Abstract: The image of the hero is formed in Chinese culture within the framework of early mythology. Confucianism changes it in the context of the doctrine of the ideal person. Confucianism has played a key role in cultivating the character and spirit of the Chinese nation, forming the image of the hero. Taking the image of Chinese heroes under the influence of Confucian culture as the object of study, this article analyses the main characteristics of the Confucian ideal of personality. Based on the spiritual connotation of Confucian culture and the characteristics of the hero image under its influence, it is argued that after the emergence of Confucian culture, the hero image has acquired the standard of ideal personality, which serves as a target behavioural model for people. The article examines the demythologisation of the hero image, the emergence of new features of the heroic and the concept of the golden mean under the influence of Confucianism using comparative, descriptive, semiotic and cultural analyses. This paper draws the following conclusions: firstly, the hero image under the influence of Confucian culture is formed on the basis of three virtues – “ren”, “zhi” and “yong”, these three virtues create the theoretical basis of the hero image and the choice of historical and literary representations of the hero. Second, the hero image under the influence of Confucian culture is characterised by four traits: the harmonious unity of “ren”, “zhi” and “yong”, unwavering aspiration, knowledge and talent, respect and adherence to Confucian social norms. Finally, since the emergence of Confucian culture, the image of the hero has lost its original mythological colours and shifted towards secularisation, which is more acceptable to people; Confucianism's idea of the golden mean makes the image of the hero more rational and capable of making the right decisions.

Keywords: transformation, mythology, ideal personality, golden mean, yong, zhi, ren, demythologisation, Confucian culture, Hero image

Abstract: The aim of the work is to pose the problem of the relation of absurdism to faith, considered by the example of the text of S. Beckett's literary work "Waiting for Godot". Research objectives: to give a philosophical analysis of artistic images, to reveal the specifics of the attitude to God among existentialist authors. The object of the study is the text of the play "Waiting for Godot", the subject is the connection of absurdism with the theological and providentialist attitude. The philosophy of the absurd is considered as bringing existentialist thinking to its ultimate foundations. The absurd, as the antipode of the theory of providentialism, represents a pole in the thinking of a religious person who is desperate to find cause-and-effect relationships in the world. According to the author, absurdism as a philosophical trend is rooted precisely in the religious worldview. The author tries to revise the term "absurdism" and find an answer to the question of what place the search for God occupies in absurdism. Examining the work of S. Beckett "Waiting for Godot", the author seeks to prove that one of the sources of absurdism is the awareness of abandonment by God (in the variation "God died" or "God turned away"), which is necessarily associated with attributing to God the function of giving meaning to things, processes, phenomena. The author's main contribution to the research of the topic is to identify the theological attitude as the basis for philosophical trends that position themselves as atheistic.

Keywords: Waiting for Godot, existential crisis, existentialism, The Last Human, teology, Nietzsche, atheism, teleology, Absurdist fiction, absurd

Abstract: The relevance of this topic is determined by the fact of the transformation of the modern anthroposociotechnosphere, which is characterized by extremely rapid development of new technologies with ambiguous consequences for nature and man. In our opinion, in order to successfully adapt to this transformation, competent installations of ecological bioethics, environmental and technological ethics should be developed. The purpose of the research is a philosophical analysis of the representations of ethical models of ecological bioethics, ecological and technological ethics in the aspect of the formation and formation of the ecological technosphere as a form of coevolutionary relations of nature, society and technogenic civilization. The need for this analysis is determined by the desire to find a universal strategy for building harmonious relationships in the "nature-man-technology" system. The research is carried out within the framework of the concept of a "new ecological paradigm", which acts as the main theoretical and methodological guideline for us. This concept is based on the idea that humanity is part of an ecosystem, and therefore should live in harmony with nature. In conclusion, it is concluded that in the modern information society, in connection with the growing ecological crisis, the need for the formation of a network, synergetic-coevolutionary concept, methodology, which can be the concept of an ecological technosphere aimed at building a "new dialogue between man and nature", and involving the formation of a new ecological thinking, is of particular importance., including ethical guidelines of ecological bioethics, environmental and technological ethics.

Keywords: anthroposociotechnosphere, technological ethics, technocentrism, ecocentrism, biocentrism, anthropocentrism, ecological ethics, ecological bioethics, ecological technosphere, new ecological thinking

Abstract: Philosophical ideas in scientific practice serve as the basis of a research position, a set of methods that implement the idea within the framework of the specialty. Philosophy is able to provide clarification of the broadest context and is reflected in the content of reasoning and conclusions. Philosophy is most widely used in the formulation of questions, the formulation of topics that make it possible to actualize the heuristic potential of humanitarian specialties, serves to include problems and ideas in the list of research tasks and goals. This is especially true of those topics that, for a number of historical reasons, were ignored and kept silent. Among these, the theme of religiosity occupies a prominent place.   The main conclusion of the study is the statement that research in the field of Russian religious philosophy is the foundation of modern humanitarian work. It can be produced in a separate region of the country as a pillar of humanitarian knowledge. Scientific practice, which is expressed in the dissertation process, in the genre of a scientific report, is based on the texts of Russian philosophers who were written at the turn of the XIX - XX century. It was concluded that Russian philosophical thought forms a communicative field in scientific processes, which allows for a constructive dialogue between various subjects of the scientific process.

Keywords: religious philosophy, freedom, creativity, religion, meaning of life, personality, human, science, practice, ontology

Abstract: The subject of the article is the problem of the functioning of myth in the context of a dialectically constructed functional asymmetry of culture, language and thinking, where myth and science actively interact complementing each other. The purpose of the article is to consider the causes, nature and mechanism of this interaction, to identify the features of its manifestation and to show its positive sides. As a methodological support for the research, approaches and principles of non-classical science were used, allowing to move away from the classical attitudes of mythology and look at it more broadly, considering the myth not as a legend about gods and heroes, but as a cultural universal and a property of consciousness. The main conclusions of the article are reduced to understanding the importance of the perception of myth in the mode of non-classical mythology developed in the twentieth century, where myth is understood as a semantic matrix of culture responsible for the formation of a field of value meanings. This makes it possible to better understand the role of myth and myth-making in the structure of culture and consciousness, as well as to consider the epistemological resource of myth in scientific creativity, which is clearly underestimated in science, creating a complex system of cognitive dependencies resembling the interaction of the left and right hemispheres of the brain, which form the necessary variety of functional capabilities of human intelligence, working on the principle of mutual complementarity.

Keywords: non-classical science, science and myth, cultural universality, myth - making, non-classical mythology, classical mythology, a modern myth, myth, the ontology of myth, general theory of myth

Abstract: Since the middle of the last century, there have been disputes around the classicist doctrine, which blur the seemingly clear picture of the art of the XVII century and show that along with the aesthetics of classicism, the aesthetics of rules and order, there was another gallant aesthetics. In this dispute about classicism and aesthetic theories of the XVII century, the concept of the "elusive" is given a special place, since it demonstrates the ambiguity and complexity of the art of this period. The concept of the "elusive" is at the heart of the eternal dilemma of the art of the XVII century, the choice between beauty and grace, rational and irrational. However, in modern research, with all the relevance of the theme of style and the style of the era, this aesthetic category is not given sufficient attention. This article shows how a broad discussion of this concept in the salon environment leads to the fact that the principle of "elusive" becomes a requirement and a sign of gallant behavior. Throughout the XVII century, in all discussions and disputes, two points of view on the nature of the "elusive" are affirmed - the rationalistic one, according to which, even if we do not know the laws and nature of the elusive, it does not mean that they do not exist, and the mystical one, which elevated this concept to something supernatural, divine. The article shows how the arguments about the elusive and the resulting ideas about beauty and grace blur the ideal theory of classicism and demonstrate a complex picture of the ideas and aesthetic tastes of the XVII century.

Keywords: gallantry, philosophy of the XVII century, the art of liking, classicism, aesthetics of the XVII century, gallant aesthetics, french literature, classical doctrine, art of the XVII century, literature of the XVII century

Abstract: During the period of globalization, various social strata comprise a new conceptual system. This ongoing transformational process prompts reconsideration of the fundamental concept of religious tolerance: it disintegrates and accretes with extraneous connotations. The worldwide growing religious fanaticism makes the problem of religious tolerance exceedingly acute. Its comprehension becomes relevant not only on the examples of countries, but also on the legacy of prominent representatives of different eras. The object of this research is the literary-philosophical heritage of L. N. Tolstoy, F. M. Dostoevsky, and N. N. Pirogov. The subject is the principle of religious tolerance in the worldview of the listed philosophers. Each of them demonstrates a superior example of humanism in the era of close interaction of various ethnic groups. The analysis of works of the three cultural figures indicates that despite the difference in worldviews, they all agreed upon the general humanistic essence of religious tolerance. The recognition of religious tolerance as a general cultural universal is based on their perception of the world as a single organism that does not unify various religious traditions, but rather constitute them into the “unity of diversified”. If L. N. Tolstoy elucidates humanistic nature of religious tolerance on the level of the individual, communities and entire humanity, then F. M. Dostoevsky has such reflections due to theme of war and peace. In combination with the “cosmic” worldview of N. N. Pirogov, these three views reveal different edges of religious tolerance based on the principle of complementarity. The study of humanistic ideas of the Russian philosophers may contribute to the creation of the methodological concept of religious tolerance as one of the fundamentals of the state domestic and foreign policy of the Russian Federation during the globalization era.

