bluuebunny/crossref_metadata_2025 huggingface dataset:
Musical culture in the development of the cultural identity of the individual
Authors:   Ural State Pedagogical University, Yekaterinburg, Kashina Natalya I. , Tagiltseva Natalia G. ,   Ural State Pedagogical University, Yekaterinburg
Published: February 2023

One of the fundamental problems of the development of modern society is the formation of a genuine cultural identity of man. The formed cultural identity of a person is a condition of its entry into a multicultural environment, as positive attitude towards another culture is not possible without awareness of its culture. The article reveals the thesis that musical culture, as a kind of artistic culture and part of spiritual culture, has enormous potential in the formation of cultural identity of the individual. The authors of the article prove that the identification function of musical culture is realized in connection with a number of its other functions. Cumulative function of musical culture is realized in accumulation, storage, generalization in their individual images of value-cognitive outlook of culture. The communicative function of musical culture is manifested in the fact that it is a universal system of communication of people at all levels, from the interindividual to the level of generations. As a result, there is a process of comparing the individual with the “other” (hero of the musical work), identification or vice versa, isolation from him. The communicative function comes close to the consolidating function. In the process of perception of musical work or its performance in the consciousness of the individual, a sense of belonging to the culture of his ethnic group, affinity with his culture is formed. The function of reflecting reality shows itself in reflecting in artistic images ideas, emotions and the subject world. Identifying with them, a person has individually colored associations, and emotional resonance is carried out. This emotional empathy, manifested in identifying the emotional mood of the recipient with the meaningful deployment of the musical work, is a way of ethical influence on the person and causes his cultural selfidentification. Here, the reality reflection function is connected to the emotional function of the music culture. The function of reflection of validity is also related to the cognitive function of musical culture. In modern historical conditions, when the “connection of times and generations” has been interrupted for a long period, musical culture is one of the sources of modern man‘s knowledge of the moral traditions of mankind. Without the knowledge of culture, the formation and formation of cultural identity is impossible. The ethical function shows itself in that it contains cultural specimens of ethnos. Musical culture provides individuals with basic cultural landmarks, distinctive images of cultural identity. Art provides individuals with a set of symbols with which it can associate itself (a set of potential positive and negative identities). The authors also define psychological mechanisms for the formation of cultural identity in the process of musical activity - identification and isolation.
The CREATION concept: traditional Sakha culture experience
Authors:   North-Eastern Federal University, Nikiforova Sargylana V. , Pokatilova Ija V. ,   North-Eastern Federal University, Kharlampieva Nadezhda R. ,   North-Eastern Federal University
Published: February 2023

The idea of the creation reflects essential characteristics of cultural autoreflexion, but it is not subjected to a lingvoculturological analysis. Attitude to the creation is represented in the linguistic world image of modern and traditional society. In the context of cultural forms' “massification” and loss of ethnocultural identity rises the role of increased interest in activities that structures the formation of self-identity of modern ethnophore. The study is based on a culturological approach that allows studying the correlation of cognitive and linguistic structures in the context of traditional sakha culture. Analysis of the lexical-semantic field of the CREATION concept, partly THINKING, CREATION methods were used in the study. Also the method of a conceptual modeling, component and interpretive discourse were applied. The model of cultural and linguistic concept of the CREATIVITY was suggested. And the study determines the content minimum and main ways of expression in culture. It defines the structure, combinatorics of the proposed concept and associative connections of the CREATIVITY in culture. There were established general and specific valuable characteristics of the concept in traditional culture. We have suggested an experience of recombination of translation forms and reconstruction of the intellectual space of culture directed at increase of historical-cultural and religious allusions' importance in the production of cultural texts. Keywords: national world image, mythological cognition, intellection, cognitive structure, creation
The life of saint Basil the New and Dante's Divine Comedy: the posthumous fate of suicides
Authors:   Yaroslav-the-Wise Novgorod State University, Avanesov Sergey S.
Published: February 2023

