Abstract: Narrative ontology is the philosophical concept the author of the article has been developing for many years. The main idea is that truth and false are considered to be illusory and replaced with the questions 'What will happen?' and 'Where is all this going to?'. Neverthetheless, the search for truth is also quite an obvious issue for narrative ontology and truth is viewed as the truth in a fictional discourse, the truth in an everyday expression, the Truth starting with the capital letter 'T', and the truth starting with the small letter 't'. In this research Rudnev also introduces his concept of the 'collapse into the truth' when a person falls into the illusion of the truth as if it were a well. The scientific novelty of the present research is caused by the fact that for the first time in the academic science Rudnev creats a new model of reality based on the ideas of narrative logic and the theory of meaning. Technically, this model is based on the mebius strip which the author thinks to be simultaneously moving in two opposite directions, i.e. towards accumulation of information ('along the life path') and accumulation of entropy ('against the life path'). In this research Rudnev has used the methods of everyday language philosophy developed by Moore, Wittgenstein, Austin and other analytical philosophers. The main conclusions of the present research are the following: 1. Truth and false are illusionary concepts created by our mind, in fact, we exist in the two parallel worlds of truth and false. 2. Narrative ontology is based on the main postulate that the meaning can be found on the mebius strip simultaneously unfolding in the opposite directions. 3. The problem of 'living against the life path' means that we live in the two opposite directions of time, towards accumulation of entropy and accumulation of information. 

Abstract: In his article Rudnev offers us to think of the philosophical thought as the proposition denying the previous philosophical thought which has become the ordinary proposition. In other words, a philosopher needs to say something new which has never been said before. For example, providing that insanity is the inability to stay among things (Ludwig Binswanger) and thought is the absence of thing (Wilfred Bion), it could be suggested that insanity is the place where the thought is being born. From this point of view, any thought is the pathological process. This corresponds to the theory of Tim Crow about homo sapiens originating only after the development of the schizophrenia gene or Yury Lotman's words that the ability of mind to think is, in a sense, the ability of human to become insane. However, all these provisions disagree with the other thought of Bion according to whom thought is also related to the ability to endure frustration. The ability to endure frustration allows to create thought as the mean that makes frustration more endurable. In his article Rudnev offers his own research method which he has been developing for many years and which he has called psychosemiotics of the pathographic text. The scientific novelty of the present research is caused by the fact that Rudnev views the thought theory from the point of view of psychoanalytical and design-analytical concepts offered by Ludwig Bingswanger and Wilfred Bion. Thought is one of the alternative responses of a child to frustration. A child has the choice either to cry or to think. The second reaction leads to the development of thinking. 

Abstract: In his article Rudnev introduces the concept of microscene. He defines it as a usually traumatic but sometimes positive episode in one's life that has the essential effect on all his life afterwards. The concept of microscene is an extended concept of the primal scene when a little child witnesses his parents having sex and takes it as his father abusing his mother which creates grounds for the Oedipus complex. Microscene does not necessarily mean witnessing sexual relations. It can be just a negative or positive episode a person will remember for the rest of his life. Rudnev analyzes the concept of microscene based on the example of psychological abuse experienced by little Beethoven when his drunk father Johann with his friend woke up Ludwig in the middle of the night and forced him to practice scales. That microscene was remembered by Beethoven and, as it often happens, caused the dissociation of Beethoven's personality and creative work and created three 'different' personalities of Beethoven - melancholic cycloid, sociopath and schizoid. The researcher also relates microscene to the phenomenon of Russian TV commercial as a pure narrative with a hardly any product behind. Rudnev comes to the conclusion that all our life consists of conscious or unconscious microscenes leaving indelible traces. In his research Rudnev has used his own method called psychosemiotics or philosophy of psychiatry. The core of this method is the disjunctive synthesis of semiotics and theoretical psychoanalysis. The author's important contribution to the researches of the matter is the definition of microscene as an extended Freudian concept of the primal scene. This concept is mentioned in the Russian academic literature for the first time and used by the author of the article to analyze a situation of psychological trauma or abuse or episode from everyday life, or a TV commercial, quotation or reminiscence. The main scientific novelty of the present article is the introduction of the term 'microscene' as a negative or positive episode in one's life that is remembered for a long time and in many ways determines one's life and future. In conclusion the author states that we are surrounded by microscences, or psychological elementary particles, that constitute our life. 

Abstract: The present article is devoted to the analysis of Bernard Shaw's play 'Heartbreak House' and Alexander Sokurov's film 'Mournful Unconcern' that was made after the play. The analysis is based on the differentiation between the terms 'depersonalisation' and 'repersonalisation'. This concept offered by the author of the article means the revitalization of personality, his going back to being himself, individuation and metanoia. All characters of Shaw's play and Sokurov's film are depersonalised by the war situation and repersonalised at the end when the inevitable death approaches. Appying his own method of psychosemiotics, the author of the article also analyzes associative identifications of the characters of both play and film. For example, Captain Shotover is associated with Stalin, Brezhnev, Moses, Christ, God the Father and Captain Ahab. Ellie Dunn is both Alice in Wonderland and Ellie from The Wizard of the Emerald City. Sokurov's film (1986) is viewed as a film devoted to the depersonalised Soviet intelligentsia before perestroika. In his research Rudnev has used the method that he has been developing for many years. This method involves psychoanalysis, poetics and semiotics and called 'psychosemiotics'. The novelty of the present research is first of all caused by the fact that based on the study of Bernard Shaw's play 'Heartbreak House' and Alexander Sokurov's film 'Mournful Unconcern' Rudnev introduces the concept of repersonalisation along with a generally accepted term 'depersonalisation'. The researcher defines repersonalisation as individuation and metanoia and one's going back to being himself. Using the psychosemiotic method, the author has also studied associative identifications of the play and film characters.