1. On the problem of forming an artistic assessment

(Abstract of the dissertation for the degree of Candidate of Philosophical Sciences 09.623 – Marxist-Leninist aesthetics). – Moscow, Moscow State University, Faculty of Philosophy. – M., 1972. – 1 p.l. (15 p.).
"...Artistic values exist objectively, regardless of the recipient's assessment and, of course, cannot be created by this assessment. However, as a result of the assessment, they can be stated, accepted, rejected or, accordingly, interpreted ..." (p. 3).

2. About artistic taste. Minsk: Znanie, 1975. – 1 p. l. (20 p).

"... it is not the nature of general education, but the presence (or absence) of artistic experience that ultimately determines the level of artistic taste" (p. 13).

3. Art and its evaluation. – Minsk, BSU Publishing House, 1977. – 7 p.l. (160 p.)

"... The most significant factors determining the attitude of the mass recipient of art, in our opinion, are the following:

1. The level of needs of the recipient (and above all artistic, aesthetic).

2. The level of his aesthetic attitude and attitude towards the perception of a work of art.

3. The level of socio-ideological attitude of the recipient of art.

4. The degree of orientation towards the group and its assessment.

5. Personal characteristics of the recipient in the process of perception of works of art.

6. The nature and completeness of his personal artistic assessment" (p. 101).

"... Along with aesthetic values, art also brings a number of other values to a person: cognitive, educational, educational, etc.
... art expresses the aesthetic attitude with the greatest force, but is characterized not only by this expression. Artistic value is, as it were, a synthesis of the aesthetic and the unaesthetic, reflected, created in art (of course, with the decisive role of the aesthetic).
This determines the specifics of the artistic attitude..." (p. 115).

4. Modern aesthetics of Belarus. – Minsk, "Higher School", 1979. – 9.8 p.l. (232 p.).

"...Belarusian culture developed in extremely difficult, sometimes painful conditions, constantly experiencing the stamp of dictate and oppression…
... Deprived of the opportunity to develop professional art at a high level (the exception was fiction, since the middle of the XIX century, and to a certain extent architecture), the aesthetic genius of Belarusians, nevertheless managed to express himself in various types of creativity and art" (p. 62).
"... having left the framework of art criticism (mostly literary criticism) and art criticism (mainly literary), modern Belarusian aesthetics does not break a living connection with them: it now plays the role of a meta-theory, subordinating their creative searches and, at the same time, enriching itself with the facts of art thanks to them" (p. 199).

5. National identity and artistic culture (in White) – Minsk, "Knowledge", 1990. – 1,2 pp. l. (22 p.).

"...you are a great sutnas samasvyadomasci asoby i etnasu, ix tsesnai, perakryvanai hundreds of times. Geta suviaz pamnazhayetsa praz zhytse kozhnai asoby, grupovak liudzei i sh supolnasci stvarae “spirit of the people", abo yagony mentalitet. En uyaylye saboy asobny warehouse of thought i pachutstseva-in the image of adchuvannya, yaki vyrablyaetsa y etnase y kantexce yagonaga zhytsya y sotsiume – nayaynai rechaisnassi, napoinenai gistarychny, ethnic, anthrapagenic, etychny, mastackim i G.D. zmestam."

6. The axiological foundations of national artistic culture (Abstract of the dissertation for the degree of Doctor of Philosophy. 09.00.04 – aesthetics). – Moscow, Moscow State University, Specialty. Council (d.053.05.21) on Philosophical sciences, Moscow, 1991.

"... Objects and phenomena acquire aesthetic value not only because they are included in public practice, but mainly because they are able to correspond to the generic essence of a person. One of the most reliable indicators of the aesthetic is that it permeates the body of the entire culture, filling all spheres of human activity with it. The value attitude permeates the aesthetic, it is immanently inherent in it..." (p. 14).

"... The substantial structure of artistic culture ... is an integrative education that includes three interrelated systems:

a) the system of artistic production (including the creation of new and updating of old, inherited from the past, artistic values that are actively functioning in this society);

b) the system of artistic consumption (the nature and level of perception and assimilation of artistic values in a given society);

c) the system of artistic evaluation (evaluation of artistic values in a given society by science – aesthetics, art history disciplines, art criticism, groups of mass recipients of art) (pp. 20-21).

