The article reveals the heuristic possibilities of introducing a constructivist interpretation of the phenomena of ethnos and ethno-cultural identity, made on the basis of symbolic constructs of consciousness of a mythological and metaphysical sense. Considering these phenomena from this perspective makes it possible to give a qualitative new interpretation of the understanding of modernizing transformations on the basis of a certain ethno-cultural complex, which is able to effectively conquer the achievements of European modernity. The peculiarity of ethno-cultural identity, which becomes a condition for successful modernization, is modeled on the examples of the development of professional art in Yakutia in the ethno-modern paradigm in the national theater, cinema and choreography. The paper presents the first generalized analysis of the possibilities of ethno-cultural modernization in the “multiple modernities” paradigm, which is based on the ontology of symbolic consciousness of representatives of non-modernized ethnic groups.

This paper attempts to uncover the semantic message of “The River”, an unreleased film that was supposed to be a new program product in the filmwork of Aleksei Oktyabrinovich Balabanov. At the beginning of the article, the author reveals the director’s method of conceptualizing his films that appeal to the mythological conceptualization of the narrative structure in addition to the plot and genre of the film. The latter is clarified in the process of comparing the films with the structure of a fairy tale, which has also already been noted by some researchers of Balabanov’s movies. The novelty of the article is connected with a philosophical analysis of the indicated conceptualization of “The River” film-project (2002) and an attempt to identify aesthetic effects and symbolic meanings encoded in the film production.The author believes that the close attention of “The River” project’s director to the cultures of traditional society, and especially the culture of northerners — the Tofalars (Tofa), the Yakuts (Sakha), is due to the proximity of the traditional cultures of the North and the Arctic to the mythological method of conception in culture. In this sense, “The River” project was, in all likelihood, to become the director’s experiment in building an archaic topos with a crystalline mythological concept of the abundance of the natural over the cultural and the corresponding mentality and psychology of the actions of the “old era”. The main thing in this cinematic experiment was to take the culture “off the table” and analyze the natural spontaneity in human nature, with the subsequent “splitting” of mythological consciousness, breaking the epic circle of tradition with a symbolic outcome, through the concept of “boat” and “river”, to a universal human principle, metaphysical topos of thought. The prophetic gift of the director, embodied in a number of his films, is interpreted on the example of “The River” and reflects the message for the path of self-development of the cultures of Russian peoples.

The objective of paper is to assess the time-compressed dynamics of the culture of the ethno-national region of Russia, to identify its regularities and to draw parallels with the stages of European and Russian cultural processes. The article identifies the quality and modernization potential of the current state of ethnic culture, which is under the pressure of assimilation of cultural globalism. The methodology is revealed by the definition of the Renaissance culture as the ability to operate with symbolic forms and the consistent transfer of the well-known properties of the European and Russian Renaissance to the modern ethnic culture of the Russian region as isomorphic processes. The paper identifies the state of regional culture as result of a double reflection of the cultural renaissance, called as the "Yakut Silver Age". The criteria for that is the presence of a creative paradigm of ethnomodernism, manifested in the field of art.

Материалы журнала доступны на сайте (articles and issues available at): manuscript-journal.ru RUФакторы и критерии культурного ренессанса как отражения взаимодействия этнического символизма и знаковости массовой культуры: на примере якутской культуры Пудов А. Г.Аннотация. Цель исследования -раскрыть на примере якутской культуры тему социокультурных преобразований, отражающих способность этнической культуры завоевывать посредством искусства эпоху европейского модерна. Указанное явление вписывается в «отраженный» культурный ренессанс, аналогичный русскому Серебряному веку рубежа XIX-XX веков. Научная новизна исследования заключается в раскрытии этапности динамики якутской культуры, анализе возможностей успеха или срыва этнокультурной модернизации в парадигме этномодерна, приведены примеры феномена этномодерна в якутском кинематографе с привязкой к авторам и их фильмам. Особенность якутского культурного ренессанса заключена в синтезе метафизики модерна и этнокультурного символического капитала на фоне нарастающего давления массовой культуры глобального мира и, соответственно, ассимиляции и утраты этнического. В результате доказано наличие этапа культуры, идентифицированного как «Cеребряный век якутской культуры». Фактором культурного ренессанса становится наличие массовой знаковой культуры, противопоставленной символической этнической культуре. Показано, что этнический человек способен возвращать смыслы модерна на современном этапе глобального постмодерна и альтермодерна.