Abstract: Although the piano is an instrument with more than three hundred years of history, it has not been in China for a long time. Therefore, in the process of learning to play the piano in China, many Western piano works are often played, but rarely come into contact with Chinese-style piano works. With the development of time, thanks to the relentless search for outstanding Chinese composers, more and more piano works based on ethnic culture and Chinese style appear. Some of these works are based on the music of national minorities, some are adaptations of Chinese folk songs, and some are borrowed from folk music. "Spring Dance" is a typical work reflecting the culture of the Uighurs living in Xinjiang. The work is melodic, rhythmic, expresses the beautiful nature of Xinjiang, the warm and energetic character of the Uighur people.This article analyzes the "Chinese style" of the "Spring Dance" in the hope that it will serve as a basis for studying piano works with Chinese national flavor. The "Chinese style" in rhythms is not only an imitation of the rhythms of traditional folk instruments, but also an imitation of the peculiarities of the language of Chinese national minorities. Thanks to the study of the "Chinese style" in this work, the author understood more deeply the unique charm of Chinese piano works which will also serve as a guide for the subsequent study of such piano works.

Keywords: Chinese culture, dance, Culture, mood expression, China, ethnic tone, traditional instruments, Chinese style, Traditional culture, Spring dance

Abstract: The subject of the study is the cultural code of Judaism in the visual semiosis of the Crimea. The object of the study is the traditional symbolism in the decor of the Jews of the Crimea: Ashkenazi Jews, Karaites and Krymchaks. The article uses the methods of cultural (semiotic, ontological and hermeneutic) analysis in the continuum of signs of the traditional Jewish semiosis, the idiographic method in the concept of the totality of signs, the method of analysis of previous studies, the method of synthesis in substantiating the morphology of signs. The following aspects of the topic are considered in the study: five main codes of Jewish culture are identified, their morphology and interrelationships are substantiated, as well as key meanings and the main central code.     The main conclusions of the study are: 1. The multiethnic landscape of Crimea is made up of the cultures of numerous ethnic groups. The main feature of the identification and self-identification of cultures is religion. The Jews of Crimea include Ashkenazi Jews, Karaites and Crimeans. A single source for cultural codes in the Jewish semiosis is the Torah (the Mosaic Pentateuch) for all three ethnic groups, and for two of them (Jews and Krymchaks), the interpretation of the Torah is also the Talmud. 2. Based on the studied material, five main codes of the Jewish visual semiosis of the Crimea are identified, each of which unites a certain group of symbols: skewomorphic, phytomorphic, zoomorphic, numeric. The unifying code and the primary source of all codes is the code Book (Torah). The interrelationships between the codes, the key meanings – symbols of Creation, Paradise, Torah persons and Messianic aspirations are revealed. The semantic center of all codes is the repository of the Torah – Aron Hakodesh, and the Torah itself. Thus, the ring pattern "from Torah to Torah" is revealed. 3. A special contribution to the research of the topic is the systematization of the cultural codes of the Jewish semiosis of the Crimea. The scientific novelty consists in the fact that for the first time a culturological analysis was carried out and the interrelationships of cultural codes in the visual semiosis of the Crimea were structured.

Keywords: Remon, Menorah, Torah, visual semiosis, Aron Hakodesh, cultural code, Judaism, Crimea, Numbers, Bestiary

Abstract: This article analyzes the compatibility of the theory and practice of Marxism-Leninism and Orthodox Christianity in relation to the class division of society and class struggle. The significance of the study is due to the controversy (often acute) on this issue, which is directly related to the social structure. The article provides a historical and theological analysis of the topic under study on the basis of a critical study of the works of the founders of Marxism-Leninism, their closest associates, historical documents on this issue, as well as historical and theological works. This article attempts to present a systematic analysis of the subject under study. It examines the relationship between the teachings of Orthodox Christianity and Marxism-Leninism about classes and class struggle, as well as their application in practice, and appeals to opponents. The novelty of the study lies in the fact that some documents are analyzed for the first time in connection with the issue under study. Also, in more detail and systematically, in relation to the available works, the analysis of the relationship between the teachings of Orthodox Christianity and Marxism-Leninism is carried out. The purpose of the work is to study historical documents, as well as historical and philosophical works on this topic. The article concludes that Marxism-Leninism is directly opposed to Christianity in the issue of attitude to the classes of society and the class struggle. In the course of historical development, the intensity of the class struggle changed, but not according to Marxism-Leninism, but depended on the state of morality, religiosity, the development of new trends in the social, scientific and technological development of mankind. A Christian understanding of the essence of the state can provide the basis for the national idea of Russia.

