The subject of the study is the figurative and symbolic reflection and transformation of the dynamic reality of life in the cinematic space of modern culture. The purpose of the work is to identify and substantiate trends in the development of cinematographic cultural texts based on the figurative and symbolic representation of the phenomenon of success in the existential space of human existence. The scientific novelty of the work is represented by the evidence base of the study, which determines the (...) figurative correspondence of the philosophical and sociological representation of cinematic texts to the phenomenon of success as a value-symbolic aspect of personal activity. Based on the analysis of cinema screen products created at the turn of the XX-XXI centuries and devoted to the characterization of the image of a subject whose existential level of being is characterized in the symbols of success/ failure, several trends in the development of cinematic culture can be identified. Firstly, the characteristic of the "sunset" of the previously dominant ideological trend of symbolization of the actual phenomenology of success. Secondly, the stage of axiological instability and ambivalence in the evaluation of the symbols of success, unevenly implemented in the scenario and staging part. And, thirdly, the formation and consolidation of new cinematic paradigms through the constant convergence of private symbols of success, manifested in different ways both in reality and on the cinema screen, and accompanied by constant attempts at their non-contextual universalization. (shrink)

Volume 31, Issue 1, December 2020, Page 13-28.

In this paper the author analyses the materials that were published in the American satirical magazine The Onion in the period from 2006 till 2011 and mentioned September 11 terrorist attacks. The focus of the research is the persistence of 9/11 jokes five years after the tragedy occurred and later on. The jokes are classified basing on their subject-matter and rhetorical patterns. The author concludes that most of these jokes promote respect towards collective memory about the attacks and their victims.

ABSTRACTThe provision of gifts and payments for healthy volunteer subjects remains an important topic in global health research ethics. This paper provides empirical insights into theoretical debat...

Eine mit seinem Werk untrennbar verbundene Biographie des klassischen Philosophen (1724-1804), mit einem ausführlichen Personen- und Sachregister.

Our approach bases on the explication of Rosanov’s creativity as the special intention, that implements the unspeakable Self-Selfness of Vasiliy Rosanov. The ineffability of Self-Selfness can be dialectical expressed by Rosanov through phenomena, of that consists the Rosanov’s world. This ineffability actualizes by Rosanov by means of understanding as a filled emptiness, that determinates the specialties and the structure of the understood objects. The exposition of this emptiness conditions the antinomies of Rosanov’s creativity: one sides is understanding by Rosanov the (...) closed world, other sides it corresponds with the world of things. Rosanov mythically fills the void, using the intimate personal contact with the things. We consider the creativity of Rosanov as the synthesis of both this global directions of Rosanov’s theory: the vision of understanding through things, this vision causes the special perception of things by Rosanov. The things are by Rosanov neither material objects, nor the ideal essences. This are by Rosanov the givens, inherent to the understanding. At the same time Rosanov examines the things through understanding, including it with help of the carnivalisation in his own special world. This method defines in our opinion style and content of Rosanov’s works. The thinker realizes by means of the carnivalisation the understanding, according to the concrete things, creating the special world of life (reality). For Rosanov this world is the second world. (shrink)

The intuitions of Raimundus Lullus religious metaphysics are in this article explicated according to the opportunities of the convergence between the medieval and the new time philosophy. Such approach to the creativity of the thinker is possible, because his conception is one sides associated with the mystical symbolic theologism, that is typical for the medieval tradition, over sides develops Lullus the new understanding of the infinity of the world, inherent in the newtime philosophy. This opposition conditions some of the features (...) of Lullus spiritual quest. This quest connected the respect to the past, that causes the homesickness to the lost ideals, together with the progressivity – the presentation of the future. This presentiment is by Lullus expressed as the desire to change the external world. The aim of this change is the approximation of the rational theological base – the model for the real life. Lullus experiences the combination and the unrealized synthesis of this intentions as the tragedy. The acute and intensive conflict of this intentions triggers the practical atheism, when the stimulation of the external distraction of the evil leads causes the appearance and the activation of the new evil. This disaster of life is determined with some aspects of Lullus metaphysics, in that the infinity of God is realized as the infinity of the world. The infinity of the world is by Lullus given as the rational hierarchical order, leading to the creator of the world. The tragedy of life is for Lullus the marker, that emphasizes the crisis of the medieval philosophy, that was based on the revelation. This crisis discovers the land of new philosophy. This philosophy stresses the autonomy of the human personality. (shrink)

The spiritual quest of Raymond Lull is of interest to modern philosophical discourse as occupying an intermediate position between the Middle Ages and the Renaissance and thus combining the features of these two eras in the history of the development of human thought. They are connected with the Middle Ages by theocentrism and traditionalism, and with the Renaissance by emphasizing the peculiar polyphony of the world, the predominance of plurality over unity, given in the autonomous dialogic space of the human (...) personality as a gradual immanentization of the presence of a transcendent deity, associated with the acceptance by man of the external world as the only possible one. This immanentization is carried out by Luli in the symbol of Love as the Unity of the Loving and the Beloved, explicating the thinker's introspection. The novelty of the work lies in the application of the teachings of A.F. Losev about the interpretive symbol, which made it possible to consider them as a special form of explication of the personality as its transcendence and simultaneous immanence, being a special form of introspection, which correlates with Lull's teaching about Love as a fluctuation in which the Beloved descends, and the Lover ascends. This contributes to the actualization of Lull's spiritual quest as an integrity, a unique eidos, in which each of the separate features of Raymond Lull's spiritual quest is realized in a special way, reflecting the intermediate position occupied by the thinker between the worlds of Antiquity and the Middle Ages. The proposed model of mutual positing of the "components" of Lull's teaching allows us to show one of the possibilities for the interaction of the thinker's logical system (understanding the force, its bearer and passively perceiving its beginning) and his theologically oriented personal spiritual quest as a special kind of dynamics in which the leading role is assigned to introspection as a personal intentions, a kind of mythological sub-foundation of the actual logical dimension of the thinker's teachings. (shrink)