Abstract: The article is devoted to the vision of a prophet that Lermontov had. Much is said about Lermontov as a messenger. The author of the present article tries to clarify what meaning the word ‘prophet’ acquires when we talk about a poet. It is noted that the poet’ vision of the future almost in all cases coincided with what actually happened some time later. Such a gift, as Pavel Gurevich states, is usually typical for the personality type called ‘intuitive’ by Carl Jung called. People with this personality type have a weak connection with the reality, they address to the world of ideals and spiritual absolutes. Mikhail Lermontov is a bright representative of this personality type. He can be called a ‘tragic philosopher-visionist. In his research article Pavel Gurevich uses methods of hermeneutic analysis of text. The author has also used the historicism method allowing to understand the social environment when this or that prophecy was created by the poet. Pavel Gurevih has also used the comparative approach allowing to compare the poet’s gift of prophecy with a similar gift of Alexander Pushkin. The novelty of the article is in the author’s attempt to analyze what is usually meant when researchers talk about Lermontov as a prophet. The author of the article does not only discuss the poet’s capability to predict future events. He also talks about Lermontov’s personality and analyzes feature that are generally typical for intuitive introverts. These personality types have unique features. They can actually see ahead and foresee future events which cannot be viewed by other personality types.

Keywords: poetry, prophet, philosopher, future, vision, messenger, prophecy, prediction, genius.

Abstract: The research is focused on Mikhail Kheraskov’s ‘Numa Pompilius or the Flourishing Rome’ (1768). The writing is viewed in terms of the legislative policy carried out by Catherine the Great. The Established Commission for creating the project of the New Establishment has become a general topic in the history of novel. Many Russian researchers of the Russian literature of the 18th century underline that (V. Sipovsky, G. Gukovsky and A. Zapadov) as well as foreign Slavicist researchers (S. Bayer). The fact that the writing was devoted to the activity performed by the Commission in 1766 – 1767 could be explained not only by the times when the work was written and ideological orientation of Mikhail Kheraskov (according to L. Kulakova) but also the peculiar genre of the novel (according to G. Gukovsky). However, despite these traditional approaches, the influence of the main document of the legislative campaign, ‘The Great Nakaz of the Empress’ has never been an individual subject of research. Analysis of the novel in term of Catherine’s Nakaz (1767) gave an opportunity to reconsider established scientific views on the ideological and genre peculiarities of the novel. This approach has allowed to interpret Kheraskov’s writing as a panegyric to Catherine’s legislative initiatives and to understand the role of Kheraskov’s ‘Huma Pompilius’ in the process of creating the state mythology of the period of Enlightened absolutism.

Keywords: Enlightened absolutism, Mikhail Kheraskov, Catherine the Great, New Establishment, legislative policy, ‘Instruction’, Big Commission, utopia, political novel, state myth.

Abstract: The article is devoted to the problem of transmission of information on clinical psychology from the Russian language into the Bashkir language. The authors of the article emphasize the need for creating a Russian-Bashkir definition dictionary to use in the sphere of clinical psychology. The authors analyze the history of creating Russian-Bashkir dictionaries and provide an insight into the modern status of the problem. The authors give the history of the development of clinical psychology as a multi-national sphere of knowledge. They prove the need for creating dictionaries at different stages of the development of this science and describe possibilities of using the Russian-Bashkir definition dictionary on clinical psychology. The main research methods used by the authors include the analysis of modern philological and psychological literature, generalization and interpretation as well as the method of translation of Russian terms into the Bashkir language. Based on the analysis carried out, the authors offer the main principles for creating the Russian-Bashkir definition dictionary on clinical psychology, define the most important terms of clinical psychology and provide their definitions in Russian as well as offer translation of both the terms and their definitions into Bashkir.

Keywords: transmission of knowledge, Russian language, Bashkir language, definition dictionary, clinical psychology, word, image, mental image, concept, education environment.