Keywords: a holistic approach, the Russian Empire, religious fanaticism, intolerance, humanism, religious tolerance, Pirogov, Dostoevsky, Tolstoy, religions

Abstract: In recent decade, modernism as one of the varieties of post-postmodernism, draws interest of the researchers. It is suggested that modern culture has transgressed the situation of postmodernism, gravitating towards conceptual and semantic sustainability. As a language of self-description of the new era, the foundations of metamodernism are reflected in various forms of art. The opera house, overcoming the inertia of conservatism, perceives these trends, refracting them in a characteristic oscillation between the extreme semantic poles, which formed during the period of antiquity. The subject of this research is the correlation between the ancient musical heritage and metamodernistic trends in the modern opera theater. It is determined that translation of the principles of musical score of the ancient cult within the framework of the works of modern opera directors implies the characteristic to the supporting music of the cult forms of Ancient Greece and Rome oscillation between the poles of monophony – polyphony, instrumentality of accompaniment – a cappella, improvisational – preset of musical pieces. Paradigmatic assimilation of the fluctuations inherent to the cult of antiquity, as well as the absence of intentionality in their manifestations (which partially reflects the religious-ecstatic procedurality of art), largely determine the specific attributes of metamodernism, emphasized in the works of R. Castellucci, P. Sellars, R. Wilson, and D. Chernyakov.

Keywords: contemporary opera directors, metamodern trends, metamodern, ancient Roman music, antiquity, ancient Greek music, cult ancient music, modern opera, metamodernism, opera

Abstract: This article analyzes the impact of the visual images of well-being upon interpretation of the concept of well-being in consumer culture. The object of this research is the paintings by postmodern artists, constructivists. and hyperrealists – A. Warhol, R. Rauschenberg, J. Jones, L. Lawler, T. Matin, as well as the posters of advertising constructors of A. Rodchenko. Examination is conducted on the artworks, since the time horizon of paintings is not limited to the “here and now”. The author discusses the images from semiotic and hermeneutical perspectives, which allow revealing the content of meanings expressed in the visual form. Artistic images become the object of research in the field of visual semiotics. The scientific novelty consists in the comprehensive socio-philosophical research of the process of creation, proliferation, and inverting meanings in the visual discourse on well-being. The article employs philosophical, rather than art history discourse. As a result, the author establishes correlation between visual images, social culture, and social conventions. The conclusion is made that the visual images of well-being emphasize the social component of well-being, dictate the logic of public consumption, and manipulate collective consciousness. Visual images become the markers of social well-being, translators of the myths on consumer culture, delicately manipulating the constructed Self.

Keywords: artwork, deconstruction, social myth, visual culture, social constructions, postmodernism, consumer culture, well-being, ready-made, visual discourse

Abstract: This article provides a brief history of publications of the treatise of Herbert of Cherbury (1583-1648) “On Truth” (written in 1624); critical response of his contemporaries; as well as comparative analysis of the “symbols of faith” of the English thinker, his contemporary Hugo Grotius (1583-1645), Henry Bolingbroke (1678-1751), Thomas Chubb (1679-1747), and the author of the “Bible of Deism” – “Christianity as Old as the Creation” Matthew Tindal (1657-1733). One may often come across a well-established in the research opinion about the role of Herbert as the “father of Deism”. However, in recent years, this topic remains undisclosed, bringing obscurity whether Herbert of Cherbury should be considered the founder of deistic philosophy. The article also conducts detailed analysis of the criticism of the religious philosophy of deism of the English thinker, and reveals which elements of this doctrine caused a controversial response among his contemporaries. The goal of this work lies in highlighting the most substantial part of the heritage of Herbert of Cherbury, which was subsequently reflected in the religious philosophy of the adherents of deism. The article is of particularly relevance for the Russian audience, as this topic was not sufficiently covered in the Russian language.

Keywords: religious philosophy, history of deism, interpretation of deism, deism, Herbert of Cherbury, English metaphysics, philosophy of the 17th century, philosophy, Christianity, history

Abstract: This article is dedicated to the question of interpretation of modernity. The author uses the groundwork of postmodern philosophy as a new optics and method that touch upon underpinnings of the approach towards analysis. It is also essential to examine the impact of distribution of the ideas of “French post-structuralism” upon future theories. It is demonstrated that through the prism of virologic approach, modernity is characterized by irreducible multiplicity of views contesting with each other for being distributed. At the same time, various concepts of modernity can be viewed as actualization of deconstructivist project, which defines the key vector of this research. Moreover, modernity itself is such research. The novelty consists in the fact that the question on the form of interpretation of modernity has not been previously raised within the framework of the Russian academic philosophical community. Although relevance of this question stems from such methodological and ideological transformations that took place in the late XX century. The conclusion is made that the philosophies united under “postmodern” have heuristic value, allowing to see that in fact postmodernism was related to “superficial” point of view and represented articulation of the problem – deconstructions of andro-logo-theo-teleo-anthropo-onto-phono-centrism. Post-poistmodernism, in turn, is the actualization of postmodernism as a multivariate comparative analysis, conducted by different research programs that exist as viral methods and contest with each other for being distributed.

Keywords: Metamodern, Post-Postmodern, multiplicity, Gilles deleuze, deconstruction, Jacques derrida, Modernity, Postmodern, Method, Virology

Abstract: The subject of this research is rhythm as the cultural and fundamental philosophical principle of time organization of systems of various rank. The goal consists in the analysis of possibilities of creating the general theory of rhythm. The author set the following tasks: analyze ethnocultural traditions, which in the cognitive aspect lean on the maturity of rhythm-sensible  way of thinking; analyze the reflections of Ancient Greek natural philosophers on the meaning of rhythm; trace the theme of rhythm in art, science and practices of the XIX – XXI centuries.; problematize the question on the meaning of rhythmology in interpretation of the new vectors of cognitive evolution at the present time. Articulation of the problem of rhythm as the universal requires consideration of cosmic-nature, planetary, social, cultural, and personal realities (worlds). In examination of historical artifacts and ethnographic material, the author takes into account the principles of evolutionary epistemology. The analysis of natural philosophical and ancient Greek worldview is completed with analysis of the language. The novelty consists in articulation and analysis of the problem of rhythm as a cultural universality as the ultimate basis, covering natural, sociocultural and creatively-personal rhythms. The transformations of mentality and way of thinking in cognitive evolution stemmed from matured sensibility in the archaic towards the development of intellect. Rhythmically sensible way of thinking that empathically connects human with nature was developed until the Early Middle Ages. Culture and natural philosophical reflections on the concept of harmony are of essential for comprehension of sensible worldview. Beauty as a formative principle of the universe was conveyed through the set of concepts adopted in the language of modern science. Rhythm as an aesthetic category in natural sciences attracts the attention of researchers dealing with correlations of biosphere, social and cosmic processes. Reflections on the universality of rhythm in the complex evolutionary systems allow reassessing the discord of rhythms (desynchronosis) of the modern global crisis.

Keywords: harmony, Plato, the science, art, ethnic practices, rhythm-sensing thinking, rhythm, cognitive evolution, cosmic rhythms, rhythms of consciousness

Abstract: The subject of this research is the conditions, under which in the transitional periods that are defined by the author as “sociocultural transformation”, is carried out the selection of cultural-dominant characteristics forming the essence of the next gradual stage in the dynamics of culture. These conditions are determined based on the analysis of the dynamics of culture of the European (Euro-Atlantic) civilization. The author considered such transitional periods as Late Hellenism, Renaissance and Reformation, avant-garde and postmodernism, which represent the sociocultural transformation between Antiquity, Middle Ages and Modern Age respectively. The method of philosophical interpretation of the cultural phenomena of European (Euro-Atlantic) civilization became the key method for this research. The main conclusion of this work consists in description of  such semantic vectors of sociocultural transformation as relativization of meanings, paralyzation of meanings, principle of doubt and uncertainty, and separation with the preceding cultural tradition. These semantic vectors orient towards upward tendency of cultural development.

