\u0423\u0414\u041a 7.038.6<\/p>\n\n\n\n
THE INFLUENCE OF THE THEORY OF PERFORMATISM ON THE MODERN UNDERSTANDING OF PERFORMANCE AS AN ART FORM<\/strong><\/p>\n\n\n\n Yurii A. Baklanov<\/strong><\/p>\n\n\n\n 1<\/sup> Siberian Federal University, Krasnoyarsk, Russia. Abstract. <\/strong>The research paper is devoted to the theoretical foundations of performative practices in culture and art. The first part of this article is devoted to the analysis of concepts and approaches to the study of the theory of performativity, the consideration of an interdisciplinary approach to the definition of the concepts: “performativity”, “performative act” and “performance” and their relationship to each other. This section establishes the peculiarities of the linguistic and art criticism understanding of the above-mentioned concepts and their existence in the modern theory of culture and art. The second part of the research work is devoted to the history of the origin and development of performance as a special artistic form, the features of which were embodied to varying degrees throughout all periods of the existence of art. This section defines the main aspects of performative practices that have been formed throughout the history of the development of performative features in art. As a result of the study, the influence of the phenomenon of “performative turn” in culture on the development of art in the XX century was revealed, according to which artists form a stable tendency to use experimental interactive ritual models as a basis and prototype for their artistic works, actively absorbing the features of performance.<\/p>\n\n\n\n Keywords:<\/strong> performance, theory of performatism, performative acts, John Austin, performative turn<\/p>\n\n\n\n For citation: <\/strong>Baklanov, Y. A. The influence of the theory of performatism on the modern understanding of performance as an art form. Digitalization. 2024, 5 (3), pp. 38\u201348. [in Russian]. EDN FSBYHW.<\/p>\n\n\n\n 1. \u0411\u0430\u0442\u043b\u0435\u0440, \u0414. \u041f\u0441\u0438\u0445\u0438\u043a\u0430 \u0432\u043b\u0430\u0441\u0442\u0438: \u0442\u0435\u043e\u0440\u0438\u0438 \u0441\u0443\u0431\u044a\u0435\u043a\u0446\u0438\u0438 [\u0422\u0435\u043a\u0441\u0442] \/ \u0414. \u0411\u0430\u0442\u043b\u0435\u0440. – \u0421\u0430\u043d\u043a\u0442-\u041f\u0435\u0442\u0435\u0440\u0431\u0443\u0440\u0433: \u0425\u0426\u0413\u0418: \u0410\u043b\u0435\u0442\u0435\u0439\u044f, 2002. – 158 \u0441. <\/p>\n\n\n\n 2. \u0411\u0438\u0448\u043e\u043f, \u041a. \u0418\u0441\u043a\u0443\u0441\u0441\u0442\u0432\u0435\u043d\u043d\u044b\u0439 \u0430\u0434. \u041f\u0430\u0440\u0442\u0438\u0446\u0438\u043f\u0430\u0442\u043e\u0440\u043d\u043e\u0435 \u0438\u0441\u043a\u0443\u0441\u0441\u0442\u0432\u043e \u0438 \u043f\u043e\u043b\u0438\u0442\u0438\u043a\u0430 \u0437\u0440\u0438\u0442\u0435\u043b\u044c\u0441\u0442\u0432\u0430 [\u0422\u0435\u043a\u0441\u0442] \/ \u041a. \u0411\u0438\u0448\u043e\u043f. – \u041c\u043e\u0441\u043a\u0432\u0430: V-A-C Press, 2018. – 522 \u0441. <\/p>\n\n\n\n 3. \u0411\u0438\u0448\u043e\u043f, \u041a. \u0418\u0441\u043a\u0443\u0441\u0441\u0442\u0432\u043e \u0438\u043d\u0441\u0442\u0430\u043b\u043b\u044f\u0446\u0438\u0438 [\u0422\u0435\u043a\u0441\u0442] \/ \u041a. \u0411\u0438\u0448\u043e\u043f. – \u041c\u043e\u0441\u043a\u0432\u0430: \u0410\u0434 \u041c\u0430\u0440\u0433\u0438\u043d\u0435\u043c \u043f\u0440\u0435\u0441\u0441, 2022. – 192 \u0441. EDN: HVNJAQ <\/p>\n\n\n\n 4. \u0411\u0443\u043b\u044b\u0447\u0435\u0432\u0430, \u0414. \u0424. \u0418\u0441\u043f\u043e\u043b\u044c\u0437\u043e\u0432\u0430\u043d\u0438\u0435 \u043f\u043e\u043b\u0438\u0442\u0438\u0447\u0435\u0441\u043a\u043e\u0433\u043e \u0434\u0438\u0441\u043a\u0443\u0440\u0441\u0430 \u0432 \u043f\u0435\u0440\u0444\u043e\u0440\u043c\u0430\u043d\u0441\u0435 \/\/ \u0412\u0435\u0441\u0442\u043d\u0438\u043a \u0421\u0430\u043c\u0413\u0423. – 2010. – \u2116 7 (81). – \u0421. 150-154. <\/p>\n\n\n\n 5. \u0413\u0435\u0431\u0431\u0435\u043b\u044c\u0441, \u0425. \u042d\u0441\u0442\u0435\u0442\u0438\u043a\u0430 \u043e\u0442\u0441\u0443\u0442\u0441\u0442\u0432\u0438\u044f. \u0422\u0435\u043a\u0441\u0442\u044b \u043e \u043c\u0443\u0437\u044b\u043a\u0435 \u0438 \u0442\u0435\u0430\u0442\u0440\u0435 [\u0422\u0435\u043a\u0441\u0442] \/ \u0425. \u0413\u0435\u0431\u0431\u0435\u043b\u044c\u0441. – \u041c\u043e\u0441\u043a\u0432\u0430: \u0422\u0435\u0430\u0442\u0440 \u0438 \u0435\u0433\u043e \u0434\u043d\u0435\u0432\u043d\u0438\u043a, 2015. – 272 \u0441. <\/p>\n\n\n\n 6. \u0413\u043e\u043b\u0434\u0431\u0435\u0440\u0433, \u0420. \u0418\u0441\u043a\u0443\u0441\u0441\u0442\u0432\u043e \u043f\u0435\u0440\u0444\u043e\u0440\u043c\u0430\u043d\u0441\u0430. \u041e\u0442 \u0444\u0443\u0442\u0443\u0440\u0438\u0437\u043c\u0430 \u0434\u043e \u043d\u0430\u0448\u0438\u0445 \u0434\u043d\u0435\u0439 [\u0422\u0435\u043a\u0441\u0442] \/ \u0420. \u0413\u043e\u043b\u0434\u0431\u0435\u0440\u0433. – \u041c\u043e\u0441\u043a\u0432\u0430: \u0410\u0434 \u041c\u0430\u0440\u0433\u0438\u043d\u0435\u043c \u041f\u0440\u0435\u0441\u0441; Garage, 2017. – 320 \u0441. <\/p>\n\n\n\n 7. \u0415\u0432\u0440\u0435\u0438\u043d\u043e\u0432, \u041d. \u041d. \u041e\u0442\u043a\u0440\u043e\u0432\u0435\u043d\u0438\u0435 \u0438\u0441\u043a\u0443\u0441\u0441\u0442\u0432\u0430 [\u0422\u0435\u043a\u0441\u0442] \/ \u041d. \u041d. \u0415\u0432\u0440\u0435\u0438\u043d\u043e\u0432. – \u0421\u0430\u043d\u043a\u0442-\u041f\u0435\u0442\u0435\u0440\u0431\u0443\u0440\u0433: \u0418\u0437\u0434. \u0434\u043e\u043c “\u041ci\u0440\u044a”, 2012. – 776 \u0441. <\/p>\n\n\n\n 8. \u0416\u0443\u043a\u043e\u0432\u0441\u043a\u0438\u0439, \u0412.\u0418., \u041a\u043e\u043f\u0446\u0435\u0432\u0430, \u041d.\u041f. \u041f\u0440\u043e\u043f\u043e\u0437\u0438\u0446\u0438\u0438 \u0442\u0435\u043e\u0440\u0438\u0438 \u0438\u0437\u043e\u0431\u0440\u0430\u0437\u0438\u0442\u0435\u043b\u044c\u043d\u043e\u0433\u043e \u0438\u0441\u043a\u0443\u0441\u0441\u0442\u0432\u0430: \u0443\u0447\u0435\u0431\u043d\u043e\u0435 \u043f\u043e\u0441\u043e\u0431\u0438\u0435 [\u0422\u0435\u043a\u0441\u0442] \/ \u0412. \u0418. \u0416\u0443\u043a\u043e\u0432\u0441\u043a\u0438\u0439, \u041d. \u041f. \u041a\u043e\u043f\u0446\u0435\u0432\u0430; \u041c\u0438\u043d\u0438\u0441\u0442\u0435\u0440\u0441\u0442\u0432\u043e \u043e\u0431\u0440\u0430\u0437\u043e\u0432\u0430\u043d\u0438\u044f \u0420\u043e\u0441\u0441\u0438\u0439\u0441\u043a\u043e\u0439 \u0424\u0435\u0434\u0435\u0440\u0430\u0446\u0438\u0438, \u041a\u0440\u0430\u0441\u043d\u043e\u044f\u0440\u0441\u043a\u0438\u0439 \u0433\u043e\u0441\u0443\u0434\u0430\u0440\u0441\u0442\u0432\u0435\u043d\u043d\u044b\u0439 \u0443\u043d\u0438\u0432\u0435\u0440\u0441\u0438\u0442\u0435\u0442. – \u041a\u0440\u0430\u0441\u043d\u043e\u044f\u0440\u0441\u043a: \u041a\u0440\u0430\u0441\u043d\u043e\u044f\u0440\u0441\u043a\u0438\u0439 \u0433\u043e\u0441\u0443\u0434\u0430\u0440\u0441\u0442\u0432\u0435\u043d\u043d\u044b\u0439 \u0443\u043d\u0438\u0432\u0435\u0440\u0441\u0438\u0442\u0435\u0442, 2004. – 265 \u0441. ISBN: 5-7638-0494-5 EDN: QXPZAZ <\/p>\n\n\n\n 9. \u041a\u0440\u044b\u043b\u043e\u0432\u0430, \u0410.\u0412. \u041a \u0432\u043e\u043f\u0440\u043e\u0441\u0443 \u043e \u043f\u0440\u0438\u0440\u043e\u0434\u0435 \u0430\u0440\u0442-\u043f\u0435\u0440\u0444\u043e\u0440\u043c\u0430\u043d\u0441\u0430 \/ \u0410. \u0412. \u041a\u0440\u044b\u043b\u043e\u0432\u0430 \/\/ \u042e\u0436\u043d\u043e-\u0420\u043e\u0441\u0441\u0438\u0439\u0441\u043a\u0438\u0439 \u043c\u0443\u0437\u044b\u043a\u0430\u043b\u044c\u043d\u044b\u0439 \u0430\u043b\u044c\u043c\u0430\u043d\u0430\u0445. – 2020. – \u2116 1. – \u0421. 