Culture of culture

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A. Ya. Flier. Ideology as a form of culture



In SEARCH of the MEANING of HISTORY and CULTURE (A. Ya. Flier’s Section)

V. M. Rozin. The Genesis of the European state (pondering Martin Creveld's book «The Rise and fall of the state»)

N. A. Khrenov. On the way to «Posthuman»: anthropological, mythological and artistic potential of the puppet (ending)

V. I. Grachev. Energy as a special substance of the Universe and Culture



HIGH ART IN a CULTURE of MODERNITY (E. N. Shapinskaya’s Sectoin)

E. N. Sapinskaya. The return of the repressed ethnicity: the ethnic and cultural Other in (post)modern world


N. A. Khrenov. Culture of the twentieth century: theatrical experiments in the era of escalating mass communication (ending)

A. P. Markov. The concept of "freedom as a conscious necessity": current meanings and non-entropic potential


A. Ya. Flier. Cultural history as a change dominant identity types (ending)

Announcement of the next issue



Khrenov Nikolai Andreevich,
Doctor of Philosophy, Professor,
the Gerasimov Russian State
University of Cinematography




Abstract. The article attempts to identify the archetypal image of the robot, which in the XXI century is no longer perceived as a desired image only, but as a reality. The main task of the article is to find a precedent in the history. The purpose of this precedent is to destroy the habitual identity of a person, which is asserted in history, starting with cultural Genesis, and to experiment with new forms of identity. In the era of scientific and technological progress, as well as the formation and establishment of democratic societies, such experiments are not only desirable, but also inevitable. Technology allows us to do this, although it is obvious that along with the desire to experiment with identity, there is also a fear of its possible consequences. In fact, long before the robot appeared, this process unfolded in the history of the functioning and reception of the puppet, as evidenced by the appearance of such images as the Golem or Frankenstein. Setting out the history of the puppet against the background of a changing identity, the author proves that the appearance of the robot indicates a new situation that has arisen in the relations between culture and civilization. In these relations, culture does not always play and probably will play a determining role, which creates a problem.

Keywords: puppet, archetype, myth, identity, culture, civilization, virtual reality, anthropological crisis, Posthuman, Hephaestus, Vocanson, Saltykov-Shchedrin, Gozzi, Hoffman, Lametri, Meyerhold, Krag, sacred, modern, romanticism, symbolism, Golem, Frankenstein, ostranenie, man-machine, organ projection.

[43] Khrenov N. Mass communication Media in the virtual reality perspective // International journal of cultural research. 2017. no. 2; Khrenov N. Virtual reality in its artistic and non-artistic manifestations: its prehistory and history // Science of television and screen arts. Issue 14. Moscow, 2018. Pp. 27-52.
[44] Bazin A. What is cinema? Moscow: Iskusstvo, 1972. P. 53.
[45] Kuznetsov M. Virtual reality – technogenic artifact or network phenomenon // Virtualistics: existential and epistemological aspects, Moscow: Progress-Tradition, 2004, P. 67.
[46] Tretyakov V. Theory of television. TV as neo-paganism and as carnival. Moscow: Ladomir Research and publishing center, 2015. 664 p.
[47] Shevchenko L. the Birth of tragedy // Znamya. 1999. no. 9. P. 218.
[48] Ibid. P. 219.
[49] Shenderovich V. Dolls-2. M.: Vagrius, 1998. P. 301.
[50] Chapek K. R. U. R., The macropoulos Remedy, The war with salamanders. Fantastic stories. Moscow: Mir, 1966.
[51] Magnin Jh. The history of puppets in Europe from ancient times to the present day. Moscow: Canon-plus, 2017. P. 24.
[52] Eisenstein S. Selected works: in 6 vols. 5. Moscow: Iskusstvo, 1968. P. 312.
[53] Ibid.
[54] Goldovsky B., Dukhanina L. Children Of Hephaestus. M., 2015. P. 31.
[55] Homer. The Iliad (translated from ancient Greek by N. Gnedich). Moscow: De Agostini, 2006. P. 344.
[56] Magnin Jh. Edict. Op. P. 99.
[57] Krag G. Memoirs, articles, letters. Moscow: Iskusstvo, 1988. P. 228.
[58] Ibid. P. 227.
[59] Bogatyrev P. On the relationship of two close semiotic systems (Puppet theater and theater of living actors) // Works on sign systems. VI. Scientific notes of the University of Tartus. Tartu, 1973, Issue 308, P. 308.
[60] Ibid.
[61] Kutyrev V. Carried away by progress. Eschatology of life in the technogenic world. Saint Petersburg: Aleteia, 2016.
[62] Krakauer Z. Psychological history of German cinema. From Caligari to Hitler, Moscow: Iskusstvo, 1977. P. 39.
[63] Lametri Zh. O. Man-machine // Lametri Zh. O. Writings. M.: Thought, 1976. P. 236.
[64] Weber A. favorites: the Crisis of European culture. SPb.: University book, 1998. P. 421.
[65] Safransky R. Hoffman. M.: Molodaya Gvardiya, 2005. P. 58.
[66] Yampolsky M. Unfinished play for mechanical man (philosophical automata: Vocanson line // Decorative art of the USSR. 1984. no. 4. P. 29.
[67] Meyerhold V. Articles. Letters. Speeches. Conversations. Vol. 1., 1891-1917. Moscow: Iskusstvo, 1968. P. 249.
[68] Saltykov-Shchedrin M. Fairy Tales. Motley letters. Little things of life // Saltykov-Shchedrin M. Complete collection of works. Vol. XVI. M.: Fiction, 1937. P. 128.
[69] Ibid. P. 144.
[70] Ibid.
[71] Saltykov-Shchedrin M. The History of a city. Gentlemen Golovlevs. Skazki. Moscow: Moskovsky Rabochy, 1972. P. 110.



ISSN 2311-3723

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Scientific Association of Culture Researchers

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