Abstract: The author analyzes sources of the genre of novel and focuses on the Menippean satire as the genre with the following peculiar features: combination of contradictory thoughts, profanation of generally accepted values and special carnival-like atmosphere. According to the author, one of the most acute and dynamic feature of Devil is the cynicism which can be well shown through the combination of the aforesaid genre peculiarities. Based on the author, a specific feature of the studied type of novel dramaturgy is the demonstration of a hero in a state of depersonalization (double consciousness). This allows to focus on the conditions for introducing the motive of Doppelgänger as a particular sphere of the demoniac phenomenon. The research method used by the author is based on the synthesis of historical, ethical-philosophical, psychological, literary and comparative types of analysis as well as determination f the demoniac phenomenon. The scientific importance and novelty of the article is in creation of the ethic concept explaining the appearance of the Devil as a result of violation of moral principles of a society. Images of such guests from the underworld are created in the minds of literary characters as a moral recompense. Therefore, the Devil is viewed not as a real creature from the Hell but a temporary splitting of consciousness whose cognitive observing ‘self’ appears to be stronger than the emotional feeling ‘self’.

Keywords: novel, Menippean satire, image, human, imp /devil, depersonalization, twin / Doppelgänger, consciousness, carnival, hallucinations.

Abstract: The article is devoted to historiosophical views of Alexander Pushkin. Pushkin’s views on the destiny of the Russian Empire are defined by analyzing peculiarities of Pushkin’s images in his ‘The Bronze Horseman. Petersburg’s Novel’ published in 1833. That novel has become a very important piece of spiritual culture in our country. Since it was published, this masterpiece of Pushkin has been evoking a wide response and contradictory conceptual interpretations. Different interpretations are becoming excessive and shadowing the original text and the author’s position. Under the conditions of the ‘extended Universe it is quite natural to try to review the ideological meaning of The Bronze Horseman. According to the author, in order to better understand Pushkin’s masterpiece, it is necessary to shorten the novel to one central sentence and even to one ‘core’ word. According to the author, this ‘core’ word that reflects the contradictory dynamics of the world order is the predicate ‘stand’ in the last sentence of the first part of The Bronze Horseman. The original use of this predicate has attracted attention of many researchers of Pushkin but none of them has ever placed emphasis on it. According to the author of the present article, the original image was created by the two meanings of the verb ‘stand’ (stoyat’ in Russian): stoIt’ (to stand) and stOyat’ (to cost). Based on the author, it is difficult to completely understand the meaning of this key predicate because, firstly, it breaks the rhythm of the poem and secondly, it has the double meanings. This way, the images in Pushkin’s novel combine poetry with prose, common things with fantastic phenomena, the physical with the metaphysical. According to the author’s approached offered in this research article, Pushkin’s devotion to Russia as the Great Empire is obvious. Pushkin had a positive evaluation of Peter the Great in general and urged us to respect mercy and be merciful ourselves.

Keywords: verb, predicate, image, multiple meaning, poetry, prose, creative work, The Bronze Horseman, Alexander Sergeevich Pushkin, The Captain’s Daughter.

Abstract: In this article poetry of Lermontov is considered from the view point behind imaginative philosophical meanings, many of which remain a mystery to this day. Drawing attention to the fact that the debate on the past and continuing today, the author shows the diversity of the poetic heritage of the poet, identifying its unique feature – the inexorable force of the impact of metaphysical ideas about life and death, freedom and necessity, the spiritual and the corporeal, the sublime and the low-lying, the divine and the human. The default setting is the author’s analysis – all the poetry of Lermontov’s romanticized perception of the world, who gave his own version of the national culture romantic personalism. The author traces how in the poet’s poetic images are reproduced through the state of the human soul tossing between perfect and evil, between good and evil in search of agreement not only with yourself but also with Heaven. Sizemskaya believes the antithesis of the earth and the sky as the two polar elements of human existence to be the cross-cutting issue of poetic heritage Lermontov . The article shows that Lermontov in native spiritual culture according to a new understanding of the divine in which the poles of God and man come together in divinely that the recognition of this new dimension of the world poet eliminates fatality split between the Demon and God as between heresy and truth, introducing poetry in new semantic space. Lermontov, the author believes, the nation’s first spiritual culture was an attempt to translate the sacred from the «beyond» in the «worldly.» Through the image of the Demon, who determined the emotional and vector semantic searches across Lermontov’s poetry, the question whether it is possible harmony, harmony in relations between heaven and earth. The author concludes that the deeper meaning of Demon’s searches is metaphysical: it is not directed against specific conflicts, and against the «fundamental untruth of life on earth,» which the poet and his hero is associated with God justified restriction of freedom for personal expression. At the heart of these quests rebellion personality requiring the right to personal choice of the method and way of life, happiness and love.

Keywords: philosophical poetry, Lermontov, lyric personalism, freedom, fate, God, Demon, the antithesis of «heaven and earth», other-worldly, worldly, good, evil, divine-human.