The article compares the two most famous eschatological plots in the world culture related to the description of the posthumous state of the human soul. These plots are contained in the “The Life of St. Basil the New” (10th century) and the “Divine Comedy” by Dante. The subject of the study is an artistic presentation of the posthumous fate of suicides, and the goal is a comparative analysis of two versions of the punishment for suicide as the most radical human action. Comparison of the two texts required clarification of their place in the general range of eschatological literature, as well as clarification of hypotheses about the ancient and old Eastern sources of the “Divine Comedy”. The connection of “The Life of Basil the New” with the Old Testament and Christian (including apocryphal) traditions about the other world, as well as the connection of Dante's work with ancient Greek myths about the underworld (in particular, Plato) is traced. The hypothesis that Plato borrowed his eschatological myth from the ancient Armenian legend about Ara the Beautiful is critically considered. The author comes to the conclusion that, despite the common points of content and plot in the two named texts, it is necessary to recognize the difference in their key semantic accents: in the “Divine Comedy” the fate of suicides is depicted immediately after physical death, in the Life of St. Basil the New - their last fate during the Last Judgment. That is why Dante reveals a significant variability in the posthumous state of suicides, while in the Life their final fate is unambiguous. The huge popularity of these literary works indicates that the theme of retribution after death is the most important element of the religious worldview system, in which the universe itself appears as a morally oriented existential topic.
For a reconstruction of A.F. Losev's work on Dostoevsky at GAKHN's literary section
Authors:   Siena university for foreigners, Rimondi Giorgia
Published: February 2023

The article deals with one interesting historical and philosophical fact that is still poorly investigated in the field Dostoevsky's studies: the analysis of the work on Fyodor Dostoevsky conducted by the famous Russian philosopher Aleksei Fedorovich Losev while working at the State Academy of Artistic Sciences (GAKhN). The article also provides additional information about Losev's work at GAKhN in the 1920s, based on archival evidence. Particular attention is paid to the activities of the Russian philosopher at GAKhN's Literary Section in 1927-1929 (in the group for the study of ancient literature, in the Commission for the Study of Dostoevsky's work). The author cites numerous evidences of Losev's special attention to the work of Dostoevsky, including the fact that the Russian philosopher took part in discussions with reports on topics devoted to the work of the Russian writer. The author draws attention to the fact that the main point of Losev's analysis of Dostoevsky's work was the symbolism of the writer. Dostoevsky's work attracted Losev throughout his life. This is evidenced not only by youthful memories of his passion for the work of the great novelist, but also references to the Russian writer, which are observed in his works of different periods. The author notes that Losev turned to the study of the problem of the symbol in the works of Dostoevsky already in the 1920s, but the philosopher managed to publish these studies only much later. According to Losev, symbolic images permeate the entire work of the Russian writer. Losev's prose of the 1930-1940s also did not remain devoid of ideological contaminations in the spirit of Dostoevsky: suffice it to mention here such works of the Russian philosopher as Perepiska v komnate (Correspondence in the Room), Vstrecha (The Meeting), the novel Zhenshchina-myslitel' (The Woman-thinker). The same religious pathos of Losev's philosophical discourse is also present in his prose, for example, in the themes of man's estrangement from ideal life and rejection of the religious sphere. Based on a comprehensive analysis of archival sources, primarily the minutes of GAKhN meetings stored in the RGALI archive, and their comparison, the author presents, as far as possible, a picture of the activities and interests of the Russian philosopher, which helps to better represent the range of his scientific interests and significantly expands the possibilities for further research on this period of Losev's life, and also provides new materials for the history of GAKhN.
Motives from the literary work of Fyodor Dostoevsky as non-philosophical inspiration in the philosophy of the drama of Jozef Tischner
Authors:   Uniwersytecie Zielonogorskim, Trocha Bogdan G. , Zhukova Nataliia А. ,   National Technical University of Ukraine Igor Sikorsky
Published: February 2023

The main purpose of the article was to indicate the specific function in which the motifs from Dostoevsky's novel were used in the philosophy of Jozef Tischner. The basic questions that appear in Tischner's works concern the concept of man. In his writings, Tischner not only refers to the most important philosophers of the contemporary world. He also engages in polemics with them. The essence of his research is both the phenomenological aspect of research and frequent references to hermeneutic practices. Basic philosophical questions in Tischner concern both the very nature of man and contemporary threats to him. Tischner applies the phenomenological principle of the semantic autonomy of the literary text. Which essentially results in the lack of common points between philosophy and literature. However, following Ricoeur, he accepts the possibility of using an important literary text to create a philosophical metaphor. Tischner created an original concept of the human being as a dramatic being. In describing it, he used many metaphors from both the philosophy of dialogue and his own. The most interesting, however, concern man's wandering in the element of truth. At this point, recalling the figure of Raskolnikov, he created two important metaphors which allowed him to argue with the ideas of Nietzsche and Heidegger. The very application of a literary motif to create a philosophical metaphor allows Tischner to carry out very in-depth analyzes of the hypothetical state of affairs. As a result, using his own concept of “thinking from the depth of the metaphor”, he tries to follow the literary motive to indicate and discover philosophical contents that are anthropologically significant.
To the typology of “bezobraznik”, by Dostoyevsky. The yourself-and-others-testing-man
Authors:   Tomsk State University of Architecture and Building, Shapovalova-Gupal Tatiana A.
Published: February 2023

