The article is devoted to the investigation of two types of cultural signs precedent phenomena and stereotypes. The deepened interest to the processes of intercultural communication, to the things predetermining its success or failure, to the things preconditioning certain evaluation of the communicative behaviour of a cultural community representative, not only defined the rapid development of the linguo-culturological paradigm but also required a re-interpretation of the interrelation between language, culture and mind questions. Precedent phenomena and stereotypes provide a fertile field for the investigation of such questions as the cultural markedness of language signs, cognitive structures verbalization, characteristics providing the commonness of a linguo-cultural space, the variety of aspects of a linguo-cultural personality. The aim of this article is to compare precedent phenomena and stereotypes in order to elicit their common features and differentiation lines. The investigation has been conducted on the English fiction and mass-media material which allowed to educe the ethnocultural connotations of precedent phenomena and stereotypes reflecting some stable representations of objects of reality in the mind of the language speakers. The investigation has revealed that the characteristics common for precedent phenomena and stereotypes include the sociocultural markedness of both cultural phenomena, their suprapersonal character, the reduced and invariant way of keeping in the mind of the linguocultural community representatives, the value-based and deictic character. As the investigation has shown, the differences between precedent phenomena and stereotypes take the lines emergence non-emergence, monoreferentiality polyreferentiality, metaphoricity non-metaphoricity, degree of behaviour modelling ability.

The article describes the versatility of the service sector in the tourism industry. It is argued that a clear definition and even an idea of management in the tourism industry as the flagship of the national and regional development of the service sector has not yet fully developed in the scientific community. The complexity, significance and relative novelty of the service sector in the tourism industry, as well as the lack of fundamental work in this area, have led to the emergence and use of many terms that define its essence. Over the past ten years, the regional administration in Russia has been undergoing a clear transformation and a new approach to strategy development is being formed.As the Russian tourism industry’s market for services represents an innovative management and socio-economic platform with a regional character, new management and development technologies should be more actively developed and implemented in the most resource-appropriate territories. The problems of strategic development of the service sector and management in the tourism industry are considered on the example of the servirization of the Sverdlovsk region.

In the article, the authors provide an assessment of the modernism art, cultivated for decades, in terms of the possibilities of its social and ideological influence. It is argued that the ideologists of the bourgeoisie had to admit that Western art culture was at an impasse. The article analyzes the works of philosophers and artists, such as: Lenin, Schwartz, Nietzsche, Brooke, Leist, Meyer, Reed, Bergson, Lauterbach, Huxley, Weir, etc. Among the many concepts -the theory of "cultural circles", "cultural lag" and "cultural traditions"; Theory of Art Evolution -Professor Munroe; theory of social and cultural dynamics P. Sorokin and others. However, none of these theories could put forward any significant, practically effective ideas that could breathe life into bourgeois art. Summing up the results of more than half a century of the modernism art, we can say that it did not enrich the artistic culture. Starting with contrasting itself with traditional art in a philosophical, theoretical and aesthetic sense, modernism fell outside the scope of art itself due to the absurdity of its practice. The authors believe that in search of a way out of the impasse, bourgeois scholars could not escape from "anti-realism" and art was against the individual. The path traveled by modernist art proves the futility of bourgeois art culture in the first half of the twentieth century, but does not deny its revival in the XXI century.

At the beginning of the XX century, bourgeois theorists of artistic culture declared dehumanization as one of the main features of the modernism art, one of the main tasks of the contemporary artists’ artwork. Getting to the scientific understanding of the complex and complicated phenomena of modern art culture, it is necessary to reveal not only the socio-economic reasons for their appearance; the philosophical prerequisites for the development of modern bourgeois art, the ideological orientation of its movements should be identified. In the article, the authors argue that modern bourgeois aesthetics objectively performs the opposite tasks: a) bourgeois art distracts artists and spectators from pressing issues of life, b) imposes ideals and tastes that are advantageous to the bourgeoisie, c) sow pessimism and disbelief in human forces. According to authors, as opposing the personality of society, bourgeois art contributes to the isolation of human from social problems, from issues and tasks of the struggle for a better future. The authors believe that the disclosure of the reactionary ideological essence for the many directions of modern bourgeois art enables a consistent Marxist aesthetic analysis of the content and form of artwork and the principles of bourgeois artists’ creativity. Naturally, the philosophical idealist teachings and aesthetic systems that make up the theoretical foundation of modern bourgeois art, embodied in its various directions not directly but indirectly. Only a Marxist analysis of artistic phenomena and techniques of artistic creation in their correlation with the creative method makes it possible to reveal the true interconnections of these phenomena and the essence of artistic techniques, makes it possible to detect and criticize scientifically based falsification ideas of bourgeois theoreticians of art.

When writing the article, the authors pursued one goal: to understand why extreme subjectivity in art, the abandonment for centuries of setting traditions, laws and techniques in art led to the loss of aesthetic criteria by the modernism art, and what philosophical trends influenced this process. The methodological basis of the article is the principles of integrity, objectivity and historicism. The following methods were applied: historical and philosophical analysis, focused on the objective completeness of the study; cultural and comparative approaches aimed at establishing spiritual ties between artists of different historical eras. The article analyzes the works of philosophers and artists, such as: Bergson, Schopenhauer Nietzsche, Chirico, Apollinaire, Lenin, Bru, Kandinsky. Various directions of bourgeois art are considered. The authors believe that abstract art, fully antisocial and dehumanized, fully meets the aesthetic ideals of the modernism art, which opposed itself to human from its very birth. The authors argue that if you take the artists’ position of that time, you can make an unambiguous conclusion, the dehumanization of art could not be avoided. According to the authors, abstract art, fully antisocial and extremely dehumanized, is fully consistent with the goals of bourgeois ideologists and fully meets the aesthetic ideals of the art of modernism, which has opposed itself to man since its inception.