Abstract: The author of the article touches upon the issue about the relation between culture and civilization that are being viewed in terms of development of communication processes throughout history. The importance of this problem is especially recognized due to the appearance of TV broadcast at the second half of the XXth century and the Internet over the last decade. However, the only provision being actually recognized is that in actual practice communication has been existing since the times of appearance of the written language. The history of mass communication relates to the successive involvement of different technologies in the cultural process. Quite often these technologies take communication processes beyond the borders of culture. Technology represents civilization preferences. However, the other side of mass communication addresses culture which, in accordance with Johan Huizinga’s statement, ‘is born in personality and therefore retains its health in personality’. This discordance between preferences of civilization and culture plays the decisive role in raising the problem about personal potential of mass communication. Where mass communication expresses preferences of civilization, personality plays the role of an object in the communication process. Civilization tends to expand the communication space and therefore to involve as many people as possible into the communication process. Mass communication is meant to solve the problems that usually arise in the history of civilization when mass societies appear and processes of massification of culture are started. Personality becomes an actor of communication processes only when technology answers the preferences of culture but does not take communication beyond the borders of culture as it often happens and what mass media such as cinematograph, TV broadcast and the Internet often demonstrates. Sometimes it takes too long for the critical evaluation of the new communication media created on the basis of advanced technologies to be formed. So the humanity is often too excited about the opportunities that the new mean of communication may offer. Such statement of the question makes it necessary to undertake further historical researches of communication but not in the apologetic meaning as it often happens.

Keywords: globalization, individualization, massification, civilization, mass communication, mass media, book printing, culture, written language, cinematograph.

Abstract: The author of the present research article raises the issues that make us take another look at childhood and old age as the frames (development and completion) of human’s individual life. The author views phylogenic parallels to the child development and introduces the concept of human cultures, the latter being described in terms of peculiarities of life activities and views (consciousness) as well as the nature of socialization processes. Childhood is not only an independent culture of life but also the beginning of a difficult transition from one life to another (from the ‘pram’ to personality). Childhood provides the two methods of the world development – play and first social contacts with significant others. A child understands the adult world through play and thinks according to particular patterns. The meaning of a so-called childhood crisis so many people are talking about now is in the crisis of our adult life. Old age develops as a culture of life only if the society admits singularity of life of elderly people and creates special conditions for their life. The other condition is the efforts and work put forth by elderly people and old people towards developing their own concept of old age and putting that concept into life. The third condition for developing the concept of old age in culture (literature, music, science and etc.) is the creation of so called ‘semiotics of old age’. The author views different concepts of old age and analyzes a very important element of these concepts, institutionalization of the meaning of life in the culture of old age. The main research methods used by the author included comparative analysis, methodological problematisation, cultural and historical reenactment and case analysis. General methodology included the philosophical interpretation based on humanitarian and cultural approaches. Based on the results of the analysis carried out, the author offered the definition of the term ‘culture of childhood and culture of old age’ and described the conditions of their formation, peculiarities and essence of each culture, issues related to these cultures and the main solutions of these issues. Generally speaking, the author offers a new philosophical concept of childhood and old age.

Keywords: culture, childhood, old age, reality, personality, prams, society, activity, development.

Abstract: The article is devoted to the description of the phenomenon of a poetic expression as a special object action. For this purpose the author offers a new definition of the structure of poetical works as the autopoiesis act. Based on the creative work of Osip Mandelstam (in particular, his poems and ‘Conversation about Dante’) the researcher provides an analysis of the phenomenon of the poetical composition. The author offers a definition of autopoiesis as a model the entire act of the poetical composition is based on. The autopoiesis act itself is described by the researcher as an object action. The article was written at the confluence of poetics and anthropology. Research methodology is based on the introduction of terms from poetic anthropology as a branch of human philosophy into cultural practices of creating literary texts. The research is based on the principles and terms adopted from anthropology as an anthropopractice, in particular, understanding of the autopoiesis act as an object action aimed at generation and transformation of human based on creating an artwork. The novelty of research is attributed to the introduction of the model of autopoiesis based on which the author analyzes the phenomenon of a poetical composition from the point of view of a particular cultural practice and object action. For the first time the author offers the definition and description of the structure of the autopoiesis act. The research article was written within the framework of a new direction of interdisciplinary research – anthropopoetics that involve research and description of arts as anthropopractices of human transformation.

Keywords: autopoiesis, structure of the autopoiesis act, anthropology of autopoiesis, creative act, object action, generative model, anthropopractice, ontology of poiesis, energy of the autopoiesis act, inner form.

