KAZAKH CULTURA AS THE BASIC FOR THE NATION-BUILDING OF THE REPUBLIC OF KAZAKHSTAN

The article is devoted to the study of the role of the factor of Kazakh ethnicity in the process of nation-building in Kazakhstan. In the opinion of the authors of the article, the Kazakh cultural beginning is the system-forming and founding nation, the beginning. The birth of statehood itself on the territory of modern Kazakhstan is associated with the ethnic and cultural genesis of the Kazakhs. At the same time, in the period of modern times, Kazakhstan was also formed as a multicultural community of peoples. The acquisition of modern independence by the republic in 1991 is associated with national, and, above all, Kazakh, revival, restoration of the Kazakh cultural origin as a system-forming nation. The authors focus on these processes not only of the cultural revival of the Kazakh people, but also of its dominance in all other spheres of life, for example, such as political-ideological and socio-economic. This objective process is reflected in the institutional and structuralfunctional aspects of nation-building, strengthening the role and significance of the Kazakh language as the state language in the country, modern demographic trends, the formation of Kazakh civil political culture and, in fact, the model of the formation of national identity. Scientists pay attention to the peculiarities of the Kazakh model of multiculturalism, the basic values of modern Kazakh society, in which such principles as common interests, social stability, tolerance, loyalty of society to the institutions of power, the culture of cooperation and social comunitarism have taken root. The authors come to the conclusion that the Kazakh model of social project, which is based on the Kazakh social partnership, is the guarantor of sustainable and progressive social development. Attempts to disavow or belittle the value of Kazakh identity or replace it with any other artificial formats under the influence of external factors can have the most negative impact on social stability and constructive, progressive social development. According to scientists, further social transformation is associated, first of all, with the strengthening, modern content, expansion and rooting of the Kazakh cultural origin in the process of nation-building in the Republic of Kazakhstan.

Ethnocultural basis of the formation process of the Crimean Tatar art culture and decorative and applied art (part one)

Based on the research results of Russian, Soviet and foreign archaeologists, anthropologists, geneticists and art historians, an attempt has been made to trace the process of formation of the artistic culture and decorative and applied art of descendants, who by the 10th –11th centuries took part in shaping of the Crimean mountain people, the Tats of the Crimea, the ancestors of the ethnographic groups of the modern Crimean Tatar people – the southern coastal and mountain Crimean Tatars, as well as of the Greco-Tatars – the Urums of the Azov region. And also to try to characterize the culture and decorative arts of the aboriginal and immigrant ethnic groups of the Crimean peninsula, who later took part in the process of ancient cultural genesis of the population of the mountainous and southern coastal Crimea. It also shows the initial stage of the process of cultural genesis of the steppe and foothill Crimean Tatars, which was going on parallel to the process of cultural genesis and formation of the artistic culture of the Tats of the mountainous and southern coastal Crimean Tatars.

Sacred foundations of A. Scriabin's fret system in relation to O. Messian's modality

The purpose of the article is to understand the archetypal root of the whole-tone constructions of Fret structures of A. Scriabin and A. Messian in reflecting the detachment from the harmonic system that is relevant for the twentieth century in favor of a linear-melodic approach, determined by the archaic structures of the Indo-Iranian melodic basis. The methodology of the research is a cultural and historical concept in the traditions of A. Losev, in which certain means of expressing art are tested by the cultural genesis and cultural ideas of the time. We use analytical, comparative-historical, and genre-nominative musicological approaches based on aesthetic, cultural, and philosophical positions. The hermeneutical lines of the intonation approach in musicology in the traditions of B. Asafyev and B. Yavorsky in Ukraine, which are in contact with the verbal-centrist approach to music in the French tradition and are clearly expressed by J.-J. Rousseau and his followers of the level of Y. Kristeva, are also important for the work. The scientific novelty is determined by the primacy of the author of the study in the statement of the origins of the sacred determination of Fret thinking and O. Scriabin, and O. Messian in the cultural incentives of Indo-Iranian archaism. This stimulated "scythism" in the Slavic art world of the early twentieth century and Celtic-eastern references to the developments of C. Debussy, determining the Indo-philosophical orientation of Fr. Messian's franciscanism. Conclusions. Cultural and social sources of interval-fret constructions by A. Scriabin and A. Messian point in both cases to the Iranian-Indian basis of European archaism, which in the French composer finds a frank bias towards Hindu-philosophical and rhythmic borrowing. IN O. Scriabin paradoxically closes the search for Scythian-Iranian roots of archaic semantic positions, multi-vector discussed in the circles of Russian Futurists (led by N. Kulbin) and Polish Symbolists. The semitone-whole-tone melodic basis, which encourages support for the quart in A. Scriabin and K. Debussy, fueled the discovery of a new modality of A. Messian, which established in the vanguard of the second wave Scriabin's "nerve" as a mysterious and liturgical interpretation of the musical expression in "Light" by K. Stockhausen, the memorial symbolism of L. Nono and absurdist abstractionism of the works of P. Boulez, others.