Keywords: the dynamics of culture, semantic vectors, Euro-Atlantic civilization, European culture, transition epochs, the crisis of culture, socio-cultural transformation, relativism, pluralism, the principle of doubt

Abstract: In the conditions of globalization with characteristic for this era sociocultural transformations, the anthropological problematic, which emphasizes the role of interrelation between creativity and personal being, comes to the forefront. The object of this study is creativity in the philosophical-cultural concept of M. Heidegger. The subject is the phenomenon of creation in M. Heidegger's existentialism. Reference to the concept of M. Heidegger is not accidental, since the problem of human and creativity is focal in his philosophical writings. In his work “The Origin of the Work of Art”, Heidegger sets an ontological vector of studying creativity in art, assigning to being as such the core position.  The article explores M. Heidegger's understanding of creation, which he describes using the terms of "being", "time", "space", "unconcealment", "truth", "thingness", "beautiful", and "beauty".The theoretical and methodological basis of the study was the cultural and historical method. The appeal to the existential-phenomenological methodology allows identifying the peculiarities of comprehension of creativity in the concept of M. Heidegger. The systemic approach serves as the foundation for examining the phenomenon of creativity as a system. It is determines that Heidegger explains creativity as the artist’s way to personal fulfillment. The conclusion is made that according to the philosopher not every work can be attributed to creation, but only those that reflect the system of views of the artist and specificity of time. For Heidegger, art is the space of existence and creation; the essence of art consists in the truth being created in creation.

Keywords: being there, the truth of being, the creation of being, creation as unconcealment, thingness of a thing, the being of creation, creation, Dasein, creativity, art

Abstract: The subject of this research is the fundamental concepts of the analytics of trauma and means of their integration into an aesthetic discourse. The goal of this work consists in determination of theoretical aspects of the aesthetics of trauma. The impact of historical trauma of the XX century upon a man and entire communities is tremendous; and art becomes the space for representation of traumatic experience. The author examines such types of art as literature, cinema and painting, and demonstrates the ways of deflection of traumatic experience in the artworks. Discipline of the aesthetics of art is viewed as an autonomous phenomenon, which is of great importance for the development modern philosophical and aesthetic concepts. The research methods are structured on the philosophical-aesthetic approach that leans on the analysis of individual concepts of the aesthetics of trauma; aesthetic methods of research in development of aesthetic concepts in the context of practical examination of literary text are laced with the methods of literary studies and culturological approach. The conclusion is made that literature and cinematography re-create narrative around the historical trauma by testifying to the trauma in such way that the recipient could borrow the narrative and experience a relief in working through the trauma by means of the language of art. Painting depicts frightful, and allows the audience to feel therapeutic effect through clashing with the frightful.

Keywords: Shoah, painting, cinema, literature, memory, witness, trauma studies, trauma aesthetics, historical trauma, cultural trauma

Abstract: The subject of this research is the philosophical theory of affect developed by Gilles Deleuze that found its reflection in the works of modern philosophers and theoreticians of culture. The article covers the genesis of Deleuzian interpretation of the affect emerged on the basis of Baruch Spinoza’s concept, as well examines the specificity of affect as a collective preindividual emotion, dynamic intensity representing the ability to influence and be influenced. Nonpsychological and nonvisual nature are determined as the key characteristics of affective event. The research combines the historical-philosophical approach in interpretation of the texts of G. Deleuze, B. Massumi, T.Brennan, and other philosopher and theoreticians of culture engages in this problematic, as well as Deleuzian immanentistic approach to aesthetics and philosophy of art and culture. It is proven that Deleuzian problematic of affect, which is insufficiently studied within Russian literature, requires unfolding on the materials of art; this is substantiated by the fact that namely the situation of the encounter with art allows not only conceptualizing affect as the influence and enduring influence, but also trace its dynamics (as an inseparable aspects of existence and functioning of the affect). Diversified, resonant and tangible nature of the affect, in turn, suggests the tools for comprehending the changeability, fluctuation and dynamicity of the modern sociocultural processes.

Keywords: sign, art, intensity, sensation, resonance, Massumi, Spinoza, affect, Deleuze, virtual

Abstract: The subject of this research is the religious-philosophical, theological and moral-ethical views of the British writer, poet, educator, scholar and theologian Clive Staples Lewis. The authors examine the key theological problems in the philosophical-religious treatise of C. S. Lewis “Mere Christianity”. Emphasis is made on the aspects of moral-ethical norms of Christian behavior from the perspective of traditions of the Eastern and Western Church Fathers. It is worth noting that the treatise “Mere Christianity” was of utmost importance for the religious life of England, namely during the difficult period of the World War II. The conclusion is made that faith, hope and love, as the Christian virtues, manifest as indispensable components of communication with God. For easier interpretation of these fundamental theological truths, Lewis uses the language of symbols, metaphors and analogies. Lewis’ personal views based on the profound knowledge of the classical medieval traditions and corresponding with the modern rhythms of our society, which require Christianity not in words but it in serious understanding of its dogmas and traditions, attain special distinctness to the treatise “Mere Christianity”. The scientific novelty consists in the analysis of all aspects of the moral-ethical norms of Christian behavior in the religious-philosophical religious treatise of C. S. Lewis “Mere Christianity”.

Keywords: morality, prayer requests, Trinity, Christian marriage, moral virtues, moral values, Christian religion, Lewis, treatise, spirituality

Abstract: The object of the research is existential literature. The subject of the research is several existential novels and stories in Russia and abroad that illustrate circumstances giving rise to existential thinking especially in literature. The XXth century became a culminating point of philosophical ideas being expressed in a literary form. One of the versions of what caused that phenomenon is that philosophical discourse could no longer handle the great number of meanings that were supposed to be conveyed by a philosophical text. The structural functional method became the basis for research and allowed to define structural correspondences between philosophical generalisations and literary techniques. The method allowed to reveal literary techniques that performed the role of philosophical thought in literary images and events. The structure of a literary text intensifies the intrigue without letting knowing the reader about events. Philosophical essay implies operation with generalized substances to convey the message disregarding the fact whether the reader is ready to perceive it. Another important factor is the news opportunity that is given by a literary work.  The literary form of philosophical ideas in Russia was influenced by the peculiarity of a Russian classical thought closely connected with philosophical approaches and problems. Ancient logos without contributions of the European culture of the Modern Time is an ontological issue that organizes the philosophical discourse and gives space to literature and other philosophy-related areas. 

Keywords: images, concepts, categories, text, phenomenology, discourse, narrative, Russian philosophy, philosophy, literature

Abstract: The object of the study is I.A. Bunin's creation in the postwar period. The subject of the study is the novel The Life of Arseniev and most significant stories Mitya's Love, Mashenka, collection of short stories Dark Avenues, in which author's dependence on European concepts, extensively discussed in modern philosophy, expressed itself most vividly, specifically, 'nothingness', 'status of nature in human perception of the world', and also 'time as a fundamental category in the perception of the phenomena of the world'. The interest in images, which uniquely fix the well-known concepts of European metaphysics, was shown. The methodology of the study is based on the closest to each other methodological approaches. A comparative method is a basic one, which consists of a comparison of different understandings of the same categories and images in literary and philosophical discourse. A historical-genetical method allows tracing the development of a concept or an image from page-to-page, novel-to-novel, and also in different periods of creative work. The text consists of philosophical categories and concepts which are clarified and illustrated with images from I.A. Bunin short novels. Such concepts as 'absence', 'revolution', 'respite', 'nothing', 'existence' expose and confirm its essentiality in author's literary material. Bunin did not give any famous comments on philosophy, due to this fact it is more interesting to trace his dependence on these concepts in his work. Russian writer appears not only as a great poet and novelist but also a European intellectual, who indirectly uses the key concepts and construction in his creative work. 

Keywords: discourse, philosophy, nature, essence, nothing, being, poetry, literature, existence, phenomenology

Abstract: The subject of this research is the relationship between science fiction as a literary genre and mediareality. Contemporary culture is filled with images from science fiction that are represented in media forms. New means of communication extend fantastic universums and enrich their plots through publishing fan fiction, role playing, etc. There must be some grounds the relationship between science fiction and mediareality is based on, so this is the subject matter of this research article. The research methodology is based on the techniques and methods adopted from the theory of literature, semiotics and mediaphilosophy. The researcher has also applied the historical method. The rationale of this research is caused by the fact that science fiction that had been so popular in the mid XXth century gave the content to the majority of works written in the media era. Totally and expansively growing mediareality has also involved fantastic discourse that has been at the peak of popularity for over quarter of a century. Mediareality is represented through the phenomena of contemporary fantastic discourse and the latter gets better opportunities for extension. The researcher emphasizes the need to analyze the grounds of this union in order to understand the trends of the cultural development. 

