The article is dedicated to the analysis of thematic and formal originality of A.S. Bukhov's «literary» feuilleton. The satirist exposes the different aspects of modern to him literary life (untalentedness of authors, who create popular texts, low level of reader taste, state of humour, memoirs and critics), touches the contiguous types of art (cinema, stage), using genre stylization and parody here. Bukhov's feuilletons of politics and way of life, in which literary intertextuality functions, are elucidated in the article also.Key-words: feuilleton, literature, satire, humour, «pseudo creative power», genre stylization, parody. ; Статья посвящена анализу тематического и формального своеобразия «литературного» фельетона в творчестве писателя-сатириконца А.С. Бухова. Сатирик раскрывает различные аспекты современной ему литературной жизни (бесталанность авторов, создающих популярные произведения, низкий уровень читательского вкуса, состояние юмористики, мемуаристики и критики, творчество «на заказ»), касается смежных видов искусства (кинематограф, эстрада), используя при этом жанровую стилизацию и пародию. Также, в статье рассматриваются фельетоны Бухова бытовой и политической проблематики, в которых функционирует литературная интертекстуальность.Ключевые слова: фельетон, литература, сатира, юмор, творчество «на заказ», жанровая стилизация, пародия. Стаття присвячена аналізу тематичної та формальної своєрідності «літературного» фейлетону у творчості письменника-сатириконця А.С. Бухова. Сатирик розкриває різні аспекти сучасного йому літературного життя (відсутність таланту у авторів, які створюють популярні тексти, низькій рівень читацького смаку, стан гумористики, мемуаристики та критики, творчість «на замовлення»), торкається суміжних видів мистецтва (кінематограф, естрада), використовуючи жанрову стилізацію і пародію. Також, у статті розглядаються фейлетони Бухова побутової і політичної проблематики, у яких функціонує літературна інтертекстуальність.Ключові слова: фейлетон, література, сатира, гумор, творчість «на замовлення», жанрова стилізація, пародія. The article is dedicated to the analysis of thematic and formal originality of A.S. Bukhov's «literary» feuilleton. The satirist exposes the different aspects of modern to him literary life (untalentedness of authors, who create popular texts, low level of reader taste, state of humour, memoirs and critics), touches the contiguous types of art (cinema, stage), using genre stylization and parody here. Bukhov's feuilletons of politics and way of life, in which literary intertextuality functions, are elucidated in the article also.Key-words: feuilleton, literature, satire, humour, «pseudo creative power», genre stylization, parody.
The article substantiates the need for an economic evaluation of mass culture, which is understood as the culture of life, entertainment and information, which prevails in modern society. It includes such phenomena as media, sports, cinema, music, mass literature, visual arts, etc. Mass culture, a culture adapted to the tastes of the broad masses of people, is technically replicated in the form of a multitude of copies and is distributed using modern communication technologies. The article considers the historical aspects of the emergence of mass culture, its objective and irreversible nature, as well as the peculiarities of its manifestation in modern conditions. The origin and formation of mass culture is associated with the formation of an industrial society. Standardization in the sphere of material production required standardization in the spiritual and cultural spheres. There are positive moments of mass culture, namely, accessibility, democracy, tolerance. Messages of mass culture are clear, addressed to all people regardless of their origin, status, age, education. Mass culture relieves psycho-emotional stress that a person experiences while performing a monotonous, monotonous workplace at his workplace. The risks of uncontrolled promotion of mass culture are argued, namely the formation of average taste, the illusory nature of happiness, the formation of artificial needs, the inefficient use of resources, the threat of glut in the market for services. Indeed, mass culture products are serial and standardized, and therefore it is focused on primitivization, that is, a simplification of the idea of the world, of itself. Popular culture always has a commercial purpose. Her works do not act as a means of copyright self-expression, but directly addressed to the reader, listener, viewer and take into account his requests. It is summarized that modern mass culture carries economic opportunities and risks that need to be controlled. Mass culture serves as a kind of mediator between the generally accepted values of the elite culture, the avant-garde "underground" and traditional folk culture. Transforming esoteric revelations and marginal artistic experiments into a part of the "naive" consciousness, mass culture contributes to its enrichment and development. ; В статье обосновывается необходимость экономической оценки массовой культуры. Рассмотрены исторические аспекты возникновения массовой культуры, ее объективный и необратимый характер, а также особенности ее проявления в современных условиях. Отмечаются положительные моменты массовой культуры. Аргументируются