The purpose of the article is to study historical politics as politics of memory in the modern Turkic republics of the Volga region in contexts of visualization of memory by means of cinematography. The author analyzes the role of the politics of memory in the formation of the memorial canon as a form of development of national identities in Tatarstan, Bashkortostan and Chuvashia. Methodologically, the article is based on the principles proposed in the memorial turn and the analysis of the politics of memory in intellectual history and the history of ideas. The novelty of the research lies in the comparative analysis of the politics of memory in the three Turkic republics of Russia in its visual contexts, while most other studies ignore the visual dimensions of memory, being focused on the discursiveness and narrative of the memorial politics. The article analyzes 1) the features of the official forms of historical politics in thecontext of its visualization, 2) thesystemic andstructural characteristics of the visualization of the memorial canon as an element of the politics of memory, 3) various current strategies and practices of commemoration within the framework of visuality in modern Turkic republics. The article shows the potential of visuality as one of the forms of historical politics for the consolidation of national identities.

Background. The author analyzes the texts of the Dune cycle in contexts of modern historiography, including its universal methods that allow analyzing “oriental” images in literature through the prism of constructing and deconstructing narratives that form the image of Jihad as a form of political, social and religious struggle of oppressed communities and minorities. Purpose. The purpose of the article is an “orientalist” reinterpretation of the images of Jihad in the novels belonging to the Dune cycle including the prequel text presented by Dune. Butlerian Jihad and Dune. Paul. Materials and methods. The author uses the methodological tools of intellectual history and studies of nationalism, including the concept of the invention of traditions, which allows to analyze the images of Jihad in science fiction as one of the invented traditions of mass US science fiction literature using the texts of the Dune cycle. Orientalism as a method is used to analyze Muslim motifs in the prose of F. Herbert, B. Herbert and K. Anderson, which, as the author of the article presumes, were inspired by political, ideological and religious stimuli. The author states that the orientalist approach can be an effective interpretative model for an interdisciplinary analysis of American science fiction as a cultural landscape for the development of Jihad images in the Western intellectual tradition of the consumer society. Results. The ideological and political foundations for the development of images of Jihad as a social concept of American science fiction are studied in the article. The article analyzes the ideological origins, as well as the political prototypes and archetypes of the Muslim radicals of the Dune cycle. The author analyzes the ideological discourse of radical Islamism, presented in American mass culture through the prism of religious war images as attempts to implement the doctrine and social liberation. The article analyzes the attempts of American writers to form a positive and attractive image of a radical political protest under religious Muslim slogans. Therefore, it is shown that American science fiction prose actualized the mobilization potential of Islamism, imagining and inventing it as a form of legitimate social and economic protest of the oppressed masses against discrimination. The author presumes that some American authors revised the images of Jihad, offering its interpretation as a radical social and class protest based on religious legitimation.

The article analyzes the features of development and the main vectors of transformation of the Chinese part of the modern Indonesian Ummah. It is shown that historically a unique community of ethnic Chinese and Indonesians of Chinese origin, who belong to the Muslim Ummah, emerged in Indonesia. The author analyzes the ideological and or-ganizational mutations and changes in the Muslim Chinese com¬munity, represented by the "Indonesian Chinese Islamic Brotherhood" ("Per-saudaraan Islam Tionghoa Indonesia"), the largest organization in Indo-nesia that unites Muslim Chinese and their descendants. Particular at-tention is paid to the current ideological preferences of Chinese Muslims in Indonesia. Their place in the Ummah and their subordinate, auxiliary role in the political system which distinguishes them from Indonesian Muslim organizations are also shown in the article. The article shows how and why activities of Chinese Muslims in Indonesia are limited mainly to preaching and spreading Islam among their compatriots, which became the result of a long period of discrimination, as well as the tendency of a part of Indonesian society to accept anti-Chinese phobias, extending them to Muslims, who formally, like the majority Indonesians, belongs to the Muslim Ummah.

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War is one of the most popular topics in modern mass culture. The author analyzes the features of the perception of war in modern science fiction cinema. The purpose of this article is to analyze the representation of war in American science fiction as a form of historical memory in mass culture. The author uses inventionism methods to analyze the images of war in the film production of mass culture as “invented traditions” of the consumer society. The range of perception of war and military experience in popular culture is analyzed. Modern global film industry and national film industries regularly address military themes in the world or national contexts, producing films that actualize military experience of nations and states. The film industry segments that specialize in the production of science fiction and fantasy films also do not ignore the military theme. It is supposed that popular culture offers a variety of images of war, including militarism, violence, military collective trauma, and military political psychosis. The author believes that military theme in popular culture arose as a result of reflection on real military conflicts, and the creators of the pop-cultural project could reject the war or idealize it. The author believes that military science fiction in modern American mass culture actualizes the values of pacifism or militarism as reflections of the left or right preferences of the creators of such cultural product for the consumer society. Science fiction films actualize various forms of war, including global military clashes, civil conflicts, aggression, intervention and genocide. Popular culture is becoming the main sphere of existence of the memory of war because military conflicts of science fiction series can be perceived in the consumer society as more real than the historical wars of the past. Military images of mass culture are supposed to actualize various forms of war memory, including memory as trauma, memory as marginalization, and memory as nostalgia which idealize war.