Abstract: Considering the semantic space of Franciscan spirituality in “Saint Francis of Assisi. Franciscan Scenes” by Messiaen, the author of the article looks into a modern interpretation of Christian ideas that are relevant to St. Francis’ life and work. The author analyzes symbolic images and fundamental ideas pertaining to high scholastic period and more precisely, the way those ideas reflect in the concept of Messiaen’s ‘poem’. The meaning of some hagiographic texts touching upon the life and work of St. Francis has been found out in the poem, as well as a few theological ideas of modern thinkers, namely Claudel, Guardini, Teilhard de Chardin, Balthasar. It is also noteworthy to point out some semantic coincidences and differences of interpreting the ideas of Catholicism in Claudel's mystery “The Tidings brought to Mary” and in Messiaen's poem. For the first time, the method of hermeneutic reconstruction has been applied to interpreting Messiaen’s intent as to the concept of his work. Discerning the ideas of high scholastics depicted in his poem leads to creating a new idea of Franciscan spirituality. Moreover, similarities and differences in the interpretation of Catholic ideas have been unprecedentedly revealed in P. Claudel's mystery “The Tidings brought to Mary” and Messiaen's “Franciscan Scenes”. Messiaen captures examples of St. Francis’ spiritual exploits and his evangelical life and death by paraphrasing philosophical and poetic writings which date back to the last years before the saint's demise: “The Canticle of the Creatures,” “The Canticle to Brother Sun,” “A Salutation to the Virtues”, and “On true and perfect Joy”. Through an artistic lens Messiaen looks at such Chistian ideas as revelation; a relationship between man, the world and God; predestination / providence; “illumination”; death and resurrection of the dead’ divine truth; “all things are good”; true and perfect joy.

Keywords: Catholicism, libretto, Christianity, predestination, revelation, illumination, St. Francis of Assisi, Messiaen, poem, scholastic

Abstract: The article is devoted to the analysis of the concepts of everyday life in the works of M. Heidegger and R. Barthes. Based on textual and comparative analysis, the author offers her own interpretation of the meaning of the concept of "everyday life" in "Being and Time". In the first section of the study, the author examines Dasein and some structures of its existence, the concept of "das Man" as the basis of inauthentic existence, two modes of Dasein's existence and their connection with the meaning of everyday life. Particular attention is paid to Barthes's work "How to Live Together: Novelistic Simulations of Some Everyday Spaces", which is a collection of his lectures, his concept of "idiorrythmie" in connection with the study of the structure of everyday life. Barthes continues the work begun by Heidegger, but tries to establish and reveal the cultural and ideological influence on human everyday life. To accomplish the tasks, the author uses a methodology that is based on the methods of textual and comparative analysis, as well as the problematization of concepts. The main conclusions of the conducted research are, firstly, the identification of three possible meanings of "everyday life" in the work "Being and Time", secondly, the disclosure of the discourse on everyday life in the framework of R. Barthes's philosophical works, thirdly, an attempt to identify the cultural and ideological influence on the grasp of everyday life by man. Thus, it was established that everyday life itself, as an a priori-ontological condition of human existence, is unchangeable, but only the perception of everyday life by man or his way of grasping everyday life in consciousness changes. In this sense, Barthes continues and brings to a new level the work begun by Heidegger, but he starts not from individual consciousness, but from the life of the "I" with others in everyday life as a space of idiorrhythmes. The discovery of common features of reflections on everyday life in Heidegger and Barthes prompts the author to trace the influence of philosophical texts on changes in the subject of the humanities.

Keywords: conscience, utopia, The myth, popular culture, idiorrythmie, das Man, Dasein, everyday life, Barthes, Heidegger

Abstract: The article is devoted to the study of the role of traditional Chinese instruments in the chamber and symphonic music of Tang Dong. In this aspect, such works as Ghost Opera, Concerto for String Orchestra and pipas and Crouching Tiger Concerto are analyzed. The authors consider in detail various types of interaction between traditional Chinese instruments and Western ones in terms of their influence on the general artistic idea of Tang Dong's works, as well as in the context of the relationship of the timbre side of music with other elements of the sound fabric. In connection with the problems of the article, some aspects of the concept of "organic music" by Tang Dong are also touched upon, the origins of which are found both in traditional Chinese culture and in Western music of the XX century. Thus, the multicultural nature of this original artistic concept is revealed. In the course of the research, the authors turned to the methods of holistic musicological analysis, comparative analysis (comparison of Ghost Opera and Concerto for String Orchestra and pipa), comparative cultural method. Based on the analysis of Tang Dong's works, the authors conclude that national instruments are interpreted by the composer as carriers of Chinese culture and, interacting with Western instruments, act as subjects of multicultural dialogue. Depending on the concept of a particular work, traditional Chinese instruments in the composer's works can be represented as characters of instrumental theater, members of an instrumental ensemble (orchestra) in the context of Western musical genres, as well as as sound images reproduced by other instruments. The authors identify the application in Tang Dong's music of two concepts of working with musical material borrowed from different cultural traditions: collage and symbiosis. The article provides a rare example of using both methods of work in relation to the same musical material, which was implemented by the composer in Ghost Opera and Concerto for String Orchestra and Pipa.

Keywords: Crouching Tiger Concerto, organic music, Chinese New Wave, organic materials, synthesis of cultural traditions, Ghost Opera, multicultural dialogue, Concerto for Pipa, traditional Chinese instruments, Tan Dun