Abstract: Consumption as gestalt This article is dedicated to examination of the characteristic features of modern gestalt of consumption. Particular attention is paid to the ontological importance of consumerism, as well as its social and anthropological effects. The article reveals the essence of consumption as an act of assuming the world, which is realized through the accumulation by the figure of individual-consumer of the universal relations of obligation. The author demonstrates the neurotic nature of consumption, associated with the global trauma of its permanent shortage, as well as explores such important contexts of existence of consumerism as the identification of the human and routine, inclusion into the machinery of desired production, subordination to the formations of the fashion system. In the context of postcultural and postmodern methodology, the article reviews the worldview role of consumption and its impact upon the formation of behavioral scenario of a modern man.  The author studies the influence of the logic of consumption upon the global processes of objectification of human corporeality, which lead to the social representation of modern man as sexual body. Based on the conducted analysis, the conclusion is made about the gestalt of consumption as a mechanism for perceiving reality as a place for storing the instruments of human self-realization.

Keywords: social representation, shortage of consumption, fashion, desired production, appropriation, gestalt, consumption, sexuality, objectification, pleasure

Abstract: The subject of this research is the Hegelian concept of history of culture examined with consideration of the difference between “reconstruction” and “integration” as the key approaches towards the problem of historical knowledge within the framework of philosophical hermeneutics. The author highlights the phenomenological, speculative, and pragmatic models of understanding of the history of culture, which sequentially came into the fore in philosopher’s works during the evolution of his views upon the structure of the system of philosophy, as well as determines the prerequisites of the impact of the model of knowledge of the history of culture presented in the “Phenomenology of Spirit” upon the establishment of the concept of philosophical hermeneutic. The selected point of view on the specificity of understanding of the history of culture in Hegel’s philosophy, allows defining the main models of Hegelian historicism, as well as pose a question about the formation of their unity. The author concludes that the formulated in the “Phenomenology of Spirit” concept of “integration” retained the fundamental meaning for Hegel’s philosophy throughout his entire creative path.

Keywords: understanding, historicism, tradition, philosophical hermeneutics, Gadamer, history of culture, Phenomenology of Spirit, Hegel, speculative philosophy, reflection

Abstract: The object of this study is the phenomenon of the mediasphere examined within the framework of actively and progressively developing research programs. The relevance of highlighting of the essential characteristics of the concept of mediasphere that comprise a "conceptual core", along with the study of empirical results of consideration of its functional relations in all areas of social life, becomes the content of the evolving research programs. The subject of this research is focused on the content of evolving research programs, which forecast the facts of positive socio-cultural impact of media information, as well as minimization of the consequences of its negative, manipulative influence. Methodological basis implies the analysis and comprehension of the modern evolving information society in light of the competition between the research programs. The main conclusion of the study lies in determination of the necessity of media literacy and media education that are distributed onto the broad segments of population, primarily children, adolescents, and youth, being one of the relevant directions of research capable of generating technologies for compensating the negative processes in mediasphere; as well as their inclusion into the evolution of modern information society.

Keywords: media information, media text, mass media, Mediasphere, socio-cultural environment, research program, media education, media literacy, communication, social life

Abstract: This article examines the actualization of the meanings of sport in the discursive realm of recognition. The main idea of the discourse of recognition is described through the hermeneutic interpretation of the works of P. Ricœur, which allows detecting the social the need for designing a specific realm of sport discursiveness. The body of an athlete, which represents the natural characteristics of a human, is initially indicated in the discourse of recognition as identification. The social identifies an athlete as a representation of particular features of the natural, which appear to be important for designing the society itself alongside the other social discourses. Methodologically, the author comprehends the human beingness as a language social reality that is saturated with the meanings of human existence. This suggests the perception of the integral human beingness within the space of presence and space of meaning, particularly identified by H. U. Gumbrecht in his works. Scientific novelty consists in interpretation of the need for emergence of the realm of sport in the social within the structures of the discourse of recognition. The article detects the actualization of meanings of the social through designing the special sort of natural body, realm and time of sport, by the virtue of which the society simultaneously displays and acquires the generic essences.