Abstract: Modern music is very different from the traditional music that was the part of the ritual and had a metaphysical meaning. Today music is oriented at virtuosity and sentimentality. In traditional music human is seen as a metaphysical creature. The unity of the microcosmos and macrocosmos is an important idea of traditional cultures. Therefore the essence of music can be understood on the basis of that metaphysical idea. Symbols related to the themes of perfection, immortality, life and death are typical for traditional culture and help to understand music as metaphysics. Comparison of multi-level cultural layers is carried out by the means of the method of interpretation of symbolic figures. Plato’s idea of the cosmic world structure is taken as an initial symbol that helps to reveal the metaphysical essence of music. Music is not only art from the esthetic point of view. Music also has metaphysical purposes. For example, from the anthropological point of view music helps to restore numerous connections with the all-encompassing Universe. Throughout history art has been always changing its status and function. However, in modern culture music practically loses its metaphysical meaning which it used to have in traditional culture.

Keywords: Music, culture, time, Zoroastrianism, information, Universe, tradition, metaphysics, immortality, beautiful.

Abstract: The author of the present research article disproves of Fedyor Dostoevsky’s appraisal of Pushkin’s poem ‘Piligrim’ after the novel of an English writer and preacher John Bunyan ‘The Piligrim’s Progress’ that Dostoevsy shared during his ‘speech devoted to Pushkin’ on June 8, 1880. Dostoevsky interpreted Pushkin as an ideologist of the empire, church, religious nation and Russian roots. From this point of view, his speech devoted to Pushkin was an ‘anti-Pushkin’ speech that actually distorted Pushkin’s word of values. The author of the present article proves that in his poem Pushkin did not create the image of a religious Protestant but based on English cultural works Pushkin created the image of a typical Orthodox person with a slavish philosophy of life and hysterical way of believing. ‘Piligrim’ does not have any signs of Pushkin’s universal narodnichestvo (populism). In this poem Pushkin created the Russian poetry. The researcher uses a comparative socio-cultural analysis of Pushkin’s and Dostoevsky’s writings and also compared to the two types of religion, Orthodoxy and Protestantism. For the first time in the studies of Dostoevsky the researcher proves the failure of Dostoevsky’s point of view on Pushkin’s ‘Piligrim’ based on the comparative analysis of Orthodox and Protestant values. Therefore the conclusion about Dostoevsky distorting the meaning of ‘Piligrim’ can be considered to proved. This allows to progress in our understanding of the speech devoted to Pushkin as an objectively anti-Pushkin speech.

Keywords: Dostoevsky, Pushkin, poem ‘Piligrim’, Orthodoxy, Protestantism, prayer, purpose of art, purpose of poetry, God, salvation.

Abstract: The subject under review of the present article is the phenomenon of musical movement being viewed in respect of the three aspects: as the method of esthetic education, as a practice of cultural-historical psychology and a new type of art. The researcher makes an attempt to cast light on the ‘biography’ of the method of musical movement and the studio Heptachoir in terms of cultural psychology. Musical movement was first created by inspiration and intuitively but later it acquired a coherent system and turned into a method that strives for generation of an emotional response to music in a form of a movement. Musical movement discovers the face of human and revives the phenomenon of choir as the unity of personalities and individualities. The present research was carried out in terms of the humanities and the research methodology was based on the dialogism principle offered by Mikhail Bakhtin and developed by Lev Vygotsky in his cultural-historical psychology. Musical movement is a unique and one-of-a-kind practice that has its own targets, place in culture and pat of development. Polyphony of human culture is very well expressed in the phenomenon of musical movement. Peculiarities of musical movement come out literally in all aspects of musical movement practice. However, the most amazing and crucial aspect is the attitude to spiritual, or ‘classical’ values in musical movement. Aiming for the rise of the human soul trough music is the essence and meaning of musical movement.

Keywords: culture, dialogue, psychology of art, image of human, plastic canon, musical experience, improvisation, musical movement, musical (vocal) plastic action, choir, face, Heptachoir.

Abstract: The subject under review is the creation of the system of esthetic education under the conditions of the crisis of artistic and esthetic concepts and values of modern people, especially younger generations who grew up during rapid informatization of the society. Informatization processes had a great impact both on the system of education and leisure time of people. The articie is also devote to the main features and peculiarities of the modern culture that has been formed in the age of globalization and total mediatization typical for the end of the XXth – beginning of the XXIth century. In order to change the current situation, it is necessary to find the best solution of a whole number of problems related to esthetic and artistic education in modern Russia and to develop the best model of esthetic education which would be based on the philosophy of culture and would be applicable both in institutional and non-institutional forms of esthetic education. In her research the author uses the method of textual analysis as well as the analysis of modern cultural practices including subcultures based on observations. Appealing to researches and practical recommendations in the sphere of esthetic and artistic education that were carried out and created by Russian theorists and practices at the second half of the XXth century as well as the theory of the ‘cultural capital’ offered by Pierre Bourdieu, the author finds out how it is possible to apply those in the modern social and cultural environment. The author raises a question about whether these recommendations are applicable to modern practices including subcultures. As an answer to that question, the author offers to create a new system of esthetic education which would combine both the past experience and modern practices, both institutional and non-institutional ones.

Keywords: esthetic education, culture, system of values, informatization, globalization, youth subcultures, post-culture, creativity, cultural capital, cultural heritage.