Abstract: The object of the study of the article were some episodes from the childhood of Salvador Dali, left without the attention of scientists. Analytical and biographical methods were chosen as the main research methods. After analyzing the psychoanalytic literature on the problem of trauma, the diary entries of the genius and the research literature about him, some negative situations from the childhood of Salvador Dali were identified. Among them, we will highlight the trauma of birth, the violation of marital fidelity on the part of the father, the specifics of parental education, orienting the child to the ideal in the image of a deceased brother, self-admiration with a mirror image. These injuries contributed to the fact that Salvador Dali became a narcissistic and ambivalent personality. For the first time, the life of a genius is viewed from the perspective of his childhood traumatic experience. Thanks to this, it turned out to be possible to clarify some of the features of the genius's psyche that influenced his life and work. He replaced his own Self with the ideal Self, honing it to perfection and engaging in self-admiration. The genius was an insecure person, hiding behind shocking audacity. All his life, the Spaniard tossed between conflicting feelings, put forward antinomic judgments, could not make decisions. It must be recognized that childhood traumas played not only a negative role in the Spaniard's life manifestations, but also became a source of creativity. Through him, Salvador Dali used artistic means to expose his injuries in the surreal world, trying to reduce their negative pressure on life and rationally work out problems. The traumatic experience of Salvador Dali and its prolonged effect, which formed an ambivalent personality in him, require further study and analysis of the consequences in various creative searches of the genius.

Abstract: Many aspects of the life of Tatar women of the past remain obscure for others, which is substantiated by the tradition. This prompts the study of the topic in the genre of literary realism. Analysis is conducted on the fate of Tatar woman in the novel “Zuleikha Opens Her Eyes” by G. Yakhina. The hermeneutical method reveals the key symbols of life of the woman, which reveal what is hidden. Such symbols as coffer, kiln, baby cradle, bird, son, honey embody the feminine principle and have national roots. The symbol of train resembles the progress and new foundations of existence, which partially disclose the hidden aspects of the life of Tatar women. Social changes affected the fate of Tatar women, giving an opportunity for self-realization and attainment of happiness. The novelty of this research lies in the analysis of the hidden in the life of Tatar women, dynamics of its evolution in the context of shift in sociocultural dominants caused by historical development. The acquired conclusions can be valuable in reconstruction of the fate of Tatar women of the XIX – XX centuries, determination of the finest nuances and details unknown to others, as well as restoration of the cultural-historical picture of their everyday practices. The interpretation of fate of the heroine of the novel through symbols allows applying a similar method to the analysis of other literary works dedicates to the female theme in culture.

Abstract: The object of this research is the analysis of specificity of gustatory preference of Salvador Dali that allows reconstructing gastronomic code of the genius. The results of analysis demonstrate that Dalian gastronomic code is based on the principles of legitimacy, hierarchy and mysticism. Legitimacy is expressed in the precision of the shapes of ingredients and their compatibility, carefully following the recipe, prevalence of the dishes of Catalonian cuisine. Hierarchy of gastronomic practices in life of the genius was associated with his dietary regime and its quality, as well as knowledge of gastronomic preferences. The process of saturation and appearance of delicacies, erotic component of food underlines the mystical component of gastronomic culture of the genius. Overall, the gastronomic code of Salvador Dali demonstrates Cosmo-Psycho-Logos of the artist, structuring at the intersection of emotional and rational, material and spiritual components of gastronomic culture. The indicated problematic is viewed on the basis of culturological analysis of diary notes and recipe book of Salvador Dali, which help to determine the peculiarities of his gastronomic taste and reconstruct his gastronomic code. This article is first to reconstruct the gastronomic code of Salvador Dali and his key elements (legitimacy, hierarchy, and mysticism). The acquired results can be used in further research dedicated to studying personality and works of Salvador Dali, as well as in analysis of individual gastronomic codes that allow bringing more details into psychological characteristics of personality.

Abstract: The object of the research is the autobiographic collection of aphoristic expressions The Book of Disquiet written by a Portuguese author Fernando Pessoa. The aim of the research is to interpret the contents of The Book of Disquiet from the poin of view of fear, the phenomenon often realled by Pessoa in his diary essays. Pessoa's introversion and artistic fixation of his own moods allow to demonstrate a wide panorama and dynamics of emotional states accompanying fear. In Pessoa's works the main character Bernardo Soares, a 'semi-heteronym' of the writer, describes different forms of existential fear and anxiety, concern, uncertainty, etc. The total nature of fear makes the hero fear life and expect death. Such artistic presentation of fear allows the author and the reader to understand many sides of existentia and reduce the intensity of fear. The matter under research is analyzed by using the method of hermeneutical analysis that allows to reveal many sides of fear in human existence. For the first time in the academic literature and as part of philosophical and cultural studies, the researcher interprets The Book of Disquiet written by Fernando Possoa from the point of view of fear as an existential problem of human existence. The conclusions and results of the research can be used for further research of the representation of fear in literature and art as well as the phenomenon of fear in human existence in general. 