"... An ethnic unit, or an ethnosocial organism or a people (nation), it would seem, are identical concepts, which, one way or another, are based on the understanding of a certain (rather large) set of people structurally interconnected by thousands of threads, among which one can count the main determining ones (against the background of hundreds of others) the attitude to the father's land, to a common (by origin) origin, to a common perception of the world, to a common language, to a common manner of behavior, etc. ..." (p. 6).

"In the sphere of native national culture, a person finds the necessary social space, a living environment where he feels organically as a person and a subject of creativity. In this social field, valuable in its essential nature, he acts both as a consumer of values and his own, and (through the transfer of his own) foreign cultures, and as a creator and as a connoisseur of these values..." (p. 140).

7. Ethnic in the system of national artistic culture. – Moscow. Deposit in INION RAS No. 45934 – B.U. INION RAS "History. Archaeology. Ethnography". – No. 6. – Moscow, 1992. – 22.5 pp. (535 p.).

8. Language in national culture. – Minsk, NIO, 1992. – 1,65 pp. (29 p.).

"... the national language as a form of culture expresses:
a) Conceptual and ideological structures, where, as a specification of cultural quality, one can note the special nature of the worldview inherent in this ethnic group;
b) Sensory-emotional structures, where the peculiar nature of the worldview inherent in this ethnic group should be noted as a specification;
c) Artistic and figurative structures that contain both a special system of creation and consumption of artistic values, and a system of their evaluation, and an established system of artistic traditions inherent in this ethnic group" (p. 7).

9. Ethnopedagogy and aesthetic development of personality (in White). – Minsk, NIO, 1994. – 11 p.l. (183 p.).

"... ethnapedagogy ... not only I am not so much a sphere of this kind of thinking, a sphere of science, I am not a necessary part of a practical science, without which I cannot recognize any kind of good science, but I am an excellent teacher. There is a place on the right, where ethnapedagogy is a part of the national national culture, the culture of Ethnos. They are very ethnic..." (p. 75).

"... Etnaestetyka narajaetsa z samai glybini culture of etnasu. The native facts of the zhytsya starazhytnaga people (yak we bachyli on the pryklades of the ethnic culture of the starazhytny baltai) performed the yakasi daminantnaga substrate, abumoylivali tselasnae shprymane to the light of the gatym people, iago svetapoglyady i svetaadchuvanna. Get the law is not abyisho i of our prodkai – diligent Slavs, esthetic looks of the Yakih, yak i mifapaetychnaya svyadomasz zahavalisya i yakasi substrangaga pachatku i spadchyne i trochasny ushneslavyanskih naroday i ikh cultures" (p. 107).

10. Aesthetic perception and children's fantasy (in collaboration with O.V.Ivashkevich). – Minsk, NIO, 1999. – 7.21 pp. (127 p.)

"...play, especially in childhood, is the main form of existence and realization of a child's creative potentials. From the first months of his life, the child, perceiving the world around him, carrying out the "first recognition" of people and objects, builds his activities according to the laws of creativity intuitively felt by him. It is in games that the creative essence of the child is revealed in the most visual form, whether it concerns playing with objects, role–playing, sports games or initial artistic creativity" (pp. 59-60).

"Fantasy is a mental activity to create qualitatively new images, and, at the same time, a system–wide distinctive global property of personality. It is expressed in creative energy (power), which combines the direct experiences of an individual with the spiritual essence of human nature. Fantasy is based on intuition. The inner content of fantasy is the basis for the expression of creative features in various spheres of human activity" (p. 66).

11. Introduction to cultural studies. Part 1. (textbook edition. – Minsk. – A manual in 2 parts). – Mozyr, 2004. – 6 p.l. (96 p.)

"Culture is a set of spiritual values, the process of their creation, development and evaluation by both society and an individual (personality)" (p. 31).

"... there are eternal foundations of culture that define its very core. They are primordial (and therefore simple) and extraordinarily complex in their content, in their spiritual fullness. The most constructive thing would be (according to ancient tradition) to define this core in simple words and corresponding to these words in our time – the concepts of an institution (institution). These are the eternal foundations of culture – Truth, Faith, Goodness and Beauty" (p. 46).

12. Aesthetics. A course of lectures (co-authored with S.V. Kunger). – Mozyr, publishing house of the I.P.Shamyakin Moscow State Pedagogical University, 2006. – 6.31 p.l. (101 p.)

