Abstract: The subject of the study is the content and features of the concept of "society" in the Tuvan culture, which is formed in a syncretic worldview. Features of the historical development of the Tuvan culture led to the formation of an authentic picture of the world, in which man is an integral part of nature. It was revealed that social aspects are not isolated from nature either. It is shown that the limitations of thinking did not require the development of abstract and universal concepts of man and society. The fundamental role of the family in the implementation of social relations in the Tuvan society is determined. In addition, the verbal form of transmitting traditions enhanced the importance of the family in the social system of the Tuvans. As a methodology, a combination of cultural-anthropological and socio-cultural approaches in various aspects is used. In addition, a conceptual and historical method is used to identify the essence of the transformation of Tuvan society. The main conclusions of the authors are the definition of the Tuvan word "niitiel" as a neologism formed in the course of modernization of the Tuvan culture. The logic of its formation differs from the etymology of the concept of society in Russian and English. The concept of "society" contains syncretic and naturalistic aspects. It is emphasized that the individual did not single out individual political, economic, cultural and social interests. In his thinking, he operated only with family and clan interests. The authors found that the syncretism of the Tuvan culture not only led to the fusion of various spheres of human existence, but also the inseparability of the subject and object in thinking. In this regard, the individual did not separate himself from the family and social structure.

Keywords: human, worldview, modernisation, family, Tuvan culture, concept, syncretism, tradition, society, culture

Abstract: The article presents the author's reconstruction of the main stages of the origin of ideas about cognition. The picture of the reality of cognition accepted in modern science is presented, in which the yet unknown world is contrasted as a source of latent knowledge and patterns and a person as a cognizer striving to discover this knowledge. It is argued that in the Ancient World, such a familiar picture for a modern person did not take place. An analysis of the way of mastering the world related to this period shows that it represented the resolution of problematic situations through the invention of knowledge and schemes (local and fundamental), opening the way to understanding and new behavior. Together, local and fundamental schemes set the Ancient world, understandable and epistemologically transparent, requiring no knowledge. Man lived in a world of souls, spirits and gods. Although he created this world himself, solving problematic situations, he perceived it as having always existed. Cognition begins to take shape, starting with ancient culture; its prerequisites are the formation of an ancient personality and the invention of a new way of obtaining knowledge, not on diagrams, but in reasoning. The contribution of Plato and Aristotle to this revolutionary epistemic process is considered. The first introduces cognition as a dialectical and partly sacred way of understanding a new way of obtaining consistent knowledge. Stagirite transfers knowledge from heaven to earth, and places the source of new knowledge in things. Aristotle interprets this source as a hidden natural movement, calling it nature. The author reconstructs two more stages of the formation of knowledge related to the Middle Ages and modern times. It turned out that nature is not only movements hidden from human eyes, but those that are "written in the language of mathematics" and "constrained," as Francis Bacon wrote, by human art. The article ends with an indication of the next stage in the evolution of cognition, characteristic of the study of humanitarian and social phenomena.

Keywords: reality, movement, schemes, knowledge, comprehension, explanation, reconstruction, the picture of the world, cognition, nature

Abstract: The article is devoted to the analysis of the archetypal image of the Promised Land in Russian utopian thought. The subject of the research is the literary utopias of M.M. Shcherbatov, V.F. Odoevsky, A.A. Bogdanov and the philosophical texts of N.F. Fedorov, S.N. Bulgakov, N.A. Berdyaev, reflecting collective hopes for finding social harmony. The object of research is the image of the Promised Land, which contains an archetypal idea of the place of prosperity in earthly reality. The main purpose of the article is to determine the specifics of the functioning of the archetypal image of the Promised Land in the Russian utopia, the features of which can be traced in the models of the best social structure of Russia depicted by the authors. The application of archetypal analysis to utopian pictures of the future is a little-studied technique, which determines the relevance of this study. The article uses comparative historical, hermeneutic and structural-typological methods to identify the genesis and development of the image of the Promised Land, analyze the texts of the authors in a cultural and historical aspect and identify similar features in them, making it possible to identify the image of the Promised Land as archetypal. The scientific novelty is due to the fact that the consideration of utopias is carried out through the prism of the archetypal image of the Promised Land, rooted in the collective unconscious and embodying the hopes of society for finding a world where the ideals of freedom, equality and justice will be embodied. It is determined that the archetypal image of the Promised Land in Russian utopia is a metaphorical expression of the search for a "lost paradise" and appears in utopian plots as a stable motive focusing faith in the coming of a bright future. The main stable components that make up the semantic core of the image of the Promised Land are highlighted. It is concluded that this image functions in utopian plots, on the one hand, as a topological constant indicating the place of action ("the land of Ophir", "the Northern Kingdom", "Mars"), on the other hand, as an idea of the ideal structure of social existence, which can be associated not only with real, but also transcendent reality, the spiritual state of society ("Millennium", "Kingdom of the Spirit", etc.).