Abstract: The object of this research is the Tatar national cuisine. The analysis of its recipes in the menu of Tatar people recorded in the XIX century alone led to the conclusion on the significant amount of porridges and porridge-type dishes in the first-course and second-course meals, as well as a variety of baked goods used as filling. Porridge making of Tatar people has ancient roots, which is substantiated by their agricultural activity, growing grain and legumes. The popularity of porridges in everyday and festive menu is the indicator of the nutrition value, as it is rich with protein, carbs and vitamins. Cooked in a large kettle over an open fire porridges become a powerful cultural symbol of bringing people together, fruitfulness, prosperity and abundance. The author puts forwards a hypothesis that the Tatar delicacy chak-chak made out of flour, eggs and honey epitomizes grain and becomes a symbolic substitution of porridge during the teatime.

Abstract: The object of this research is the analysis of specificity of national cuisine of the Tatars of the Middle Volga Region and Trans-Urals of the late XIX – early XX century for the purpose of determination of its gastronomic code. It formation was strongly affected by the natural-geographic, cultural-historical and religious factors. In accordance with the recipes, gastronomic code of the Tatar people contains a certain set of food products, their combination, and cooking technique; it also reflects the life stance of the nation, which considers food as divine gifts, luxury and blessing. This is demonstrated in folk wisdom and hospitability of the Tatars, who have respect for the cooking process and tasting of food. Gastronomic code was structured at the intersection of the intuitive, emotional and rational, material and spiritual, which formed the image of food of the Tatar people. The indicated problematic is viewed by means of the cultural-historical analysis and studying of recipes that allow confirming the hypothesis on the existence of gastronomic code in the culture of the Tatar people of the Middle Volga Region and Trans-Urals of the late XIX – early XX century. The author makes an attempt to reconstruct their gastronomic code, determining its main components. The presented material can be valuable for the future research on gastronomic code of the Tatar national cuisine, dynamic of its development, as well as correlation between the culture and tradition of the nation.

Abstract: This article is dedicated to interpretation of the word glamour in the scientific research literature and its transformed perception by mass consciousness. The latter is associated with history of the word, in the process of formation and spread of which have established the following divisions: gnoseological, due to the loss of meaning as a cognitive-educational process; ontological, substantiated by the gap between the reality and imaginary glamorous world; and axiological that led to the shift of accents in the value scale of an individual dreaming about entering the world of glamour. At the same time, the aforementioned divisions appeared to be unknown and unnoticeable for the mass audience. The indicated issue is viewed based on the hermeneutic and phenomenological methods, which help specifying the peculiarities of the modern understanding of the word glamour. For the first time, the history of the word glamour is considered through the prism of gnoseological, ontological, and axiological divisions, which somewhat united its conceptual content. The work keeps the connotations identified with the magic and enchantment that lie in the foundation of comprehension by mass audience. As a rule, glamour is interpreted as a word of magic and miracles; a continuous celebration, which makes any person involved in it charming and delighted. The material can be used in further research of the glamour as a sociocultural phenomenon alongside its various manifestations.  

Abstract: The subject of the research is the creative writing of Yunna Morits defined by the author as the antiglamorous lyrics that presents the opposition between the glamour ideology and glamour myth-making in a critical form. The results of the author's analysis demonstrate the relationship between poetics and metaphysical intellectual-ethical-aesthetical triad that highlights the Here-Existence of the poet and her life position. This proves that the poet had a gift allowing to transform the visibly invisible/invisibly visible into an actual contemporary symbol which was created by the word but acquired the visual aspect. As a result of her creative writing, the poet's Here-Existence attains harmony where the Becoming is born out of creative rethinking and word play of the ar-riving. Yakovleva views the problem in a form of a narrative description using dialectical, interpretative and phenomenological research methods as well as the principle of the intentional analysis which reveals specific features of the poetical phenomenon of Yunna Morits. The novelty of the research is caused by the fact that Yakovleva analyzes Yunna Morits' creative writing in term sof the glamour ideology that prevails in our society now. Conclusions and results of the given research can be used for further studies of Yunna Morits' writings as well as interpretation of literary texts and critical research of today's socio-cultural environment influenced by the glamour ideology and myth-making processes. 