Keywords: sport, kind, artificial, natural, nature, corporeality, recognition, body, sport discourse, social reality

Abstract: This article analyzes the philosophical-historical concept of Ortega y Gasset. Special attention is given to the teaching on historical (life) mind and the notion of “historiology”. The author clarifies the correlation between the notions of “methodology of history”, “philosophy of history”, and “historiology”, as well as determines the key points of divergence of Ortega y Gasset with the historiosophical constructs of the German romanticism, Hegel, Kant, and Neo-Kantians. The article defines the place of historiosophical concept of the Spanish philosopher in the context of classical and nonclassical European philosophy of the XIX-XX centuries. The parallels are drawn between the Ortega y Gasset’s interpretation of history and the nonclassical philosophical-historical concepts of Dilthey, Croce, Heidegger, and Sartre. The most substantial ideas of philosophical-historical concept of Ortega y Gasset imply the following: refusal from the subject-object opposition in description and explanation of the history and life; interpretation of the past as “life experience”; postulating of isomorphism of the individual and social past; overcoming the conceptual gap between the empirical writing of history and philosophical contemplation of history, historical science, and historiosophy.

Keywords: existentialism, historical knowledge, historicity, vital reason, historical reason, methodology of history, philosophy of history, history, philosophy of life, Ortega y Gasset

Abstract: This article examines the poetry of O. Sedakova, a representative of the “delayed literature” of 1970’s – 1980’s, through the vector of Plato’s philosophical teaching, which principles – idealism and cosmology – serve to the interpretation and decoding of the artistic imagery, and in a broader sense – poetic world model. The poetry book “Garden Of The Universe” by O. Sedakova archetypically submerges into the context of “Divine Comedy” by Dante, lyrical cycle “Wild Roses In Bloom” by A. Akhmatova, poetry of the Stoic-“Sixtier” A. Kushner. The works of the poet reflect reminiscences of the Golden Age of Russian literature, as well as Biblical and folklore archetypes. The article meticulously differentiates the genre system of creative works of O. Sedakova, as well as traces the specificity of cross-cultural communication of the traditional and “Renaissance” acmeism (neo-acmeism). The scientific novelty consists in the fact that the works of the insufficiently studied poet neo-Acmeist, representative of the “delayed literature” of 1980’s, is examined and analyzed multifacetedly, in light of the mechanism of cultural memory, as the synthesis of form and content, through the prism of philosophy and culturology. Conclusion is made that the works of O. Sedakova is utterly ontological. Platonic idea of the Good as a culmination of his idealism, transforms into the recreated by the poet-Demiurge Cosmos of the new Garden of the Universe. The author analyzes the character of correlation of the author with the created by him Universe (Good, Cosmos) base on the three types of relations: imitation, belonging, and presence. The poetic world model of O. Sedakova is formed as a synthesis of the elements of classical Russian literature, acmeism, neo-acmeism, and the emerging existentialism of the Russian type (“mystery of subconsciousness”). Thus, the generation of the “delayed literature” develops an external “concentric circle” of neo-acmeism, as well as creates the “metaphysical poetry”, the priority of which is given to the continuously realized quotation dialogue with the classical texts and remarkable sense of historicism. O. Sedakova’s book of poems became the so-called imagery-philosophical realization of the Absolute, “The City of God”. The connection between the past and the future from apocalyptic, existential, unembodied present, demiurgical revival of the new Being from the point of no return, bifurcation – will be the crucial creative strategy of the art and philosophical-cultural paradigm of neo-acmeism of the 1980’s – 1990’s.

Keywords: Cosmos, Good, Synchronic-reminiscent chronotope, Plato’s idealism, Demiurge, Neo-acmeism, Classical heritage, Garden of Eden, Garden, Universe

Abstract: This article is dedicated to interpretation of the word glamour in the scientific research literature and its transformed perception by mass consciousness. The latter is associated with history of the word, in the process of formation and spread of which have established the following divisions: gnoseological, due to the loss of meaning as a cognitive-educational process; ontological, substantiated by the gap between the reality and imaginary glamorous world; and axiological that led to the shift of accents in the value scale of an individual dreaming about entering the world of glamour. At the same time, the aforementioned divisions appeared to be unknown and unnoticeable for the mass audience. The indicated issue is viewed based on the hermeneutic and phenomenological methods, which help specifying the peculiarities of the modern understanding of the word glamour. For the first time, the history of the word glamour is considered through the prism of gnoseological, ontological, and axiological divisions, which somewhat united its conceptual content. The work keeps the connotations identified with the magic and enchantment that lie in the foundation of comprehension by mass audience. As a rule, glamour is interpreted as a word of magic and miracles; a continuous celebration, which makes any person involved in it charming and delighted. The material can be used in further research of the glamour as a sociocultural phenomenon alongside its various manifestations.  