"The deep basis of the aesthetic is the sensual principle, the aesthetic sense, i.e. the special ability of a person to experience phenomena and objects of objective reality as positive or negative (values and anti-values) from the point of view of their perfection or imperfection" (p. 39).

... Art is a creatively reflective system of artistic images that gives a person (humanity) a number of values, the leading of which are aesthetic " (p.79).

13. Art. "Mastatstva" and modernity (in bel. in Russian). Minsk, Druk-S Publ., 2006, 18.67 pp (160 p.)

«…мастацтва і сапраўды – самая вялікая, самая значная і самая яркая частка мастацкай культуры... Яе “альфа і амега”... Яно, мастацтва, жыве побач і ўнутры чалавека са старажытных часоў. Яно, канцэнтрат вобразнасці і каштоўнасці, як гаварылася вышэй, такое ж неабходнае чалавеку, як ежа і пітво. І яно (як і ўся мастацкая культура) не ёсць дзівоцтва асобных вар’ятаў, якія імкнуцца, нягледзячы на эканамічны стан, палітычную сітуацыю і ўсе пертурбацыі, якія перажываў і перажывае сёння соцыум, пісаць карціны, ствараць музыку, ставіць спектаклі» (С. 45).

«Прыём адчужэння выканаўцаў, які выкарыстоўваецца ў тэатры Б.Брэхта, – разрыў плаўнай і паслядоўнай дзеі на сцэне, – і прыём, які атрымаў найменне “эфект астранення”, можна разглядаць як антытэзу не толькі класічнаму разуменню тэатра, якое ідзе ад старажытных часоў і абавязкова ўключае ў сябе драматычную напружанасць і паслядоўнае развіццё дзеі, але і дактрыне, і прыёмам “тэатра перажывання”, што ставяць выражэнне псіхалагічнай асновы стану чалавека вышэй за ўсё. Але ХХ стагоддзе па-новаму асвятліла і пошукі ў “тэатры перажывання”, дзе вядучае месца заняло эвалюцыйнае развіццё псіхалагічнага тэатра» (С. 101).

14. Fundamentals of Aesthetics (Textbook). - Minsk, BGAI, 2008. - 8,4 p. l. (144 p.)

"...The basis of the aesthetic is the direct human sensory sensation and worldview of the universe (everything that surrounds a person in the real and imaginary world). And this direct " sensuous contemplation” is based on a non-utilitarian (which was emphasized by I. V. Kropotkin) theory.Kant's) foundation, a highly spiritual foundation, striving for perfection, from the point of view of the human race" (p.5). "A generalized aesthetic view of the 'world of art', its structure, the variety of ways of artistic creation, the specifics of art types and their relationship to each other, and the variants of classifications of art types is what can be called the morphology of art " (p.110).

15. Osnovnye esteticheskie kategorii (Osnovnye esteticheskie kategorii [Basic aesthetic categories]). - Mozyr, Publishing House of the I. P. Shamyakin Moscow State Pedagogical University, 2009. - 2.75 p. l. (44 p.)

"It is most logical to start considering the categorical system of aesthetics with the most general categories: they generate the systemic unity of aesthetics as a science, express the essence of the entire sphere of objects and phenomena that fit the generic definition of aesthetic" (p.4). "The aesthetic ideal is people's idea of a perfect life, a perfect person, a perfect art. Speaking about the aesthetic ideal, it should be emphasized that its structure resembles an inverted taste: it is also a synthesis of rational and emotional, but the rational dominates, since the ideal is primarily a generalized thought " (p. 39).

16. Aesthetics. Short course. - Minsk, "Theatrasystems", 2012. - 8,4 p. l. (160 p.)

"...Aesthetic evaluation also follows from the provisions of the science of aesthetics. This science provides system-forming knowledge, relies on categorical systems that express people's generalized knowledge of both the aesthetic and the artistic (related to art) spheres" (p. 4).

"...In a neoaxiological way, we can state: the axiological field of the artistic is built on the dominant basis of a preferential evaluative relationship. An artistic attitude in the reality of its existence most strongly reveals a person's ability to think figuratively and perceive the world figuratively. The world of the artistic itself appears in the consciousness and perception of a person as an ambivalent phenomenon: thanks to the artistic convention, which creates a sovereign, especially spiritually constructed world, connected, however, with the world of real human existence, experience, mutual transition of spiritual and psychological states, associative connection, substitution of ordinary expressions with figurative ones (metaphorics)" (p.113).