Abstract: The subject of the research is the philosophical parable The Little Prince written by Antoine de Saint-Exupery interpreted from three important positions: the childhood, the glamorous social and symbolism. The aforesaid aspects have a global nature not only due to the inclusivity of phenomena but also due to transformations they undergo under the modern conditions. Using expressive means, in The Little Prince Antoine de Saint-Exupery describes the ontology of the childhood with all its purity and spontaneity shoging an active life of a child and his inclusivity as part of the existence. Through the eyes of the child, the writer demonstrates vices of the adult worl and their transformations in real life as a result of the influence of the glamorous ideology being the 'travelling oddity'. According to the researcher, it is possible to overcome the immoralism gaps in the society's intellectual development by the means of interpreting symbolic signs as the revival of the spirit and intellect. The aforesaid problem is presented in a form of a narrative description using dialectical, interpretative and phenomenological research methods and based on the principle of intentional analysis which allows to describe special feautures of this small novel that is written for children but addressed to adults. By analysing the short story of a French pilot, the researcher demonstrates Antoine de Saint-Exupery's talent who enabled the writer to carry the 'crystall of the childhood' through all his life and helped him to describe the world of the child so vividly casting light on the sins of adults and conveying symbolic messages for future generations. The provisions and conclusions of the present research can be used for further research of Antoine de Saint-Exupery's creative work and interpretation of his fiction as well as criticism of the modern socio-cultural environment subject to the influence of the glamorous ideology and analysis of the latter from the point of view of literary works.

Abstract: In her research Yakovleva interprets Sakyo Komatsu's novel 'Paper or Hair'. The novel was written in 1963 as a response to the modern times, in particular, glamor style of life. In his novel Komatsu brings forth the problem of choosing the development path, either towards aggressive accumulation of innovation technologies or implementation of innovation technologies accompanied with careful preservation of traditions. In the course of her research Yakovleva has discovered that the novel written in the genre of surrealistic phantasmagoria has three layers: unreal, real and superreal. Due to the condensed form, layers overlap which creates the condensation effect and aggravates the terrible image. In his short novel Komatsu represents two symbols related to tradition and beauty, Paper and Hair. However, their power and conceptual potential has decreased in modern times when glamor has shifted the focus towards beautiful apopearance. Moreover, today's high developed technologies create elements of unreality and superreality which allows to interpet our existence as surrealistic phantasmagoria. The author of the article views the topic applying the hermeneutic analysis. The author has chosen this research method because this is the method that allows to create a possible interpretative models of the novel. For the first time in the academic literature Sakyo Komatsu's novel 'Paper or Hair' is being interpreted in terms of glamor as a modern phenomenon. The author of the article also carries out a comparative analysis of Komatsu's fantasies nd glamor sociality, thus revealing Komtsu's fears concerning intensive development of technologies and monetization of all aspects of existence as well as elimination of traditions. The author demonstrates the danger of overlapping layers of existence (real, unreal and superreal) that leads to chaos and absurdity. The research provisions and conclusions can be used in further analysis of Komatsu's work, literary texts and their relation to the modern socio-cultural environment. 

Abstract: The research is focused on the interpretation of texts as a rather difficult process which includes numerous components such as cultural and historical environment, actual events, symbolism, polysemy of words, dependence on the meaning and context, personal qualities of the Author and Interpreter, etc.). These components are dialectically interwined and each time they create new configurations which causes a modern concept of the interpretation model as a rhizomatic network spiral. In the course of her research Yakovleva has defined that the Interpretation Bridge connecting Point A (Author, Text, or beginning of the interpretation journey) and Point B (Interpreter, Life/Situation, ending of the interpretation journey) is just an external construct. If we go deeper into the intepretation process, it will look like a spiralling and extending rhizomatic network. The aforesaid issue is viewed by the author of the article on the basis of the dialectical, phenomenological and hermeneutical methods as well as the principle of intentional analysis allowing to construct the interpretation model.  The interpretation process externally looks like the Bridge and internally like a rhizomatic network spiral. This allows the interpretation process to be flexible and variably mobile and extending in any direction. The key figure of the interpretation process is a recipient who sets the existence of the text through his or her Self-position and changes in the course of interpretation. Interpretation as a spiritual practice of Self combining the objective/subjective, conscious/unconscious, rational/sensual, fiction/reality brings us to the Other Self. This contributes to better understanding and extension of the horizon. Provisions and conclusions of this study can be used for further research of the interpretation process and reflection as part of the interpretation process as well as for analysis of all kinds of texts.  