27-35. EDN: ORQHRP<\/p>\n\n\n\n 10. \u041b\u0435\u043c\u0430\u043d, \u0425.-\u0422. \u041f\u043e\u0441\u0442\u0434\u0440\u0430\u043c\u0430\u0442\u0438\u0447\u0435\u0441\u043a\u0438\u0439 \u0442\u0435\u0430\u0442\u0440: \u043c\u043e\u043d\u043e\u0433\u0440\u0430\u0444\u0438\u044f: \u043f\u0435\u0440. \u0441 \u043d\u0435\u043c. [\u0422\u0435\u043a\u0441\u0442] \/ \u0425.-\u0422. \u041b\u0435\u043c\u0430\u043d – \u041c\u043e\u0441\u043a\u0432\u0430: ABCdesign, 2013. – 311 \u0441. <\/p>\n\n\n\n 11. \u041c\u043e\u043d\u0430\u0441\u0442\u044b\u0440\u0441\u043a\u0438\u0439, \u0410. \u042d\u0441\u0442\u0435\u0442\u0438\u043a\u0430 \u0438 \u043c\u0430\u0433\u0438\u044f \/ \u0410. \u041c\u043e\u043d\u0430\u0441\u0442\u044b\u0440\u0441\u043a\u0438\u0439 \/\/ \u042d\u0441\u0442\u0435\u0442\u0438\u0447\u0435\u0441\u043a\u0438\u0435 \u0438\u0441\u0441\u043b\u0435\u0434\u043e\u0432\u0430\u043d\u0438\u044f: \u0442\u0435\u043a\u0441\u0442\u044b, \u0430\u043a\u0446\u0438\u043e\u043d\u043d\u044b\u0435 \u043e\u0431\u044a\u0435\u043a\u0442\u044b, \u0438\u043d\u0441\u0442\u0430\u043b\u043b\u044f\u0446\u0438\u0438. – 2009. – \u0421. 141-152. <\/p>\n\n\n\n 12. \u041e\u0441\u0442\u0438\u043d, \u0414\u0436. \u041a\u0430\u043a \u0441\u043e\u0432\u0435\u0440\u0448\u0430\u0442\u044c \u0434\u0435\u0439\u0441\u0442\u0432\u0438\u044f \u043f\u0440\u0438 \u043f\u043e\u043c\u043e\u0449\u0438 \u0441\u043b\u043e\u0432 [\u0422\u0435\u043a\u0441\u0442] \/ \u0414\u0436. \u041e\u0441\u0442\u0438\u043d – \u041c\u043e\u0441\u043a\u0432\u0430: \u041f\u0440\u0435\u0441\u0441: \u0414\u043e\u043c \u0438\u043d\u0442\u0435\u043b\u043b\u0435\u043a\u0442\u0443\u0430\u043b\u044c\u043d\u043e\u0439 \u043a\u043d\u0438\u0433\u0438, 1999. – 332 \u0441. <\/p>\n\n\n\n 13. \u041f\u0440\u043e\u0437\u043e\u0440\u043e\u0432\u0430, \u042e.\u0410. \u0422\u0435\u043e\u0440\u0438\u044f \u0438\u043d\u0442\u0435\u0440\u0430\u043a\u0442\u0438\u0432\u043d\u044b\u0445 \u0440\u0438\u0442\u0443\u0430\u043b\u043e\u0432 \u0420. \u041a\u043e\u043b\u043b\u0438\u043d\u0437\u0430: \u043e\u0442 \u043c\u0438\u043a\u0440\u043e\u0438\u043d\u0442\u0435\u0440\u0430\u043a\u0446\u0438\u0438 \u043a \u043c\u0430\u043a\u0440\u043e\u0441\u0442\u0440\u0443\u043a\u0442\u0443\u0440\u0435 \/ \u042e. \u0410. \u041f\u0440\u043e\u0437\u043e\u0440\u043e\u0432\u0430 \/\/ \u0416\u0443\u0440\u043d\u0430\u043b \u0441\u043e\u0446\u0438\u043e\u043b\u043e\u0433\u0438\u0438 \u0438 \u0441\u043e\u0446\u0438\u0430\u043b\u044c\u043d\u043e\u0439 \u0430\u043d\u0442\u0440\u043e\u043f\u043e\u043b\u043e\u0433\u0438\u0438. – 2007. – \u0422. \u0425. \u2116 1. – \u0421. 