Abstract: The article analyzes the role of the dragon culture for the preservation of national unity and spiritual strength of the Chinese people. The author raises the question of the reasons why the dragon culture remains in demand in the modern rational world, in the age of science and technology development. The answer to this question is the thesis about the uniqueness of Chinese culture, which lies in the philosophy of symbiosis, when the mythological culture of the dragon and scientific rationalism coexist and successfully develop. The dragon is depicted as a powerful being with infinite strength and courage, acting as a talisman, a symbol of protecting people from disasters. Therefore, the dragon culture reflects the veneration of strength, courage, and confidence in Chinese traditional values. The dragon is often seen as a symbol of harmony in Chinese traditional culture, embodying the idea of the unity of heaven and man. The article uses general scientific and special research methods, including document analysis, historical research, classification, comparative research method and semiotic analysis. The novelty of the research lies in the analysis of the reception of the image of the dragon in Chinese culture in the aspect of the philosophy of symbiosis. The author's special contribution to the research of the topic is to analyze the status, role and evolution of dragon culture in Chinese traditional culture from antiquity to the present day, as well as to identify the modern significance and role of dragon culture in modern society. The main conclusion of the study is that the image of the dragon provides a symbiotic relationship between the scientific, rational thinking of modern man and the mythological archetypes preserved in the collective consciousness. Dragon culture reflects the importance of traditional cultural values, national spirit and national identity in China.

Keywords: Chinese people, China, image of the dragon, Chinese culture, philosophy of symbiosis, dragon culture, Dragon, reception of the image of the dragon, totem sign, dragon symbol

Abstract: In the article, the subject of the study is art. Some problematic points in the conceptualization of this phenomenon in modern science are considered, the available empirical research is evaluated, as well as the interdisciplinary perspective of the study of the phenomenon of art. The problem discussed in the article is the objectification of art as an independent phenomenon, and not only as a "form of social consciousness". The possibilities of such objectification can bring scientists closer to understanding the importance of art for self-expression, human improvement, and survival in a modern post-industrial society. To solve this problem, some results of the well-known monitoring of changes in value structures are used – the World Values Survey, which contains data on value transformations in cross-country comparison. This study has been conducted for about 30 years and provides a broad understanding of the relevant changes.  The research methodology is based on interdisciplinary, axiological and systemic approaches, the concept of "centralization" of values is used as a new perspective of the study. The scientific novelty of the study in general and its main provisions in particular boils down to the following: (1) the need to understand art from the point of view of not a form of public consciousness, but as a value included in various value systems is shown the structure of human existence; (2) based on the materials of the World Values Survey, the position of the value of art in the system of values of self-expression and values of self-survival is analyzed (according to R. Inglehart); (3) from the point of view of value transformations or changes occurring in the hierarchies of values, the "position" of art has been revealed, consisting in balancing (harmonizing) "intellectual values", which include art. The main result is as follows: art as a value is not subject to transformation and crisis, according to the results of the World Values Survey

Keywords: the axiological approach, cultural traditions, methodological approaches, theoretical approaches, methodology, values and norms, spiritual culture, art, World Values Survey, values of self-expression

Abstract: The subject of the study is motherhood. The work is based on N.S. Rozov's model of the sphere of socio-historical existence. The biotechnosphere is about reproductive health and the possibility (not the possibility) of a woman becoming a mother. The psychosphere represents aspects of the mother's activity, motives and values, acceptance and rejection of motherhood, the choice of the form of motherhood. Culture and reproductive culture in the experience of motherhood is a direction that arouses interest and reflection (culture sphere). The problems of reproductive status and marital gender, reproductive behavior in the context of the problems of motherhood (sociosphere) remain open for research. Modern realities lead to the need to rethink the experience and understanding of motherhood at all levels of socio-historical existence. The main conclusions are: the biotechnosphere includes a woman's reproductive ability to become a mother, physical health, the ability to bear, give birth and raise a child. The psychosphere includes aspects of the mother's activity (motivational and activity sphere and subject interaction, motivation for the birth of a child), the mother's personality (satisfaction with motherhood and readiness for motherhood; mother-child relations, the problems of family relations. The role of a man in a woman's life and vice versa and the birth of a child is an area of possible research. And the question remains open for research – parenthood and gender in modern conditions. A model of the spheres of socio-historical existence of the phenomenon of motherhood is presented.