Abstract: The goal of this article is to examine the modern myth about glamor from the perspective of Ernst Cassirer’s philosophy. Glamorous myth along with all mythical as a whole, possess the three structural components – form of thought, contemplation, and life that reveals its content. It also aestheticizes the being, in which we can observe manifestation of the sacred, miraculous, and divine that encourages avoidance of reality. The myth becomes an eternal symbolic form, which encompasses glamorous narratives that makes it impossible to distinguish between the real and fictional. The author reveals that the traditional laws of mythopoeia (participation, metamorphose, similarity, identification of image and thing, antithesis of sacred and secular) are also present in modernity, acquiring glamorous modality. The three-part structure of a myth highlighted by E. Cassirer allows analyzing the contemporary glamorous narratives, in which the main characters are the archetypes of ancient gods.

Abstract: The subject of this research is the analysis of the absurd as a spatial constant of the glamorous social from the perspective of philosophical reflection. In the modernity, the absurd has become the universe, having taken over all spheres of the social, and submitted the life of humanity to its logic. The absurd, having claimed about itself ontologically, affected the gnoseological and axiological constants of the being of individual, which significantly have transformed not only the subjective, but the objective as well. Double standards start to seep through the social, where the superiority belongs to the Nothing. Moreover, the ideology of the glamour itself appears to be absurd due to postulation of timelessness of the beauty, youth, and wealth within the limits of human life. The analysis of the absurd demonstrated its multifacetedness and expanding scale, which allows speaking about the universe of the absurd in the space of the glamorous. The subjective and the objective of the absurd are dialectically interconnected and justify each other. Paradoxicality of the situation consists in the fact that the Nothing in form of the absurd attains a status of the real, starting to live its own life.

Abstract: This research is focused on the examination of absurd and glamour that became the key traits of modern man’s presence in being. The contemporary ideology of glamour, absurd in its nature, creates such spaces of the social, where individual assert themselves hypocritically and senselessly, displaying ontological, gnoseological, and axiological transformations. The author determines that absurd is being conceived in being and its gaps between Something and Nothing, which is given dialectically. The cause for of the origin of absurd as Nothing is individual, which consciously belittles Something. The glamorous format of the absurd simulates meanings and actions, covering them with glossy flare, which leads to disruptions in the work of consciousness and a routine situation that torments the individual. The exit from the glamorous absurd can become the involvement into being, associated with reflexivity, intentionality, creative approach, and ethical manifestation. This article is the first to combine absurd and glamour, interconnected in modernity. On one hand, they are created by social/personal and on the other – create grounds for their manifestation in being. Many aspects of absurd and glamour as existentials of being have a negative modus that requires immediate measures on their eradication.
 

Abstract: The purpose of the present research is to study the contemporary mode of mythicization that enables fulfilment of Self in the social environment and communication, at the same time eliminating reality and events, thus making it the process of glimmering display/displayed glimmer of Self. The results of the research are the following: myths turn out to be a comfortable plastic form that may contain all kinds of Self narratives, as a result, it is often impossible to distinguish between the real and the imaginary. Following the glamour trends creates continuous mythicization as a simulation of individual existence. This leads to a paradoxical situation when a mythicizing personality turns out to be created by the myth. The aforesaid matter is described in the form of a narrative discription using dialectical and phenomenological methods, and principles of the comparative and intentional analysis allowing to reveal special features of Self's mythicization in the modern glamour discourse. For the first time in the academic literature the author of the article examines the problem of today's individual mythicization which is becoming total. Within the framework of the research, the author also gives a definition of the glimmering display/displayed glimmer of Self proving the ephemerality of expressions as well as uncertainty of individual existence. The author also defines mythicization methods such as deviation which gives birth to the wonderful and bri-collage technique. Provisions and conclusions of the research can be used for further research of personality in the glamour social environment. 

Abstract: The subject of this research is the analysis of the absurd as a spatial constant of glamorous social from the perspective of philosophical reflection. In modernity, absurd turned into a universe by capturing all of the spheres of social and subjecting human life to its logic. Having claimed itself ontologically, the absurd affected the gnoseological and axiological constants of the being of personality, which significantly transformed both, the subjective and objective. In the social we can observe dual strategies, where the priority belongs to the Nothing. Moreover, the ideology of glamor itself turns out to be absurd because of postulating the endlessness of beauty, youth, and wealth within the limits of human life. The author determines that the absurd has many modi of manifestations in modernity, being born in the gaps of being between the Something and the Nothing. The existence of the absurd has initially been set; however in a positive aspect, illustrating the Nothing, it contributes into development (by contradiction), while in negative aspect – leads to chaos, nonsense, and crisis. Glamorous format of the absurd encourages essences and actions, covering them with an alluring fleur, which results in the failures in the functionality of the consciousness and a routine situation of the eternal. The analysis of the absurd demonstrated its multifacetedness and expanding scale, which allows speaking about a universe of the absurd in the space of the glamorous. The subjective and objective of the absurd are dialectically connected with each other, as well as they justify each other. The paradoxicality of this situation consists in the fact that the Nothing in a form of the absurd acquires a status of the real, beginning to live its own life.

