Review: The object of this research is the philosophical reasoning of intelligentsia on the spiritual paths of Russia in the context of historical transformations of the turn of the XIX-XX centuries. The subject of this research is the cultural phenomenon of “festivities”. In description of the philosophical meaning of the concept of “religion”, the author, leaning on differentiation of the religious denominations proposed by D. V. Pivovarov, gradually classifies the ideological and religious pursuits of intelligentsia in accordance with the cosmocentric, sociocentric, and egocentric forms of religions. Introducing the concept of “festivity”, the attention is focused on the life-purpose ideals suggested by intelligentsia as a culture-forming grounds for the development of Russia. Methodologically determinative for this research are the works of D. V. Pivovarov, S. S. Horuzhy, as well as the works of religious philosophers of the silver age. The scientific novelty lies in the presented experience of culturological analysis of historical situation of the silver age, and the religious search of intelligentsia through the methodological prism of the concept of synergy and theory of “festivity”. The category of “festivity” allows accenting attention of the forms of the Absolute and approaches towards it, proposed by intelligentsia as a goal of cultural development. 

Keywords: values, religious philosophy, synergy, religion, intelligentsia, silver age, convivality, higher meanings, spirituality, culture

Review: This article is dedicated to examination of the impact of reformation doctrine on the paintings of Lucas Cranach the Elder. The detailed analysis of his works allows to significantly expand our perception of the reflected in his paintings era and its effect on his personal outlook on life. The foundation of the article contains such works of Lucas Cranach the Elder as the portraits of Martin Luther of various periods; “The Fall, Expulsion from the Paradise and the Atoning Sacrifice of Christ (Allegory of the Old and New Testament)” created in 1529, which became a pictorial catechism of the Luther’s doctrine. Methodological base includes the works of the foreign and national medievalists aimed at consideration of the cultural and everyday aspects of social life and determination of their mutual influence with the political history of the region, combining the macro and micro approaches towards historical studies. The conducted research, based on the synthesis of comparative-historical and systemic methods, allows examining and characterizing separate aspects of interpretation of the reformist doctrine, which left a noticeable mark in the works of Lucas Cranach the Elder – one of the closest friends and successors of Martin Luther, the “father” of German Reformation. The author was able to draw conclusions on the impact of reformation ideas on the worldview of a separate individual.

Keywords: woodcut, German Renaissance, Lucas Cranach the Elder, Martin Luther, Protestantism,, Reformation in Germany, early Modern times, Protestant portrait, iconography, Gospel

Review: The subject of this research is the determination of the degree of scientific exploration of the concept of “montage” within the system of artistic culture, consideration of the processes of its establishment and subsequent transformation. The object of this research is the analysis of fundamental works comprise the basis of the montage theory in the system of artistic culture and fully reveal the figural-dramaturgical and compositional-structural peculiarities of this phenomenon (works of S. Eisenstein, L. Kuleshov, V. Pudovkin, Y. Tynyanov, Y. Lotman. V. Ivanov, T. Efremova, R. Salganik, N. Volkov and others). For achieving the set foal, the author selected the methodology of exploration of the term “montage” in various fields: literary studies, book publishing, culturology, aesthetics, and cinematography. A conclusion is made that the concept of “montage” was viewed by the scholars from various perspectives: as the means for expressing authorial positions; realization of figurative theme; composition of artwork; one of the types of artistic thinking that becomes common for the national art of the late XX century. This article is first to consider the concept of “montage” in the context of various humanitarian spheres. The scientific novelty lies in determination of the relevance of montage principles outside cinematography, despite the origin of the montage theory in the area of cinematic art. Modern artists of different types and genres continue to widely interpret the capabilities of montage in their works.

Keywords: concept, author's position, space, meaning, text, montage, work, art culture, structural capabilities of installation, space-time