The object of this paper is creativity as a cultural philosophical and historical-philosophical phenomenon. The subject of the research is the substantiation of the essence of creativity by Russian religious philosophy on the example of the doctrine of V.S. Solovyov and N.A. Berdyaev. The aim of this research is to identify and articulate the key semantic constructs of creativity from the positions of the above-mentioned thinkers. The article also explores ideas about the nature of creativity and the specific features of (...) a creative subject through the prism of relevant concepts of a socio-humanitarian orientation. A brief historical and philosophical excursion into the understanding of the ontological essence of creativity is carried out, modern ontological concepts of creativity are revealed and an existentially oriented concept of creativity is proposed. The theoretical basis of the research is the original works of V.S. Solovyov and N.A. Berdyaev, as well as various commenting scientific sources. The methodological foundation of the research is a comparative analysis and a method of contextual vision of creativity. The main result of the conducted research is the articulation of key aspects of the understanding of creativity by V.S. Solovyov and N.A. Berdyaev. It is shown that for the first philosopher, the central task of creativity is the spiritualization of the material world through the realization of the unity of Goodness, Truth and Beauty, while the second thinker considers the main mission of creativity to be the establishment of a fundamentally different spiritual being by the subject. The scientific novelty of the research also lies in the comparative characterization of the concepts of creativity of these thinkers in terms of essence, tasks, meaning, material, sources, functions, result and other structural aspects. (shrink)

Книга рассчитана на студентов, аспирантов, преподавателей высших и средних учебных заведений, всех интересующихся данными исследованиями.

The object of this research is the fragmented everyday life of social life practices. The subject of the research is personal stories realized in storytelling and considered as the result of the creative activity of the subject and a way to overcome the fragmentation of everyday life of modern culture. The authors consider the fragmentation of everyday life as a factor in the desocialization of the subject and the leveling of unified mechanisms of social interaction. Storytelling is defined as a (...) way for a person to consistently present various storylines and broadcast the principles of their personal existence, creating an effect of belonging among recipients and awakening their imagination. The research substantiates that storytelling resources allow a subject to broadcast personal values, creatively express their individuality through virtual self-presentation and respond to current public demands, thereby overcoming the fragmentation of everyday life. As the conclusions of the research, the authors state that public order and social interaction are conditioned by the influence of the narratives of each subject on the foundation of their own being and the formation of a vector of development of all participants in intersubjective relations through the dissemination of the principles of personal existence in the storytelling system. The authors emphasize the creative nature of personal stories, the creation and telling of which is a prerequisite for the formation of unified principles of social existence due to the transmitted ideas about socially acceptable rules and stable patterns of behavior that become a set of rituals. The authors conclude that personal stories allow the subject to overcome fragmented everyday life, move to a qualitatively new level of normative determination, develop a strategy of self-identity and move from a separate way of being to a holistic existence in the context of intersubjective interactions. (shrink)

In this research, author analyzes and interprets data of sociological researches of the Razumkov Centre concerning the religious self-identification of Ukrainian citizens, their attitude towards the Church in general and towards the denominations and religions presented in Ukraine in the dynamics from the year 2000 to nowadays. The author also considers external and internal outlook trends and shows a dangerous contradiction between them. As an alternative to solve this conflict, the author suggests the idea of Open Orthodoxy and presents an (...) example of its implementation in projects of the Open Orthodox University of Saint Sophia the Wisdom. (shrink)

In the resolution of the Central Committee of the CPSU entitled "On the Periodical Kommunist," the study of the dialectics of the forces and relations of production is assigned to the sphere of economics. It is no accident that the question is posed in this way. Today, under conditions of restructuring, a concrete analysis of the economic connections, contradictions, and interactions of socialist society and of the real forms of manifestation of economic relations is more important than ever. The [current] (...) criticism of erroneous views, widespread in their time, about the exceptional character of the economic system of socialism that made it possible to "constitute" productive relations through the "creative force of the economic plan," is especially timely and substantive. However, a more general sociophilosophical study of the dialectics of the forces and relations of production is also necessary. Lenin's words have never lost their vital force: we cannot take up "particular questions without first solving the general question. …"' It is from these general sociophilosophical positions that we shall be examining some aspects of this topic that we think important. (shrink)

The subject of the study is the period of Russian symphonic music of the 1960s. A new generation of "sixties" composers has entered the Soviet music scene, imperiously declaring themselves with bright creative achievements, fresh and modern musical language. The epoch of the turning point dictated a new reality, required new artistic thinking, generated diverse creative ideas. The panorama of Russian music was quite colorful, many things in art appeared and disappeared very rapidly, stylistic pluralism, lost at the dawn of (...) Soviet power, returned to the music scene. Special attention is paid to the works of composers of the Leningrad school — S. Slonimsky, Y. Falik, L. Prigozhin and V. Gavrilin. All of them opened new stylistic horizons and absorbed into their sound orbit the main trends of modern music, including the conquests of the Western avant-garde.  The scientific novelty of the work consists in the fact that the author examines the bright and original works of young Leningrad authors in the context of stylistic and linguistic innovations of the 1960s. The article analyzes the role and place of "Sixties" composers in the struggle for "new music". The main conclusion of the article is the idea that the period of musical renewal of the 1960s under consideration turned out to be extremely saturated with the most complex and diverse problems: ideological, general aesthetic, musical style. S. Slonimsky, Y. Falik, L. Prigozhin, V. Gavrilin became undisputed leaders in the renewal of Russian music of the second half of the twentieth century, and their works-"symbols" fully reflected the intense search of the post-war generation of Soviet composers. (shrink)