“Justify, do not punish, but call evil evil”, F.M. Dostoevsky urged. Novels and journalism of Dostoevsky are a kind of a genealogy of evil. In the Bible, the ability to distinguish between Good and evil and, as a consequence, the ability to feel shame, mark the birth of consciousness and the beginning of human history. With the recognition of evil, according to Dostoevsky, the movement towards Good begins, the path of salvation of the soul. As the Christian Dostoevsky recognized the metaphysical origins of evil in human being. As a psychologist and thinker, Dostoevsky is focused on the study of what is available for observation and analysis. He discovers biological and social “mechanisms of evil” - the impulse to power inherent in man; contradictions between consciousness and unconscious movements of the soul; pathological fantasizing instead of real activity; dysfunctional family and others. Human being is between the ideal and the “beast”. The ideal is absolute goodness embodied in the person of Jesus Christ. “The Beast” is the worst degree of human fall (failure), in which a person is worse than an animal, since he retains the ability to be conscious, does evil consciously. Between the two poles (poles of Good and evil) are the norm (“a decent person”) and various forms of moral anomies. Dostoevsky uses folk and his own, original, definitions for various forms and degrees of immorality. These are “unfortunates”, “criminals”, “bezobrazniki” (literally “without-an-image-people”; in Russian word usage, in the worldview of Dostoevsky the words “bezobrazie”, “bezobraznik(-i)” express a negative ethical assessment (“bad”) through a negative aesthetic assessment (“ugly”)). Dostoevsky applies the concept of “bezobrazniki” to the characteristic Russian types of falling away from the image of Christ: a man of passions, a drunkard, a reveller, a narcissist, an envious person, a fool, a liar, a buffoon/ a ioly fool, a piilosopier/a God-figiter, a femme fatale/iomme fatale (a seducer, a molester, a rapist), etc. All criminals are “bezobrazniki”, but not all “bezobrazniki” ones are criminals. “Bezobrazniki” enjoy tieir own fall, wiile parading it in a false confession tiat replaces a genuine confession and active repentance. At tie turn of cultural eras, Dostoevsky recognized tie dramatic pienomenon of “tie trying man” (“tie yourself-and-otiers-testing-man”), determined to realize iis desires and ideas, wiile sacrificing otiers, not iimself. Dostoevsky contrasts suci “tie trying man” witi tie Ciristian image of a saint or a rigiteous person wio transforms society tirougi tie transformation of iimself. Boti iave consciousness and self-consciousness, boti act in tiis world at tieir own peril and risk. Holiness is an exceptional pienomenon; egocentrism is a widespread pienomenon and tius affirms itself as a norm tiat tireatens iumanity and iumanism.
“Genre as a memory of culture”: an essay by A.M. Gorky about Garin-Mikhailovsky and Teitel
Authors:   Samara State Medical University, Burlina Elena Ya.
Published: February 2023

The author of the article relies on the formula of M.M. Bakhtin: Genre is the memory of. Genre memory is one of the most important representatives of culture influencing society. The structure of the genre captures and conveys the values and horizons of culture. In this methodological context, a specific essay by A.M. Gorky, written back in the 1930s, however, which had a retrospective, and at the same time, relevant character to this day. The essay by the already famous writer and architect of Soviet culture is dedicated to two representatives of the Samara intelligentsia. In their circle, the novice journalist Maxim Gorky was back in 1895-1896. “Doublethink”, “double meaning”, “externality” permeate the content of the essay, the heroes of which were Gorky's pre-revolutionary acquaintances: engineer and writer N.G. Garin-Mikhailovsky, as well as lawyer Ya.L. Teitel. While still a novice writer, Gorky communicated with them when he lived briefly in Samara and worked in Samara Newspaper. Gorky presents his old acquaintances as people of high culture and professionalism. He compares them with the most outstanding figures of world culture: the righteous and the founders of new socio-cultural institutions. An essay dedicated to old acquaintances from Samara was written in 1925, and subsequently placed in Volume 17 of Gorky's. This volume was published only in 1952. The belief of the “Soviet classic No. 1” in a culture capable of transforming the people played a significant role in his worldview. According to the author of the article, all the activities of A.M. Gorky of the late period.He created unique cultural projects, including the academic edition of World Literature, the Life of Remarkable People series popular to this day, the Children's Literature publishing house, and the creation of creative Unions of writers, composers, and artists. In the same row is the concept of a relatively small essay dedicated to Garin-Mikhailovsky and Teitel. It is typical of the later writings and cultural projects of the writer. The meaning and structure of this essay (representing two intelligent people of the Russian province) resembles a hologram - a tiny fragment that reflects the general understanding of the role of culture by a mature writer and a global builder of culture.
A collection of expedition photographs by A.I. Skassi in the collection of the department of manuscripts and book monuments of the Scientific library of TSU
Authors:   Tomsk State University, Golev Ivan A.
Published: February 2023