Keywords: millenium, the lost paradise, the social ideal, collective expectations, the collective unconscious, the image of the future, utopia, the archetype, the archetypal image, paradise on earth

Abstract: The paper aims at describing the representation of the image of Moscow as an integral part of the image of Russia, formed in the consciousness of the end-users of Chinese Russian textbooks. To achieve this goal, the following tasks have been set and achieved: to select texts and illustrations centered on Moscow; to identify the components of the image of Moscow in the materials under consideration and to pinpoint the dominant aspect of the image; to determine the strategies of representing Moscow; to characterize the influence of the image of Moscow on the image of Russia as a whole. The methods employed in the study combine the elements of comparative analysis and content analysis of the material, description and induction. The research has demonstrated that, when selecting and presenting the teaching materials, the authors of the textbooks relied upon the strategy of linguocultural progression and holistic approach. The textbooks demonstrate a multifaceted image of Moscow. The findings of the study show that the analyzed textbooks provide the students with rich linguocultural information about Moscow, covering such aspects as history and culture, gastronomic tradition and holidays, education, transport, and trade. The studied materials use the constructive strategies of Moscow’s image presentation: the strategy of well-balanced presentation of the Russian culture and the Chinese culture; the strategy of the inclusion of phenomena of Russian culture into the world cultural heritage; the strategy of combination of the traditional and the modern in the description of Moscow. Overall, it can be argued that the textbooks under consideration project a positive image of Moscow, whose dominant component is the cultural aspect. The uniqueness of Moscow portrayed in the textbooks fosters Chinese students‘ interest in Russian culture and contributes to improving the perception of Moscow and Russia as a whole.

Keywords: Russian culture, strategies of representation, linguoculturology, the image of Russia, Russian as a foreign language, the image of Moscow, Chinese textbooks of Russian as a foreign language, sociocultural component, imagology, cultural studies

Abstract: The subject of the study is traditional Chinese costumes, their origin and forms of inheritance in the "new Chinese style". The object of the study is national clothing, the existence of which is a cultural epic spanning thousands of years and including the epochs of the reign of the largest Chinese dynasties. Turning to the past allows the author to demonstrate the depth and unique charm of oriental culture, to show the reasons for its relevance in the world of modern fashion. Such aspects of the topic as the reflection of the history and spiritual values of the nation in the objects and elements of Chinese clothing, as well as their impact on the global fashion industry, are considered in detail. Special attention is paid to the aesthetics of the Hanfu costumes, the baturukongkamshurd vest, the dianzi hair ornament, the head with one hieroglyph hairstyle, the Zhongshan and Cheongsam costumes. The work uses historical, cultural, comparative and analytical research methods. They allow us to trace not only the evolution of Chinese clothing, but also how representatives of the "new Chinese style" skillfully embody traditional drawings in modern design concepts, creating works that combine both cultural heritage and current fashion trends. The novelty of the research lies in identifying ways to transform traditional Chinese costumes into the fashion trends of the "new Chinese style". The author analyzed its wide popularity among modern youth, as well as its large-scale presence in the global media space. The findings of the study reveal the value of clothing as a unique cultural medium, and also reflect the outstanding contribution of the "new Chinese style" in its innovative reinvention. The author's contribution to the study is observations on the use of "folk Chinese aesthetics" in world fashion, which include Zhongshan, Cheongsam, Qipao costumes, as well as ancient techniques for creating jacquard, knotted batik, and antique embroidery. The "New Chinese Style" not only gave national elements a new life in modern society, but also opened the way for the inheritance and development of Chinese culture.

Keywords: new Chinese style, innovations in fashion, Zhongshan, Cheongsam, traditional Chinese costumes, modern clothing design, national clothing, history of Chinese clothing, Chinese culture, qipao

Abstract: The object of the study is one of the significant manifestations of classical Chinese aesthetics - kunqu opera. The subject of the study is the foundations of the formation of this aesthetics in terms of both material and spiritual cultural practices, as well as to investigate its cultural centripetal role in the context of modern society. The relevance of the study is determined by the novelty of the approach, which involves examining the spiritual imagery of Kunqu opera through the prism of analysing its material basis and interpreting the interaction between ‘materiality’ and ‘object form’ in the process of creating Kunqu opera. In addition, the relationship between Kunqu opera and Chinese classical aesthetics is explored. The aim of this study is to deeply analyse Kunqu opera as an important element of traditional Chinese culture in order to understand the extent to which Kunqu embodies the Chinese aesthetic tradition. A variety of methods including literature analysis, case study, historical and literary research. The article is divided into three main parts: the first part focuses on the material level, arguing that the physical presence in Kunqu opera serves as an important support for the formation of the performance system; the second part reveals how the material components of the performance infiltrate the spiritual aesthetic, while the formation of the opera's aesthetics is influenced by Chinese philosophical thought and lyrical culture, using comparative analysis; the final part emphasises the cultural independence and the cultural identity of the opera's performers. The results of the study demonstrate that classical Chinese aesthetics act as the ‘spiritual core’ of Kunqu opera, reflecting traditional Chinese values, ethics and philosophy, which in turn influences the structure of the works, performance style, music and text requirements, as well as plot moves and stage design.

Keywords: spiritual interpretation, Chinese opera, intangible cultural heritage, musical drama, national identity, Chinese theatre, Chinese aesthetics, philosophy, Kunqu oper, Chinese culture