Abstract: The object of this research is the phenomenon of Siberian identity through the analysis of visual art of Siberian authors of the XX and XXI centuries. Siberian identity in the works of artists is substantiated by multiethnic population of Siberia and rich history of the region. The leading trend consisted in the popular in 1980’s – 2000’s “neo-archaic” motifs, i.e. reference to the ancient and traditional ethnic cultures of Siberia through the prism of modern perception. But it was not the first experience of resorting to the theme of Siberian ethnic archaism, since the masters of the late XIX – middle XX centuries also addressed to the artistic motifs of indigenous Siberian ethnoses and ancient culture, but it manifested in fundamentally different forms of aesthetics. The main method applied in this research consists in comparative analysis of the artworks of Siberian masters of visual and decorative art at two stages of its establishment (late XIX – middle XX centuries, and second half of the XX – XXI centuries), which reflected the process of finding Siberian identity. Novelty of the presented material lies in the thesis that the concept of “Siberian identity” is being developed by sociologists, philosophers and culturologists, who interpret it in the context of sociological and culturological constructs. The art review of this problem has not been conducted, despite the fact that the process of finding identity in the modern world is most vividly reflected through the images of visual and decorative-applied art.

Keywords: archaeology, ceramics, graphics, painting, art, archaism, ethnicity, Siberian identity, civilization, Asia

Abstract: The object of this research is editing as an artistic phenomenon in the Russian musical culture of the late XX century. The subject of this research is works of the prominent Russian composer Sergei Mikhailovich Slonimsky. Analysis of musical texts of the composer demonstrated that editing manifests as the paramount method of creating an artistic space of his oeuvres. The main principle for this this research served the principle of historicism as one of the fundamental within national musicology, where an artistic phenomenon is viewed in unity of realization of the traditions and trends of modernity. The author comes to the conclusion that in the works of S. Slonimsky editing first and foremost is a unique principle of realization of the artistic plot, providing exclusive freedom to the composer, exposing all achievements of musical art, allowing to actively work with different cultural codes and freely transform them and reproduce most bold and artistically significant philosophical ideas. The scientific novelty consists in determination of specificity of functionality of the system of expressive means of S. Slonimsky in the context of editing. In the course of research, the author also formulated a number of questions requiring further scientific analysis and new research interpretation.

Keywords: genre, composition, thematism, drama, polylogy, musical text, editing, orchestral thinking, composer, artistic idea

Abstract: This article analyzes the book by V. Fedotova, V, Kolpakov, N. Fedotova “Global Capitalism: three great transformations”. The author discusses research methodology applied by the book authors, indicating the points of divergence with his own position. For example, he claims that the subject of research should be the new-European sociality, rather than capitalism; the accelerator of social transformations – the European state, rather than the economy. In accordance with these views, characteristic is given to the new-European sociality that includes: concepts and structure of the state, officials who serve citizens and maintain work of government institutions, and society as a vectoring and controlling authority. The article outlines the scheme of four development stages of the new-European sociality: establishment of liberal-democratic state and society, organized capitalism, creation of the welfare society, completion of new-European sociality. As a result, the author was able to clarify research methodology of the new-European sociality, outline the patterns of its genesis, characterize four key development stages of sociality of modern age. The research leans on the classical writings of F. Braudel and J. Schumpeter, as well as modern classics M. Creveld. V. Fedotova, V. Kolpakov, and N. Fedotova.

Keywords: community, development, economy, personality, society, state, sociality, capitalism, research, concepts

Abstract: The object of this research is the relevant representations of death, which in many ways are defined by the ideas and practices of embodiment of posthumanism. Special attention is given to correlation between natural and artificial in a human. The article analyzes the corporeal context of death and technical context of body, the interaction of which leads to creation of the project of technogenic immortality. In the present situation, body as a preset biological structure is determined as mortal. Immortality, in this case, is understood as the achievement of post-corporeal state. The work is based on the philosophical-anthropological concepts of innate “biological insufficiency” and “eccentric positionality” of a human that also form his ability to transcending the determinate being. Culture is viewed as the functional expansion of human body. The conclusion is made that the idea of modetnity consists in liberation of human from any external determination, in other words, in autopoiesis. Due to this fact, humanity attempts to transcend the power over own body into the limits of its basic properties – to get rid of death. Posthuman future is achieved through subsequent destruction of “naturalness” of the body.

Keywords: human enhancement, death, immortalism, posthumanism, transhumanism, technoscience, posthuman, self-transcendence, evolution, nature–culture divide

Abstract: This research is dedicated to examination of a specific role of landscape in symbolism. Based on comprehensive analysis of the works of symbolists and artists of their circle – Segantini, Böcklin, Gauguin, Nesterov, Čiurlionis, the author attempts to determine the characteristic features of using the images of nature in the overall system of pictorial artistic-aesthetic expression. Special attention is paid to the problem of inscription of human figures into landscape, as in doing so many symbolists and artists of their circle were bringing the landscape to life, forming a special creative space. Landscape of symbolists is viewed as a peculiar animated space that carries a mediating role between the visually palpable images and indescribable pleroma of metaphysical being. Such approach to symbolism is considered innovative. In the course of this research, it is demonstrated that special artistic space as a carrier of symbolic meanings or a spirit of symbolism in painting emerges in each painters a set of artistic means of expression characteristic only to their works. At the same time, some symbolists view the unreachable in external forms of visible nature by focusing attention of the opposition of earth and sky, life and death, human and divine beginning, reality and its mythological grounds. Some symbolists create the world of practically abstract and musically accented color forms and graphic solutions. While others paint landscape imbued with tranquility, tenderness and picturesque hymns of the Creator. In general, symbolic landscape leans towards a fairly vivid philosophical aspect.

Keywords: composition, spirituality, metaphysics of art, aesthetics, symbolism, painting, landscape, color form, Segantini, Boeklin

Abstract: The subject of this research is the fundamental aesthetic problematic in the symbolist philosophy of art of André Gide. The author examines such mainstream themes as the concept of artistic symbol, categories of the beautiful, tragic and heroic, interrelation of art and nature, specificity of theatrical aesthetics. In his works, Gide brings to life the ideas of subjective, solipsistic symbolism, when symbol ingratiates with a hieroglyph that depicts inner world of the artist in a creative form, his subjective experiences, dreams and reverie, while the external sensible world is interpreted as illusory, appears as combination of senses, or is left as side as nonexistent. The main conclusion of the conducted study consists in a statements that in the period of symbolism André Gide was sure that illusory character was extraneous to art. Disregarding the external, art must refer to the profound truth, heroic beginning of human personality. Emphasis is made on infiltration into the spheres of esoteric, mystical and spiritual. The article analyses André Gide’s “Treatise on Narcissus (The Theory of Symbol”), in which such worldview found its programmatic expression.

Keywords: literature, heroic, tragic, high, beauty, intuition, symbol, philosophy of art, aesthetics, theatre