Abstract: The object of this research is artistry and creativity as sociocultural phenomena. The subject of this research is the cultural and philosophical foundations of the correlation of the desired phenomena. The developed foundations represent the criterion foundation for differentiating artistry and creativity from the point of view of ontological, epistemological, axiological, sociocultural, anthropological, praxiological, ethical and aesthetic approaches. The phenomenon of «artistry» is justified as the creation of a previously non-existent or original, meaningful and qualitative transformation of existing being, which manifests itself in the establishment of a work of art that is valuable to the subject itself, society and culture due to its actual exclusivity. In turn, creativity is defined as a combinatorial and plagiarized comparison or formal and quantitative redistribution of heterogeneous fragments of being, which manifests itself in the emergence of an artistic work that has a certain price for a mass consumer audience due to its superficial «elitism».
The methodological foundation of this research is a systematic approach, comparative-historical and analytical-interpretative methods, as well as hermeneutic and phenomenological approaches.
The scientific novelty of the conducted research lies in a holistic, systematic and poly-aspect substantiation of the essence of the phenomena of artistry and creativity and the disclosure of the features of their sources, process, subject and orientation. On the basis of the developed cultural and philosophical foundations, multidimensional definitions of artistry and creativity are formulated, including the designated critical features. The research also outlines the contours of a special philosophical discipline – the philosophy of creativity and its separate subsections. The main conclusion of the research is the position on the inadmissibility of replacing artistry with creativity in order to avoid the dangers of depersonalization of the creative subject, dehumanization of social relations and degradation of cultural traditions.

Abstract: The object of this paper is creativity as a cultural philosophical and historical-philosophical phenomenon. The subject of the research is the substantiation of the essence of creativity by Russian religious philosophy on the example of the doctrine of V.S. Solovyov and N.A. Berdyaev. The aim of this research is to identify and articulate the key semantic constructs of creativity from the positions of the above-mentioned thinkers. The article also explores ideas about the nature of creativity and the specific features of a creative subject through the prism of relevant concepts of a socio-humanitarian orientation. A brief historical and philosophical excursion into the understanding of the ontological essence of creativity is carried out, modern ontological concepts of creativity are revealed and an existentially oriented concept of creativity is proposed. The theoretical basis of the research is the original works of V.S. Solovyov and N.A. Berdyaev, as well as various commenting scientific sources. The methodological foundation of the research is a comparative analysis and a method of contextual vision of creativity. The main result of the conducted research is the articulation of key aspects of the understanding of creativity by V.S. Solovyov and N.A. Berdyaev. It is shown that for the first philosopher, the central task of creativity is the spiritualization of the material world through the realization of the unity of Goodness, Truth and Beauty, while the second thinker considers the main mission of creativity to be the establishment of a fundamentally different spiritual being by the subject. The scientific novelty of the research also lies in the comparative characterization of the concepts of creativity of these thinkers in terms of essence, tasks, meaning, material, sources, functions, result and other structural aspects.

Abstract: The object of this research is the practical principles of rational-emotional-behavioral therapy (REBT) by A. Ellis. The subject of the research is the specifics of the formation of the conceptualization of the client within the framework of a rational-emotional-behavioral approach. The aim of this research is to develop an algorithm for compiling client conceptualization in the therapeutic direction under consideration based on the systematization of activating events, irrational beliefs, key contesting counterarguments and rational statements. The conceptualization developed in this research also allows the client to form abstract ideas about problematic areas of life, to discover common cognitive behavioral patterns ("schemes") peculiar to him, to derive abstract irrational beliefs and rational statements (a new effective philosophy) and behaviorally reinforce the latter in order to realize significant (including global) life goals and values. The methodological basis of the work is the research of the founders and representatives of rational-emotional-behavioral and cognitive psychotherapy. The main result of the conducted research is the developed REBT conceptualization, which until now was absent in rational-emotional-behavioral therapy, but is actively used in a related psychotherapeutic approach – A. Beck's cognitive therapy. The presented conceptualization and the described algorithm of its compilation contribute to eliminating the risks associated with an insufficiently systematic understanding by the client of the abstract structure of his emotional and behavioral disorders during the passage of rational-emotional-behavioral therapy, known for its deep philosophical approach to solving specific problems, mainly due to philosophical disputation of specific irrational beliefs of the client. The scientific novelty of the work also lies in the description of cognitive-behavioral patterns ("schemes") characteristic of the majority of clients suffering from affective disorders, formulated on the basis of twelve typical irrational beliefs identified by A. Ellis in 1956.

Abstract: The object of this research is the fragmented everyday life of social life practices. The subject of the research is personal stories realized in storytelling and considered as the result of the creative activity of the subject and a way to overcome the fragmentation of everyday life of modern culture. The authors consider the fragmentation of everyday life as a factor in the desocialization of the subject and the leveling of unified mechanisms of social interaction. Storytelling is defined as a way for a person to consistently present various storylines and broadcast the principles of their personal existence, creating an effect of belonging among recipients and awakening their imagination. The research substantiates that storytelling resources allow a subject to broadcast personal values, creatively express their individuality through virtual self-presentation and respond to current public demands, thereby overcoming the fragmentation of everyday life. As the conclusions of the research, the authors state that public order and social interaction are conditioned by the influence of the narratives of each subject on the foundation of their own being and the formation of a vector of development of all participants in intersubjective relations through the dissemination of the principles of personal existence in the storytelling system. The authors emphasize the creative nature of personal stories, the creation and telling of which is a prerequisite for the formation of unified principles of social existence due to the transmitted ideas about socially acceptable rules and stable patterns of behavior that become a set of rituals. The authors conclude that personal stories allow the subject to overcome fragmented everyday life, move to a qualitatively new level of normative determination, develop a strategy of self-identity and move from a separate way of being to a holistic existence in the context of intersubjective interactions.