Abstract: The research is focused on absurdity as the key characteristics of the existence of Homo Glamorous. Being absurd by nature, modern ideology of glamor creates glamorous spaces of the social which, in their turn, comprise the simulation environment of personality. Having conquered the social spheres, glamor overmastered human life-sustaning activity. Ontological representations of the absurd have influenced gnoseological and axiological constants of human existence that slided back into Nothing as a result of the lost meaning and purpose of life. It is defined that absurdity arises in the gaps between Something and Nothing and this is predetermined dialectically. The cause of absurdity as Nothing as personality deliberately destroying Something. Glamorous format of absurdity encourages meanings and actions wrapping them in the glamorous shade which causes failures of consciousness and eternal patterns. According to the author, it is possible to withdraw from absurdity through being involved in the existence and relating to reflexivity, intentionality, creative approach and moral displays. The aforesaid topics are discussed by the author as a narrative description implying dialectical and phenomenological methods and principles of intentional analysis allowing to reveal specific features of absurdity in the existence of Homo Glamorous. Subjective and objective, personal and social components of absurdity are dialectically interrelated and interdependent. This is a paradoxical situation because being a form of absurdity, Nothing earns the status of the real and starts to take on a life of its own drawing a veil over reality. Provisions and conclusions of the present research can be used in further researches of absurdity and representations of the absurd in personal and social existence. 

Abstract: The object of the research is human and the subject of the research is the analysis of a new kind of human identity that has appeared as a result of electronic infrastructures and networks created by these electronic infrastructures and capturing one's personality. The fact that there are so many kinds of electronic devices today has a certain impact on human existence. Human becomes a so-called electronic nomad who has no home but constantly moving throughout space. Electronic microlandscape that claims to reach the macrolevel is based on the combination of natural and artificial worls, however, the distinction between them is so vague that it creates certain ambiquity: on the one hand, electronic devices depend on a nomad and help him out, on the other hand, it subdues him and creates numerous disturbances which generates a special sphere existing according to its own rules. This creates contradictions in nomad's behavior that has dialectically interrelated extravert and introvert modes. Thus, a nomad appears to have a chimerical but not inclusive personality. He is estrangedly included in the new reality by the means of high technology, however, this new reality is an illusory copy of reality and claims to play a dominating role in a nomad's life. Moreover, his inclusion into the reality is also 'flickering'. Solution of numerous problems arising for an electronic nomad can be made through reconstruction of axiosphere and appealing to traditions and searches for the meaning of life. The author of the article discusses this problem in the form of a narrative using semotical, dialectical and phenomenological methods which allows to describe peculiarities of a modern personality. The novelty of the research is based on the fact that the author analyzes a new kind of personal identity defined by the author as the 'electronic nomad'. The main provisions and conclusions of the research can be used in scientific, teaching and practical activities as well as social work and interpretation of different kinds of social situations and attempts to solve personality issues. 
 

Abstract: The subject of the research is the component of the subjective life of the person presented in the form of the hidden. The complexity of the analysis is due to the fact that a secret as something that exists in everyone's life is deliberately hidden: a secret can be a powerful source for personality development but at the same time be hidden and carefully controlled. Only an individual himself can perform 'pro-of-knowledge' and partially or fully withdraw his secrets from the subjective sphere into the objective sphere where they stop being secrets. He can also keep a secret to/in himself. According to the author, even partial disclosure of the hidden still leaves the room for exploration and interpretation from the point of view of another subjectivity. Based on the results of the analysis, the author creates a classification of the hidden as the existential nothingness (secret-in-itself), existence of nothing (secret-out-of-itself) and the transition between them (secret-from-itself). The problem is viewed by the author in the form of a narrative description using dialectical and phenomenological methods and the principle of intentional analysis that helps to reveal partiular features of this psychic phenomenon. The novelty of the research is caused by the fact that the researcher analyzes a complex psychic phenomenon and offers a classification of different types of this phenomenon in terms of individual existence.  Terms and findings of the research can be used when working with people as well as interpreting various kinds of texts and writing psychological profiles.