Abstract: This article analyzes the concept of “ethnic painting”, Russian and Western sources on the topic, as well as controversial approaches towards its interpretation. It is established that the Russian science avoids using the concept of “ethnic painting” to ambiguity of its content. The most commonly concepts in sphere are “national art”, “ethnocultural manifestations”, “territorial-ethnic nature of painting”, “national peculiarities”, and “national distinctness of art schools”. In Western literature, the concept of “ethnic painting” is attributed to both, folk art and professional art. Parallel is drawn between the concept of “national culture” and “ethnic culture”. The research is based on the painting of Circassians (Adyghe) of Russia and Turkey. Using the methods of comparative studies, comparative typology and art analysis, the article explores the works of contemporary Circassian painters of Turkey and Russia, revealing the specificity and universal characteristics of their paintings. The works of professional artists, which meet certain characteristics, should be referred to as “ethnic painting”. The author describes the key attributes and functions of plastic arts that allow classifying it as the concept of “ethnic”: 1) figurative characteristics (visualization of mythological and epic heroes and plotlines, ritual and common culture); 2) translation of ethnic mental characteristics and values; 3) design of ethnic identity and solidarity by means of painting; 4) introduction the art of painting not only to the elite, but other social classes as well; 5) usage of public instruments for proliferation and popularization of painting through education and enlightenment; 6) comprehension of ethnic art as a crucial element of national art; 7) development of ethnic art through various contaminants (ethnocultural content and modernist form or technique; modern content in the traditional genre or form).

Keywords: religious themes, ethnic identity, Circassians of Turkey, Circassians of Russia, Circassians, national art, ethnic art, ethnic painting, conceptualism, artistic connections

Abstract: The subject of this research is the corpus of the Internet memes of the English-language and Russian-language segments of the Internet. The object is the classification of the Internet memes, the division of relevant memes into the categories on various grounds. The author explores the emergence of new methods of content creation on the Internet, proliferation of popular culture and use of the concept of post-irony, as well as reflection of the latest social and political events in memes. Special attention is given to the detailed analysis of specific examples of the internet memes and their modifications by the users: the format of meme implies variability and possible modification by any content consumer. The main conclusions lies in the highlighted and illustrated examples of the new categories of Internet memes. The author’s special contribution consists in determination of the new categories of memes: post-ironic memes; memes created and spread via TikTok platform; and memes related to the reflection of coronavirus infection and its consequences in popular culture. The novelty of this research is define by classification and description of the aforementioned categories of Internet memes, as well as by outlining the prospects for further expansion of the classification. The article employs the methods of contextual and structural analysis of the corpus of the Internet memes; determines and groups the types of meme variations; and describes the potential for their transformation.

Keywords: news occasion, media communication, media platform, coronavirus infection, TikTok, metamemes, postirony, classification, Internet meme, social networks

Abstract: This article analyzes the music to the ballet “Yaroslavna” by the prominent Russian composer of the late XX century B. Tishchenko (1939–2010). The written and staged in 1974 ballet has become one of the most remarkable musical achievements of that time. Emphasis is palced on the fact that Tishchenko composed “Yaroslavna” using all available modern orchestral means of expression on the basis of the Old Russian text “The Tale of Igor's Campaign”. Tishchenko did not seek stylization of his work, but brought the word of the nameless chronicler closer to modern era. He introduces choir to the ballet music to augment its power. The author features Tishchenko's outstanding work with orchestral texture and various instrumental timbres and colors. The novelty of this research lies in studying the music to the ballet “Yaroslavna” in the context of general vector of the revival of Russian symphonic style in the 1960s–1970s. The author notes the leading role of Boris Tishchenko in this remarkable process. The conclusion is made that the composition turned out to be multigenre, consisting of multiple parts; and that Tishchenko has broadened musical lexicon of the Russian music culture to the maximum. The music to the ballet was saturated with truly symphonic content, opened new artistic paths, and enriched modern orchestral palette.

Keywords: word and music, dramaturgy, renewal, mixed choir, symphony orchestra, Yaroslavna, ballet, Boris Tishchenko, musical theatricality, musical Avant-garde

Abstract: The subject of this research is the concept of free will. The modern philosophical discussions either do not explicate it, or interpret far from the traditional meaning that has been instilled into this term throughout the centuries, The goal of this article lies in the historical-philosophical reconstruction of the concept of free will. However, the interest towards achieving this goal is not limited to the sphere of history of philosophy. Understanding of the key term largely determines the fruitfulness of theoretical constructions aimed at solution of the problem of free will. The article expounds and substantiates the methodological principles the reconstruction concept of free is based upon. It is demonstrated that free will features two characteristics that can be designated as conformity and independence. Therefore, free will can be defined as the will that corresponds to the value system of an individual and is independent of external factors. Such definition summarizes the practice of utilization of this term in history of philosophy. However, since the late XIX century, and namely in the XX century, there has developed a strong tendency towards distortion of the traditional concept of free will, which implies exclusion of the characteristic of independence and defining free will through the concept of moral responsibility.

Keywords: liberty of indifference, compatibilism, classical compatibilism, volition, volitional act, freedom, moral responsibility, free will, freedom of choice, autonomy

Abstract: Using the examples of displayed works of art, painting and music, this article discusses the ability of visual representation of ideas and verbal contents. The author compares two stages in the development of art: the early XX century with the popular were popular ideas of cosmism and the advent of the new world; and the present time characterized by pessimism due to the crisis of modernism. Analysis is conducted on the examples of artworks characteristic of each stage. The author dwells on why in the beginning of the XX century the artists were able visually create a complex verbal content and ideas, while at the present day it is quite challenging. The article determines two techniques of visualization of verbal contents ‒ works with the conceptual verbal explanations, which still do not allow to organically synthesize visual and verbal-conceptual planes; and complex work on conceptualization of verbal narratives. As the case for clarification of the second method, the author chooses the theatrical-musical-dance action projected and implemented by the psychologist Aida Aylamazyan, and offers the analysis of this technique as promising for solution of the problem of visual representation of ideas and verbal contents. The author believes that solution of such tasks requires creating the concept of artistic reality of the intended work, taking into account available visual means, potential audience, and personal aesthetic attitudes.

Keywords: concept, embodiment, verbal, visual, aesthetics, interpretation, understanding, work, content, art