The subject of this research is the period of Soviet music in the 1960s. A new generation of the composers – the “Sixtiers” – came upon the stage, demonstrating remarkable artistic achievements, fresh and modern musical language. This article is dedicated to the symphonic work of the prominent Russian composer of the late XX century Boris Ivanovich Tishchenko. Particular attention is given to the Symphony No.1, which he created at the age of 22. Tishchenko burst into the Soviet musical space (...) with creative fervor, and asserted himself as a tremendous and unique talent. His extemporaneous music pieces kept pace with the time, in unison with the global changes that took place in Russian symphonism. The scientific novelty lies in consideration of B. Tishchenko’s Symphony No.1 in context of stylistic and linguistic innovations of the 1960s. Detailed analysis is conducted on the role and place of Tishchenko — the youngest of the generation of “Sixtiers” – in the struggle for "new music". The main conclusion lies in the thought that Tishchenko was one of the leaders in the renewal of Russian music in the late XX century, and Symphony No.1 of his early period fully reflected the intense pursuits of the post-war generation of the Soviet composers and opened the path towards the "new shores" in symphonic music of that time. (shrink)

Iurii Kovalenko.Orthodox theological understanding of church-state relations in Ukraine at the time of development of Media and Information Technology. The author, who for many years was the press-secretary to the Primate of the Ukrainian Orthodox Church, considers continuity UOC position on the principles of church-state relations and their genesis in accordance with the socio-political processes taking place in Ukraine, the development of media and information technology.

This article defines a public good, arguing that higher education should be considered a public good. This requires moving away from an orthodox economistic understanding of public goods. It also requires understanding the relationship between higher education as both a private good and a public good to the extent that it promotes individual flourishing necessary to the public good.

In this book, Petre Petrov argues that Soviet ideology, in the form in which it solidified during the Stalinist period, should not be seen as a member of a known political ideology. Rather, Soviet ideology is its own kind of political ideology, whose original life calls for an innovative conceptual treatment.

Priority-setting policy-makers often face moral and political pressure to balance the conflicting motivations of efficiency and rescue/non-abandonment. Using the conflict between these motivations as a case study can enrich the understanding of institutional design in developed democracies. This essay presents a cognitive-psychological account of the conflict between efficiency and rescue/non-abandonment in health care priority-setting. It then describes three sets of institutional arrangements—in Australia, England/Wales, and Germany, respectively—that contend with this conflict in interestingly different ways. The analysis yields at least three (...) implications for institutional design in developed democracies: (1) indeterminacy at the level of moral psychology can increase the probability of indeterminacy at the level of institutional design; (2) situational constraints in effect require priority-setting policy-makers to adopt normative-moral pluralism; and (3) the U.S. health care system may be in an anti-priority-setting equilibrium. (shrink)

Many methods are conceivable for resolution of the difficulties arising when motion is depicted in the logic of concepts. We shall set forth some of these methods, presenting them within the framework of the discussion in which V. I. Sviderskii, B. A. Dragun, and I. S. Narskii have already participated. In our opinion, attention must be directed primarily to the fact that in resolving the contradictions in the presentation of motion by means of ideal mathematical abstractions, it is impossible to (...) base ourselves directly upon that which is occurring in the sphere of the things which we perceive with our senses. It is particularly when one forgets this fact that contradictory situations usually result. However, this does not at all mean that these data are of little value in treating of motion. Furthermore, the refinement of the meaning of the concepts in terms of which motion is described, taken together with the requirement that there be a rigorous differentiation between theories based on ideal abstractions and theories based on concepts derived from the sphere of empirical existence, may lead to the resolution of Zeno's paradoxes. (shrink)

The subject of this research is the period of Russian symphonic music of the 1960s. A new generation of composers – the “Sixtiers” – introduced a fresh modern musical language and remarkable artistic achievements. In first part of the article, the author dwell on several fundamental symphonic works by R. Shchedrin, S. Slonimsky, E. Denisov, Y. Falik, N. Karetnikov, as well gives general characteristics to this period. The second part of the article examines the compositions by A. Schnittke and L. (...) Prigozhin. Special attention is turned to the Symphony No.3 by Boris Tishchenko, who opens new stylistic horizons and encompasses the key trends of modern music, including the avant-garde, into his stylistic orbit. This article is first to consider B. Tishchenko's outstanding Symphony No.3 in the context of stylistic and linguistic innovations of the 1960s, which defines the scientific novelty. Analysis is conducted on the role and place of the youngest composer of the “Sixtiers” B. Tishchenko in the struggle for the “new music”. The conclusion is made that Tishchenko was one of the leaders in revival of the Russian music of the late XX century, and his Symphony No.3 reflects the pursuits of the postwar generation of Soviet composers to the fullest. (shrink)