Keywords: Christian anthropology, differentiation of income of the population, Church, dialectical materialism, class struggle, morality, Marxism-Leninism, christianity, orthodoxy, the essence of the state

Abstract: This article is devoted to the analysis of the mythology of the future and its modalities in the series "Black Mirror" as a tool of cultural orientation in the modern temporal situation. Based on the works of J. Urry, B. Bevernage, H. Lübbe, the article reveals the specifics of the modern temporal situation and current strategies for forming the image of the future. Based on the methodology of critical discourse analysis, the author analyzes three selected episodes, showing the specifics of the mythology of the future and its modalities (the upcoming future, the future of the present and the future materialized), as strategies of cultural orientation in the modern temporal situation. It was shown that the «Black Mirror» series refers to the mythology of the future, which simultaneously problematizes the future, making it the subject of satire and irony (postmodernist discourse), but at the same time normalizes images of an unstable and contigent future (metamodernist discourse). The main method of representing the future is the extrapolation of the present. The analysis of discursive strands shows that the series reproduces the idea of the future as a fragmentary, asynchronous progress of individual technologies that change interpersonal relations and the social order to varying degrees. Doing this, the series reinforces the already comprehensive sense of the contingency of what is happening, pointing not to the person’s need to choose his future actively, but to the possibility of consuming various modalities of the future, depending on the current social agenda and personal preferences.

Keywords: critical discourse analysis, fantasy series, mythological temporality, metamodernism, postmodernism, Black Mirror, future, social mythology, contingency, cultural orientation

Abstract: The article explores the concept of "conscience" in three language pictures of the world - Russian, French and Chinese. The study is contrastive, the results obtained are compared. The description of each concept is made according to a clear algorithm: the etymology of the word, the mythological roots of the concept, its compatibility are studied, the material connotation is singled out from the compatibility according to V. A. Uspensky, dictionary definitions are compared. The purpose of the study is to identify the features of the representation of the concept of "conscience" in different cultures using the material of the semantic field in Russian, French and Chinese, then making a comparison in order to see similarities and differences in the worldview picture of different peoples. This topic is understudied, earlier there were no linguoculturological studies analyzing Russian, French and Chinese cultures, which is the scientific novelty of this work. As a result, a clear difference in the ideas of conscience in the three studied cultures was established. For a Russian person, conscience is an internal judge who punishes him when he commits an evil deed; for the French, conscience has no connection with power over a person, and even often yields to it; for the Chinese, conscience is a guide that a person can follow or deny. The results obtained will contribute to the establishment of mutual understanding between cultures, forming a kind of conceptual bridge.

Keywords: Contrastive analysis, Contrastive research, China, France, Russia, Language picture of the world, National picture of the world, Idea, Semantics, Concept

Abstract: The subject of the study is the aesthetic aspects of the German philosophy of the late XVIII - early XIX centuries. Modern culture, with its anti-traditionalist impulse for autonomy, freedom from external authority, the use of critical reason, universal principles, in terms of which is questioned religion, history, customs, by this time found its internal contradictions. Post-religious and postconventional Enlightenment values - secularism, humanism, the primacy of reason and science - poorly suited to maintaining the moral and social relations, in the course of everyday life, and led to their progressive deterioration. German idealists turned to the area of aesthetic in searh of means of reconciliation between science and morality, the nature and the subject. The article taken hermeneutical analysis of texts submitted in the tradition of German romanticism and idealism in order to identify the aesthetic basis of searches and solutions in the philosophy of this period. Project of aesthetics which emerged in the XVIII century is seen as key to European philosophy and culture "after the Enlightenment," and as having not only theoretical but also of political importance, because it is in aesthesis - subjective field of experiences, feelings, affects, modern man could seek reconciliation with the world after the loss of traditional meanings and authority

Keywords: aesthesis, freedom, society, romanticism, subject, idealism, politics, aesthetics, tradition, historicism