Keywords: Media, Philosophy of literature, Media culture, Mediarationality, Philosophy of absurdity, Absurdity, Mediaphilosophy, Speculative fiction, Mediareality, reader

Abstract: The subject of the research is the concept of 'spatial thinking' in philosophical, literary creative work and painting of Nicolas Roerich. Gerasimova studies the symbols of 'spatial thinking' in Roerich' creative work from the point of view of Roerich' philosophical theories and Living Ethics. The researcher carries out a comparative analysis of Living Ethics texts to the philosophical teachings of the West, East and Russia. She analyzes particularities of the spatial thinking as an overall cultural worldview universal. The researcher pays attention to the levels of thinking in the creative process. She discusses the importance of Roerich' ideas about spiritual values. To analyze the style of creative work of Nicolas Roerich, the author has used the interdisciplinary approach. The contents of Roerich' paintings that present symbols of the spatial thinking are analyzed by the author of the article from the point of view of the artist's philosophical views. The author of the article bases her analysis on cultural research of symbolism and historicians' studies. Nicolas Roerich' literary style can be described as cosmic realism. Cosmic realism orients human's creativity at establishing the connection to spiritual anthroposphere. Connecting eras and cultures, Nicolas Roerich' synthesis of thinking looked into the future and implementation of the ideal of culture as the life of spirit on Earth. Roerich' creative work is inseparable from his philosophical theories and Living Ethics. The idea of the spatial thinking in Roerich' philosophy is compliant with the spiritual teachings of the West, East and Russia and presented by the symbols of neolithic era and folklore. Philosophical ideas and creative work of Nicolas Roerich make a contribution to the concept of human evolution, nature of psyche, future of culture and importance of global cooperation. These ideas are growing especially important in a modern society of global communications. 

Keywords: common good, symbolism, cosmic realism, spatial thinking, culture, gnoseology, Living Ethics, aesthetics, history of philosophy, Nicolas Roerich

Abstract: The article is devoted to the problem of reference in image studies. The relationship between images and their reflection is one of the key problems in this field of research, especially because, as the author of the research notes, one of the possible views on the genealogy of image directly relates to such phenomenon as estrangement. Referring to Hans Belting's researches, the author of the article notes that the origin of an image itself is related to the phenomenon of estrangement of the image from its reflection and fixation of an image in another material medium, on the one hand, and preservation of that relationship with its reflection, on the other hand. To clarify these complex relations, the author applies three concepts, representation, exemplification and vestigium (trace). The first concept is used according to the definition offered by a modern researcher G. Bohm and Hans-Georg Gadamer in his 'Truth and Method'. According to their interpretation, representation is understood as intensification and extension of a referent's presence. Then, the author refers to the term 'exemplification' as it was first introduced by Henry Nelson Goodman as a new type of a sign. Having demonstrated, that none of these strategies fully explains the phenomenon of estrangement, the author refers to the third concept of vestigium (trace) of St. Augustine. Unlike the first two concepts, vestigium is described as the process of the denial from an image's own features which cannot be said about a sign and thus cannot be estranged from the presence it is conveyed through. However, this concept offered by Augustine has not been of great interest for researchers so far. It does not have a translation in Russian and has never been used in image studies. This is what makes the novelty of the present research.    Gottfried Böhm Gottfried Böhm in 2015 Born January 23, 1920 (age 98)Offenbach, Hessen Occupation Architect Awards Pritzker Prize   Buildings Neviges Pilgrimage Church, VelbertBensberg City Hall   Böhm's 1968 Iglesia Youth Center Library, Cologne.   Böhm's pilgrimage church, Velbert(then Neviges). Gottfried Böhm

Keywords: Hans-Georg Gadamer, mimesis, image studies, vestigium, reference, representation, sign, image, St. Augustine, Henry Nelson Goodman

Abstract: A specific feature and megatrend of modern Western civilization is a so-called 'radical hedonism' (Erich Fromm's term). One of the elements of this 'mainstream' is the BDSM subculture that proves a latent 'desire for pain' typical for modern civilization (the fact that is 'masked' with specific kind of pleasure experienced in the course of role-playing games and ritualized actions). There are very few articles devoted to this phenomenon and the majority of them have a narrow focus. There is still the need in a broader look at the BDSM subculture and its relation to the 'radical hedonism' as a dominating principle. In his research Boyko provides a general philosophical analysis of prerequisites, functions, meanings and prospects of the BDSM subculture and its close relation to the 'radical hedonism'. The author defines the key role of pain in the process of an individual developing his or her views on the real world, his or her place in the world, consciousness and the feeling of his or her own Self. The more successful an individual escapes from pain, the more powerful the outbursts of pain and invasion of hedonistic 'life consumers' are. Domination of the sensual pleasure as the highest value makes pain as the main alternative value which leads to the spread of sadomasochism practices and pathological excesses as well as the growth of violence, social tension, and threat to individual health and society's well-being in general. 

Keywords: pleasure, subculture, suffering, modernity, sadomasochism, megatrend, hedonism, pain, BDSM, philosophy of pain

Abstract: The subject of the research is the search for a definition of the concept 'historical reality' in the historical studies of the 19th - early 20th centuries. In his research Zuev analyzes such issues as the role of the historical identity in the history of the aforesaid period, parallel paths of history, history of art, and art studies. The author carries out a reconstruction of the history and historical reality in the art of mass holiday (based on the example of celebrating the French revolution). The author pays special attention to the art of mass holiday as the method of fixing the historical importance of the present. Zuev views the holiday as the way for the nation to understand its place and role in the stream of the historical time. In his research Zuev has also analyzed the history of applying phenomenological and ontological approaches to the search for 'historical reality' and the role of mass festive culture. The main conclusions of the research are the following: the author has discovered the relationship between the present and the past in terms of the historical reality. Zuev offers some kind of 'intention' for reconstruction and functioning of the historical 'past'. The author discovers a distinct relationship between the importance of historical events for contemporaries and development of the performance art as well as celebration of mass holidays. 

Keywords: bourgeois revolution, history phenomenology, present in the history, mass holiday, historical fact, historical time, historical reality, evolution of history, mass art, art history

Abstract: The article deals with the notion of musical persona as it is employed in the discussion of musical expressiveness in the analitic philosophy of music. The main part of the paper is devoted to the account of musical expressiveness put forward by Jerrold Levinson, in which the notion of musical persona acquires central role. It includes a detailed analysis of different versions of Levinson’s definition of musical expressiveness which is subsequently compared to one suggested by Saam Trivedi and evaluated in terms of Levinson’s own criteria for a tenable theory of musical expressiveness. The main research method used by the author of the article is the analysis and explication of the key concepts and argumentative strategy that lies at the heart of Jerrold Levinson's theory. The author of the article has also used the historical parallel and comparative methods. The author views the notion of musical persona based on the material that is being mentioned in Russian philosophical literature for the first time. The article presents a detailed analysis of Jerrold Levinson's concept of emotional expressiveness and as a result of this analysis, the author comes to the conclusion that the explicative potential of the strategy that is based on the notion of persona has certain limits. 

Keywords: competent listener, Saam Trivedi, hearing-as-an-expression, Alan Tormey, expressive means, emotional expression, cognitivism, imagination, Jerrold Levinson, musical persona

Abstract: The article discusses the actual problem of virtual reality effect on the perception of space, both personal and public. The symbiosis of man and technology of personal mobile devices is not developing the experience of body implementation in space, but rather flicker-lack of presence. This impact is reflected in contemporary art products, particularly in public art. City or megapolis is now perceived as the continuation of virtuality and the space of city or megapolis is considered to be a hypertext because it starts to acquire virtual objects. These objects contrast against the general architectonics of streets deliberately creating the effect of completed reality. The research methodology is based on the general cultural studies approach and involves Post-Modernist philosophy related to contemporary culture. The author analyzes the phenomenon of public art as a virtual intervention or surgery which is embedded in the body of the traditional city composition, initially without perceiving it as something holistic and unified, and that refers to Gilles Deleuze's concept of the "body without organs". Thus, public art is an example of planned transgression in the system of consumer society which blurs the boundaries of elite and mass art, making art to be a form of public communication and politics, and at the same time a commercial product and entertainment.

Keywords: communication model, media culture, contemporary art, body, publicity, virtual reality, mass culture, public art, postmodernism, transgression

Abstract: Based on the matter of the Bengal Renaissance as a cultural phenomenon of the XIXth –early XXth century, the author of the article describes the phenomenon of the so-called problematic thinker, an intellectual who acts as a subject of the Indian–Western cultural dialogue and a creator of the modern philosophy and culture. The problematic thinkers from Rammohun Roy to Rabindranath Tagore constitute the core of the creative minority creating new synthetic forms in philosophy, spiritual and social life, politics and culture owing to their ability to understand the meanings and images of the Other. The research methodology bases on Martin Buber’s existential philosophy where “a problematic thinker” is phenomenologically described as a person who have survived existential loneliness and realized his or her freedom in reference with the Other. For the first time in Russian academic literature the author describes the process of Bengal intellectual’s estrangement from traditional society and conversion of his existential loneliness into personal freedom in the process of spontaneous activity and creation. A special type of personality is formed in the process of individualization. This is the person who is able to create circumstances for understanding and having a dialogue with the Other's culture as well as create a new religious and humanistic ethics.

