Abstract: The question how in the sekulyarny world religions are succeeded by the tourism on the one hand copying its main lines, with another - filling a place which it leaves is considered. Article considers a question of similarity of tourism and religion. Qualities and properties both that, and another are very similar today that does a metaphor of heading very actual. Article studies not only external similarity the practician and the maintenance of both kinds of activity, but also their internal contents. Besides, it is filled with metaphors and comparisons that pulls together both of these concepts even more. As methods of research the comparative analysis, a historical review, a metaphor and analogies, supervision, a reflection, a gipostazirovaniye and modeling, and also deduction and induction act Novelty of the offered work consists, first of all, in those style and a way of a statement by which it is written. Various metaphors and comparisons which confirm with the presence the main conclusions are offered. The last say that today tourism in the form in which it is familiar to most of people, most of all reminds religion, with all that it implies.

Abstract: The concept of realism is considered as a philosophical discourse in the context of which in the history of philosophy and science eyelids put and solved a complex problem of the attitude of our knowledge towards reality. The naive realism usually is understood as so-called natural installation of consciousness according to which the world is such what we see it, – the installation which is most of all coinciding with common sense, life experience and habitual expectations. It is possible to call the following and higher step of realism scientific realism: the science which is under construction on theoretical thinking doesn't trust common sense, is beyond empirical data, and allegedly gets into an essence of things, finding out as the world "actually" is arranged. However scientific theories and pictures of the world often are mutually contradicting, competing and change each other in the history of science owing to what the question of their relation at the objective world remains open. The last and highest step of realism is the philosophical realism which represents no other than scepticism. A methodological basis of research is the unity of etymological, logical and historical approaches, and also the principle of systemacity and some germenevtichesky receptions (in particular, interpretation and understanding). Also the method of historico-philosophical reconstruction which includes receptions primary (by consideration of sources) and secondary (at different attraction of literature on the studied subject) researches at selection of necessary material, methods of the immanent interpreting analysis (in the analysis of philosophical concepts of antique sceptics) and the komparativistsky analysis (when comparing epistemological ideas of the Hellenistic, or late ancient philosophy with modern concepts in the field of science philosophy) and a synthesis method as compounds of the interpreted material in new quality is used. Scepticism as the self-doubting doubt is a philosophical realism - the last and highest form of diskursivny realism after naive and scientific realism. One of essential differences of scepticism from traditional types and forms of philosophical thinking is that skeptical "the world picture" is essentially mobile and plastic, and, as a result, skeptical philosophical concepts usually don't lead to any certain results, but at the same time they are open for various points of view and therefore are alien randomly and unsubstantially, finally, to the adopted provisions, nothing "put outside brackets" thanks to what see correctness (as well as a wrongfulness) any philosophical idea owing to what scepticism is a search of truth, but not denial of possibility of its achievement as the skeptical philosophy is rather often interpreted. Antique scepticism made reopening of a question of the nature of truth and was original attempt of a reflection of theoretical knowledge, having in many respects anticipated modern not only epistemological, but also social and philosophical concepts.

Abstract: Set of interpretations of intelligence protect it from possibility of reconsideration. Certainty of assumptions displaces the center to mechanisms in which the sense is changed for the validity. The last is alien to sense of understanding which the sense serves. In Kant's aprioristika mekhanitsizm ghosts are also covered. Sense and (on - with-) knowledge conduct continuous fight for the right of a primogeniture; but the arbitration of consciousness is limited to his belief in impossibility out of - and to - logical thought. Mystifications of rules are captured by ecstasy of the firm law which is eternal, constitutes life (in Kant interpretation – human) and embodies an absolute form of truth before leading under it the material contents. Overcoming of an aprioristika philosophy of life didn't lead to cardinal change of initial installations. Research traces their logic (rocking of logical dispositions) in the directions subconscious and the authorities. But results don't meet requirements of purity of a bespredposylochny outcome as still operta on clearings of Augean stables of consciousness and don't allow unconscious as the constituting life basis (again and again reviving an aprioristika). The denial of metaphysics leans on the next round of reconstruction to - conscious, immersed in the history environment (sacred madness). In renunciation from before - intellectualism of a reflektornost (aprioristik of "incentive reaction"), accentuation of spontaneous reaction, transcendental and esthetic owing to aiming at its razdelennost, in an institutionalization of Another (a substance prototype) the sense finds the first concreteness under which other community and a community of other is brought. Other (another) as a universal form of sensual synthesizable concreteness is also constituted by the world which reasons of a podsobnost and speeds of reactions will transform to the material.