57-72. EDN: LDGXXN <\/p>\n\n\n\n 14. \u0420\u0430\u043d\u0441\u0442\u0435\u0440, \u0416. \u042d\u043c\u0430\u043d\u0441\u0438\u043f\u0438\u0440\u043e\u0432\u0430\u043d\u043d\u044b\u0439 \u0437\u0440\u0438\u0442\u0435\u043b\u044c [\u0422\u0435\u043a\u0441\u0442] \/ \u0416. \u0420\u0430\u043d\u0441\u0442\u0435\u0440. – \u041d. \u041d\u043e\u0432\u0433\u043e\u0440\u043e\u0434: \u041a\u0440\u0430\u0441\u043d\u0430\u044f \u043b\u0430\u0441\u0442\u043e\u0447\u043a\u0430, 2018. – 128 \u0441. <\/p>\n\n\n\n 15. \u0421\u043f\u0430\u0441\u0441\u043a\u0430\u044f, \u041c.\u0410. \u041d\u043e\u0432\u044b\u0435 \u043f\u043e\u0434\u0445\u043e\u0434\u044b \u043a \u0437\u0440\u0438\u0442\u0435\u043b\u044c\u0441\u043a\u043e\u043c\u0443 \u0441\u043e-\u0443\u0447\u0430\u0441\u0442\u0438\u044e \u0432 \u0442\u0435\u0430\u0442\u0440\u0435 \u043f\u043e\u0441\u043b\u0435 \u043f\u0435\u0440\u0444\u043e\u0440\u043c\u0430\u0442\u0438\u0432\u043d\u043e\u0433\u043e \u043f\u043e\u0432\u043e\u0440\u043e\u0442\u0430 \/ \u041c. \u0410. \u0421\u043f\u0430\u0441\u0441\u043a\u0430\u044f \/\/ \u042f\u0440\u043e\u0441\u043b\u0430\u0432\u0441\u043a\u0438\u0439 \u043f\u0435\u0434\u0430\u0433\u043e\u0433\u0438\u0447\u0435\u0441\u043a\u0438\u0439 \u0432\u0435\u0441\u0442\u043d\u0438\u043a. – 2019. – \u21161 (106). – \u0421. 171-179. EDN: VUWBUR<\/p>\n\n\n\n 16. \u0424\u0435\u0434\u043e\u0441\u0435\u0435\u0432\u0430, \u0418. \u041f\u0435\u0440\u0444\u043e\u0440\u043c\u0430\u043d\u0441\u044b \u0438 \u0445\u0443\u0434\u043e\u0436\u0435\u0441\u0442\u0432\u0435\u043d\u043d\u043e\u0435 \u0442\u0432\u043e\u0440\u0447\u0435\u0441\u0442\u0432\u043e \u0432 \u0441\u043e\u0432\u0440\u0435\u043c\u0435\u043d\u043d\u043e\u0439 \u043a\u0443\u043b\u044c\u0442\u0443\u0440\u0435 [\u0422\u0435\u043a\u0441\u0442] \/ \u0418. \u0424\u0435\u0434\u043e\u0441\u0435\u0435\u0432\u0430 \/\/ \u041c\u0435\u0436\u0434\u0443\u043d\u0430\u0440\u043e\u0434\u043d\u044b\u0439 \u0436\u0443\u0440\u043d\u0430\u043b \u0438\u0441\u0441\u043b\u0435\u0434\u043e\u0432\u0430\u043d\u0438\u0439 \u043a\u0443\u043b\u044c\u0442\u0443\u0440\u044b. – 2015. – \u0421. 107-114. EDN: WBMDXX <\/p>\n\n\n\n 17. \u0424\u0438\u0448\u0435\u0440-\u041b\u0438\u0445\u0442\u0435, \u042d. \u042d\u0441\u0442\u0435\u0442\u0438\u043a\u0430 \u043f\u0435\u0440\u0444\u043e\u0440\u043c\u0430\u0442\u0438\u0432\u043d\u043e\u0441\u0442\u0438 [\u0422\u0435\u043a\u0441\u0442] \/ \u042d. \u0424\u0438\u0448\u0435\u0440-\u041b\u0438\u0445\u0442\u0435. – \u041c\u043e\u0441\u043a\u0432\u0430: \u041a\u0430\u043d\u043e\u043d \u043f\u043b\u044e\u0441, 2015. – 376 \u0441. EDN: YRVIRR <\/p>\n\n\n\n 18. \u0424\u043e\u043c\u0447\u0435\u043d\u043a\u043e, \u0415. \u0412. \u041f\u0435\u0440\u0444\u043e\u0440\u043c\u0430\u043d\u0441 \u043a\u0430\u043a \u0441\u043e\u0432\u0440\u0435\u043c\u0435\u043d\u043d\u044b\u0439 \u0440\u0438\u0442\u0443\u0430\u043b \/ \u0415. \u0412. \u0424\u043e\u043c\u0447\u0435\u043d\u043a\u043e \/\/ \u0412\u0435\u0441\u0442\u043d\u0438\u043a \u043a\u0443\u043b\u044c\u0442\u0443\u0440\u044b \u0438 \u0438\u0441\u043a\u0443\u0441\u0441\u0442\u0432. – 2019. – \u2116 4 (60). – \u0421. 94-102. <\/p>\n\n\n\n 19. \u0428\u0430\u0445\u0430\u0434\u0430\u0442, \u0428. \u0418\u0441\u043a\u0443\u0441\u0441\u0442\u0432\u043e \u0436\u0438\u0437\u043d\u0438: \u0436\u0438\u0437\u043d\u044c \u043a\u0430\u043a \u043f\u0440\u0435\u0434\u043c\u0435\u0442 \u044d\u0441\u0442\u0435\u0442\u0438\u0447\u0435\u0441\u043a\u043e\u0433\u043e \u043e\u0442\u043d\u043e\u0448\u0435\u043d\u0438\u044f \u0432 \u0440\u0443\u0441\u0441\u043a\u043e\u0439 \u043a\u0443\u043b\u044c\u0442\u0443\u0440\u0435 XVI-XX \u0432\u0435\u043a\u043e\u0432 [\u0422\u0435\u043a\u0441\u0442] \/ \u0428. \u0428\u0430\u0445\u0430\u0434\u0430\u0442. – \u041c\u043e\u0441\u043a\u0432\u0430: \u041d\u043e\u0432\u043e\u0435 \u043b\u0438\u0442\u0435\u0440\u0430\u0442\u0443\u0440\u043d\u043e\u0435 \u043e\u0431\u043e\u0437\u0440\u0435\u043d\u0438\u0435, 2017. – 432 \u0441. <\/p>\n\n\n\n 20. Bryzgel, A. Performance Art in EastCentral Europe: 1960s to the PostCommunist Era \/ A. Bryzgel \/\/ PAJ: A Journal of Performance and Art, Cambridge, The MIT Press. – 2020. – 42(3). – P. 95-105. <\/p>\n\n\n\n 21. Butler, J. Gender Trouble. Feminism and the Subversion of Identity. \/ New York: Routledge. – 2006. – 221 P. <\/p>\n\n\n\n 22. Collins, R. Interaction ritual chains. \/ Princeton: Princeton University Press, 2005. – 464 \u0420. <\/p>\n\n\n\n 23. Dixon, S. Digits, Discourse, and Documentation: Performance Research and Hypermedia \/ S. Dixon \/\/ The MIT Press. – 1999. – Vol. 43, \u2116 1(161). – P. 152-175. <\/p>\n\n\n\n 24. Glisic, I., Puric, B. Art as a Living Archive: Post 1989 Performance Art in Serbia and Russia. \/ I. Glisic, B. Puric \/\/ Routledge. – 2019. – P. 213-234. <\/p>\n\n\n\n 25. Goldberg, R. Performance: Live art 1909 to present \/ New York: Thames and Hudson, 2011. – 256 P. <\/p>\n\n\n\n 26. Kopping, \u041a.-\u0420. Fest \/ \u041a.-\u0420 Kopping \/\/ Handbuch Historische Anthropologie. – 1997. – \u0420. 