Abstract: The subject of the study is the problem of drawing in the philosophy of Jacques Derrida and, in particular, the so-called "blindness hypothesis", which Derrida expresses in the work "Memoirs of a blind man: self-portrait and other ruins": "drawing ... and the drawing operation must have some relation to blindness." Derrida explores this well—established ontotheological tradition of classical metaphysics: blinding here becomes a necessary sacrificial act, a condition that makes possible the transition from the physical eye to the spiritual, so Derrida describes it as a "sacrificial" economy, which is inevitably followed by an artist, each drawing of which turns out to be a prophecy of a blind man, indicating the horizons of the future.   Explicating Derrida's hypothesis, we turn not only directly to the text of the "Memoirs of a Blind Man" and the documentary narrative film that accompanied it, but also strive to reconstruct the exhibition of the same name held at the Louvre in 1990, which was also curated by Derrida. The comparison of these three layers made it possible to more fully reveal the "blindness hypothesis" and fit it into a more general philosophical context of deconstruction, as well as to rethink the problems of figurative drawing, its mimetic and representative nature. We come to the conclusion that the essence of the drawing has nothing to do with the visible, and its source lies entirely at the level of memory.

Keywords: artist, truth, epiphany, blinding, blind, self - portrait, drawing, deconstruction, Derrida, sacrifice

Abstract: The subject of this research is the actor and the sense of speech “freedom” on stage and on the screen – the culture of speechification on stage and on the screen. The article raised a number of interesting questions – theatrical character, development of acting abilities depending on the type of cinematography. The author’s observations regarding speech differences in speech in movies and on stage and remarkable. Giving close attention to the use of speech elements in cinematography, the author claims that speech “impulsivities” must merge with the fixed frame. The questions of using silence in cinematography and theatre, as well as differences in its application in other spheres of art are reviewed. The conclusion is made that unlike stage actors, the diversity of voice, elocution, pace and rhythm skills of live action actors manifests functions by different laws of internal process. It is stated that speech score of stage actors is a conditionally fixed phenomenon, since stage performance is a living organism, while in cinematography, speech is more static, namely because of the do-overs and adaptation to the result desired by film director. It is underline that speech of the stage actor is strongly subordinated to rhythmic score set by text of the author, stage director, and even scenic and biological rhythms of the partner. Unlike cinematography, onstage speech is not a constant.

Keywords: Theater education, vitality, sense of speech, Actor, on the screen, on the stage, freedom, Chinese philosophy, inner beauty, A sense of faith

Abstract: This article examines the formation of representations on rationality from the perspective of political and administerial views the philosophers of Antiquity. The author describes the conception of rational thinking back in the Ancient Greece, analyzes the factors and prerequisites, cites fundamental terms and concepts, as well as explicates rationalistic views of ancient philosophers who addressed political and administerial topics in their works. Rationality is viewed as a phenomenon. The existing types of rationality are listed. Attention is given to description of the environment that affected the formation of rationalistic approach due to its strong impact upon further development of thinking. The author notes the influence of education in Antiquity as a cultural phenomenon on the development of language, definitions, concepts, and scientific-theoretical thinking as a conceptual activity. The conclusion is made that having emerged in Antiquity, rationality is still the most adequate means of cognizing the world, including the questions of power and administration. Philosophical grounds of rationality, rooted in Antiquity, became a solid foundation for European rationalism. Awarding reason with a “title” of most adequate instrument of cognition allowed the philosophers to formulate categories and concepts for objective understanding of the world, translate thinking into the platitude of abstract concepts. Rational thinking received due development within political philosophy by making the ability to sound reasoning and reasonable decisions the core virtue of a politician. Rationality still holds an important place within political philosophy and philosophy of management, being of the most discussed and relevant topics.

Keywords: competence, society, power, antiquity, politics, reflection, thinking, rationality, management, democracy

Abstract: The subject of this research is the image of Boris Godunov viewed in three different aspects in the eponymous drama by A. S. Pushkin and in the opera by M. P. Mussorgsky. The goal consist in description of multifacetedness and complexity of image of the Tsar, as well as his main traits in representation of the poet and the composer, which helps the performers in staging the opera “Boris Godunov”. A comparative analysis of drama and opera is conducted in accordance with the tree main categories: philosophical-aesthetic foundation, psychological portrait, peculiarities of social environment and place of the hero therein. The main conclusions consist in determination of the important sides of possible interpretation of the image of Tsar as: 1) basic philosophical idea that underlies the entire play, and thus defines the role of Godunov in the artistic concept of stage director and actor; 2) key psychological traits that set the emotional tone for the image of Tsar Boris Godunov; 3) nature and specificity of relations between the protagonist and other characters. The scientific novelty of this article is defined by an attempt to determine the key trends in creating an artistic image of the hero by means of theoretical analysis of representations on protagonist in the drama by A. S. Pushkin and opera by M. P. Mussorgsky. The author believes that the range of qualities and traits imposed by these prominent upon Boris Godunov would help the novice actors to find the key to their unique interpretation of this character.

Keywords: psychological component, philosophical and aesthetic component, the interpretation of the party, comparative analysis, artistic image, Opera by Mussorgsky, tragedy of Pushkin, Boris Godunov, social component, stage performance

Abstract: The object of this research is the problematic raised by the representatives of political-legal doctrine of Eurasianism, which retains its relevance, despite the fact that the history of classical Eurasianism ended over 70 years ago. Geographical position of Russia along with its spatial-temporal orientation, or using the term of Pyotr Nikolaevich Savitsky “topogenesis”, foredooms the national political-legal ideology to pursuit of new ideas and concepts attributed to this characteristic of the country. The subject of this research is the relevance of classical Eurasianism, namely the ideas of its founder N. S. Trubetzkoy with their anti-extremist vector. The author also compares the ideas of N. S. Trubetzkoy and L. N. Gumilyov, and determines the common anti-extremist position. The main conclusion consists in proving the author’s hypothesis on anti-extremist nature of the ideas of N. S. Trubetzkoy and L. N. Gumilyov. A vivid testimony is reflected in the essence of Trubetzkoy’s “revolution of consciousness”, which rejects “fascinating intentions of Romano-Germanic civilization”, declaring itself “the center of the universe”, while it is necessary to understand that all cultures are equivalent to the fact that there is no highest and lowest cultures. N. S. Trubetzkoy claims that the “revolution of consciousness” lies in toppling the idols of egocentrism, in other words, the national haughtiness and chauvinism. Another conclusion is proof of the hypothesis on anti-extremist nature of Eurasian ideas of L. N. Gumilyov. He advanced arguments for polycentrism according to the theory of ethnogenesis, which is based on natural science. The idea of ethnoses itself, as the main point of Gumilyov’s theory, speaks of the evident anti-nationalistic and anti-extremist character of his theory, which again proves the author’s hypothesis.

Keywords: nationalism, Turanian civilization, correlation, identity, ethnicity, Eurasianism, Gumilev, Trubetskoy, chauvinism, egocentrism