authors speak of its transparency that is conditioned by the heritage and connection to the traditions. The authors analyze stages and socio-cultural dependence of the genre specifics, influence of the European tradition on specific features of symbolic images and motifs. The authors focus on sustainability and ability to 'self-maintenance' of Chinese ink drawing. The authors study diverse empiric material in relation to the particularities of the art consciousness structure. Considering specific features of the research object, the authors have applied a classical method of the historical cultural research combined with comparative linguistics and elements of the comparative analysis. The scientific novelty of the research is caused by the fact that the authors shift away from the art history discourse when studying the artistic material and selecting the philosophical analysis perspective. As a result of the research, the authors conclude that we can speak about the transparency of the genre that is conditioned by the heritage and relation to the traditions. Taking into account the nature of the symbol, the authors state that Chinese ink drawing creates paradigmatics of the messages transmitted at each cultural stage while preserving the succession of these stages. The vital capacity of this genre proves the fact of its existence which, in its turn proves the importance of artistic 'items' in the art consciousness structure of many cultural generations. 

Keywords: transformation of a genre canon, tradition, symbol in painting, globalization processes, Chinese painting, transparency of the work of art, art consciousness, drawing ink, multiculturalism, understanding in culture

Review: The object of the research is the applied animation in Russia at the turn of the 1920 - 1930s. The subject of the research is the processes that have been happening in the cultural space of the country as a result of new value paradigms being developed. Petrukhina draws the parallel between the crude woodcuts style and poster style in the Soviet graphic design and animation. She describes historical grounds for the applied Soviet animation as a means of interaction between different types of arts and communication technologies. Conclusions about the influence of previous processes on the creation of the original appearance of applied animation are drawn, its characteristic features are highlighted. The author of the paper uses a theoretical analysis of the scientific specialized literature. The research is based on the method of description that includes methods of observation, comparison, generalization and interpretation. The rationale of the research is caused by the fact that that Russian applied animation resulted from the transformation of the crude woodcuts style, ideological poster making and numerous graphic and technological experiments in cartoon animation. The author discovers unique eclectic and collective nature of animation.  The fact that this is an understudied topic requires further diligent studies. In conclusion of the article, the author discovers the ways of prolification of applied animation in the socio-cultural space and opportunities to use it at this stage. 

Keywords: graphic art, paradigm, experiment, proliferation, soviet poster, evolutionary regularity, design, socio-cultural space, communication technologies, applied animation

Keywords: yen, tradition, culture, denomination, banknote, coin, money, Japanese, kokorozuke, cash

Keywords: intercultural communication, stereotypes, cultural stereotypes, media, culturology, historical context, French-Arab relations, France, French culture, islamic culture

Keywords: Great Patriotic war, postsoviet period, cultural policy, youth policy, military memorial work, military memorial heritage, search movement of Russia, military burial place, dead defenders of the Fatherland, mass grave

Keywords: exhibitions, design, engineering, architecture, crisis, emigration, personality, decision, death, life

Keywords: monumental art, Crimea, mosaic, Soviet period, form, culture, plastic form, urban space, composition, creation

Keywords: Kandinsky, artistic life, art of revolutionary Russia, students of VKhUTEMAS, OST, Society of Easel, Tyshler, SVOMAS, VHUTEMAS, Communist Academy