The article highlights the almost unexplored issue of the collection of photographs preserved in the Department of Manuscripts and Book Monuments of the Scientific Library of Tomsk State University. The photographs were taken by August Ivanovich Skassi. The author of the article managed to find biographical information about the photographer. As a military topographer, Skassi participated in scientific expeditions in Central and Central Asia. Knowing about his work, Grigory Nikolaevich Potanin invited Scassi on an expedition to China and Tibet, which lasted three years -from 1884 to 1886. It is known that Scassi made a topographic survey of the area along the route of Potanin's journey (more than 7 thousand kilometers long). In addition, he took about 200 photographs, which depicted the urban landscapes of China and the people who met on the expedition path. The author of the article notes that the works of G.N. Potanina, A.I. Scassi, A.V. Potanina in the Chinese expedition were awarded medals of the Imperial Russian Geographical Society. Potanin highly valued the photographs of Skassi and kept some of them in his personal collection. It is known that in 1920 G.N. Potanin died and was buried in Tomsk, and his collection of photographs, together with his manuscripts and the library, first came to the Siberian Research Institute, and then to the library of Tomsk University. And a few decades later, a library employee N.V. Vasenkin carried out the attribution of these photographs. The collection of 16 photographs is stored in the collection of the Department of Manuscripts and Book Monuments of the Scientific Library of Tomsk State University as part of the Potanin fund. The photographs depict the Buddhist monasteries of Gumbum, Kadan-Syume and Wutai, the shrine of Yun-zhao-si in Wutai, the streets and individual buildings of Chinese cities and villages. The collection contains photographs of the family of the Dzungarian prince and the family of a Mongol official from Amdos, as well as portraits of ordinary people in China. Photographs of Tangut men in national clothes and servants of the Buddhist monastery Labran are unique. Most of the photographs are pasted onto cardboard or forms from the photo studio where they were printed. Many of the photographs have handwritten text made by G.N. Potanin. The photographs are well preserved, but are damaged: the paper has turned yellow, there are tears along the edges, and others. The collection of photographs by A.I. Skassi has reliable information about the history and culture of China and is an important historical source.
Problems of literary regional studies (the research is based on a terminological and bibliometric analysis)
Authors:   Kemerovo State University of Culture, Taranenko Lubov G. , Boronikhina Oksana V. ,   Kemerovo State University of Culture
Published: February 2023

The purpose of this report is to describe the actuality of literary regional studies. The history of the origin of this concept has been disclosed here. And a problem of the ambiguity of its application in scientific circles was outlined. The list of authors who used the term “literary regional studies” in literary, cultural, pedagogical works was presented. A terminological analysis of the notion “literary regional studies” according to the type of relation to the branches of science has been carried out, the working definition of the concept has been derived. The results of bibliometric analysis of publications on the theme “literary study of local lore” from 2000-2017 which was based on the scientific electronic library elibrary.ru are presented. Analysis of publication activity was carried out, productive authors who were engaged in the study of literary regional studies were identified. The process of increasing the number of conferences at various levels at which reports on the subject under consideration were heard was investigated. The type-specific, sectoral and thematic structure of the documentary flow on the problem is considered. The interest of the professional community to the reviewed topic was confirmed by graphs. Analysis of the workflow on the research topic allows us to draw some conclusions: • most of the publications devoted to literary regional studies were presented to professional journals “Library Business”, “School Literature”, “Social and Humanitarian Sciences”, “Pedagogical Search”; interest in this investigation is increasing because you can observe the growth of publications and the number of conferences on this topic; • Literature, pedagogy, cultural studies, history and geography are studying literary local history; The investigation of various points of view allows you to find different methods of obtaining information from primary literary sources; • The scientist of different institutions in the peripheral regions of Russia - the Southern Urals, Siberia, and the Amur Region have the largest number of publications on the research topic. It shows the availability of local literary material and about the relevance where the tourist attractiveness of the regions.
Walks in Russia of the beginning of the XVIII century
Authors:   Tomsk State University, Voytik Evgenia A.
Published: February 2023

