Abstract: The subject of this research is the analysis of specificity of functionality of communication platforms on the Internet. They can be presented as trading zones, the foundation for development of the new ways for establishing relationships between various actors. Special role in their functioning is played by interaction between human and nonhuman actors, such as interfaces, software strings, voice-activated digital assistant, and other. Such trading zones may be described as the space suggesting formation of the new type of sociality as the basis for building associations and unions between the human and nonhuman actors. Leaning on the methodological approaches towards the analysis of trading zones demonstrated in the works of P. Galison, and application of the elements of methodological approach used in terms of the actor-network theory by B. Latour and M. Callon, the author views functionality of such trading zones as network elements. The main conclusion consists in the statement that the communication platforms may be described as the hybrid distributed spaces of interpretation and harmonization of activity between human and nonhuman actors operating within the framework of the Internet culture. The advantages of hybrid functionality of trading zone on the Internet include: fast creation of new associations and networks; communication and compliance with general rules developed in the process of creation and operation of associations between different actors; constructive character of associations; formation of the situation of uncertainty. The following aspects can be referred to as limitations: formality and technical invariance of their functionality; diminishing connectedness with the traditional cultures; primacy of the rational, rationalization of affectiveness and imposition of the specific standards of rationality.

Keywords: communication platform, hybrids, Internet, society, network culture, communication, trading zone, interface, Information society, technique

Abstract: This article examines the problems of representation of images of the past in modern historical fiction film and TV series. The relevance of the topic is substantiated by current popularity of this genre of cinematography among audience. The younger generation refers to the historical fiction films as an easy-to-grasp source of information on the historical facts, events, processes and personalities. However, such trend carries a threat of disorientation of mass audience regarding the historical past. The article analyzes the concept of “image”, “artistic image”, “image of the past” and their specific features in the context of the subject of research. Attention is turned to complexity of interrelation of the concept of “historical film” and the introduced into mass media terminology stable lexical construct “pseudohistorical film”. The combination of two approaches became the foundation for this research: culturological approach allowed viewing the degree of representation of images of the mast in historical fiction cinematography; while multifaceted nature of the subject of research and versatility of theoretical and empirical materials suggest referring to interdisciplinary approach. Based on the analysis of modern historical fiction feature films and TV series, the author highlights the criteria that allows assessing the adequacy of image of the past and historical reality depicted on the screen. Such criteria include: veracity of reconstruction of material culture of a specific historical period; events and occurrences, social and historical processes of the reproduced historical time; accuracy of interpretation of mentality of a particular cultural-historical period; original view of the film creators upon history; original understanding and interpretation of historical processes, events and phenomena, etc. Within the framework of this article, emphasis is made on the first two criteria.

Keywords: television series, pseudo-historical film, historical film, fiction film, representation, image of the past, art image, image, interpretation, historical reality

Abstract:   This article examines the idea of the modern model of local self-governance as a social determinant for the formation of civil society. It is noted that currently the local self-governance experiences a political and social absenteeism reflected in apathy and inaction of the society, established as a result of the lack of confidence in any authority and skepticism towards possibility of influence its decisions. The author underlines that system modernization aimed at the formation of civil society is possible only within the new philosophical context, occurring from acknowledgement of the need for coordinated interaction between the government and population. The article explores the historical and social peculiarities of establishment of the local self-governance in Russia, as well as provides a comparative analysis of the Western and Eastern models. The focus of attention on the presented by the author conceptual grounds of building a model of local self-governance would allow avoiding “groping” searching the ways and effective methods for transformation of Russia, as well as erect the barrier to mass social reforms and change, which aggravate the negative social consequences. Only then the effective local self-government as a determinant for formation of civil society is possible.  

Keywords: paternalism, civil responsibility, individual freedom,, local self-government, social determinant, social absenteeism, civil society, state power, philosophical context, model

Abstract: The subject of this article consists in analysis of the influence of Dostoevsky’s religious-ethical ideas upon the works of Prishvin; as well as in studying the historical and cultural context of his views on possibility on realization of the ideals of Christian love in Soviet society, even in the conditions of militant atheism and violence of the ongoing Great Patriotic War. It is demonstrated that for revealing that substantive essences of reality Prishvin uses various concepts, which is testified by a range of the relevant worldview ideas present in the semantic field of this texts. Comparing the assessments given by Dostoyevsky and Prishvin with regards to revolutionary movement, the author determines metatext, which allows better understanding Prishvin’s apprehension of main trends in the development of social existence and awareness of his time. The scientific novelty consists in analysis of the context of Prishvin’s reasoning on the ways for overcoming spiritual disunity of the Russian society, in which the Orthodox worldview of a significant part of population collides with the ideology of Bolshevism. Through the artistic being of his characters, the writer elucidates how at the time of Fascist invasion, the life itself demonstrates the triumph of Orthodox faith, to which the Russian people hold true despite the pressure of a harsh atheist state.

Keywords: the Great Patriotic War, Bolshevism, Revolution, religion, ideology, state, Dostoevsky, Prishvin, context, metatext

Abstract: This article is dedicated to examination of the main creative motifs of the artists of Symbolism: eternal femininity, living landscape, mythological and religious images in their not uncommon intersection in a single artwork and expressed by fine artistic means. The goal is set to demonstrate how such pointers as Maurice Denis, Odelon Redon, Gustave Moreau, Franz von Stuck and Mikhail Vrubel, using the means of artistic reflection of the listed thematic lines, were able to create the unique symbolic images. Special attention is given to the symbolist specificity of creative expression, embrace of the metaphysical bases of the depicted. Such approach allowed determining the exquisite harmony of landscape and female images (Denis); initiation of the mystical and unknown in lilac-purple twilight demonic spirituality of the night landscape and artistic expression of the demonic itself (Vrubel); demonstration that being charmed by the mystical, embrace of the abstract origin of landscape lead the work with a religious theme to the expression of mystical elements of being (Redon); while combination of classicist clarity of the image with symbolist mystery and abstract picturesqueness creates a myth itself as an increment of the profound sacral nonverbal knowledge (Moreau).

Keywords: Stuck, Moreau, Redon, Deni, landscape, myth, painting, art, symbolism, Wrubel'

Abstract: Based on the views of the Doctor of Art History A. A. Artyukh on the shift of paradigms in development of the contemporary cinematic art and methodology of science of P. Feyerabend (the concept of epistemological anarchism), backed by the thesis of N. A. Osminskaya on the outlook of G. Leibniz upon combinatorial art, this article on the example of the Newest Hollywood “art-blockbuster” meticulously analyzes the impact of a universal formula of “pseudo-catharsis” upon the audience, which turns it into a consumer of cinematographic product. It is demonstrated how an “art-blockbuster” each time is able to bring the audience into a cathartic condition that constantly keep it in a captivated sensible tension and excitement during watching a movie, and in a permanent anticipation of the sequel afterwards. Within the framework of interdisciplinary approach, the author correlates the scientific-theoretical. Culturological and aesthetic views on the development of Newest Hollywood cinematography, determines a universal formula of “pseudo-catharsis” and its impact upon the audience. The author’s main contribution to this research consists in revealing a universal formula of “pseudo-catharsis” on the example of the Newest Hollywood “art-blockbusters” of Wachowski-Nolan generation that turn the audience into a consumer of cinematographic product; and in the culture overall, within the framework of postmodern aesthetics, develops a sense of combinatorial, rather than eclectic capabilities.

Keywords: New Hollywood, form of art and content, combinatorial art, eclectic art, postmodern, Newest Hollywood, art-blockbuster, high concept, culture, humanitarian knowledge