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. 

Keywords: symbol, super-reality, reality, unreality, Paper or Hair, Sakyo Komatsu, surrealistic phantasmagoria, rhizomatic web-spiral, interpretation, glamor

Abstract: The subject of this research is the story of the study of one of the key landmark of the medieval Sufi literature – the poem by Mahmoud Shabestari “Gulshan-I Raz” (Rose Garden of Secrets). The author gives an in-depth examination to the little-studied page of this story – the medieval tradition of understanding of this landmark. The work also looks at how this poem is being studied and interpreted today by the Iranian, European and Russian scholars. This article attempts to provide those who study the work of Shabestari with access to the main complex of research literature. The medieval prime sources are being examined in the context of history of thought. The author’s contribution consists in the fact that the work presents the first in the European (including Russian) orientalism detailed review of the medieval tradition of commentary on a landmark. The article offer the more prominent modern works, dedicated to the Persian poet. Mahmoud Shabestari’s poem “Gulshan-I Raz” is being demonstrated as the fundamental source that gave rise to an entire tradition of literary and theoretical essays on Sufism.

Keywords: Mahmud Shabistari, The Rose Garden of Mystery, sufism, commentary tradition, islamic philosophy, persian poetry, ismailism, Iran, medieval thought, sharh

Abstract: The author of the article attempts to answer a question becomes: what communication exists between philosophy and literature? Both in that and in other case it is about deep personal creativity. Many works of poetry we call philosophical. At the same time philosophical thoughts and ideas find expression in an art form with use of images and other means of expression which are inherent in art. We know philosophical works which are stated by art language. For example, the ancient Roman philosopher Tit Lucretius Kar wrote the philosophical poem "About the Nature of Things". However between philosophy and literature it is possible to find various and difficult communications. The author puts the task to reveal the similarity and distinction existing between philosophy and literature as concerning their subject, and language. The author uses methods of various directions of modern philosophy. Analyzing the text, he addresses to receptions of a hermeneutics and structuralism. At the analysis of philosophical problems addresses to philosophical anthropology, linguistic philosophy. Novelty of article is caused by attempt to show that literature quite often acts as a peculiar avatar of philosophy. At the same time it is possible to see such inversion and in relation to philosophy which as much as possible approaches with literature. The author in this regard considers not only proximity of philosophy and literature, but also their mutual threats. This conflict arose already in ancient times. Various forms of a miropostizheniye are in a condition of the competition, challenging the right of the imaginary allies for an absolute priority in disclosure of secrets and paradoxes of the world. The author pays special attention to also axiological measurement of a problem.

Keywords: litrature, philosophy, art, avatar, value, myth, language, passion, image, culture

Abstract: The discussion about special aspects of such a phenomenon as Daniil Andreev in the culture of late 20th – early 21st centuries is just getting the form of a scientific cross-disciplinary research. This is why we believe it is necessary to view the author’s work from the position of honos habet onus in the course of analyzing his creations in the networks of cultural anthropology, literary studies, aesthetics and religion studies. We suggest the attention should be paid not only at an unusual view of life or an ingenious literary heritage, but also to special features of thinking and axiological core of D. L. Andreev’s personality, on the basis of the idea that he is a mystic person and not only a writer of fantasy or philosophical books. Moreover, it is hardly possible to take him as an original philosopher just because of his creating an unusual concept of macrocosm and human history. We suggest he is a Homo Mysticus, being an explorer of the supernatural and the forms of penetration into it. Our hypothesis is developed on the assumption of studying the author’s biography and the results of his works in several unusual aspects of which the patographic one is the foremost trying to estimate the basic reasons of D. L. Andreev’s development as one of the most interesting mystics of the 20th century, original thinker who addresses to the metahistoric aspects of the existence of the mankind and the modern civilization. The subject of the research is the style of thinking, mythopoetic works and eschatological views of the author. As a conclusion we suggest to evaluate the life views of the “messenger” and the main components – eschatological thoughts as a Homo Mysticus by taking into account his personality characteristics, the sources of the ingenuity of his art thinking and talent.

Keywords: Rosa Mira (World Rose), Homo mysticus, mystics, eschatology, art thinking, mythopoetics, Daniil Andreev, macrocosm, human being, nunciate

Abstract: The author of the article describes the method of the system research of eschatology. The variety of eschatological ideas and concepts are viewed as a logical system or eschatological paradigm that has a diachronic and synchronic structure. The author analyzes functional and structural correspondence between eschatological and initiative paradigms. It is shown that the eschatological paradigm comes down to the system of logical invariants, i.e. eschatological and initiative scenarios or patterns that are defined by the author as eschatological homologies. Introduction of the terms 'eschatological paradigm' and 'eschatological homology' allows to formalize the method of structural and comparative analysis applied to eschatological and initiative concepts describe by different religious and philosophical teachings. The author views this approach as methodology of structural eschatology. Structural method is used in Florensky's metaphysics including metaphysics of space and time. In this regard, the author defines the following basic categories: reversed causality, circularity of space and time, ostensibility and describes the idea of synchrony. Analysis of metaphysics of the space-and-time ostensibility allows to discover the structural basis - eschatological paradigm which, in its turn, makes it possible to apply the method of structural eschatology to reconstruction of eschatological paradigm. 

Keywords: eschatological paradigm, structuralism, synchrony, diachrony, homology, ostensibility, Arrhythmology , death, dreaming, initiation