Currently, the boundaries of scientific research of various phenomena in the framework of subject specializations are expanding. The problem of developing a methodology for the essence of the structural and semantic elements of a knowable subject becomes relevant (in our case, such a subject is a “walk” as a system of life values). Studying the content and forms of walks so far has not been in the field of scientific interests of researchers. Modern technologies and practices have allowed to comprehend concepts related to the walk in the new space and time, to consider the prerequisites for the origin of the “walk” and its stages of development. The walk is a historically conditioned, sociocultural phenomenon that generates a multidimensional system of contexts. It combines the principles of labor and leisure activities of a person in various communication practices. It is initially filled with a lot of deep existential meanings. The basis for the formation of a compositional and meaningful model of a walk is the presence of the object (walk as a phenomenon) and the subject (participants of this action); implementation of the communicative goals and objectives, actions of individual heroes; the influence of external factors (including temporal, spatial). Its development is determined by current needs, human rights and interests, and value attitude to reality. The process of learning walks is extensive and varied. It is based on ontological, epistemological, sociological, axiological knowledge. The transition in the XVIII century. walks to a new level provided extraordinary opportunities for its development. During this period, we can talk about the emergence of various forms of festivities. Peter the Great played a role in this process. He allowed not only to find solutions as a “careful” way of presenting the walk to Russian society, but also made it possible to broaden views, develop certain relations with it. The origin of the city walk at the beginning of the XVIII century is a universal process aimed at the development and implementation of many elements, which subsequently allowed, above all, to develop the leisure of that time. To this day, the walk has not lost its relevance. Today, it is still multifunctional and is characterized by professional and leisure components of modern life. The impact that the walk has on society is transformative, aimed at changing for the better in terms of human health, the transformation of attitudes. In the future, the walk as a phenomenon can be used as a tool to attract attention and study the specific values of the past and modern Russian society.
Orthodox cardiognosis of the russian people as the basis of heroism (bogatirstvo) (based on the “Diary of a writer” by F.M. Dostoevsky)
Authors:   Crimean Federal V.I. Vernadsky University, Kapustina Svetlana V.
Published: February 2023

The term “cardiognosis” is a neologism at the turn of the XX-XXI centuries. F.M. Dostoevsky used in the “Diary of a Writer” and in the Great Pentateuch its Russian counterpart - “heart knowledge”. The chronologically explainable absence in the heritage of the classic of the lexeme under study, based on the addition of Latin roots, does not at all contradict the fact that F.M. Dostoevsky made an invaluable contribution to the intellectual tradition of studying cardiognosis that has developed in Russia. The creator of the “Diary of a Writer” invariably correlated this category with folk Orthodoxy. He saw the “heart knowledge of Christ” as the most effective and infallible way of attaining God. Dostoevsky developed such a perception as a result of his deep immersion in the context of the Bible and patristic literature. The writer was convinced that the cardiognostically conditioned faith of the Russian people is a guarantee of their special - world-unifying - destiny in the future. Nevertheless, he did not idealize popular types, noting their susceptibility to temporary obsession. However, this feature, according to F.M. Dostoevsky, does not exclude the openness of the heroic path to every Russian Vlas. In the “Diary of a Writer”, the occasional semantic content of the category “heroism” (“bo-gatirstvo”) is especially expressively explicated. It is understood not as an indication of a military ethos, but as a service to God in a broad sense. The basis and inspiration of heroism (bogatirstvo), according to F.M. Dostoevsky, is precisely cardiognosis. The writer is sure: a heart that “contains God” can transform into a “better person” even one who has sinned, but who repented in time. On the pages of the “Diary of a Writer” F.M. Dostoevsky not only defines the “best people” of the past of Russia (“Tikhon, Monomakh, Ilya...”), but also admires their followers from the 19th century. He considers those contemporaries who are ready to sacrifice themselves for the protection of brothers in Christ (General Chernyaev, Sophia Lurie, Foma Danilovich Lotaryov) as the incarnators of spiritual heroism (bogatirstvo). Dostoevsky's causal comprehension of the categories “cardiognosis” and “heroism” (“bo-gatirstvo”) showed a significant trait of the Russian national character, demonstrated the writer's faith in the saving mission of the God-bearing people.
Identity construction in children's cinema: the experience of cinema in the USSR and the practice of modern Russia
Authors:   Tomsk State University, Kniaziuk Olesya V. , Sennikova Veronika V. ,   Tomsk State University
Published: February 2023