Keywords: personal freedom, individualization, ethics, dialogue, understanding the Other, existential loneliness, creative minority, problematic thinker, human problem, Bengal Renaissance

Abstract: The article is devoted to the philosophical, publicist and artistic environments of the Western European Renaissance of the late 19th - early 20th centuries. The author of the article tries to define the main directions for interpreting Renaissance in the history of Russian philosophy and culture. The author also views the main research traditions and methodological approaches that were developed in that direction during the aforesaid period as well as the problems of translating Renaissance images and their reflection in fiction and poetry of the early 20th century. Grishatova refers to works written by famous cultural, literary and art experts of the late 19th - early 20th centuries as the main sources that reveal the connection between interpretation of Renaissance in Russian philosophy and Russian cultural history. As a result of analysing interpretation of Renaissance by different representatives of Russian philosophy, history and art, the author of the present article describes a few original methodological approaches that later develolped into independent branches of Russian humanities. It is a fair assumption to say that Renaissance studies were one of the main trends and traditions in Russian history and philosophy during the aforesaid period. For many researchers Renaissance was the main topic back in those times. Noteworthy that in a number of researches and works the contradiction theme was the main one as it often appeared in Russian tradition of interpreting and perceiving the epoch from the point of view of cultural and art analysis as well as analysing peculiarities of the worldview and philosophical attitudes of Renaissance reality. The phenomenon of Renaissance is viewed from different sides and thematic approaches. Moreover, much attention is paid to Renaissance personality and attempt to go inside one's mind and 'reveal the soul' of a Renaissance man. This is the novelty of the Russian tradition of studying and interpreting Renaissance. The aforesaid issues are quite important because their analysis allows to better understand peculiarities of Russian philosophical thought, Russian cultural mind and their connection to specific features of Russian history of culture.

Keywords: Renaissance contradictions, Silver Age, psychological logic, Russian Renaissance, Dantean code, Renaissance personality, classical antiquity, symbolists, Byzantine School, art of Renaissance

Abstract: The subject of this research is the role of Herman Hesse's philosophy and literature in the dialogue between Oriental and Western cultures. The interaction of these two cultures in the XIX century received a new impulse as a mutual interest of the intellectual elites. The author of the article studies Oriental philosophy and arts by Schopenhauer, Schlegel brothers, Goethe, Novalis, J.G. Herder, G.W.F. Hegel, as well as many other outstanding representatives of Western culture coincided with the approaching of its ideological crisis. The present research has three objectives: to define the status of Eastern philosophy in Hermann Hesse's worldview, to describe types of Eastern culture elements in his creative work and to determine the role of Hermann Hesse's writings in the dialogue between Oriental and Western cultures. The research methodology involves analysis of Hermann Hesse's texts, determination of his key ideas and philosophical motifs typical for Eastern culture and the role of Eastern culture in the writer's worldview development. The novelty of the research is caused by the fact that the author defines the level of penetration of Oriental culture and traditions into  the creative ideas of the German writer and establishes the degree of influence of these ideas on his outlook. In particular, the influence of the Orient is represented by plot, factual, ideological, thematic and philosophical elements in his writings. Noteworthy that the writer's worldview kept the main value orientations typical for Western culture. Hermann Hesse's writings are especially interesting to be studied at our age of globalization because they prove the unity of spirits important for all humanity.   

Keywords: religious ideas, West, Orient, creation, worldview, philosophical ideas, dialogue of cultures, Hermann Hesse, art, literature

Abstract: The subject of the study is the justification of the following hypothesis: contemporary art tends to go into reality, beyond the artistic consciousness; people see the beautiful in the things of real life, acts, events, situations, etc. The object of the research is the principle that the infinite being is available to the modern man only within the aesthetic attitude. The authors consider in detail such topics as a specially organized aesthetic experience that allows to "take roots in being"; the ontological status of the "aesthetic attitude" which has priority over traditional types of ideology, equipment and technology, scientific knowledge and critical philosophy; the role of the critical metaphysics of beauty which allows to formulate the significance of contemporary art and the experience it brings to the modern man. Particular attention is paid to the possibility of weakening the antinomy between classical and contemporary art.  The research method is the application of the experience of constructing critical ontologies in modern philosophy (at the theoretical meta-level) to aesthetics and the philosophy of art (at the level of specific realization of ontological concepts). The novelty of this approach is caused by the fact that the authors try to go beyond this antinomy relying on three key provisions: ontological universality of the aesthetic, existential and aesthetic complementarity principle and the ideality of the real thing enclosing an aura of beauty. According to the proposed methodological principles, it is possible to develop a new critical ontology tha would be based on the concept of aesthetic attitude (the central mode of human existence).

Keywords: sense, technics of artistic perception, complementarity principle in the matter of aesthetics, aesthetic attitude, critical ontology, beautiful, contemporary art, classical art, event, poetics

Abstract: The subject of the present research article is the relationship between politics and translation as they have been formed in Russia. Special attention is paid to the political idea of 'invasion' of a text into culture through translation. The aforesaid idea opposes to the idea of mutual enrichment of cultures. Analyzing polemics evolving around Russian translations of writings by one of Nazi theorists Carl Schmitt, the author of the article points at the theory of cultural translation that can be implicitly found in Dostoevsky's works and Benjamin's concept of absolute translability that allows to better understand why it is Russia where Smitt's political ideas turned out to be in such demand. The research article is based on the immanentist methodology that defines the scope of a common political and cultural action and, as a result, allows to view the idea of translation from the point of view of political theories and translation concepts that may provide much material for better understanding of the political. The main result of the research is the author's discovery of the political unconscious existing in each translated text as well as the political desire expressed in a certain selection of these or those texts and authors to be iconic, especially those that express ideas and values alien to a particular culture. 

Keywords: universal sympathy, nazism, Dostoevsky, Walter Benjamin, Carl Schmitt, hospitality, invasion, politics, translation, political unconscious

Abstract: The object of the research is the phenomenon of parascience. The subject of the research is parascience as a cultural and historical phenomenon and subculture. The author of the article examines such aspects of the topic as the relationship between science and parascience from the point of view of their cultural and historical development as well as modern environment. The author also develops her own philosophical and cultural definition of parascience as a subculture that has evolved from marginality to antisystematicity. Special attention is paid to the aspect of the author's substantiation of essential features of parascientific destructive forms that try to look like science as well as the main characteristics of the parascientific subcultural complex. The author of the research bases her research of the cultural and historical phenomenology of parascience on the multi-disciplinary approach and philosophical-methodological concepts of culture taking into account chronotopos characteristics of an active concrete-historical individual involved in specific subcultural communities and groups. The main research method used by the author is a classical dialectical method. The novelty of the research is caused by the fact that the author focuses on the philosophical and theoretical problem of cultural and historical phenomenology of parascience because, first of all, solution of this problem can be found at the intersection of classical and non-classical methodological paradigms of knowledge based on ontological and epistemological grounds. According to the author, in order to solve the problem it is necessary to establish a philosophical and cultural concept of parascience as a subcultural formation in different cultural and historical knowledge systems. As the main conclusion of the research, the author offers her own philosophical and culturological definition of parascience as a subculture in terms of specifics of the parascientific discourse. 

Keywords: marginality, borderline, parascientific subculture complex, mimicry, destructive formations, parascientific discourse, rationalism, science, subculture, culture

Abstract: The article is devoted to the analysis of the Theatre of the Absurd as the cultural and artistic phenomenon of the 1950s-1970s. The researcher analyzes the phenomenon from the point of view of universality and uniqueness. Belousova describes the prerequisites for absurd drama that existed in that period such as the crisis of culture and consciousness in the post-war period, orientation at the total denial of overall rules of physical and social life and alogical 'distortion' of the essential universals of human existence. Special attention is paid to the analysis of the tragic characteristics of absurd existence in art and philosophy and destruction of a hero in paradoxical antiplays. Following the principles of the philosophical and cultural research, the author of the article applies the activity approach to culture which requires to view the methods of confirmation of the idea of uniqueness and spheres where the unique was opposed to the universal as well as results of such opposition expressed, in our case, in the realities of artistic culture. The main contribution of the research is the author's statement about the total disharmony between essential man's aspirations and the absence of 'response' from the reality. According to the author, that was the source of the absurd phenomenon. The novelty of the research is caused by the fact that the author defines the antinomy of the philosophy of the absurd as the collision of its two dimensions, nigilistic and existential. However, existential absurdity cannot stop nihilistic tendendies of denial univeral forms of existence such as reason, morals, order and necessity. 