17. Fundamentals of aesthetics (co-authored with E. V. Kirpichenok). - Study guide. Minsk, Vysheyshaya shkola Publ., 2012, 11.13 pp (208 p.).

"...we can assume that in the course of the twentieth century Belarus developed a national school of aesthetics as a specific science. Growing out of literary and artistic trends (journalism, art criticism, and later art criticism), implicitly embracing the aesthetic, by the end of the twentieth century Belarusian aesthetic thought was represented by works on the history and theory of aesthetics, performed at a decent, international (in their best samples) level" (p.48). "The axiological field, considered in a neo-axiological way, is a synthesis of value-evaluation relations, the poles of which are determined by the axiological content of two fundamental structures – value, or rather the object structure, which acts as a carrier of value, and evaluation, or rather a person – a carrier of evaluation. In the realities of the functioning of the axiological field, the so-called "axiological attraction" plays an important role, which in each particular case determines the dominant role of either the object-value or subject-evaluating principle " (p. 56).

18. Essays on the theory of the Belarusian theater (in Bel. yaz.; at druku). – Мінск, “Бел. навука”, 2014.  7 п.л. ( 170 с.).

«...Батлейка як мадэль сцэнічнага мастацтва прадэманстравала надзвычай шырокі дыяпазон. Па-першае, яна сталася як бы пераходным мастом паміж школьным тэатрам і народнай драмай, папераменна ўключаючы ў сябе элементы і таго, і іншага віду сцэнічнага прадстаўлення. Па-другое, батлеечнае мастацтва ў зародышы як бы змяшчала ў сабе абодва магістральныя шляхі, па якіх у наступных стагоддзях развівалася мастацтва тэатра. Маецца на ўвазе тэатральная сістэма тэатра прадстаўлення (паказу), з аднаго боку, і тэатральная сістэма тэатра перажывання, – з другога. Гэтыя сістэмы па сваёй эстэтыцы, па свайму падыходу да пабудовы мастацкіх вобразаў на сцэне істотна розніліся ўжо тады, у XVII і напачатку XVIII стагоддзя» (С. 73). «... Тэатр уяўляе сабой унікальнае, векавечнае мастацтва. Зарадзіўшыся ў глыбокай старажытнасці, ён прайшоў пэўныя, доўгія, гістарычныя этапы развіцця, але застаўся чынным складаным і сучаснай культуры. Без яго немагчыма ўявіць сябе ні жыцця асобнага чалавека, ні жыцця народа, ні жыцця ўсяго чалавецтва. Больш таго, новае ХХІ стагоддзе толькі пацвярджае вернасць вешчых слоў славутага Шэкспіра “Увесь сусвет – тэатр”. Таму, што і сёння, у рэаліях электронна-тэнізаванага свету, бадай, толькі тэатр здольны наладзіць жывы кантакт творцы і чалавека (рэцэпіента ў навуковым тлумачэнні гэтага паняцця). І гэты жывы кантакт немагчыма замяніць нічым. Таму, што духоўнае ўздзеянне тэатра на чалавека таксама ўнікальнае: яно навучае, яно дае асэнсаванне праяў чалавечага быцця, і, адначасова, яно дае неаб’ёмную моц пачуцця і крылы розуму...» (С. 167).

Selected works (articles, materials, reports, abstracts)

1. (1) On the question of the essence of artistic evaluation of a mass art recipient // In the collection: "To the 150th anniversary of the birth of Karl Marx", Moscow, MSU Publishing House, 1968, 0.45 pp (pp. 219-228).

2. (3) On the aesthetic criterion of art // In the collection of articles "Problems of Philosophy and sociology". Issue 1. - Moscow, MSU Publishing House, 1969. - 0,8 p. l. (pp. 208-223).

3. (12) O protsesse stanovleniya khudozhestvennoi otsenki [On the process of forming artistic assessment]. Vestnik BSU, seriya III, Filosofiya, 1975, no. 1-0,5 pp.

4. (15) Kritika burzhuaznykh kontseptsii prirody i funktsii khudozhestvennoi kritiki [Criticism of bourgeois concepts of nature and the function of artistic criticism]. Teoreticheskie problemy marxist-leninskoy estetiki [Theoretical problems of Marxist – Leninist aesthetics]. Materialy II Vsesoyuznoy konferentsii], Moscow, MSU Publishing House, 1975, 0,4 pp (pp. 297-300).