The article is devoted to the formation spectator-child's identity problem by cinematography means. The authors rely on the social constructionism position. The position allows us to talk about the socio-cultural reality construction by cinematography means: about the creation of an artistic and symbolic world model. The values or ideology system guidelines developed within the framework of the USSR ideology and meeting the tasks socio-political, socio-economic structure is the model based. Cinematography, namely children's cinema, aimed at an educational role, broadcasts these attitudes, including the values of patriotism, diligence, collectivism, etc. In this way, the forming the child's identity (Soviet identity) process is “launched”. After the USSR collapse, cinematography develops under the globalization processes influence: there is a rejection of ideology and the spread of postmodern cultural values. The development of the information environment and the change in the socio-economic system dictate the development of a new language of cinema, which is becoming an actual research field. The expose of the child-viewer's constructing identity specifics on the basis of a comparative the Soviet era and modern Russia children's films is the study purpose according to the authors of the research. The study was conducted on the material of films with similar fairy tale plots, which are analyzed from the position of the following parameters: plot construction, the hero image, the expression used means, as well as the value-semantic attitudes of culture transmitted by the artistic and figurative film production system. The study showed, that modern cinema, unlike the USSR cinema, demonstrates a rejection of binary thinking, does not claim to be clear on the author's position and establish any final meaning of the work, refers to new topics (consumer society, feminism, power) and values (individualism, hedonism, priority of the material over the spiritual).The visual aspect prevails among artistic means to the detriment of the verbal and semantic aspects for a reason the digital culture and computer graphics development. A new socio-cultural reality is constructed, and, consequently, a new child identity in such a cinema space in this way. The “new viewer” is forced to navigate in the meanings multiple stream and images, relying on his own unstable experience.
Thematic horizon of the study of linguistic reality: the context of non-classical philosophy of language
Authors:   Tomsk State University, Kornienko Mikhail A.
Published: February 2023

The article defines the specifics of the non-classical paradigm of the philosophy of language, in the problematic field of which the language is presented as a creative process and a form of development of the spirit, spiritual creativity and acquisition the truth. Revealing the specifics of the non-classical stage of the philosophy of language, within the limits of which the language is characterized as creative processuality, the author shows that the energy of the spirit, manifesting its spontaneity in the language, unattainable in its spontaneity, makes the language alive. It is shown that the philosophy of language as an independent science begins the countdown with the works of W. von Humboldt, while at an earlier stage, language was the subject of analysis in the context of general epistemological issues. The author analyzes the role of F. de Saussure in the development of the philosophy of language, reveals the role of the linguistic revolution in the transformation of the paradigm of the metaphysics of language. It is shown that, starting from the linguistic turn, a new problematic is introduced into the philosophy of language: an approach has been formed in the problem field of non-classical philosophy, within which the language was given the status of an alternative to the Cartesian cogi-to. It was the linguistic turn that was the stage of transition to the new problems of the philosophy of language, which made the subject of study the contexts and premises of utterances, objectified language structures, the polysemy and everyday functioning of the language, the functions of the language (including political functions). A departure from the epistemological and psychological component of research is associated with a linguistic turn, interest in the meaning and meaning was formed, and the language itself was interpreted as the ultimate ontological basis of thinking. Structuralism, hermeneutics, linguistic philosophy turned to the study of language. As a result of the linguistic turn, philosophical problems acquired a different orientation and began to search for philosophical problems through an appeal to the ontology of linguistic phenomena.
Education as an event: event nature of the university corporativity
Authors:   Tomsk State University, Petrova Galina I. , Chibir Elena V. ,   Tomsk State University
Published: February 2023

In the article the conceptual issues of the educational philosophy are presented. The aim of the research is to explore the specific character of contemporary education ontology in the whole and the particularities of the university education as a part of it. In addition authors make an attempt to consider the education being as its betweenness in the world, to identify its historical and philosophical transformations closely connected with traditionally obtained corporative university form. Originally, the university was founded as a corporation, but state-of-the-art conditions of its functioning forced the development of its cultural model and structure. Authors stand on the position that the classical ontological university particularities - the wholeness of a being and the absoluteness of criteria - at the moment are displaced by the ontological eventness. Event ontology supposed to obtain ordinary disunification, plurality and conditions singularity. The university educational ontology transformation leads to the corporate culture ontology changing processes. A contemporary university corporate culture has event nature and it is supposed to illuminate itself in the postclassical cultural university identity. The main methods of the investigation are the philosophical and cultural critics (critical analysis) and the comparative research of the classical university education (presented in the unity of its being) and its current condition status represented by the event existence. The novelty of the authors' position is in argumentation of ontological term “event” applied to the contemporary university and relative to it, also event ontology based, corporativity. Eventness of the current cultural processes, including educational ones, is an element, deconstructing being in its entity and wholeness. Being in existent modernity obtains the features of eclecticism, fragmentarity, as a consequence, the key characteristics development of the social institutes is required. The classical university in its students' and professors' unity of scientific investigations has to expand its functions in accordance with the educational market demand. Essentially, a university transforms into a business corporation with the high standard of culture. The authors' position is based on the deconstructive processes within the present day philosophical thinking, distinguishing the classical scope clarity. The position mentioned above give a possibility to consider the modification of ontology of being in entity of its particularities, the education being and the university being alongside its corporate culture. The position explored can be identified as event ontology and it is the result of liquid modernity requirements challenging a contemporary university. The classical university model and the unipolar culture are displaced by the multiple identity and the complementarity of corporate and academic cultures as a vital condition of the university existence.
The phenomenon of nomadism in english-language political campaign advertising of the beginning of the XXI c.
Authors:   Moscow State Linguistic University, Murashova Ekaterina P. ,   Moscow Power Engineering Institute
Published: February 2023