риски неконтролируемого продвижения массовой культуры, а именно формирование усредненного вкуса, формирование искусственных потребностей, неэффективное использование ресурсов, угроза перенасыщения на рынке услуг. Резюмируется, что современная массовая культура несет в себе экономические возможности и риски, которые необходимо контролировать. ; У статті обґрунтовано необхідність економічної оцінки масової культури, під якою розуміється культура життя, розваг та інформації, що переважає в сучасному суспільстві. Вона включає такі явища, як медіа, спорт, кіно, музика, масова література, візуальне мистецтво тощо. Масова культура, культура, адаптована до смаків широких мас людей, технічно тиражується у вигляді безлічі копій і розподіляється за допомогою сучасних комунікаційних технологій. Розглянуто історичні аспекти виникнення масової культури, її об'єктивний і необоротний характер, а також особливості її прояву в сучасних умовах. Виникнення і формування масової культури пов'язане з формуванням індустріального суспільства. Стандартизація у сфері матеріального виробництва вимагала стандартизації в духовній і культурній сферах. Є позитивні моменти масової культури, а саме: доступність, демократія, толерантність. Повідомлення масової культури зрозумілі, адресовані всім людям незалежно від їх походження, статусу, віку, освіти. Масова культура знімає психоемоційний стрес, який людина відчуває при виконанні монотонної, одноманітної праці на своєму робочому місці. У статті обґрунтовуються ризики неконтрольованого просування масової культури, а саме: формування середнього смаку, ілюзорність характеру щастя, формування штучних потреб, неефективне використання ресурсів, загроза перенасичення на ринку послуг. Дійсно, продукти масової культури є послідовними і стандартизованими, а тому орієнтовані на примітивізацію, тобто на спрощення ідеї світу, самого себе. Популярна культура завжди має комерційну мету. Її роботи не виступають засобом самовираження авторських прав, а безпосередньо адресовані читачеві, слухачеві, глядачеві і враховують його прохання. Узагальнено, що сучасна масова культура несе економічні можливості та ризики, які необхідно контролювати. Масова культура є своєрідним посередником між загальноприйнятими цінностями елітної культури, авангардним «підпіллям» і традиційною народною культурою. Перетворюючи езотеричні одкровення і маргінальні художні експерименти на частину «наївної» свідомості, масова культура сприяє її збагаченню і розвитку.
The article substantiates the need for an economic evaluation of mass culture, which is understood as the culture of life, entertainment and information, which prevails in modern society. It includes such phenomena as media, sports, cinema, music, mass literature, visual arts, etc. Mass culture, a culture adapted to the tastes of the broad masses of people, is technically replicated in the form of a multitude of copies and is distributed using modern communication technologies. The article considers the historical aspects of the emergence of mass culture, its objective and irreversible nature, as well as the peculiarities of its manifestation in modern conditions. The origin and formation of mass culture is associated with the formation of an industrial society. Standardization in the sphere of material production required standardization in the spiritual and cultural spheres. There are positive moments of mass culture, namely, accessibility, democracy, tolerance. Messages of mass culture are clear, addressed to all people regardless of their origin, status, age, education. Mass culture relieves psycho-emotional stress that a person experiences while performing a monotonous, monotonous workplace at his workplace. The risks of uncontrolled promotion of mass culture are argued, namely the formation of average taste, the illusory nature of happiness, the formation of artificial needs, the inefficient use of resources, the threat of glut in the market for services. Indeed, mass culture products are serial and standardized, and therefore it is focused on primitivization, that is, a simplification of the idea of the world, of itself. Popular culture always has a commercial purpose. Her works do not act as a means of copyright self-expression, but directly addressed to the reader, listener, viewer and take into account his requests. It is summarized that modern mass culture carries economic opportunities and risks that need to be controlled. Mass culture serves as a kind of mediator between the generally accepted values of the elite culture, the avant-garde "underground" and traditional folk culture. Transforming esoteric revelations and marginal artistic experiments into a part of the "naive" consciousness, mass culture contributes to its enrichment and development. ; В статье обосновывается необходимость экономической оценки массовой культуры. Рассмотрены исторические аспекты возникновения массовой культуры, ее объективный и необратимый характер, а также особенности ее проявления в современных условиях. Отмечаются положительные моменты массовой культуры. Аргументируются риски неконтролируемого продвижения массовой культуры, а именно формирование усредненного вкуса, формирование искусственных потребностей, неэффективное использование ресурсов, угроза перенасыщения на рынке услуг. Резюмируется, что современная