5. (23) The role of aesthetic and artistic education as a factor in the development of creativity of scientific and technical intelligentsia (in German) / / 23 Intern Wiss. kolloqium, — DDR Ilmenau, Heft 2, 1978 – 0,45 п.л.

6. (28) Khudozhestvennoe tvorchestvo i khudozhestvennaya kritika (na frants. yaz.) / / Materials of the 9th International Congress on Aesthetics, Dubrovnik (1980) - Beoqrad Publishing House, 1980, M. 3-0,35 pp.

7. (32) Estetika kak metatheoriya esteticheskogo i khudozhestvennogo vospitaniya [Aesthetics as a metatheory of aesthetic and artistic education]. Abstracts of reports of the Republic scientific and practical conference (April, 1982), part 1. – Mogilev, 1982 – 0,2 p.l. (pp. 18-20).

8. (36) Khudozhestvennaya kul'tura v sisteme dukhovnoi kul'tury obshchestva (na abkhaz. yaz.) [Art culture in the system of spiritual culture of society (in abkhaz. yaz.)]"), № 1, 1983. – 0,7 P. L.

9. (38) Kul'tura Drevnoi Rus ' i razvitie khudozhestvennykh kul'turov vostochnoslavyanskikh narodov (na ukr. yazyke) [The culture of Ancient Russia and the development of artistic cultures of the East Slavic peoples (in the Ukrainian language)].

10. (43, 44, 46) Khudozhestvenny vkus, khudozhestvennaya otsenka, natsionalnoe v iskusstve [Artistic taste, artistic assessment, national value in art]. Kratkiy slovar ' po estetike, Moscow, Prosveshchenie Publ., 1983, 0,9 pp.

11. (40) Creative personality in the system of artistic culture (in German). English) / / 28 Intern Wiss. kolloqium, — DDR Ilmenau, 1983 – 0,5 п.л.

12. (56) Razvitie esteticheskoi teorii v Belorussii (na litovskom yazyke) [Development of aesthetic theory in Belarus (in the Lithuanian language)]. Problemos, No. 31 – Vilnius, Mintis, 1984 – 0,7 pp (pp. 88-98).

13. (67) Esteticheskoe i khudozhestvennoe (tsennostnye aspekty spetsifiki i vzaimosnosheniya) [Aesthetic and artistic (value aspects of specifics and relationships)]. Vestnik MSU, ser. 7, Filosofiya, 1986, no. 3 – 0,8 p. l. (pp. 52-61).

14. (71) Iskusstvo (in Belarusian) - Encyclopedia of literature and Art of Belarus (ELiMBel), - Mn., 1986, vol. 3-0,6 pp (pp. 473-475).

15. (72) Esteticheskoe vospitanie: sushchnost ' i aktual'nye problemy [Aesthetic education: essence and actual problems]. Problems and experience "- Minsk, "Narodnaya asveta", 1986-0.5 p. l. (pp. 12-19).

16. (79) Teoriya iskusstva (Teoriya iskusstva na bel. yaz.) – entsikopediya literatury i iskusstva Belorussii (ELiMBel), Moscow, 1987, vol.5 — 0,35 pp (pp. 336-337).

17. (73) Stimul ' khudozhestvennogo razvitiya (na ukr. yazyke) [Incentive of artistic development (in the Ukrainian language)]. Filosofska dumka, K., 1987, No. 3-0,35 pp.

18. (76) Postizhenie sovershestva [Comprehension of perfection] / / Vestnik MSU, ser. 7, Filosofiya, 1987, No. 4-0,35 pp.

19. (81) NTR and the axiological field of artistic culture // In the collection: "Actual problems of Marxist-Leninist aesthetics and aesthetic education". Materials of the IV All-Union Scientific and Methodological Conference-Moscow, MSU Publishing House, 1987-0,25 pp (pp. 66-68).

20. (92, 93) National and international in art; aesthetic need // In the book: "Aesthetics" (dictionary) / under the general editorship of A. A. Belyaev-M., "Politizdat", 1989. - 0,5 pp.

21. (97) National in the spiritual culture of the scientific and technical intelligentsia (in English) – 34 Intern Wiss. kolloqium, - TN Ilmenau, Heft 5, 1989-0,3 P. L. (p. 187-188).

22. (107) Problems of national culture development and processes of Debelorussization and Russification in Belarus (in German. Vilnius—Frankfurt am Main, 1991-0.5 pp.