Keywords: Theatre of the Absurd, antiplay, philosophy of the absurd, destruction of the hero, uniqueness, universality, loss of meaning, nihilistic absurdity, existential absurdity, alogism

Abstract: The subject of the present research article is the phenomenon of agon (competition principle) from the point of view of the culture-historical approach. In particular, the author studies the dependence of the competition principle on the ancient archaic mythology as well as peculiarities of the Olympic religion that had been created thereupon. As the implementation of the competition principle in socio-cultural environment, the Greco-Roman agon tradition is being viewed from the point of view of socio-economic and political peculiarities of the ancient civilization, first of all, the key feature - ancient city-states called polises that had been created by the VIth century. The methodological basis of the research includes the method of ascent from the abstract to the concrete, the historicism principle and comparative analysis. The novelty and conclusions of the research are the following. As the implementation of the competition principle, agon appeared in the Greco-Roman tradition due to the peculiar nature of the ancient archaic myth and Olympic religion that eliminated dogmatized standards and regulation of individual behavior and therefore any limits of social activity. The motif of becoming a hero encouraged an individual to put forth super efforts towards free and honest competition for the purpose of achieving apotheosis. The absence of a developed thanatological aspect made an individual to try to achieve success in the sphere of the immanent. 

Keywords: regulation of individual behavior, traditions, Olympic religion, Greco-Roman myth, hero, archaic myth, competition, agon, dogmatized standards, social activity

Abstract: The subject of the present article is the phenomenon of transgression in the first philosophical work of Friedrich Nietzsche - "The Birth of Tragedy". The author investigates the ontological aspects of such basic concepts of the teaching of young Nietzsche as Dionysian and Apollonian beginnings. The author of the article explicates the ontological content of the phenomena of culture, art and science in the interpretation of Nietzsche. He also reveals the place and role of the phenomenon of transgression in the being of culture and existence of human. The author also conducts a comparative analysis of certain provisions of "The Birth of Tragedy" with the ideas of Georg Hegel and Mikhail Bakhtin. In his research Faritov has used research methods adopted from contemporary non-classical philosophy and social sciences. Partially he has applied the methodological principles of Jungian paradigm. The main conclusion of the research is the thesis about the subordinate position of the Dionysian transgression to Apollonian beginning in art and culture. The author proves the thesis that young Nietzsche did not unequivocally state the priority of the Dionysian to the Apollonian. In his "The Birth of Tragedy" Nietzsche speaks as a philosopher of culture and art, and the Dionysian beginning is admitted as much as it can be transformed by the enlightening force of Apollonian art images and thus integrated into the culture.

Keywords: Nietzsche, Apollonian, Dionysian, science, culture, art, transgression, The Birth of Tragedy, border, enantiodromia

Abstract: The subject of the research is the question to what extent culture may reflect the life of Soul. Lately the soul has ceased to be the subject of philosophical reflection. This is due to the orientation of culture at the positivist version of science. It is assumed that in addition to religion, the life of Soul can be also manifested in arts but modern art, being released from traditional forms of culture (such as mystery and ritual), has lost touch with the metaphysical beginning. Philosophical understanding of the life of Soul has also changed. This has led to the confusion of the aesthetical beginning and art. Creation of the discipline called 'aesthetics' and untraditional division of institutions were a response to such confusion. The research method used by the author involves philosophical reflection of global processes ongoing in the modern civilization. Special attention is paid to the point of view of traditionalism. The novelty of the research is caused by the fact that the author offers to view the process of confusion of various principles and types of mentalities as a sign of degradation of human nature. The author stresses out that it is impossible to find the only cause of such degradation, however, according to the author, inversion of normal relations between the principles of Universal existence and destruction of the spiritual hierarchy have played an important role in this process. 

Keywords: tradition, spiritual hierarchy, aesthetics, art, life of the soul, universe, culture, scheme, information, energy

Abstract: Based on the example of parallels between philosophical reflections in Maximilian Voloshin's poetry and world views of peoples speaking Nahua (Aztecs), the author of the article demonstrates the similarity and assonance of images and meanings that were created as a result of mythopoetic world perception, the learning style used by human along with the rational cognition. The analysis performed by the author demonstrates that there is neither a direct approach nor a possibility for adoption, following or imitation. At the same time, images and meanings that were created in cultures that had no actual points of coincidence in time or space happen to have very close contents and meanings. A number of general provisions is made by the author based on the comparative analysis of a number of sources, poetic texts and particular aspects of the world view. The examples provided prove that mythopoetics is still a cognitive structure, mostly due to its philosophical content. Mythopoetics is a form of existence and production of knowledge in poetic art forms which considerably contributes to the cross-cultural communication when understanding is the mean and the final goal of communication. 

Keywords: American Conquest, Maximilian Voloshin, Aztec philosophy, parallel meanings, understanding, cross-cultural communication, cultural dialogue, Mexican culture, Diego Rivera, Silver Age

Abstract: The reason for writing this article was read by the author C. M. Rosina "Logic and methodology: From "Analyst" of Aristotle to the "Logical-philosophical treatise" L. Wittgenstein". The article is written as a detailed analytical review to this book. The main theme of the last - methodology coming from the Moscow methodological circle. Rozin involved in the expression and justification of "methodological position" as "thinking about thinking". To do this, he examines in detail the contexts of European traditions (and their characters), which finds significant for understanding the methodology of the moments of occurrence of "thinking about thinking". One of these contexts is modern European culture - modern. Framework Rozin has the place of birth of methodology in modern dance. But Rosina is no theory of modernity, such a theory which would link the logic of modernity and the logic of the methodology. This affects the content of his conversation with a different kind of "amethodology": "ones", "scientists", "phanomenologie", "worldly esoteric". Methodology in this conversation can't go with the lines of the opposition itself, as a philosophical position, other positions. My suggestion is to get to talk about the relationship of philosophical positions with the socio-cultural systems. In this case, we must construct a theory of modernity as development and implementation in the form of socio-cultural systems of a certain ideological strategy. The modern appears strategic adversaries and allies. The methodology will have to take a place among the allies and will be able to speak in the name of modernity. So we will be able to develop a specific theory of modernity, and certain communication methodology with modern. An important point in this development should be a "dialectics of modernity" as its accentuation on different (and opposite) principles. Because the methodology can be seen dialectical scheme endless open world, then this scheme should be seen as a basic circuit of the modernism at a certain phase of its deployment. The development of these and other important topics related to bollywood and methodology, is the content of the article.

Keywords: objective reality, technique, liberalism, science, secular spirituality, modern, dialectics, methodology, logic, phenomenology

Abstract: When analyzing Lermontov’s creative work, the author of the article focuses on repetitions often used by Lermontov. Such repetitions allowed Lermontov to discover the opportunities of conceptual changes, to change his story lines and demonstrate the life of things and heroes. The results of the analysis of the three poems written by Lermontov (Confession, Boyarin Orsha and the Novice) prove that these poems constitute a single chain of Lermontov’s thoughts on uttermost possibilities of not only human soul but also the thinking ability in general, the topic that was so popular in the European philosophy of those times. Confession and judgment were the main concepts discussed by Lermontov in those three poems. The author of the present article also examines the ‘repetition’ of Lermontov’s topics in Jonathan Littell’s ‘The Kindly Ones’. The article was written based on the methods of the comparative and situation analysis. In addition, the author has performed the problematization of repetition and equation. The topics discussed by Lermontov grow especially important today as a result of social automization and absolute, i.e. metaphysical but not romantic or sentimental, loneliness that allows to look at the world from the outside but at the same time makes it inaccessible despite its visual accessibility. According to the author, it is useless to analyze the form of verses and the number of syllables in iambs and etc.

Keywords: Repeat, repetition, confession, silence, contemplation, freedom, prison, Nazism, meaning, equivocality, hermeneutics.

