Abstract: A creative personality as a public figure is the topic of this article. The said personality can express itself in different forms. In this particular case among all possible forms the author is emphasizing and considering the one where the protest is coming to the fore. Such forms of the contemporary art as performance and happening, and most of all those pieces of art which are laying a special emphasize on the protest, are appearing as a concrete expression of this form. Radicalism appearing in these art forms aids detecting aspects of artist’s creativeness which are promoting transformation of any creative person to a public figure. Pertain of performance and happening to art it is not obvious. These art forms are perceived as marginal one and are exclusive of the conventional art system. More often than not their radical protest is liable to prosecution. However legal evaluation does not facilitate but complicate esthetic evaluating. In order to overcome the doubtful status of these forms, it is necessary to consider them as cultural phenomenon with past precedents. “Yurodstvo” (idiotic action) of the times of Ancient Rus is their immediate predecessor. This is the first attempt to analyze the creative personality at such culturological angel. Based on researches of A. van Gennep and W. Turner, the author is revealing a latent character in creative person’s activity, which is known as liminality, in other words, a necessity and ability to express protest which is not only a protest against the power, but as protest against the society stagnating in conformism. In pre-industrial societies any bearer of liminality, i.e. a wacky, was a sacred person, who should not suffer persecution of authorities. In secularized societies the artist and images of his/her heroes are bearers of liminality. And happenings and performances are the contemporary forms for expressing the spirit of liminality.

Keywords: Creative personality, performance, happening, public figure, yurodstvo, Avantgarde, liminality, anti-behaviour, sacral, secularity.

Abstract: The process of Hinduism’s universalization is depicted in the article as re-interpretation of Hindu tradition by intellectuals of the Indian Renaissance XIX– early XXth century. The author considers the interpretations by Rammohun Roy and his Brahmo Samaj, Prarthana Samaj, Swami Dayananda and his Arya Samaj, and also by Neo-Hindu thinkers Bankimchandra Chattopadhyay, Swami Vivekananda and Bal Gangadhar Tilak, as different variants of answers to key questions of spiritual and intellectual searches for real essence of Hinduism. Based on the phenomenological approach, the process is represented as the dialogue between Hinduism and other religious –first of all, Christianity and Islam – and creation of a concrete image of Hinduism as universal religion in Indian intellectuals’ minds. The variants of the interpretations underlie the religious movements – reformist and neo-Hinduist. The author suggests that in Bengal, Maharashtra and Punjab intellectual universalization of Hinduism had helped to ground the world status of the religion. The universalization had two variants. The first one was a negative universalization from sharp critics of religious forms to grounding high monotheism and humanist ethics. The second one was a positive universalization based on accepting of all worship forms as different paths to Divine Absolute. Hinduism was symbolically depicted by intellectuals as a universal world religion, the repository of highest truth for all humanity.

Keywords: World religion, Indian spiritual culture, Hinduism, the Indian Renaissance, universalization of creed, reformation, reformist societies, neo-Hinduism, universal spiritual meanings, image of Hinduism.

Abstract: In her article Popkova examines the essence of philosophical culture, the reason of its small demand by modern mass consciousness and ways of an exit from this crisis. The situation with recognition of social utility of philosophy in the conditions of dominating technology-related and hedonistic rationality is analyzed. The place of philosophical culture within the limits of traditional culture (as a source of basic principles and concepts) and cultures of a modern epoch (when the philosophy is criticized for uselessness even by scientific community) is compared. Necessity of transformation of philosophy for a modern epoch is investigated. The basic methods of research include problematization, analogy, methodological schematization, rationalisation and articulation of implicit representations. As an example, the author discusses the position of modern science which has passed the stage of techno-science (that means transition from a problem of understanding of an external reality to a problem of its designing, from an explanation – to reproduction). The author considers philosophy as the special technology intended for change of the world internal and suggests to develop philosophy in a direction named techno-philosophy. Accordingly, each philosophical system is considered as a set of programs of behavior proving each other and the dialogue: the basic metaphilosophical directions having different research objectives are allocated, and possibility of their interpretation as various schemes of autodesigning of the person of the philosopher is shown. As a result there is a possibility to use domination of technologically directed outlook for the development of philosophy, in modern mentality it has proved necessary for the personal growth of the person. Practical application of techno-philosophy will find the project at reconsideration of stages of development of philosophy and its social functions, at research of implicit or daily philosophy (ordinary representations about a life, its purpose and its rules also are technologies).

Keywords: Culture, philosophy, crisis, science, technology, techno-science, the present, outlook, rationality, designing.