Keywords: renunciation of motherhood, gender, society, culture, mother's image, infertility, being, pregnancy, motherhood, reproductive health

Abstract: The main subject of the article is a comparative analysis of the cultures of political relations between the Soviet Union (USSR) and the People's Republic of China (PRC) in the middle of the twentieth century. The author examines in detail such aspects of the topic as ideologization and authoritarianism, centralization of power, control over society and the phenomena of political cults. The article analyzes the key principles and values underlying the political systems of both countries, as well as the strategic goals and methodologies used to implement them. The author explores how ideological principles, power hierarchies and nuances of the political process influenced the formation of civic consciousness and behavioral paradigms of citizens. The article also examines the historical, cultural and geopolitical determinants that determine the similarities and differences in the political cultures of the USSR and the People's Republic of China, and their impact on the domestic and foreign policies of these states.  The research methodology includes a comparative analysis of historical sources and scientific works devoted to the political cultures of the USSR and the People's Republic of China, with an emphasis on the study of ideological, structural and socio-political aspects that shaped their development. The scientific novelty of the article lies in a comprehensive comparative analysis of the cultures of the political relations between the USSR and the People's Republic of China, which reveals both common features and unique features of each of them. For the first time, detailed parallels and differences between the two countries are considered in the context of ideologization, centralization of power and mechanisms of control over society. The findings of the study show that despite the common communist heritage, the political cultures of the USSR and the People's Republic of China developed along different trajectories due to national characteristics, historical events and internal political processes. The author argues that these differences have had a significant impact on the international positions and domestic policies of States. As a result, the article contributes to a deeper understanding of the processes of formation and evolution of the political systems of communist regimes, which is important for historians and political scientists studying the history and politics of socialist countries.

Keywords: Communist ideology, Political cults, Control over society, Centralization of power, Authoritarianism, Ideologization, People's Republic of China, Soviet Union, Political cultures, Comparative analysis

Abstract: Dmitry Astrakhan is a director who immensely "feels the time." His films of the 1990s are documentary films of their era, which are reflected in the works of modern directors. All this underlines and undoubtedly confirms the relevance of this study. Based on this, the author sets a goal to identify the features of Dmitry Astrakhan's creative unions. The set goal is solved by the following tasks: 1) to analyze the creative team of director Dmitry Astrakhan; 2) to identify the members of the creative team with whom the director worked more than with others; 3) to substantiate the role of the creative tandem in the filmmaking work of Dmitry Astrakhan. The object of the study is a creative tandem, and the subject of the study is the main creative tandems in the directorial filmmaking of Dmitry Astrakhan. Cultural-historical and art-historical research methods were chosen as the key methods of the current research. The theoretical and methodological basis for writing this work was the works of Russian researchers Z. Lissa, A.O. Kozyreva, M.A. Novoselova, S.V. Lavrova, Li Jian and N.V. Medvedeva. It is impossible not to mention the author's previous publications on the research topic, which served as material for the work. Also, journalistic articles were used in the arsenal of sources to reflect the opinions of film critics and moviegoers on research issues. The scientific novelty of the work lies in the actualization of the role of the creative tandem in relation to the work of domestic film directors and the justification of a clear analytical approach to identifying participants in the main creative team of film director Dmitry Astrakhan. As a result of the study, it was revealed that Dmitry Astrakhan collaborated most of all with screenwriter Oleg Danilov during the entire creative period (1991-2020) – 24 joint films and composer Alexander Pantykin – 11 joint films. This served as the formation of common stylistic features and relationships that allow you to create films with a unique author's handwriting.

Keywords: Oleg Danilov, Alexander Pantykin, Dmitry Astrakhan, muse, author's style, director's style, creative process, creative team, creative union, creative tandem

Abstract: The review of the collective monograph "Running and Philosophy", which has not been introduced into the sphere of domestic research of philosophical aspects of physical culture and sports, is presented. Marathon for the Mind" (published in English in 2007). The publication includes 19 essays prepared by American philosophers. The professional study of the socio-cultural determination and the existential significance of running practices by the authors of the monograph is effectively combined with the analysis of personal experience of participating in stayer races, which provides a confessional and emotional presentation, as well as practical confirmation of the results obtained. It can be assumed that the content of the collection under consideration covers the main thematic repertoire and represents the research techniques of the philosophy of running that has been forming since the second half of the twentieth century. The reviewed monograph reveals the humanistic potential of running as a factor of anthropogenesis (Sh. Kay), a means of achieving "correct" apathy (R. Devitt) and the highest kind of friendship (M. V. Austin). R. A. Belliotti considers running as a way to gain superhuman standing, H. L. Reed and R. S. Reed find in it the embodiment of the values of existentialism. Within the framework of solving the problems of anthropological dualism, running activity is addressed by J. J. Wisniewski, M. Maze, C. Taliaferro and R. Trauber. K. Martin and M. S. Nussbaum consider running as a medium of aesthetic experience generation, R. J. van Arragon and K. Kinghorn reflect on the typology of runners. D. P. Fry and J. P. Moreland The connection between running and religious practices is investigated, G. Basham, K. Kelly, U. P. Kabasench and D. R. Hochstetler analyze the correlation of goals and means of running activity. Thus, the monograph substantiates the understanding of running as a publicly available and effective means of gaining physical, mental and social well-being, which expresses the humanistic essence of running practices and justifies the philosophical and anthropological significance of their research.

Keywords: values, praxeology, existence, religious practices, aesthetic experience, anthropogenesis, humanism, endurance, philosophy, run