Abstract: In article evolution of views of David Papineau on phenomenal concepts is considered, and, in particular, two of its are in detail stated the main approach to them (Father's-2002, Father's-2006). The emphasis is placed on property of phenomenal concepts at the same time to mention and use phenomenal experience which is offered to be interpreted in the context of the vittgenshtaynovsky concept "uses" (language game). Within such interpretation the "used" phenomenal experience makes the contribution to the cognitive act. For Papineau, on the contrary, the experience associated with the use of phenomenal concepts allows to explain only existence of illusory intuition about a so-called explanatory failure in psychophysical identities, but in semantic and epistemological meanings is neutral. Similarity between phenomenal concepts and concepts perceptual, and also "similarity" between phenomenal concepts and phenomenal experience, is interpreted in the vittgenshtaynovskikh terms of family similarity. Approach Father's is compared to Ned Blok's approach. At both philosophers the solution of a so-called problem of an explanatory failure contains pragmatical measurement in psychophysical identities. In more general plan evolution of views Father's can be characterized as rapprochement with a pragmatism of vittgenshtaynovsky type which relieves of illusion of existence of an explanatory failure. "The minimum approach" Father's-2014 to concept of a phenomenal concept is limited to introduction of only one essential property of phenomenal concepts – their aprioristic independence of theoretical/scientific concepts that allows to relieve this concept of many standard objections. It is possible to agree with Father's-2014 that in effect, antimaterialistic arguments are based only on aposteriorny nature of psychophysical identities.

Abstract: As to consider all dialectics of art as process in works of similar volume it is impossible in principle, the author, in the research, allocates only some aspects of a dialektichnost of art creativity, on the example of creation of a work of painting. In the first section, the author considers dialectics of art as result of interaction of various polar forces, systems, the phenomena. In the second section, art creativity as the developing process in which basis such law of dialectics as "transition of quantity to quality" lies is investigated. In the third section, the author argues on dialectics directly of a work of art as about complete, integrated, ideal and material education where spiritual (outlook of the artist) has an opportunity to prove through material (through picture form and content), that is it is especially evident. The third section is devoted to dialectics sensual and rational, as one of characteristic features of the dual nature of the artist. Methodological base of research is the method of the structurally functional analysis; dialectic method; method of a germenevtichesky reduction; method of intellectual speculation, and also general scientific (general-logical) methods: analysis, synthesis, induction, deduction, analogy, modeling. The research of these aspects conducted by the author allowed it to draw the following conclusions: In continuously moving, changeable formation of "fabric" of a work of painting, process of its development as continuous emergence something essentially new and irreversible in it is objectively realized. Each subsequent stage of development of the artist as the realizing individual, finds for him, hidden and invisible before, but now acquired, and from that the steps of his ascension becoming invaluable and, together with them, fixed "levels" of the untwisted spiral of his creativity. The work of art is a complete, integrated, ideal and material formation where spiritual (outlook of the artist) has an opportunity to prove through material (through picture form and content), that is is especially evident (by means of artistic images). As a result, it is necessary to record, characteristic for art process, the fact of transformation (transition) of conscious world outlook installation (idea of the life) through energy of the creative act – in an art product, in its form and its contents.Data of sensual level is an important initial material in which the artist receives information for the subsequent artly - creative processing. This initial, sensual and emotional material, as a result of rational activity is acquired and entirely appropriated by reason, forming the sensual and rational base for process of creation of a work of painting.It is necessary to state, as the creator, both the process of creation and the result are the dialectics of art creativity.  

Keywords: dialectics, art, fine art, color, artwork, art painting, development, quantity and quality, sensual-emotional, rational-logical, world view