Abstract: The object of this research is creativity as a cultural and philosophical phenomenon. The subject of the research is the ontological, epistemological and anthropological aspects of creativity, revealed in the conceptual space of classical European philosophy. The aim of this research is to identify ways to understand creativity as a cultural and philosophical phenomenon through the prism of the views of the largest representatives of European philosophical thought. When considering the essential foundations of creativity, special attention is paid to the ontological, epistemological and anthropological nature of creativity, which is emphasized in the conceptual constructions of Plato, Aristotle, Augustine Blessed, Thomas Aquinas, F. Bacon, R. Descartes, J. Locke, I. Kant and F.W.J. Schelling. The theoretical basis of this research is the original works of representatives of classical European philosophy, as well as modern research in the field of philosophy of creativity. The methodological foundation of the research is the comparative analysis and the method of contextual vision of creativity. The main result of the conducted research is the articulation of the understanding of the phenomenon of creativity in the context of the classical period of the development of European philosophical thought from the standpoint of ontological, gnoseological and anthropological approaches. Based on the identified aspects of the desired cultural phenomenon, a historically determined concept of creativity is presented. The scientific novelty of the research also lies in the discovery and accentuation of both explicit and implicit aspirations of the classics of European philosophy to the essential understanding of the genuine and false intentions of the creative subject.

Abstract: The object of this research is the theoretical and methodological features of the cognitive-behavioral direction of psychotherapy. The subject of the research is the comparative characteristics of rational–emotional-behavioral therapy (REBT) by A. Ellis and cognitive therapy (CT) by A. Beck in the context of diagnostic and therapeutic interventions. The authors investigate in detail the cognitive model of the formation of dysfunctional reactions, analyze the mutual determination of dysfunctional beliefs through the prism of both approaches, compare philosophical and cognitive solutions to the problem of emotional disorders, investigate the relationship of automatic thoughts and irrational beliefs, and also emphasize the differences between A. Beck's cognitive therapy and A. Ellis' rational-emotional-behavioral therapy. If in A. Beck's cognitive therapy cognitive restructuring is implemented on a descending principle, consistently affecting the levels of automatic thoughts, intermediate beliefs (cognitive distortions) and self-concept (deep beliefs), then in A. Ellis' rational-emotional-behavioral therapy the procedure of disputing (challenging) irrational beliefs is carried out on an ascending principle, moving from the modification of imperative and derived evaluative beliefs to change automatic perceptions and conclusions. The scientific novelty of the research also consists in clarifying the categorical framework of cognitive behavioral therapy in terms of clarifying the content and correlation of the concepts of "irrational belief", "dysfunctional attitude" and "cognitive distortion". The research also outlines the prospects for the integration of A. Beck's cognitive therapy and A. Ellis' rational-emotional-behavioral therapy.

Abstract: The object of this research is the problem of creative imagination. The subject of the research is the ontological and epistemological nature of productive imagination in the context of the philosophical searches of I. Kant and F.W.J. Schelling. The purpose of this work is to conceptualize the ontological and epistemological determinants of productive imagination on the basis of Kantian and Schellingian philosophical doctrines. The methodological foundation of this research is the original works of these thinkers of German classical philosophy, as well as the actual works of domestic and foreign specialists in the field of creative philosophy. The authors of the study in their work were guided by comparative-historical, analytical-interpretive, hermeneutic and phenomenological methods. The scientific novelty of the work consists in revealing the ontological and epistemological rootedness of productive imagination. In addition, the authors distinguish between imagination as the ability to generate original images based on the synthesis and transformation of empirical material and fantasy as a way of "virtual" realization of unsatisfied needs and escape from reality. The main conclusion of the study is the position that in the philosophical teaching of I. Kant, productive imagination is revealed in an epistemological perspective, presenting as a general cognitive ability and a condition for the transcendental synthesis of sensuality and reason, while in Schellingian philosophy productive imagination is considered from an ontological point of view, being justified as the ability of the subject to endow physical objects with ideal reality.

Abstract: The object of this research is the creative work as the ontological phenomenon. The subject of study is the various grounds of correlation between the notions of “artistry” and “creativity”, which act as the criterial base of the conceptual separation of the original phenomena. The notion of “artistry” is being understood as internally free, spontaneous, unpredictable, and altruistic process of the improvised formation of the qualitatively new being that has sociocultural importance, high level of perfection, and oriented towards the integral cognition of reality, spiritually-ethical improvement of the universe and self-realization of the subject. The notion of “creativity” is substantiates as dependent from the external factors, algorithmic, technological, and pragmatic process of the stereotype combination of the already present being, which represents the value for mass consumer with low level of performance, as well as aimed at the fragmentary cognition of the world, public recognition, and outrageous self-presentation. The scientific novelty consists in substantiation of creativity as similarity, imitation, and surrogate of the constructive process that is characterized by the plagiarism, pragmatic, and mechanistic nature, and manifesting as the creative work of public and consumer designation. The author’s main contribution lies in formulation of the original understanding of creativity as the pseudo-creativity, substantiation of the level of legitimacy of the use of the notion of “creativity” in scientific works, as well as actualization of the anti-synonymous approach towards the correlation of the terms of “artistry” and “creativity” be means of development of the linguistic, praxeological, anthropological, and ontological grounds of their interaction. The main conclusion is the postulation of the inadmissibility of identification of the notions of “artistry” and “creativity” for avoiding the processes of dehumanization of social relations and devaluation of the personal beginning.