Abstract: This paper serves as a logical continuation of the article "Fake Science and Simulacra of Culture: Illusory Ideas about Slavic Paganism in Modern Russian Humanities", published in the journal "Voprosy Filosofii" in 2022. This paper was about the mechanism of the origin of illusory ideas about Slavic paganism and the reasons for their intrusion into scientific publications. Here we analyze the socio-cultural consequences that the functioning of this mechanism eventually leads to. The object of study in this article is the modern scientific and parascientific ideas of Russians about the paganism of the ancient Slavs, and the subject of study is the infiltration of parascientific opinions about the ancient Slavs’ paganism in scientific and official business discourses in modern Russia. The methodological basis of the research work is a case study. The methodological arsenal includes also the hermeneutic analysis of a number of texts published in Russian scientific periodicals and serving as material for the author's reflection. In the course of the study, it was revealed that illusory ideas about Slavic paganism very easily infiltrate into various publications presented both in proceedings of the scientific conferences and in scientific journals. As a result, various parascientific (in particular, neo-pagan) constructs gain weight due to their transmission in scientific periodicals. The infiltration of simulacra of traditional culture into scientific discourse leads to the fact that representatives of the scientific community, performing various expert functions, become guides of these simulacra into official business discourse. Given the state's policy of preserving and developing traditional values, it can be expected that under the guise of preserving various folk traditions, modern parascientific constructs that actually have nothing to do with genuine historical and cultural heritage can receive support.

Keywords: mystical tourism, expert community, Russian academic community, mass consciousness, Parascience, Pseudoscience, Russian Neo-Paganism, Slavic mythology, Slavic paganism, Neo-Nazism

Abstract: In the ancient Russian art of the XV–XVI centuries, there are often works with the image of St. St. Nicholas of Myra, represented in various iconographic types and accompanied by images of holy wives. These monuments have a similar compositional structure. Among them, the most significant are those icons where the image of the Myrlician saint is placed in the centerpiece, and the figures of selected saints are represented in the margins. The subject of the study in this work is the corpus of monuments with the central image of St. Nicholas as well as the figures of the chosen saints in the fields and the images of female holiness in the margins. The purpose of this article is to determine the role of the figures of the holy women in these icon compositions by the example of monuments of a certain iconographic origin and to offer an interpretation of this previously insufficiently studied plot. To do this, we will resort to the iconographic method of research, which allows us to identify certain nuances of compositional construction, to reveal the spiritual content of the image. The method of comparative analysis is no less important in this work. The works of interest to us are united by the composition of the figures of the few holy women in the lower field, which are associated with evangelical events and the theme of steadfastness in faith (st. Paraskeva, st. Varvara or st. Ulyana), or have pronounced motives for appearing at the Last Judgment (St. Catherine). The stable tradition of depicting these holy women in the iconographic composition of these monuments suggests their correlation with the central image. We believe that they were designed to emphasize the idea of the intercession of the female saints and were organically into iconographic system.

Keywords: Deesis, saints’ intercession, St. George, St. Nicetas, St. Catherine, St. Paraskevi, chosen saints, female saints, St. Nicholas of Myra, icon

Abstract: The article is devoted to autobiographical documentaries on the topic of self-therapy, which have been popular in China in the last three years. Using the example of the films "Small Talk" and "Gather before the Jump", the article analyzes how the characters in films with the help of dialogues build their image as "victims of family relations" and completing the plot of self-healing. The author notes that the directors of such films are often too immersed in their own traumatic experiences, to the point that they use the camera as a tool to defend their personal position, and not as a path to self-awareness. They overlook the influence of the passage of time on the validity of traumatic memories and do not monitor equality when communicating with their parents. As a result of the directors' cognitive biases, the representation of traumatic experiences in films is not completely objective. Based on the theory of cognitive psychology and the theory of film psychoanalysis, the author of the article concludes that the discussion of the author's subjectivity should be extended to the subjectivity of his cognitive structure, and not to the personalization of artistic expression. The hypothesis of the study is the assumption that, although such documentaries with a subjective perspective can help the director express his inner feelings, in fact, the arguments given in the author in defense of his personal position. This does not create a general picture of the event; for example, during a film screening in a group, the subjective position of the author forms a unanimous negative attitude among the audience towards the issue of childhood trauma. The article discusses performance, subjectivity and ethical issues that take place in such films. The purpose of the article is to identify the features of this "video practice, which is part of the sphere of everyday life", which distinguish it from other non—functional narrative practices. The article reveals the methods of documentary film, which allow to bridge the gap between the representation of the film and the actual reality.

