Abstract: At the turn of the XX – XXI centuries, there is a certain "fatigue" in the humanities from the term "postmodern" / "postmodernism", various works appear summarizing and offering alternative concepts to describe modernity. The article attempts to analyze the arguments in favor of preserving or replacing the concept of "postmodernism", advanced by theorists, many of whom participated in the initial discussions about "postmodernism". In order to identify the essential markers of this concept, formulated initially by Western researchers rather amorphously and vaguely, the authors of this study analyzed individual texts of both pioneer theorists, which undoubtedly include Ihab Hassan, Fredrik Jamieson, Brian McHale, Terry Eagleton, Linda Hutcheon, and scientists who joined the debate later: Alan Kirby and Stuart Jeffries. The conceptual basis of the article is the theory of F. Jamieson, who defines "postmodernism" as the cultural dominant of capitalism at its "late" stage. The comparative method is used in the course of the study. The following grounds of criticism are revealed: the initial failure of the term, its semantic uncertainty (I.Hassan); institutionalization, lack of a theory of political agency (L. Hutchenon, T. Eagleton), overestimation of universality (B. McHale, T. Eagleton); obsolescence and inconsistency with modern realities (A. Kirby). On the other hand, F. Jamieson retains his previous argumentation, abandoning the very term "postmodern" / "postmodernism" in favor of "globalization", and makes some corrective changes. S. Jeffries believes that new technologies have accelerated the spread of postmodernism and contributed to its revival. Such ongoing discussions suggest that the concept of "postmodern" / "postmodernism" retains a certain heuristic potential, and, according to the authors, radical socio-economic and environmental changes pose a real threat to it.

Abstract: The article examines the influence of ancient Chinese philosophical concepts on the formation of modern piano art in China. Ancient Chinese materialistic philosophy is based on such teachings as Wu-xing and Yin-Yang, the Great Limit (Tai Chi), the eight trigrams and others. With the passage of time and the rapid development of science, these philosophical concepts not only did not lose their significance, but also had a powerful influence on the formation of modern Chinese piano creativity, deeply influenced the form and cultural connotation of Chinese music, and also became the theoretical basis for the works of many modern composers. The philosophical and aesthetic Taiji system presented by composer Zhao Xiaosheng, integrated into the modern piano composition system, marked the beginning of a revolution in the field of piano art, combining the theoretical foundations of traditional Chinese philosophy and the principles of modern composition methods. The research methodology is based on philosophical and cultural analysis, musicological analysis, and semantic analysis. Of particular interest is the comparative analysis of the musical and philosophical "Tai chi composition system" by Zhao Xiaoshen, the dodecaphony of A. Schoenberg and the set theory of M. Babbitt and A. Fort, which the Chinese composer considers the sources of his creativity. The novelty of the research lies in the fact that a correlation is proposed between the key categories of ancient Chinese philosophy and modern experiments in the field of musical expression. The authors managed to demonstrate the high degree of influence of Chinese philosophy on music, to clearly show that the basic postulates of ancient Chinese philosophy have been encoded in the basis of traditional Chinese music since ancient times, and in the twentieth century they were the basis of modern Chinese theory of composition, while playing a colossal role in identifying the common foundations of modern composition of the West and East, while preservation of local features of the diverse sphere of these cultures. The emergence and formation of a philosophical and theoretical system of musical composition, based on the concepts of classical Chinese philosophy, organically refracted in the latest achievements of Western music composition, emphasizes the ontological significance of these concepts for both Eastern and Western culture. And the creation of appropriate musical works undoubtedly leads to positive trends in the development of modern Chinese music and classical Chinese philosophy.

Abstract: The subject of this article is the substantiation of the fundamental link between culture and modern problem of searching for the vector of positive social development. The object of this research is the concept of noospheric development as one of the productive futurological strategies that gives adequate responses to the challenges of modernity. Leaning on the unified nature of the sphere of noumena, regardless of the methods of cognition of existence (science, religion, art), and integrating the conceptual grounds of the theories of noosphere and pneumatosphere, the author proves that cultural phenomena are capable of fulfilling the functions of the attractor of social development as the bearers of scientific ideas, axiological and aesthetic values, and aspirations for spiritual ideals. The artifacts that are yet to be implemented, but of exists as ideas, do influence the future. The noospheric strategy of social development requires elaboration of new educational approaches. Special attention is given to the substantiation of culture-making educational model as an effective methodology in preparation of “man on the future”. Analysis of the works of the founders of the theory of noosphere and the theory of pneumatosphere, as well as their contemporary adherents allows concluding on the natural integration of the concepts of V. I. Vernadsky and P. A. Florensky in modern concept of noospherogenesis, as scientific, artistic, and social ideas have the single information nature. The acquired conclusions explicate the culturological component of the concept of noospherogenesis and substantiate the effectiveness of culture-making educational model that contributes to the formation of noospheric type of mentality among younger generation. The author’s special contribution consists in presentation of the model of culture-making school, tested on the public schools of Altai Krai, which also has high heuristic potential for humanities and art universities.

Abstract: This article examines the problem of choosing the optimal civilized strategy in the conditions of postmodernism – the noosphere model.  Altai is belongs to the basic (model) territories that possess the noosphere resource. This research is based on the idea of development of the cultural philosophical binary opposition “culture-civilization” in the context of post-neoclassical mentality pertaining to the values of traditional and ethnic cultures. The subject of this work is the fundamental for the Altai traditional culture concept – sacral center – a specific type of cultural landscape, which includes a number of qualities that allow characterizing Altai as the noosphere resource. The author’s special contribution consists into this topic consists in the determination of phenomenology of the meaningful concept for the Altai people traditional culture – the “sacral center” and its place in the originated within the region model of noosphere civilized development. This work also presents certain practical solutions aimed at the establishment of noosphere model, executed on the territory of the Altai region.