On the Origin of the Caspian Culture

Introduction. The territory of Lower Volga occupies a special place in studying the cultural genesis of Eastern Europe. Prominent cultures of the Eneolithic and Early Bronze Age were formed there and played an important role in the formation of the Volga-Ural hearth of cultural genesis. Equally important is the problem of the origin of the Caspian culture, with which researchers associate the beginning of the spread of cattle breeding and the emergence of the first copper products in the Volga steppe. Methods and discussion. The researchers expressed quite similar views on this issue. The process of Caspian culture origin in the Lower Volga region was considered as autochthonous with the participation of northern components. The substrate basis was the Oryol culture, and the superstrate was the societies of the Volga region forest-steppe. The comprehensive analysis of Volga steppe materials allows offering an alternative view of the Caspian culture genesis. The appearance of several features (collar-like thickening, a combed stamp, the technique of increased spin, producing economy, the dominance of quartzite raw materials for the manufacture of tools, the technique of forced squeezing in the receipt of logs, the emergence of producing farming in the form of cattle breeding, etc.) is associated not with the northern foreststeppe and forest-steppe, but with western components. The comparative analysis of radiocarbon dates of the forest-steppe and steppe Volga, Northern Caspian Sea and Don area supports this version. The chronological priority is fixed for materials of the Don area and Azov region. It is in these areas that the leading features characteristic of the Caspian culture appeared earlier. Results. The earlier complexes of the Caspian culture were formed in the Northern Caspian about 5700 BC. Later its penetration into the Lower and forest-steppe Volga Basin was recorded.

Logical Mechanisms of Comprehending Culture: An Experience of a Theoretical and Methodological Research

В статье предложена конкретизация методов постижения культуры, отражающая онтологию самой культуры. Несмотря на разнообразие теорий, в культурологии отмечается недостаточная конкретизация принципиальных оснований, необходимых для формирования методов постижения различных аспектов культуры как реальности. Целью явилось определение совокупности парадигм методических представлений, с которыми связано логическое постижение культуры. Источником исследования послужили различные представления культуроцентризма: как социальной стратегии (В. С. Библер, А. Я. Флиер), как научно-исследовательской программы (Г. Риккерт), как мировоззренческой позиции (М. С. Каган, Ю. В. Ларин). Исследование осуществлено в два этапа: через акт сравнения конкретизированы основания для формирования методологий логики, диалектики и антиномии, затем показана сфера применимости каждой области методов в отношении культуры. Полученные результаты важны для разработки общих и специальных методологий постижения культуры. Cultural centrism is a concept that considers culture as an ontological reality. The fundamental foundations necessary for the formation of methods of comprehending various aspects of culture as reality are insufficiently specified. The aim of the study is to determine the set of paradigms of methodological concepts that are associated with the logical comprehension of culture. The sources of the study were various representations of cultural centrism: as a social strategy, as a research program, as a worldview position. The methodological foundations for comprehending culture should reflect its ontology, multidimensionality and metalogical complexity. The study was carried out in two stages: through the act of comparison, the grounds for the formation of methodologies of logic, dialectic and antinomy were specified, then the scope of applicability of each methodology in relation to culture was shown. The methodological basis for comprehending the ontology of culture was developed based on the positions of cultural centrism. The research methods are differentiated analysis and conceptual modeling within the framework of a system-structural approach to the object of research. The objectivity of the methodology requires that the logic of cognition be consistent with the nature of the perceived reality. The main methodological element of the cognizing act is the implementation of a logical comparison operation, which can be resolved in three ways, forming the methods of logic, dialectic and antinomy of culture. The logic of culture coincides with its morphology, it reflects the existence and development of objective forms of culture (symbolic, normative, axiological and objective representations, enshrined in the corresponding theories of cultural genesis, are fundamental ones). The dialectic of culture repeats personal inculturation and cultural creation. The antinomy of culture reflects the inconsistency of the ontological reality of culture, which unambiguously and inseparably connects the subject and the object of culture. This allows us to consider in unity all the particular concepts of describing culture’s specific reality (nature-centric, sociocentric, anthropocentric and theocentric) and all the types of culture’s actualization (objective, normative, axiological and symbolic). As a result, the concretization of methods of comprehending culture is proposed. The concretization reflects the ontology of culture itself. The results obtained are promising for the development of general and specific methodologies for comprehending culture.