Keywords: intersubjectivity, reflexivity, performance, self-schema, filming behavior, family trauma, director's subjectivity, self-healing, Chinese documentary, autobiography documentary

Abstract: The epistemological and ontological aspect of "interpretation" in the structure of narrative identity is considered. A model for representing the structure of narrative identity in the form of a hermeneutic spiral is proposed. The problem of the significance of the narrative for human existence is analyzed from the point of view of two opposite positions. The first, arguing that the narrative is a "cognitive tool" through which a meaningful order is retrospectively constructed that falsifies the true nature of the subject's experience of existence. The analysis of this point of view is based on the tradition of narrative criticism formed by such philosophers as Arthur Danto, Louis Mink, Hayden White and Peter Strawson, who conceptualize the narrative as a "cognitive tool". The opposite position is a philosophical view of the narrative as an ontological category that characterizes a special way of being a person. The analysis of narrative as a constitutive element of human existence draws on the tradition of the hermeneutic method, the work of Paul Ricœur and Charles Taylor. It is argued that the experience of human existence cannot be reduced solely to narrative, but this does not contradict the fact that narrative interpretations of experience play a constitutive role in human existence. The conclusion is formed that an important element for understanding the ontological meaning of the narrative is the fact that narrative interpretations have a real impact on our existence in the world: they allow us to construct our self, take part in the creation of the intersubjective world and influence how we interact with others. From an empirical point of view, this means that interpretations have real, material, world-forming consequences. Scholars who deny the capacity of narratives to constitute human existence, view the meaning and role of (self-)interpretation from an anti-realist point of view, and adhere to the ontological assumption that there is an experience of understanding reality that does not depend on the human ability to give meanings.

Keywords: existentialism, hermeneutics, realism, anti-realism, experience, narrative, interpretation, hermeneutic spiral, narrative identity, self

Abstract: The author continues the research begun in the previous article («Philosophy and Culture», 2023, No. 11). The subject of the study is the Christian discourse of the English TV series «Robin of Sherwood» (1984–1986). The texts under study are the narrative of the series «Robin of Sherwood», as well as a complex of documents, articles and video materials dedicated to the film. Works of fiction based on the series in the Russian-language literary Internet space are also analyzed, mainly the fan story «Alone in Wykeham or the Gratitude of a Former Templar», which is considered as the most Christian reading of the film. The philosophical-hermeneutical approach is used as the methodological basis of scientific work. The method of hermeneutic interpretation of an artistic text is also used, aimed at identifying the meaning of a particular work of art through the prism of a certain value system. Hermeneutic interpretation includes historical-cultural, contextual and lexical-syntactic analysis. It is concluded that the Christian component of the film text is strengthened in the story, since the spiritual evolution of the characters is shown, leading them to Christian morality and even directly to the Christian faith. As for the discourse of the series, the image of Robin Hood in it embodies the ideal of the «good king», historically formed in the popular consciousness. Unlike other artistic interpretations of the legend of Robin Hood, King Richard the Lionheart in the film loses the features of a Christian sovereign, the personification of the highest truth and legitimate power, and these characteristics are transferred to Robin Hood. In addition, the actions and statements of the main character position him as an example of Christian chivalry, which is also reflected in the texts created by the Russian-speaking audience of the series.

Keywords: interpretation, text, robin hood, aesthetics, ethics, hermeneutics, philosophy of culture, Christian discourse, Christian culture, literary Internet space

Abstract: The subject of this study is the opera art of the early 19th century. The object of the study is the work of the first operatic baritones of that period. The period of the era of early romanticism is covered in the works of Russian and foreign musicologists O.V. Zhestkova, L.A. Sadykova, A.V. Denisova, I.P. Drach, A.E. Hoffmann, E.R. Simonova, S.V. Reshetnikova, A. Jacobshagen, D. Marek, J. Potter, J. Stark, S. Caruselli, J. Riggs, J. Rosselli and many others. However, the above-mentioned works are mainly devoted to the study of operatic performance by tenors and sopranos. The issues of the formation of performing traditions and the roles of baritones of the early 19th century were not considered in them. Thus, the period of origin of this voice type has remained poorly studied, which indicates the novelty of this research. The relevance of the study is due to the interest of modern performers in the repertoire of the first baritones, including Antonio Tamburini, Luigi Zamboni and others. And also the lack of knowledge of the evolutionary processes that occurred in baritone art at the beginning of the 19th century. In this work, historical and theoretical research methods predominate. The conclusions of this study are as follows: the work of the first baritones of the early 19th century is characterized, the main aspects of their performing creativity are identified and the roles in which they performed are indicated.

Keywords: Antonio Tamburini, baritenore, basso cantante, falsetto, Vincenzo Bellini, Gioachino Rossini, Luigi Zamboni, vocal part, baritone, role