23. (115) Man, the spiritual Light. – Мн., «Літаратура і мастацтва», 1993, № 2 – 0,8 п.л.

24. (122) Театр в системе национальной культуры – теоретические аспекты (на бел. яз.) // В сб.: «Матэрыялы Усебеларускай тэатральный канферэнцыі “Тэатральные мастацтва Беларусі і праблемы нацыянальна-культурнага Адраджэння”. Мн., 1994 – 0,9 п.л. (С. 212-222).

25. (125) Artpedagogy and art stress therapy (a preliminary approach to the conceptual justification of a new rehabilitation model // In the collection " Socio-psychological rehabilitation of the population affected by environmental disasters. International Conference " - Gomel, 1994. - 0,2 pp.).

26. (123) Etnoestetika kak fenomen (na bel. yaz.) / / "Adukatsyya i vykhavanne", 1994, No. 5 – 0,9 P. L. (pp. 74-84).

27. (141) Spirituality as a philosophical and pedagogical category (in English) / / "Pachatkovaya shkola", 1995, No. 12-0,5 pp.

28. (145) Natsionalnoe samosoznanie, natsionalnaya religiya i formirovanie lichnosti na belorusskoi zemle (na bel. yaz.) [National identity, national religion and personality formation in the Belarusian land].трудов: «Нацыянальная самасвядомасць і выхаванне моладзі» — Мн., НІА, 1996. – 0,8 п.л. (С. 37-45).

29. (148) Etnicheskaya kul'turnaya traditsiya v sisteme vospitaniya i obrazovaniya vostochnykh slavyan [Ethnic cultural tradition in the system of upbringing and education of Eastern Slavs]. навук Беларусі, 1996 – 0,3 п.л. (С. 301-305).

30. (154) Sushchnostnaya priroda cheloveka i sovremennyy protsess vospitaniya [The essential nature of man and the modern process of education]. 31. (157) On the essence of art (in English) / / "Asnovy mastatstva", 1997, issue 7-0.5 pp (pp. 4-11).

32. (159) Sintez religioznogo nachala v sisteme belorusskoi kul'tury (na bel.yaz.) [Synthesis of the religious principle in the system of Belarusian culture (in Belarusian)].

33. (163) Apostol dukhovnosti na belorusskoi zemle (na bel. yaz.) / / "Adukatsyya i vykhavanne", 1998, No. 3 – 0,5 p. l. (pp. 7-13).

34. (170) Skarinovskaya traditsiya kak obraz dukhovnosti v prostranstve Sredinnoy Evropy (na bel. yaz.) [The Skarinovskaya tradition as an image of spirituality in the space of Middle Europe (in Belarusian)].

35. (174) A. Mitskevich: the aesthetic world of the poet (in bel. yaz.) / / "Asnovy mastatstva", 1998, No. 4. - 0,7 pp.

36. (177) Art culture and art education in the cultural area // In the collection: "Art education at school" - Mn., NIO, 1998-0,9 p. l. (pp. 5-16).

37. Alexander Pushkin: the aesthetic world of the poet / / "Asnovy mastatstva", 1999, No. 2-0,9 pp.

38. (187) Искусство: проблемы дефиниции // Запіскі Беларускай Акадэміі мастацтваў. Almanac 98 / / - Mn., BDAM, 1989. - 0,8 p. l. (pp. 19-28).

39. (202) Formation of ethnic groups and interaction of languages in the Grand Duchy of Lithuania (in Belarusian) – Hunqaro Baltoslalia, 2000. Abstrakts-Abstracts-Budapest, 2000 – - 0,1 pp.

40. (210) Kontseptsiya esteticheskogo vospitaniya detei i molodezhi RB [The concept of aesthetic education of children and youth of the Republic of Belarus].

41. (211) Yazyk i mentalnost ' etnosa na pogranichye kul'tury [Language and mentality of an ethnic group on the borderlands of cultures]. Iszyk a tozsamosc na pograniczy kultur (pod red. E. Smulkowej i A. Engelninl-Bialystok, 2000. - 0,3 pp.

42. (217) Dukhovnost ' i kul'tura [Spirituality and culture] / / Narodnaya asveta, 2001, No. 6-0,5 pp.

43. (218) What is artistry? // Collection "Mir khudozhestvennogo", Baranovichi, 2001-0,6 p. l. (pp. 5-12).

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