Abstract: The research subject of the article is the archetypical grounds of the images of Soviet economic daily life represented in popular art of the 1960 – 1980th. The images typical for the Soviet culture depict an archetypical narrative model – longing for harmony and urge to overcome Chaos and create Cosmos. Each image contains a code that serves as the key to understanding the Soviet culture. To discover these image codes, the author of the article analyzes iconic pieces of art that have been popular for long time, reflects the state of mind and spirits of the society and have a large number of readers/audience and popular quotations. The research methods used by Sidorova in her article include the following: the comparative method that allows to describe the changes of the Soviet economic culture since the 1960th (the Khrushchev Thaw) till the Seventieth, semiotic method, the archetype concept, hermeneutic method, content analysis and the method of historical typology. It is the first time that the archetype concept as well as the archetype classification that was introduced by A. Chernyshov within the framework of the Russian national culture offered are applied to the analysis of images of the Soviet economic daily life in popular art of the 1960 – 1980th. Having analyzed the Soviet economic daily life presented in iconic pieces of popular culture of the 1960 – 1980th, the author has discovered the image codes that have the best representation of the archetype narrative model. According to the author, the images of the Soviet economic daily life relate to such archetypes of the Russian national culture as Heroism, Simplicity, Search, Creativity, Wisdom, Loyalty, Love, Care, Carnival and Rebellion. The images that personified the archetype of Love have become the most popular ones. The image codes of Soviet economic daily life present the collective view of the socialistic variant of the national esthetical ideal and reflect the dynamics of that ideal. Thus, the images that personify the archetypes of Simplicity and Creativity have been gradually disappearing since the 1960th till 1980th. The meaning of the Heroism archetype has been shifted from labor deeds for the country to the performance of duties and self-sacrifice for one’s family. New images of Rebellion and Carnival started to appear. Cosmos had the same structure Communism had. The path to Cosmos went in struggle with Chaos but the main drivers were not antagonism between classes or an external enemy but the struggle of the ‘builder of Communism’ against his internal enemy, i.e. his moral diseases, irresponsibility, dishonesty and indifference. These image codes reflect the duality of the Soviet picture of the world: the image codes declared that the society was moving towards Cosmos (i.e. Communism) while in fact Chaos was growing, i.e. massive irresponsibility, economic mismanagement, dishonesty, social injustice and etc.

Keywords: Soviet culture, economic culture, daily life, popular art, symbolic structure, archetype, Russian national culture, image, code, iconic piece of arte.

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 research subject of the article is the stained glass created by a Soviet architecture artist Vladimir Grishaev (1951 – 1999) in the 1970th– 1990th. During that period he created over 30 pieces of art for all kinds of official buildings and public facilities in Cheboksary, the capital of the Chuvash Republic. Today Vladimir Grishaev can be considered to be the first stained glass artist of Chuvashia because stained glass had been practically unknown before him in that republic. The author of the article examines the artist’s stained glass since the period when Grishaev was an art student till the last years of his life. The research method used by the author is the art history analysis of particular artworks combined with the historical analysis of the phenomenon of stained glass art in the USSR. This article is the first one in the academic literature to discuss the topic of stained glass in Vladimir Grishaev’s creative work. The main conclusions are the following: Vladimir Grishaev’s artwork is undoubtedly valuable and reflect the spiritual life of a talented artist as the representative of his epoch.

Keywords: Vladimir Grishaev, stained glass, art, USSR, art in architecture, Cheboksary, the Chuvash Republic, stained glass artist, history, decorate art.

Abstract: The research subject of the article is one of the most significant art phenomena of the XXth century, performance art that involves synthesis of arts in one piece of art and it is well-known that synthesis of arts is the main feature of post-modernism, the symbol of the modern society. Performance art has been developing through the evolution of general art. The sources of performance art can be found in the syncretic ritual, Medieval street theatre and some theatrical performance of the XVth – XVIIth centuries during Italian Renaissance and Baroque. These sources are studied by Petrov in his article in detail. The research of performance art as an integral phenomenon is performed from the point of view of the historical evolution of art. The main advantage of the research is an opportunity to compare the sources of performance art and performance ideas of the XXth century. This approach allows to fully cover the research subject. The novelty of the research is caused by the fact that for the first time performance art is viewed not only as an art phenomenon of the XXth century but of the past centuries as well. Genetic prototypes of modern performance art were expressed in the syncretic rituals, dell’arte comedy and artwork created by Leonardo da Vinci, Gian Bernini and other artists, musicians and writers of the past.

Keywords: Art, art studies, performance art, happening, actionism (the action art), ritual, synthesis of arts, music, architecture, epatage.

Abstract: The article analyzes and compares the application of the two approaches (natural scientific and humanitarian) to the reconstruction of spatial representations of the past eras including the idea of artistic perspectives (linear, inverse and mixed perspectives). In his article Rozin criticizes the natural scientific approach to the explanation of these concepts presented by the member of the Academy B. Raushenbach. Rauschenbach wrote that “man does not see with his eyes but his brain”. The author of the article argues that we see not with our eyes or brain but rather with the ‘cultural schemes’. In this regard the author introduces the concept of “scheme” and within the framework of the doctrine of the schemes and culture discusses how the linear perspective was established and the other two perspectives developed on the basis of the former. Considering all these facts, the author implements a humanitarian approach, carries problematization and cultural-historical reconstruction using comparative analysis methods. In general, his discourse can be attributed to the methodology based on cultural studies and humanitarian approach. The results of the study show the problems associated with the natural science approach, demonstrate the benefits of the humanitarian way of explanation, introduce the concept of “scheme” and explain the development of art perspectives in terms of the humanitarian reconstruction. In addition, the material and discourse presented in the article can be viewed as an example of the humanitarian research.

Keywords: Culture, reconstruction, scheme, painting, space, vision, evolution, explanation, art, technology.