Keywords: consumption for show, ontological division, luxury, myth, epistemological break, enchantment, axiological division, grammar, glamour, magic

Abstract:   The modern information and communication technologies, technologies of virtual reality, and video game industry actualize the questions of the essence of virtual objects and worlds. To what extent such worlds are real, illusionary, mythical? The subject of this research is the videogames and virtual worlds. The goal consists in examination of the mythical in the virtual worlds of videogames. Methodological foundation leans on the phenomenological concept of A. F. Losev and Y. S. Osachenko, R. Bart’s semiotic interpretation of myth, simulacrum theory of G. Deleuze and J. Baudrillard. The authors demonstrate that videogames design the own virtual worlds, which are mythical by nature. The videogame “Assassin’s Creed Unity” exemplifies the mythological narration of the Great French Revolution through doubling of the symbolic order. Based on the other videogame of the sequence – “Assassin’s Creed II”, the author illustrate that videogames are capable of structuring the methodological narrative elsewise than other media, using the formal conventions common to videogames. Application of the user interface integration alongside establishing the relationship with “gamer – avatar” into the interior of virtual space of the “Assassin’s Creed”, allow the gamer to appear in the position of the creator of his virtual world, rather than its observer. The scientific novelty consists in substantiation of mythicalism of the virtual worlds of videogames, as well as determination of specificity of the mythological design of the world through videogames, which is realized due to interactivity (player becomes a so-creator of the virtual world) and performativity (using of formal conventions, for example, user interface characteristic to videogames as medium).  

Keywords: performativity, mythical, Assassin's Creed, philosophy of video games, game studies, virtual world, videogame, myth, interactivity, French Revolution

Abstract: The subject of this research is the phenomenon of spirituality of the Russian culture from the perspective of its national cultural specificity. The work analyzes the metaphysical aspect of spirituality of the Russian culture. Appealing to the opinion of national philosophers, the authors substantiate the position that specificity of spirituality of the Russian culture consists in its orientation towards the absolute values, the national meaning of which is defined by Orthodoxy. In particular, the introduced by Orthodoxy idea of transformation of human and world, became the foundation for spiritual unity of the multifaceted Russian culture. The reflection of ontological essence of spirituality in the Russian culture was indicated through unification of spirituality with love, when the love manifests as a condition for integrity of a human and his spiritual evolution. Namely such perception of spirituality in many ways justified the metaphysical essence of the Russian culture. Methodological foundation contains the principles of cultural-historical and logical examination of the sociocultural phenomena. Historical-genetic method determines the cause-and-effect linkage that reveal the establishment of a specific type of spirituality of the Russian culture, which opens the highest purposes and ways for self-realization of a human. The scientific novelty consists in substantiation of a position on the metaphysical meaning of spirituality of the Russian culture as the national specificity, and can be formulated in the following conclusions:   Russian spirituality has its own sociocultural origins and traditions, among which the Orthodoxy holds a substantial place; particularly, it reveals the ontological meaning of spirituality in the Russian culture, which consolidated as a universal principle of harmonious world structure; Based on the Orthodox representation about the axiological importance of spirituality, it is apprehended within the Russian culture as realization of transformation of the bodily or mental human structure, which is associated with cognizing the essence of spirituality and regularities of its development through mastering the universal path of transformation – the divine love that in the Russian philosophy is explicated as the moral and ethical keynote of spirituality.  

Keywords: Creative self-realization, Harmony, Spiritual intention, Divine love, Absolute, Transformation, Mental dominants, Orthodox spirituality, Mental core, Russian culture

Abstract: The subject of this research is so-called open form of Luciano Berio – one of the innovators of European avant-garde. He composed music in mobile forms that were changing in material and structure. The object of this research is the oeuvres of Luciano Berio in the open form of diversified genres. Berio applied the aleatoric technique of composing, as well as wrote a number of articles dedicate to the open form. He desired to materialize in music the philosophical-aesthetic principles of J. Joyce and U. Eco. The article reviews the concept of Berio's open musical form and few of his works, in which it found its reflection. Methodology of the research implies the aesthetic and theoretical analysis of the ideas and concepts of Berio, expressed by him in the article about open form, as well as music-theoretical analysis of composer’s oeuvres with application of the new terms. The scientific novelty consists in first Russian-language analysis of open form concept in the works of Luciano Berio, its specific materialization in music compositions, identification of the key features of the open form, examination of the score and its sound realization that demonstrates the mobility of composition at the level of text and structure, tracing the practical implementation of aleatoric technique of composing alongside its impact upon morphogenesis. The article also provides a translation from English into the Russian language of Berio’s article dedicated to the open form.

Keywords: Eco, Joyce, composition-in-motion, mobility, aleatory, open form, music, Berio, composition, technique