Abstract: The author of the article compares views of the two philosophers, Aleksey Losev and Mikhail Bakhtin. These two philosophers worked in the sphere of post-symbolism, both Russian symbolism (mostly referring to Vyacheslav Ivanov) and German symbolism (i.e. in terms of German classical philosophy represented by Goethe, Schelling, Hegel and others). In other words, they were in dialogue with Neo Kantianism and phenomenology that can be interpreted as the post-symbolism stage in German philosophy. The authors show that the fact that both philosophers developed their ideas according to the common ‘post-symbolism’ patterns defined their intellectual-technical (‘operational’) and intuitive-thematic similarities despite their differences in themes and axiology. The research methods include phenomenological description; comparison of comparable concepts amid both historical background (post-symbolism) and modern cognitive and narrative theories and the method of the dual methodological optics, i.e. simultaneous search for contrast and common parameters. The results of the research are: 1) even though thematic ‘surface’ of Losev’s and Bakhtin’s writings seem to be very different, both of them use the same intellectual-operational technique as they are both oriented at post-symbolism; 2) the aforesaid operational unity lies in the basis of Losev’s and Bakhtin’s thematic innovations (imiaslavie – literally ‘praising the name’ and double-voicedness). The author proves that both Losev and Bakhtin woked with the same two phenomena. These phenomena can be conditionally called ‘dual’ or ‘triadic’ symbols. The author also argues against the opinion that while duality expresses the core of the Russian philosophy, the triplicity is not accepted in Russian philosophy up to the ‘mystical fright’ before the ‘third’ element. Despite the common opinion that triplicity was not adequately accepted by Russian symbolism, the author of the article shows that Losev and Bakhtin did not only accept the idea of triplicity but also used it as an innovation in their early works. Losev used a name as a triadic symbol (in his concept of Imiaslavie) while Bakhtin talked about a double-voiced word as a ground for polyphony. In Losev’s name the third element is the essence itself (presented solely through the energy) while in Bakthin’s ‘dual word’ the third element is the hidden, i.e. linguistically unobvious, relation of one voice to another. Analysis of all additional elements in the ‘dual word’ is a particular narrative issue which can be adequately viewed only through detailed analysis of the phenomena of duality and triplicity. The author of the present article defines the following two stages in the development of both philosophers’ post-symbolism concepts: 1) the relative stage when both philosophers moved from the triadic symbol to the thesis about linguistic relativity, and 2) the adequation stage when both philosophers proved that there were particular linguistic strategies that allowed to overcome the linguistic relativism by the means of the linguistic relativism itself. Studying the topic of relativity, the author has discovered another important peculiarity that Losev and Bakhtin had in common: Gogotishvili establishes a hypothesis that Losev’s theory of relative mythologies correlates to Bakhtin’s theory of the division of the common language into different (professional, genre and etc.) sublanguages, and Losev’s theory of absolute mythology partly correlates to Bakhtin’s theory of polyphony.

Keywords: Losev, Bakhtin, operationality, thematic invention, triadic symbol, name, double-voicedness, Absolute mythology, polyphony, linguistic relativism.

Abstract: The article is devoted to the analysis of the two books on romanticism. European romanticists are described in the book of selected esthetic researches published by German people of art. Russian romanticism is presented based on the analysis of Mikhail Lermontov’s works. The author of the present article underlines that both European and Russian representatives of Romanticism have much in common. At the same time, the author shows that European romanticism does not the same accuse of the ruling power as Lermontov does. According to the author, romantic denial is not an imitative phenomenon in Russia. It has its own ideological sources and a certain degree of non acceptance of the surrounding reality. The main method used by the author is the culture-historical method. Based on researches, the author also uses the comparative method allowing to define peculiarities of the two variants of romantic reflection. The author tries to critically analyze the provisions of the two researches. The scientific novelty of the article is in the description of a romantic hero and importance of esthetic ideas of German romanticists. The author also shows that the image of a European romantic hero was influenced by revolutions and rebellious transformations. Philosophy of German romanticists just like that of the Russian poet goes beyond the family, noble estate, aristocratic society or social environment. Romanticists do not only stand above their social surroundings. They also try to feel the experience of the entire humankind, express the social message and outline the vector of social development.

Keywords: romanticism, hero, personality, esthetics, views, art, culture, nature, magic.