Abstract: The reason for writing this article was the reading of S. M. Rozin’s “Logic and methodology: From “Analyst” of Aristotle to the “Logical-philosophical treatise” of L. Wittgenstein”. The article is written as a detailed analytical review to this book. The main theme of the latter is the methodology coming from the Moscow methodological circle. Rozin involved in the expression and justification of “methodological position” as “thinking about thinking”. To do this, he examines in detail the contexts of European traditions (and their characters), which finds significant for understanding the methodology of the moments of occurrence of “thinking about thinking”. Framework of Rozin’s theory has the place of birth of methodology in modern dance. But Rosin’s theory is not the theory of modernity, this is the theory that would link the logic of modernity and the logic of the methodology. This affects the content of his conversation with a different kind of “amethodology”: “ones”, “scientists”, “phanomenologie”, “worldly esoteric”. Methodology in this conversation can’t go with the lines of the opposition itself, as a philosophical position, other positions. The author’s suggestion is to get to talk about the relationship between philosophical positions and socio-cultural systems. In this case, we must construct a theory of modernity as development and implementation in the form of socio-cultural systems of a certain ideological strategy. The modern appears strategic adversaries and allies. The methodology will have to take a place among the allies and will be able to speak in the name of modernity. So we will be able to develop a specific theory of modernity, and certain communication methodology with modern. An important point in this development should be a “dialectics of modernity” as its accentuation on different (and opposite) principles. Because the methodology can be seen as a dialectical scheme of the endless open world, this scheme should be seen as a basic circuit of modernism at a certain phase of its deployment. The development of these and other important topics related to modernism and methodology constitutes the content of the article.

Keywords: Logic, methodology, dialectics, modern, secular spirituality, science, liberalism, technique, objective reality, phenomenology.

Abstract: The main goal of the present research article is to draw a portrait of Art Nouveau in terms of the developing project of post culture (the logic of the ‘criticism of culture’ in terms of the ‘culture – individual’ relation). The author defines post culture (or ‘differentiave culture’) as a type of socio-cultural construction that views differentiation (individuation) of the anthropological universum as the main process. By contrast, ‘culture’ (‘integrative culture’) has the priority to integrate an individual into the global community. The author views the process of post culture development starting from the period of Enlightenment, in particular, Kant’s critical philosophy when the project of ‘pure post culture’ was offered. The author views the periods ‘before’ and ‘after’ that are viewed by the author as the logical movement towards it and the logical creation of alternatives thereto respectively. The author’s model of the development of modernistic views is based on a philosophical plan. At the same time, the author tries to show how the evolution of modernistic intentions was expressed in art (mostly in fine arts). The author starts his discussion from comparing the negative portraits of ‘integrative culture’ and ‘differentiative culture’ in art. Then he goes to the logic of the positive project of post culture offered by Kant. Based on Kant’s concept as the starting point, the author describes the movement towards it and the attempt to apply it during the Great French revolution as well as the development of ‘cultural alternatives’ to Kant’s post culture including the classical Hegelian and non-classical Marxian theories. Analyzing the 20th century as the period when post-modern was created based on the criticism of the general European post-cultural victory after the First World War, the author proceeds to the discussion of ‘modernity’ and ‘interculturality’ (the logic of the development of the ‘criticism of culture’ is shown in terms of the ‘culture-culture’ relation). The author also touches upon the historical period when there were various attempts to restore the ‘cultural’ socio-cultural structure (cultural remissions). The most significant examples of the latter were social and political concepts of communism and fascism. A special focus is made on the development of the image of a ‘modern’, i.e. post cultural artist (man of art). Tracing back the logic of its development from the Romantic period till the end of the 20th century, the author shows that its structure was defined by the sensual-individual direction of post culture. At the end of his research the author analyzes V. Rozin’s position on modern art and artist expressed in his article ‘Reflections on Modern Art’.

Keywords: Post culture, inter culture, modern, Art Nouveau, Enlightenment, artist, differentiative art, integrative art, post-modern, counter-modern, art.

Abstract: The two approaches can be distinguished to discussing Plato’s ‘Symposium’. According to the first approach, in Socrates’ speech Plato shared his point of view of love (eros). According to the second approach, each participant of the symposium makes his own contribution to the development of the definition of love. The author of the present article keeps to the second approach and tries to show that in his ‘Symposium’ Plato presented his concept of love (eros) dialectically, i.e. as a part of the development of different or differently expressed ideas. Plato’s views on love are described on the basis of, first of all, analytical comparison of different definitions of love offered in different speeches and discovery of conceptual similarities and secondly, a potential comparison of the contents of ‘Symposium’ with Aristotle’s teaching about philia and New Testament teaching about agape that view love as one’s attitude towards the other compared to one’s attitude to himself and one’s attitude to supreme forces. Plato’s concept of love includes both the program of self-improvement in love and the ideal of human relations (which Socrates did not touch upon in his speech). The latter is clearly shown in Alcibiades’ speech who came back to the question about relations between lovers following Socrates’ erotosophia and showed what the best of such relations could be. From the point of view of the discourse, Alcibiades’ speech was the converging point between Socrates’ speech and speeches of other participants of the dispute. Alcibiades’ speech provided for the intellectual synthesis as the framework for developing Plato’s concept of love (eros).

Keywords: Love (eros), Plato, Symposium, philosophy of love, love (philia), love (agape), definitions of love, love and blessing, perfection, communication.

Abstract: The researcher analyzes the concepts of creative work in Martin Heidegger’s and Pavel Florensky’s works. S. Smirnov shows that these two philosophers had rather close views on ontology. Martin Heidegger understood the process of art creation as the idea of a man withdrawing himself from what was ontologically hidden to the light of being. Creative work was associated with ontology and the loss of roots and contact with ontology could turn art into the process of simple form creation and techno into a plain posture. A man himself becomes a living bearer of a particular form of a world, a ‘sign’ and an ‘indicator’ of such a world of creation. Florensky based his idea of man’s creative work or ‘non-organic physicality’ on his concept of ‘organ projection’. Both philosophers viewed creative work as a concept referring to such concepts as organ projection, Techne and human existence and therefore intertwined art with ontology. The researcher carries out the ontological analysis of the basic concepts in Martin Heidegger’s and Pavel Florensky’s works and describes the idea of creative work based on ontological grounds of the aforesaid concepts based on such terms as Techne, posture, the hidden, the non-hidden, creative work, organ projection and energy body. The researcher also offers a description of the genesis of a piece of work that is beyond the scope of esthetics or art studies. The problem of creative work is posed as an ontological problem or a problem of non-classical anthropology when a man himself becomes the organ of being and forms his own energy body and becomes a creative work himself leaving his trace in tools, texts and artifacts. Therefore, based on classical works, the author offers a non-classical vision of the genesis of creative work.

Keywords: Creative work, hidden, non-hidden, Techne, technology, energy body, personality, human, anthropology, poetic anthropology.

Abstract: The article is devoted to the description of the phenomenon of a poetic expression as a special object action. For this purpose the author offers a new definition of the structure of poetical works as the autopoiesis act. Based on the creative work of Osip Mandelstam (in particular, his poems and ‘Conversation about Dante’) the researcher provides an analysis of the phenomenon of the poetical composition. The author offers a definition of autopoiesis as a model the entire act of the poetical composition is based on. The autopoiesis act itself is described by the researcher as an object action. The article was written at the confluence of poetics and anthropology. Research methodology is based on the introduction of terms from poetic anthropology as a branch of human philosophy into cultural practices of creating literary texts. The research is based on the principles and terms adopted from anthropology as an anthropopractice, in particular, understanding of the autopoiesis act as an object action aimed at generation and transformation of human based on creating an artwork. The novelty of research is attributed to the introduction of the model of autopoiesis based on which the author analyzes the phenomenon of a poetical composition from the point of view of a particular cultural practice and object action. For the first time the author offers the definition and description of the structure of the autopoiesis act. The research article was written within the framework of a new direction of interdisciplinary research – anthropopoetics that involve research and description of arts as anthropopractices of human transformation.

Keywords: autopoiesis, structure of the autopoiesis act, anthropology of autopoiesis, creative act, object action, generative model, anthropopractice, ontology of poiesis, energy of the autopoiesis act, inner form.

Abstract: Modern music is very different from the traditional music that was the part of the ritual and had a metaphysical meaning. Today music is oriented at virtuosity and sentimentality. In traditional music human is seen as a metaphysical creature. The unity of the microcosmos and macrocosmos is an important idea of traditional cultures. Therefore the essence of music can be understood on the basis of that metaphysical idea. Symbols related to the themes of perfection, immortality, life and death are typical for traditional culture and help to understand music as metaphysics. Comparison of multi-level cultural layers is carried out by the means of the method of interpretation of symbolic figures. Plato’s idea of the cosmic world structure is taken as an initial symbol that helps to reveal the metaphysical essence of music. Music is not only art from the esthetic point of view. Music also has metaphysical purposes. For example, from the anthropological point of view music helps to restore numerous connections with the all-encompassing Universe. Throughout history art has been always changing its status and function. However, in modern culture music practically loses its metaphysical meaning which it used to have in traditional culture.

Keywords: Music, culture, time, Zoroastrianism, information, Universe, tradition, metaphysics, immortality, beautiful.

