Culture of culture

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E.A. Orlova. The anthropological foundations of scientific knowledge




A.V. Kostin, A.Ya. Flier. Ternary functional model of culture (continued)

N.A. Khrenov. Russian culture at the turn of the XIX–XX centuries: the Gnostic "Renaissance" in the context of symbolism (continued)

V.M. Rozin. Some features of modern art

V.I. Ionesov. Memory of things in images and plots of cultural introspection




A.Ya. Flier. Social and organizational functions of culture

M.I. Kozyakova. The Ancient cosmos and its evolution: ritual, spectacle, entertainment

N.A. Malshina. The post-non-classical paradigm in the study of the Russian cultural industry: A new type of rationality and value system

N.A. Khrenov. A Century later: the tragic experience of Soviet Culture (continued)

Announcement of the next issue


Shapinskaya Ekaterina Nikolaevna,
Doctor of Philosophy, Professor, 
Director of Education in the sphere of Culture 
of Likhachev Russian Research Institute
 for Cultural and Natural Heritage. 
Love as a Power Relation:
Don Juan as an Archetypical Character in the Field of Interpretation
Abstract. The article examines love as a power relation and its representation in different social and cultural contexts and artistic forms. Main types of dominance/subjugation as regards love relations have been singled out. The change of meaning of these relations depending on the context has been shown. The main features of postmodern culture important for contemporary interpretation of power/subjugation in love have been examined. Author’s position has been illustrated by the research in the characters of Don Juan in literary and music texts.  and their representations in different discourses. The analysis of three representative stage versions of Mozart's "Don Giovanni" helped to trace the connection of politics of representation with philosophic ideas and cultural dominant features of different epochs.
Key words. Power, dominance, subjugation, context, representation, culture, interpretation, art.
 [1] The article was prepared with the support of Russian Foundation for Humanities. Grant N 12-03-00095.
[2] Gilbert P. Human Relationships. Oxford UK-Cambridge USA : W.W. Norton and Company, 1991. P.41.
[3] See: Dvorkin A. Pornography. Men possess women // Introduction to Gender Studies. Part 2. Kharkov – St. Petresburg: Kharkov Center for Gender Studies, 2001. P. 203-208. 
[4] Ibid. P. 202. 
[5] Connell B. Hegemonic Masculinity // Gender. A Sociological Reader. L.-N.Y. Cambridge Polity Press, 2002. P.60
[6] Gilbert P. Human Relationships. Oxford UK-Cambridge USA: B. Blackwell, 1991. P.52
[7] Goethe J.W. Truth and Poetry, From my own life // Goethe J.W. Collected Works. Vol. 3. Moscow: Khudozhestvennaya Literatura, 1976. P. 157. 
[8] Dvorkin A. Ibid. P. 211. 
[9] Eliot P., Mendell N. Theories of Feminism // Introduction to Gender Studies. Part 2. Kharkov – St. Petresburg: Kharkov Center for Gender Studies, 2001. P. 109. 
[10] Nietzsche F. Ecce Homo // Works in 2 volumes. Vol. 2. Moscow: Mysl’, 1990. P. 727. 
[11] Nietzsche F. The Gay Science // Ibid. Vol. 1. P. 526. 
[12] Nietzsche F. Human // Ibid. Vol. 1. P. 435. 
[13] Gilbert P. Op.cit. P 46.
[14] Luhmann N. Love as Passion. Cambridge-Oxford: Polity Press, 1986. P. 42.
[15] Ibid.
[16] Khrenov N.A. The Crisis of XX century art: A Statement of art criticism and an interpretation of culture studies. // Philology – Art Studies – Culture Studies: new watersheds and prospects for cooperation. St. Petersburg: Russian Christian Academy for Humanities Press, 2009. P. 91. 
[17] This term has already entered into research discourse. See the definition by Bychkova (Rhizomes ON. Nonclassical Aesthetics Book. Moscow: Institute of Philosophy of Russian Academy of Science, 1999), and: Shapinskaya E.N. Discourse of Cultural Studies after Postmodernism // Observatory of culture, № 6, 2010.
[18] Huyssen A. Mapping the Postmodern // Culture and Society. Contemporary debates. Cambridge: Cambridge University Press, 1995. P.355.
[19] Turner V. Liminality and Community //  Culture and Society. P.147.
[20] Khrenov N.A. Ibid. P. 99. 
[21] Baudrillard J. The Transparency of Evil. Moscow: Dobrosvet, 2009. P. 8. 
[22] Ibid. P. 24
[23] McClary S. Feminine Endings: Music, Gender and Sexuality. Minneapolis: University of Minnesota Press, 1991. P.12-13.
[24] Graham G. Philosophy of the Arts. An Introduction to Aesthetics. L.-N.Y.: Routledge, 1997. P. 85.
[25] See: Shapinskaya E.N. Opera in the Context of Post-Culture: Games with the classics and conflicts of interpretations // Culrure and Art. 2013. N 3(15). 
[26] Tito Gobbi. World of Italian Opera. Moscow: Raduga, 1989. P. 32. 
[27] URL:
[28] Giddens E. The Transformation of Intimacy. Sexuality, Love and Eroticism in Modern Societies. Moscow – St. Petersburg: Piter, 2004. P. 103. 
[29] Fuchs E. Illustrated History of Morals. Gallant Century. Moscow: Respublica, 1994. P. 249. 
[30] Giddens E. Ibid. P. 81. 
[31] Hoffmann E.T.A. Don Juan. // Hoffmann E.T.A. Collected Works in 6 volumes. Vol. 1. Moscow: Hudozhestvennaya Literatura, 1991. P. 81. 
[32] Camus A. The Rebel. Moscow: Polytechnic Literature Press, 1990. P. 62. 
[33] Ibid. P. 60. 
[34] Ibid. P. 63. 
[35] URL:
[36] Hoffmann E.T.A. Ibid. P. 88.
[37] URL:
[38] Riding A., Dunton-Downer L. Opera: L-N.Y.: Penguin, 2006.  P.116.
[39] URL:
[40] Siobhan Murphy, Metro, 10 September 2008. URL:
[41] Adorno T. Homage to Zerlina // Moments musicaux. Articles 1928-1962. Selected Works: Sociology of Music. Moscow – St. Petersburg: University Book, 1999. P. 222. 
[42] Ibid. 


ISSN 2311-3723

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Scientific Association of Culture Researchers

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