Traditional Culture of the Life Support of Buryats: Genesis and Dynamics

Th e monograph is the fi rst ethnohistorical study devoted to the analysis of the development of the culture of life support of the Buryats during the 18th–19th centuries. Th e work considers the formation of the traditional culture of life support of the Buryats in the context of ethnoand cultural genesis, examines its development in the fi rst half of the 19th century and describes the infl uence of sedentarization policies and practices on it, traces the ways and results of its transformation in the second half of the 19th century and identifi es trends in modernization. Th e book is addressed to ethnographers, historians, cultural scientists and anyone interested in the problems of Buryat culture.

HEURISTIC POTENTIAL OF THE "ART WORLD" METACONCEPT IN MUSIC COMMUNICATION

The topical problem of modern musicology is the comprehension of scientific representativeness of the generally accepted terms and concepts in the context of post-non-classical scientific picture of the world and cognitive science. As a navigator of conceptual understanding of a musical work, the article considers the content of the art history metaconcept "art world". The trigger mechanism for its creation in the lexical system of musicological language is the procedure of understanding the autonomous, integral, intonation and sound concept of the composition. The study of the semantics of the "art world" metaconcept reveals its constants and invariants. Philosophical, socio-cultural genesis represents the variable periphery and the "core" — the key name of the concept that generates multiple notions within the scientific discipline and in the vast scientific field of transdisciplinary interactions. The analysis of nominative linguistic units presents etymological, historical and actual semantic layers. The hierarchical structure of the "art world" metaconcept as a theoretical object and a mechanism for the formation of figurative and artistic representations is a dynamic system of interaction between various semiotic, static and procedural elements, which determines the semantic multiplicity of interpretations. Being a complex, mental structure of musician's language and consciousness and actively participating in cross-cultural communication, the "art world" metaconcept is able to mark the branch cultural and historical method of scientific cognition.

Andronovo Problem: Studies of Cultural Genesis in the Eurasian Bronze Age

Andronovo culture is the largest Eurasian formation in the Bronze Age, and it had a significant impact on neighboring regions. It is the important culture for understanding many historical processes, in particular, the origins and migration of Indo-Europeans. However, in most works there is a very simplified understanding of the scientific problems associated with this culture. The history of its study is full of opposing opinions, and all these opinions were based on reliable grounds. For a long time, the existence of the Andronovo problem was caused by the fact that researchers supposed they might explain general processes by local situations. In fact, the term “Andronovo culture” is incorrect. Another term “Andronovo cultural-historical commonality” also has no signs of scientific terminology. Under these terms a large number of cultures are combined, many of which were not related to each other. In the most simplified form, they can be combined into two blocks that existed during the Bronze Age: the steppe (Sintashta, Petrovka, Alakul, Sargari) and the forest-steppe (Fyodorovka, Cherkaskul, Mezhovka). Often these cultures are placed in vertical lines with genetic continuity. However, the problems of their chronology and interaction are very complicated. By Andronovo cultures we may understand only Fyodorovka and Alakul cultures (except for its early stage); however, it is better to avoid the use of this term.

CERAMIC COMPLEX OF THE MALAYA SOPKA SANCTUARY OF THE BRONZE AGE ON THE LOWER DON

The paper contains an analysis of the ceramic collection of the bronze age sanctuary Malaya Sopka. The sanctuary is located in the Oktyabrsky district of the Rostov region and was investigated in 2017. A little more than 10,000 square meters of the cultural layer of the сentral part of the monument were studied, which is about two-thirds of the total area. On the entire territory of the excavation, there were no dwellings, buildings, household pits, and hearths. However, 10 religious complexes were studied on the site, in the form of a system of ditches of various configurations (ring, rectangular, double ring), 12 objects (stone slabs and layouts, ruins of vessels), which gave reason to call Malaya Sopka a place of worship or a sanctuary. The weakly saturated cultural layer contained tools and products made of stone, bone and bronze. The main part of the finds is represented by ruins and fragments of bronze age ceramics and fragments of cattle bones. The ceramic complex of the site was formed at the turn of the middle and late Bronze age at the base of two different cultural traditions: the local Babino (multi-ribbed) and the newcomer Don-Volga Abashevo culture. The syncretic ceramic complex marks the stage of formation of the early Srubnaya (Timber-grave) culture and supplements the data on the cultural genesis of the middle-late Bronze age with the materials of the cult site.