Abstract: The subject of this research is the problems of painting, and particularly, drawing in the philosophy of Jacques Derrida. The starting point became the experience of co-creation of Jacques Derrida and the Italian artist Valerio Adami, which reflected in creation of five hundred screen printings, as well as an attempt to comprehend such of an artistic experience and countersignature in Derrida’s article “+R (par dessus le marché)”, released in 1975 as the first publication of the philosopher structured around the problem of drawing. The author attempts to depict how Derrida’s discourse is imposed upon the graphic practices of Adami, forming a mutual attraction of the line and writing. Despite the significance of the theme of art in Jacques Derrida’s philosophy, there is yet not a single work in the Russian language that would address this topic to any extent. The fundamental problem of art of the XX century, in Derrida’s understanding, is not the dilemma of abstract and figurative, but the discursive nature of figure, i.e. its special configuration in form of a written trace.

Keywords: discourse, art, painting, drawing, figure, writing, deconstruction, Adami, Derrida, signature

Abstract: This article determines the approaches towards metaphysical substantiation of aesthetic reasoning, particularly those formulated in Aristotle’s “Metaphysics” and “Nicomachean Ethics”, as well as Kant’s “Critique of Pure Reason”. An attempt to find metaphysical keys to aesthetic knowledge leads to the question: does it relate to the teaching on the first beginnings; can aesthetical be spoken of as the point, which in a contracted form contains an aesthetic fabric of thought and artistic transcendence. If it does exists, then what is the specificity of the act that allows the aesthetic intuition to cherish the idea of the first beginning, a sort of the principle of parliamentarism for aesthetic subjects and get through sufferings associated with approaching the horizon of the beginning. The main conclusions consist in the theses on aesthetic capability of reasoning as the highest manifestation of subjectivity on the fact that the understood metaphysically aesthetical par excellence is immanent to the worldview (may be accepted as aestheticism and its criticism, but only its individual forms) creating the artistic meaning, a profound image of human beauty, and all of these oeuvres are involved in artistic transformation of the world.  This article is first within the Russian literature to consider the prerequisites for metaphysical substantiation of aesthetical in the “Critique of Pure Reason” by E. Kant.

Keywords: transcendental philosophy, Каnt, Aristotle, painting, meaning of art, creativity, consciousness, philosophy of art, aesthetics, Mamardashvili

Abstract: The emergence of avant-garde and formation of the explicit social mythology is associated with the active political processes in social life of the XX century. It is noted that avant-gardism and social myth are united by implementation of the project and manipulative functions, which contribute to appearance of the mass man on the forefront of social life. The main instrument in the avant-gardists’ and mythmakers’ fight for dominance over public consciousness becomes the insidious symbolic, appealing to the archaic through masterly use of political and artistic conjuncture. The modern social myth represents danger, mostly because of jangling the meaningful symbols, it is involved in mythmaking and mythologized processes, thus enhancing manipulative effect on a human. The author explores such elements of social mythology as the processes of mythologization and mythmaking; compares the functions of social mythology and avant-garde. The appearance of the mass man on the forefront of social life of general public with the own group mythology contributed to the true emergence of avant-garde and social mythology. The author comes to the conclusion that at the present time, same as a century ago, art is a part of social processes; the new forms of art factor into communication revolution, while the myth – through the contemporary mass media – translates a suggestive function.

Keywords: manipulate function, project function, populace, social mythology, avant-garde, symbolic, suggestibility, mythologization, mythmaking, the transitional epoch

Abstract: The subject of this article is the problem of identification of the nature and peculiarities of the Christian model of subjectification, which received its first theoretical substantiation in the late writings of M. Foucault. The fundamental problems of the sources and methods characteristic to Foucault’s research in this field are described. The main principled and historical context of subjectification processes of the era of Early Christianity are revealed. Christian model fits into the context of M. Foucault’s reasoning on the possibility to complement the theory of subject with the theory of subjectification. In the course of this work, the author using the analytical, critical and comparative methods applying them to a number of the writings of M. Foucault and some other ancient philosophers. The scientific novelty consists in the fact that it is the first review in the Russian literature dedicated to the Christian model of subjectification based on the analysis of the previously untranslated writings of M. Foucault The author provides a systematic and detailed description of the modes and practices of subjectification common to the Early Christianity period. Leaning on the materials of M. Foucault and introduced by him methods and criteria, the structure of this subjectification model is suggested.

Keywords: personality, Christianity, care of the self, the culture of self, subjectivation, subject, Foucault Studies, Michel Foucault, social philosophy, ancient culture

Abstract: The subject of this research is the plays of Konstantin Bogomolov, which most representatively for the modern Russian theatre and works of the produces feature the usage of the close-ups on screen. The author sets the goal to determine the main close-up effects on the example of such plays of Konstantin Bogomolov as “Boris Godunov” (Lenkom Theatre, artist L. Lomakina, 2014), “Karamazovy” (Moscow Art Theatre, artist L. Lomakina, 2013), “The Magic Mountain” (Stanislavsky Electrotheatre, 2017), and other. The article applies the theoretical-analytical and cultural-historical approaches; the foundation for this research is theatre studies methodology, complemented by methods from the field of film studies, medialogy, and art history. Comprehension of close-up effects in the Russian modern theatre becomes relevant, since the contextual boundaries of the emergence of close-ups in the 1930’s have significantly expanded. For example, close-ups on the screen in the plays of Konstantin Bogomolov often originate as a parody to the modern TV formats and genres, and invokes the mechanism of critical  understanding of critical reality among the viewers, imposed on them through television screens, smartphones and computers. Konstantin Bogomolov stands for the natural role-playing, thus the close-ups release the actors from overacting and active gesticulation in order to deliver emotions to the last rows of the large theatre halls. Close-ups in Bogomolov’s theatre also become an element of multilevel montage scenic composition, where new plots are formed in intersection of vocalized text, action on stage, and the on-screen visuals.

Keywords: perception, screen culture, close-up, videoart, television, cinema, theatre, media, actor, spectator