массовая культура несет в себе экономические возможности и риски, которые необходимо контролировать. ; У статті обґрунтовано необхідність економічної оцінки масової культури, під якою розуміється культура життя, розваг та інформації, що переважає в сучасному суспільстві. Вона включає такі явища, як медіа, спорт, кіно, музика, масова література, візуальне мистецтво тощо. Масова культура, культура, адаптована до смаків широких мас людей, технічно тиражується у вигляді безлічі копій і розподіляється за допомогою сучасних комунікаційних технологій. Розглянуто історичні аспекти виникнення масової культури, її об'єктивний і необоротний характер, а також особливості її прояву в сучасних умовах. Виникнення і формування масової культури пов'язане з формуванням індустріального суспільства. Стандартизація у сфері матеріального виробництва вимагала стандартизації в духовній і культурній сферах. Є позитивні моменти масової культури, а саме: доступність, демократія, толерантність. Повідомлення масової культури зрозумілі, адресовані всім людям незалежно від їх походження, статусу, віку, освіти. Масова культура знімає психоемоційний стрес, який людина відчуває при виконанні монотонної, одноманітної праці на своєму робочому місці. У статті обґрунтовуються ризики неконтрольованого просування масової культури, а саме: формування середнього смаку, ілюзорність характеру щастя, формування штучних потреб, неефективне використання ресурсів, загроза перенасичення на ринку послуг. Дійсно, продукти масової культури є послідовними і стандартизованими, а тому орієнтовані на примітивізацію, тобто на спрощення ідеї світу, самого себе. Популярна культура завжди має комерційну мету. Її роботи не виступають засобом самовираження авторських прав, а безпосередньо адресовані читачеві, слухачеві, глядачеві і враховують його прохання. Узагальнено, що сучасна масова культура несе економічні можливості та ризики, які необхідно контролювати. Масова культура є своєрідним посередником між загальноприйнятими цінностями елітної культури, авангардним «підпіллям» і традиційною народною культурою. Перетворюючи езотеричні одкровення і маргінальні художні експерименти на частину «наївної» свідомості, масова культура сприяє її збагаченню і розвитку.
The analysis of articles and normative documents for quality control and regional origin of wines was carried out. Chemical composition of the grapes and the wine has been considered, qualitative and quantitative changes during vinification, maturation and aging of wine were shown. The basic group of compounds contents and ratios which determine the qualitative characteristics of wines, as well as have an important role in the formation of aroma and taste of the drink was found. The prerequisites for the development of the market of counterfeit products and wine falsification methods were discussed. The analysis of scientific literature and regulatory framework governing the quality of the wines on the territory of Russia and the European Union and the existing approaches to determine their authenticity was conducted, the advantages and disadvantages are shown. The examples of using different criteria for the establishment of natural and adulterated wines have been discussed, as well as their approaches to identify and create a comprehensive system of wine production quality evaluation using methods of physicochemical analysis. The main methodological approaches to establish a wine regional origin, combining the capabilities of modern methods of analysis, mathematical modeling and statistics are analyzed, examples of their use in practice are shown.Keywords: wine, methods of analysis, quality, authenticity, regional origin, falsification, mathematical modeling (Russian)DOI: http://dx.doi.org/10.15826/analitika.2014.18.4.001 Yu.F. Yakuba1, A.A. Kaunova2, Z.A. Temerdashev2, V.O. Titarenko2, A.A. Halafjan2 1North Caucasian Regional Research Institute of Horticulture and Viticulture of the Russian Academy of Agricultural Sciences, Krasnodar, Russian Federation2 Kuban State University, Krasnodar, Russian FederationREFERENCES1. 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Установлены основные группы соединений, содержания и соотношения которых определяют качественные характеристики вин, а также играют важную роль в формировании аромата и вкуса напитка. Обсуждены предпосылки развития рынка поддельной продукции и способы фальсификации вин. Проведен анализ научной литературы и нормативной базы, регламентирующей качество вин на территории России и стран Европейского союза, существующих подходов к определению их подлинности, указаны достоинства и недостатки. Обсуждены примеры использования различных критериев для установления натуральных и фальсифицированных вин, а также подходов их комплексной идентификации и создания системы оценки качества винодельческой продукции с помощью методов физико-химического анализа. Проанализированы основные методические подходы к установлению региональной принадлежности вин, сочетающие возможности современных методов анализа, математического моделирования и статистики, продемонстрированы примеры их использования на практике.Ключевые слова: вина, методы анализа, качество, подлинность, региональная принадлежность, фальсификация, математическое моделированиеDOI: http://dx.doi.org/10.15826/analitika.2014.18.4.001