With the advent of the postmodern era in the second half of the XX c. - the beginning of the XXI c. humankind faced such global challenges as informatization and digitalization of different spheres of life. The human need for “digital detox”, expansion of the world view and self-development resulted in popularization of the phenomenon of nomadism. The aim of the present article is to reveal means of realizing the phenomenon of nomadism in political campaign advertising. Nomadism is approached by us from the perspective of postmodern philosophy and is defined as a social strategy of counteracting modern problems, centred around movement through space and time. The research material is texts of English-language political commercials published before the 2020 US presidential elections on the candidates' official YouTube channels. The material was chosen because the political campaign discourse and the discourse of political advertising draw upon resources of marketing communication which includes manifestations of nomadism. In the course of the research, we selected texts with a retro-component which vividly illustrates the essence of nomadism, that is movement in space and time. The authentic examples were transcribed by us. In the article nomadism is treated from the point of view of the postmodern theory of nomadology developed by the French philosophers in the 1970s. Nomadism is described as a form of opposing orderliness, structurality and linearity of the “polis”. The main value of nomadism is freedom of movement in space and time. The nomadic culture has a rhizomatic character which manifests itself in the blurring of borders, deterritorialization and hybridization and determines the nomad's movement: they move without a specific aim and without a given direction. An analysis of the empirical material yielded that political campaign advertising has a rhizomatic character that manifests itself in the following discourse features: horizontality, blurred identity, hybridity, clip-like structure, virtuality, ecologicity and arithmetic organization. A range of verbal and non-verbal means of realizing each of the discourse features is revealed and described, for example, the non-linear presentation of information, the use of wide-meaning vocabulary, montage effects and etc. In a number of commercials two main nomadic motifs were detected, i.e. the journey motif and the motif of investigation. It is concluded that rhizomaticity of political campaign advertising is to be referred to means of increasing the persuasiveness of a message.
Visualization of the transition to metamodern: a semiotic analysis of the Esma Sultan architectural project (Istanbul)
Authors:   Kharkov State Academy of Culture, Artemenko Andrii P. , Artemenko Yaroslava I. ,   National University of Pharmacy
Published: February 2023

The subject of this article is a visual manifestation of the transition to metamodern architecture in the reconstruction of Esma Sultan's palace in Istanbul. Its architectural and design solution was created in the framework of the new urban paradigm of the XXI century. The project solves a whole range of tasks from the preservation of historical heritage to the creation of an attractive commercial real estate facility. The objective of the article is to conduct a semiotic analysis of the Esma Sultan architectural complex which will demonstrate the transition from the paradigm of the urban culture of postmodernism to metamodernism. Esma Sultan's semantic analysis reveals the meanings that remain not articulated in the special literature about this project. The method of historical retrospection is applied to the analysis of the object. This made it possible to assess the general trends in the production of urban space at the early the twenty-first century. A comparison of Esma Sultan's palace to the projects that are close in style and overall design showed the prospect of creating a modern mental image of the city. The authors concluded that the semiotic system of this architectural object is focused on the presentation of a multi-level semantic space. The loft-style palace not only organizes space, but creates a lifestyle with its egocentric hedonistic notes. The article proves that the reconstruction of Esma Sultan declares a new style of life and a type of urban culture in which spatiality becomes an expression of a multi-layered meaning. Rebuilding is not the same as reconstruction because its goal is not to return the past in the image of the building but to “hang” between experiencing the past and its awareness in the present. Thus, the Esma Sultan project became an example of a generalization of paradigm shifts in human perceptions of the 1990s - 2000s and a demonstration of the transition to the sociocultural situation of metamodern. We see how metamodern eliminates the very principle of dichotomy of choice, evaluation and functionality. The technological leap of the beginning of the 21st century, the changing nature of sociocultural practices, the abandonment of the policy of multiculturalism (the practice of social collage) influenced the formation of a new understanding of the problem of meanings manifested through spatiality, contingency and contextuality of any phenomenon.
Philosophical and semiotic analysis of the musical sign of the period of the XVII - ХХ century
Authors:   Luhansk State Academy of Culture and Arts named after M. Matusovsky, Kapichina Elena A.
Published: February 2023