1048-1065. <\/p>\n\n\n\n 27. Koptseva, N.P., Zhukovskiy, V.I. The Artistic Image as a Process and Result of Game Relations between a Work of Visual Art as an Object and its Spectator \/ N. P. Koptseva, V. I. Zhukovskiy \/\/ Journal of Siberian Federal University. Humanities and Social Sciences. – 2008. – Vol. 1, No. 2. – P. 226-244. EDN: IUDTOF <\/p>\n\n\n\n 28. Lipp, W. Feste heute: Animation, Partizipation und Happening \/ W. Lipp \/\/ Drama Kultur. – 1994. – Vol. 1. – P. 523-547. <\/p>\n\n\n\n 29. Ward, F. Some Relations between Conceptual and Performance Art \/ F. Ward \/\/ Art Journal. – 1997. – Vol. 56. – No. 4. – \u0420. 36-40. EDN: CPVSAD <\/p>\n<\/details>\n\n\n\n Get access to the full version of this article<\/a><\/strong><\/p>\n\n\n\n <\/p>\n","protected":false},"excerpt":{"rendered":" \u0423\u0414\u041a 7.038.6 THE INFLUENCE OF THE THEORY OF PERFORMATISM ON THE MODERN UNDERSTANDING OF PERFORMANCE AS AN ART FORM Yurii A. Baklanov 1 Siberian Federal University, Krasnoyarsk, Russia.ybyb2002@mail.ru, orcid.org\/0000-0002-1941-0048 Abstract. The research paper is devoted to the theoretical foundations of performative practices in culture and art. The first part of this article is devoted to … Read more<\/a><\/p>\n","protected":false},"author":10,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_acf_changed":false,"cybocfi_hide_featured_image":"","_locale":"en_US","_original_post":"http:\/\/intelsiberia.ru\/?page_id=6706","footnotes":""},"wf_page_folders":[289],"class_list":["post-6708","page","type-page","status-publish","en-US"],"acf":[],"_links":{"self":[{"href":"http:\/\/intelsiberia.ru\/wp-json\/wp\/v2\/pages\/6708","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/intelsiberia.ru\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"http:\/\/intelsiberia.ru\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"http:\/\/intelsiberia.ru\/wp-json\/wp\/v2\/users\/10"}],"replies":[{"embeddable":true,"href":"http:\/\/intelsiberia.ru\/wp-json\/wp\/v2\/comments?post=6708"}],"version-history":[{"count":1,"href":"http:\/\/intelsiberia.ru\/wp-json\/wp\/v2\/pages\/6708\/revisions"}],"predecessor-version":[{"id":6709,"href":"http:\/\/intelsiberia.ru\/wp-json\/wp\/v2\/pages\/6708\/revisions\/6709"}],"wp:attachment":[{"href":"http:\/\/intelsiberia.ru\/wp-json\/wp\/v2\/media?parent=6708"}],"wp:term":[{"taxonomy":"wf_page_folders","embeddable":true,"href":"http:\/\/intelsiberia.ru\/wp-json\/wp\/v2\/wf_page_folders?post=6708"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
ybyb2002@mail.ru<\/a>, orcid.org\/0000-0002-1941-0048<\/a><\/p>\n\n\n\nReferences<\/strong><\/summary>\n