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The article deals with the genre features of L.I. Gaidai "The Diamond Arm". It is noted that in this fi lm, in addition to a satirical denunciation of various shortcomings of Soviet reality, L.I. Gaidai gives a parody on numerous foreign and domestic fi lms, primarily fi lms about James Bond, foreign parodies of Bond and other spies, detective and crime comedies and individual comedy roles. The connection in the fi lm of numerous echoes with parodied prototypes required the director to turn to a special genre – the mockumentary fi lm, which began to actively develop in those years in Western cinema. Perhaps Gaidai's "The Diamond Arm" turned out to be the fi rst domestic example of this genre. It is based on the technique of bricolage, which is expressed in a special combination of many borrowed plot situations and actors' characters. The result is a believable story with easily recognizable intrigues and plot moves, made in the manner of realistic fi lming, without exact quoting of material borrowed from other fi lms, but with a recognizable reliance on it. Thanks to the layering of parodied plot details embedded in everyday situations that were widespread in the Soviet reality of those years, the director creates a story that is outwardly simple and understandable to the general public, unfolding in the frame. Thus, Gaidai managed to form a script, consisting entirely of parodied borrowings. The director offers not only to laugh at the so-called 'individual shortcomings', but also draws attention to conceptual criticism of the vulnerable aspects of the Soviet mass consciousness of the 1960s – over the main value priorities of the many-sided domestic bourgeoisie, focused on the life for 'personal benefi t'. Accordingly, he criticizes precisely this ideal of false self-assertion, both by direct satirical denunciations of the negative aspects of Soviet reality, and by parodying models of acquisitiveness and personal comfort borrowed from the West, to which Soviet seekers of an easy life were committed.

The article presents an analysis of the main versions of the emergence and evolution of minimalism, proposed by both domestic and foreign art history. In the domestic literature of the 80-90s, there was an opinion that the origin of musical minimalism was a reaction to the European avant-garde that preceded it. However, today this statement looks somewhat speculative and not entirely reliable, due to objective historical reasons. The lack of information about Western art in all its diversity that existed at that time made it necessary to fill in the informational gaps with theoretical constructions and assumptions, one of which turned into a sincere conviction of many researchers that each new avant-garde phenomenon arose as a reaction to the previous one. Given the lack of facts, such a view could be considered quite justified, but it did not make it possible to recognize the true nature of minimalism. The modern level of information accessibility makes it possible to overcome the prevailing stereotype regarding the genesis and evolution of minimalism. The role of the international creative association "Fluxus" was very important in its development, in the ranks of which both representatives of the European avant-garde and American experimenters freely exchanged ideas. Very different and sometimes underestimated sources merged in musical minimalism, among which are the heritage of the musical and non-musical avant-garde, abstractionist and visual minimal art, experimental audio technicism and actionism, and an appeal to non-European music. This fusion of ideas and artistic techniques eventually formed a new synthetic phenomenon; a special minimalist style of a number of American composers - T. Riley, S. Reich, F. Glass, J. Adams, as well as European composers, among which M. Nyman became the most prominent figure. It was Nyman who proposed to extend the term 'minimalism' to the art of music, starting with the creative searches of J. Cage and his followers. In recent decades, among domestic musicologists, in relation to minimalism, the prefix 'post' has been increasingly added, heralding the transition to the era of postminimalism. However, in the avant-garde currents, such a transition was never synchronous and occurred gradually, when the subject of artistic reflection consistently rejected and replaced the former modernist conceptualism, actualizing direct perception and emotional reactivity. However, in musical minimalism, including its Russian branch, the mentioned process has not yet reached its final stage.

This text discusses the argumentation of the authors of the article "Carnival Time: Russian Higher Eductaion and Science in the Postmodern Era" by Doctor of Economics, Professor P.A. Orekhovsky and Doctor of Philosophy, Professor V.I. Razumov, where they analyze the situation in modern Russian higher education. It is noted that the desire to expand the boundaries of scientific discourse on this urgent topic leads researchers to search for non-traditional methods of analysis of the current situation in education. In this case, the author considers the modern problems of domestic education through the prism of the literary theory of the carnival developed by M.M. Bakhtin for the analysis of artistic phenomena of a completely different order. It is argued that the experience of a critical understanding of the problems of education in the artistic works of various authors and eras leads to obvious parallels both among themselves and with the current situation in the domestic higher education, which is confirmed by a comparison of P.A. Orekhovsky's and V.I. Razumov's observations and conclusions, with texts by Lao She, Jean Baudrillard, Yuval Noah Harari, with the statements of the President and Chairman of the Board of Sberbank of Russia G.O. Gref and Assistant to the President of the Russian Federation, previously the Minister of Education of the Russian Federation, A.A. Fursenko. On the basis of multiple comparisons of a number of texts and statements, it is concluded that the progressive stratification and destruction of the system of domestic education reflects a global trend due to a change in the global social assessment of the meaning of truth and the scientific knowledge needed to find it, and the practical use in the interests of all mankind, or part of it. The author supports the forecasts by P.A. Orekhovsky and V.I. Razumov about the upcoming change in the types of institutions of science and education, as well as about imminent changes in the field of goal-setting and the organization of intellectual activity in states with developed scientific and educational potential.

In the middle of the XIX century the musical component of Russia's cultural ties with Europe significantly increased. This was due to the emergence of romanticism – a revolutionary phenomenon in all forms of art. The touring activity of its creators was a characteristic feature of musical romanticism. Outstanding composers, masterly playing their instruments, introduced a lot of new things to the technique of playing them and to the imaginative sphere of music. They sought to promote their skills in major cities around the world, including St. Petersburg and Moscow. The announcement of their performances and laudatory reviews in the press seemed to fully reflect the state of Russia's relations with European musical reality. However, the organizational side of the tour, which required a lot of effort on the part of the host and on the part of the tour operators, was not disclosed in the official press. This hidden work was carried out thanks to acquaintances abroad of representatives of the domestic elite with the best musicians in Europe and through their private correspondence. It was done through personal contacts of the Russian enlightened amateurs, which more accurately reflected the depth and nature of our country's ties with the culture of other countries. The author studied the archival sources in search of information about the appearance in Russia of some guest performers, the structure of their performances and life. The memoirs of contemporaries contain interesting details and direct impressions of the musicians' playing. This article attempts to show the true value of harpists' concert touring in our country, their resounding success, noted by the official press. The author highlights the educational role of Russian highly educated music lovers in establishing ties with the best professional musicians in Europe in the middle of the XIX century.