Abstract: The article separates two interpretations of culture: as a cult and a rational structure; in the latter, the author, in turn, distinguishes between semiotic, psychological and social narratives. The characteristic of culture proposed by Mikhail Gefter is analyzed. Based on his ideas, the author argues that a person believes culture, and not only thinking rationally, but also in terms of faith. The dual interpretation of culture ‒ sacred and rational - was formed already in antiquity and continued to be reproduced in relation to different cultural conditions. Historical examples of this interpretation are considered: in archaic culture, in the Middle Ages in the "Confessions" of St. Augustine, in the Renaissance by Nicholas of Cusa. New European culture (sociologists often say modern), according to the author, is the last variant of two versions of culture. As the culture of modernity comes to an end, undergoing a deep crisis, the ideas about nature, personality and sociality underlying the cult of modernity cease to be perceived as a sacred foundation, and rational constructions cease to work effectively. At the end of the article, the ideas of cosmic reality are discussed, as well as stories put forward for the role of a new cult of the next big culture ("future culture"). There are other contenders for the role of a cult for the future culture (world religions, Humanity, Reason, artificial intelligence, dictatorship, etc.), but all of them are not yet accepted by the main participants in the modern discourse of "Salvation". The author, comparing different historical versions of "Salvation", raises the question of whether humanity has enough time to solve the modern problems of our time.

Keywords: realization, project, future, the past, rational concepts, The cult, history, culture, versions, reconstruction

Abstract: We consider the creativity of V.V. Rozanov in connection with the universal intuition of his spiritual searches. The thinker had expressed this intuition in his later works as the special vision of the world. We reconstructed features of Rozanov’s vision, using the images of his later works. In such way we recreate his picture of the world allocating by Rozanov the image of the world as the order, the image of the world as the chaos and the image of the world as the interaction between the order band the chaos. Our analysis gives us the opportunity to suppose, that Rozanov describes the world as the phenomenon. This phenomenon does not depend on the human experience. The paradox of Rozanov’s theory consists on the discrepancy between his supernatural intuition of the world and his descriptions of things, in that the thinker emphasizes its material aspects. But factually draws Rozanov shadows of things, showing its original since, connected with the original structure of the world. This structure is unknown for people and can not be controlled by means of the rational knowledge. This distinctive feature of Rozanov's creativity allows to interpret his doctrine as the form of the artistic philosophy. We explain the philosopheme of world by Rozanov as several reciprocal transitions between the world as the philosophical concept and the world as the aesthetic image. This peculiarity conditions the examination of the phenomenon of the world by Rozanov in context of the ancient idea of space as the limited and closed unity, those movements are restricted. At the same time Rozanov’s intuitions can be understood in context of Christian idea of the world as the creation of God.

Keywords: Image, Concept, Phenomenon, Chaos, Order, Creativity, Intuition, Space, Life, World