The philosophical analysis of the problem of the musical language as a system of special symbolism from the period of the birth of individual composer creativity to the period of the New Time described in the article. This is the first part of the theoretical interpretation of the history of musical symbolism. The philosophical and aesthetic interpretation of the sign structures of the musical language considered to be presented in the context of the evolutionary and historical development on the basis of the methodology of semiosis analysis. Composer's creativity is based on certain techniques and innovative experiments, sometimes on mathematical calculations or on the improvement of existing techniques. Beginning approximately from the 11th-14th centuries, when individual composer creativity was born, and in the epoch of the 17th-20th centuries, reaching its apogee, European composer music produced the highest examples of opus music. This is an autonomous art that sets laws for itself and does not require meaningful injections from the outside - religion or philosophy, from a household or ritual situation, from the lifestyle or everyday experiences of people. The system of autonomous opus music of the twentieth century represents, on the one hand, the absolutization of the artistic specification of the art of sounds, and on the other, the fragility and vulnerability of creativity, isolation from life concreteness or from symbols included in traditional ceremonies, ceremonies, cult life, which often alienates professional opus music from the mass audience makes it incomprehensible and inaccessible. Since music and its language have a sign-symbolic nature, the process of semiosis is the mechanism by which decoding of musical symbolism is possible. Therefore, we are talking about the philosophy of musical semiosis as a process of understanding musical significance in the context of its evolution from its inception to the present day. Musical semiosis is the process of interpreting and structuring musical signs and symbols, as a result of which the open space of human emotions and sense-values is generated. A semi-musical form of musical thinking arises in terms of symbolic and symbolic meaning-making and is a mental construction, interpretation and understanding of musical signs.
Composer-performing practice of a pianist as a way to comprehend the figurative-emotional range of a musical work
Authors:   Tomsk State University, Prikhodovskaya Ekaterina A. , Okisheva Anna A. ,   Tomsk State University
Published: February 2023

The article discusses one of the methods for comprehending the content of a musical work through the interaction of the pianist's composing and performing practice. No one can deny that the listener “gets” a work only “from the hands” of the performerpianist, and if the composer is not a pianist, then the audience in the hall will inevitably receive the product of joint creativity. That is why it seems appropriate to talk about the fact of a single composing and performing practice, without special emphasis on the composing or performing component of the creative process. When such an intratextual structure as the figurative-emotional series of a work is brought to the fore, the line between the composer and the performer becomes even more blurred. Of course, one cannot speak of replacing one with another - each has its own field of activity -but it seems to be quite adequate to assert the presence of some creative conglomerate. Of course, in every piece of music there are many components that must be observed by the performer unconditionally: size, key signs, etc. This article will focus specifically on the figurative and emotional content of the work. As you know, each performer expresses the vision of a musical work in his own way. From the side of performing practice, a detailed analysis of the Second Piano Concerto by Ekaterina Prikhodovskaya was carried out. It is interesting that the composition in question was created practically “in a dialogue” between the authors of the article - the composer who wrote the concerto for piano and orchestra, and the pianist for whom this concerto was written and dedicated. The compositions of Anna Okisheva are considered as a composer's activity. On the example of her own works, Anna Okisheva gives an associative analysis, using works of art and literature as an addition to the figurative-emotional range. The uniqueness of this method lies in the fact that the performer, being a composer, already has an idea of the figurative and emotional content. In this example, we clearly see the process of “encryption” and “decryption” of a musical composition. Together and separately, these works demonstrate a fairly extensive representation of the figurative and emotional range. Thanks to the appeal to related arts (in particular, literature and painting), a more accurate and versatile formulation of the fan-shaped model of the creative process occurs (it was specified earlier). So, there is an inseparable, perhaps invisible at first glance, interconnection between composing and performing practice. Comprehension of the figurative-emotional range of a musical work -in fact, its content - is indeed the right way to create an incentive for cooperation between the composer, performer and listener (even taking into account time distances).