Abstract: The author of the present research article disproves of Fedyor Dostoevsky’s appraisal of Pushkin’s poem ‘Piligrim’ after the novel of an English writer and preacher John Bunyan ‘The Piligrim’s Progress’ that Dostoevsy shared during his ‘speech devoted to Pushkin’ on June 8, 1880. Dostoevsky interpreted Pushkin as an ideologist of the empire, church, religious nation and Russian roots. From this point of view, his speech devoted to Pushkin was an ‘anti-Pushkin’ speech that actually distorted Pushkin’s word of values. The author of the present article proves that in his poem Pushkin did not create the image of a religious Protestant but based on English cultural works Pushkin created the image of a typical Orthodox person with a slavish philosophy of life and hysterical way of believing. ‘Piligrim’ does not have any signs of Pushkin’s universal narodnichestvo (populism). In this poem Pushkin created the Russian poetry. The researcher uses a comparative socio-cultural analysis of Pushkin’s and Dostoevsky’s writings and also compared to the two types of religion, Orthodoxy and Protestantism. For the first time in the studies of Dostoevsky the researcher proves the failure of Dostoevsky’s point of view on Pushkin’s ‘Piligrim’ based on the comparative analysis of Orthodox and Protestant values. Therefore the conclusion about Dostoevsky distorting the meaning of ‘Piligrim’ can be considered to proved. This allows to progress in our understanding of the speech devoted to Pushkin as an objectively anti-Pushkin speech.

Keywords: Dostoevsky, Pushkin, poem ‘Piligrim’, Orthodoxy, Protestantism, prayer, purpose of art, purpose of poetry, God, salvation.

Abstract: the article examines the challenges that classic Opera faces in the “post-cultural ” era, in which postmodern cultural traits (fragmentation, cultural pluralism, loss of history sense) become dominant in artistic culture. The author draws attention to the temporal issue of Opera, which is viewed as a correlation of time of the plot and the time of the viewer/listener. On the example of the modern “director’s opera” practice, the author demonstrates that liberal treatment towards the temporal aspect of the plot is not always justified and thus calls for close attention to all aspects of the play, lest it destroys the Opera ’s stylistic integrity. The author formulates several types of temporal structures and their possible interpretations, accenting archetypical images, which were subject to research on numerous occasions. The author shows the correlation between the interpretation of classic images, urging to preserve the traditional cultural values and to reject modernization for the sake of modernization alone.

Keywords: culturology, art, classics, postculture, postmodernism, opera, interpretation, temporality, modernization, plot.

Abstract: Participants of the conference ‘Philosophical Thought and Religious Experience’ devoted to the memory of a philosopher, theologian and historian Nikolay Zernov discussed the relation between religion and knowledge in different cultures and epochs. They analyzed philosophical meaning of the Biblical commandments, the role of religious experience for the leaders of the Bengal Renaissance, types of religious mind in modern Russian society, religion and knowledge as the main concepts in history of European thought and etc. The relation between knowledge and religion was shown as one of the most important dogmatic and at the same time creative collusions in history of the world culture in general and Russian culture in particular.

Keywords: cultural studies, culture, religion-knowledgephilosophy, science and myth, religious experience, conventional thinking, gnosis, polydiscourse, Vladimir Soloviev, Nikolay Zernov.

Abstract: The author of the article discusses the role of symbolism as an art movement in Russian art at the turn of XXth century. Symbolism is viewed as the creation of the epoch of the Russian empire collapse and thus, the author underlines the following features of symbolism: symbolism demonstrates the gap in continuity of generations; the opposition between anthropomorphic and disanthropomorphic tendencies, between humanitarian and natural scientifi c spheres. The latter creates the gap between ‘fathers’ and ‘children’. ‘Fathers’ are viewed as positivists and ‘children’ – symbolists demonstrate their escaping into mystics, theosophy, mythology, Gnosticism and Christian personalism. It makes symbolists resemble romantics and therefore symbolism is often said to be the neoromanticism. Continuing the opposition between Art Nouveau and romanticism in XX, symbolists adopted and developed the romantic tradition.

Keywords: cultural research, empire collapse, continuity of generations, alternative culture, anthropomorphism, disanthropomorphism, personalism, rationalism, precognition, myth.

Abstract: The article provides a description of several bright Russian philosophers of the modern times who can be also called modern Westerners. It is shown that in their creative work the above mentioned philsophers manage to combine Western philosophical concepts with the traditional ideas of Russian philosophy. One of the brightest philosophers of the late Soviet era was Merab Mamardashvili. The most important Mamardashvili’s concept was the close connection betwee personality and the world: on one hand, world depends on personality and this is why classical rationality cannot be applied to it. On the other hand, personality must admit its dependence on the ‘divine dimension’ of the world. Vladimir Bibikhin proved that the main quality of personality is not isolation but opennness for the world. Based on that concept, Bibikin critisized Western civilization. Developing Friedrich Nietzsche’s and Oswald Spengler’s ideas, Karen Swassjan aso talked about incovertible crisis of Western culture. Just like Bibikhin he insisted that the crisis was caused by distortion of the Christian outlook which had happened in the history of church. The author also described creative development of another modern philospher and writer – Vladimir Kantor. Kantor viewed Russian history as the opposition between environmental powers and civilization. In his opinion, progressive development of Russia depends on gradual introduction of the concept of right into social life which would tame the power of people’s life and despotism of government.

Keywords: cultural studies, tradition, Westernism, Russian Philsophy, Merab Mamardashvili, Vladimir Bibikhin, Karen Swassjan, V. Kantor, Russia, Western Europe.

Abstract: The author of the article has made an attemp to compare views on the Bible from the point of Indian and Russian philosophy in the 19th – 20th centuries. The common approach to Biblican texts that united such peoples as a philosopher and reformer Rammohan Roy, a priest, theologist and public fi gure Krisnamachar Banergee, philosopher Vla dimir Soliviet and a priest and theologist Alexander Men, viewed the Bible as something phenomenological and personal, something that was far from modern and traditional interpretations. These philosophers addressed to the Spirit of the Biblical legacy and it allowed them to achieve the synthesis of the national and universal, Western and Oriental, spiritual and slocial development of peoples and cultures as well as sensibility of every nation to general human values represented in the Biblican legacy.

Keywords: cultural stuies, philosophy, values, Bible, Christiniaity, culture, Christology, understanding, text, theology.

Abstract: The article analyzes prerequisites of Antique art as well as the rational element of this kind of art described in Aristotle’s Poetics. These prerequisties include: formation of the Antique personality and person-oriented practice (which resulted in formation of Antique drama, art and other genres) on one hand and formation of Antique philosophy and science on the other hand. The author provides a more detailed analysis of Plato’s and Aristotle’s programs: challenge of time, consruction of learning standars, introduced ideals in philosophy and science. The author tries to show that philosophical description of Antique art in Aristotle’s Poetics is nothing else but the development of ‘science about art’. The author also analyzes peculiarities of this kind of science and the impact it had on development of Antique and other arts.

Keywords: cultural studies, art, practice, personality, society, norms, discussions, science, philosophy, culture.

Abstract: The author of the article suggests to view architecture and music as analogies of the time-space continuum in physics and mathematics. A ‘poetic’ word is the core beginning connecting architecture and music and bringing meaning into culture. The ‘architecture, music, literature (language)’ triangle is the foundation of all cultures.

Keywords: cultural studies, culture, architecture, music, space, time, number, word, logic, analogy.

Abstract: In the article the term ‘philosophy of culture glossary’ is applied to M. Gorky’s experience in play write. DeÞ nition and argumentation of the problem is based on the materials of distinguished theatre interpretations of Gorky’s plays in the Russian theatre in the middle of the 20th century. Everyday values and their implementation into life are studied by the example of such plays as The Petty Bourgeois, The Lower Depths and The Last Ones. As a result, the author makes a conclusion about a ß exible and concise coordinate system denoting the life problems and values at the beginning of the 21st century.

Keywords: cultural studies, philosophy of culture, glossary, playwright, Gorky, life, faith, mercy, lie, disappointment.

Abstract: The article proves the thesis that reality is a mistake. Based on the author, the entire psychoanalysis is based on mistakes. Mistakes are often met in everyday life. The imaginative plot is based on the phenomenon of a mistake.

Keywords: cultural studies, reality, mistake, mythology, language, Wittgenstein, psychopathology, life, non-transparency.

Abstract: The king is dead – long live the king… The old anthropocentric humanism of the Modern Age has considerably run out of steam. But its ‘questionnaire’ about a doubtless value of a human personality, freedom and culture still remains in force. Heritage of the great Russian priest Father Alexander Men focuses on the reference of this ‘questionnaire’ with a centuriesold experience of faith, devotion and understanding of selfinsuffi ciency and paradoxical inner dynamics of human. Comprehension of this heritage is extremely important for discussing and analyzing the problems of the New Humanism and destinies of the modern culture.

Keywords: cultural studies, the New Humanism, archpriest Alexander Vladimirovich Men, freedom, modern project, postmodern, anthropocentrism, re-humanization.