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The purpose of the study is to trace the evolution of the philosophical concept of creativity in the Russian culture across different historical periods, based primarily on the systematic analysis of the attitudes towards the role of the Artist in Russian literature. According to the authors, the prophetic function of art was fundamental to the Russian literature and culture in general. Since the first monuments of the ancient Russian literature words had always strong impact on people and society, and this function has been saved with the advent of the Internet in Russia. This article deals with the main stages of changing the philosophical concept of artistic creativity in historical, community, cultural and social context. By the end of the 17(th) century when the role of the Artist had transformed from the "promoter" or "translator" of the God's divine ideas into the co-creator of the world, the nature of literary text continued to be sacred, and secular literature claimed the role of the spiritual authority of the nation. By the second half of the 18(th) century sublime poetry had become the benchmark against which the society had to rearrange itself. The so called Decembrist revolt of 1825 was a perfect illustration of how the philosophical ideas of the Romanticism, proclaimed on paper, influenced the Russian history and politics. In the mid-nineteenth century the literary works by Dostoevsky became the pinnacle of the idea of the writer as a teacher, prophet and spiritual authority. As a result of the revolutionary changes in Russia in 1917 the method of Socialist Realism in the 20(th) century was a clear example of how the literature or more broadly art could be used for political ends.

Секция 1. Философия и перспективы развития современной культуры ; Анализ феномена культуры, предложенный русским философом Л.П.Карсавиным в начале прошлого века не потерял своей актуальности. Адекватное понимание культуры в представлении мыслителя возможно в контексте понимания философии истории. Культура-это особый вид «некоторой системы качествований той или иной индивидуальности». Культура определяется из ее существа, из того, что можно назвать ее идеей, т.е. в языке, в этнических признаках, в географическом ландшафте, в своем материальном быте, в своем социально-экономическом и политическом строе, в своих эстетике, этике, мировоззрении, религиозности. Идея культуры неповторимо-своеобразна, специфична. ; The analysis of the phenomenon of culture proposed by the Russian philosopher L.P. Karsavin expressed at the beginning of the last century has not lost its relevance. An adequate understanding of culture in the view of the thinker is possible primarily in the context of understanding the philosophy of history. Culture is a special kind of «some system of qualities of a particular individuality». Culture is determined from its essence, from the fact that it is possible to call its idea, i.e. in language, in ethnic features, in a geographical landscape, in its material way of life, in its socio-economic and political system, in its aesthetics, ethics, world view, religiosity. The idea of culture is unique, peculiar, specific.

The paper draws attention to one feature of Andrey Bely's philosophy. In his works, along with the concept of symbol, he uses the concept of emblem as a philosophical term, which seems unusual. The author of the paper emphasizes that in Bely's philosophical system priority is given to the philosophy of culture, and the most fundamental problem is the existential gap between unity and plurality, between God and the world, between the internal requirement of significance, value and perfection of the results of human creation and the visible meaninglessness, unsystematic and chaotic nature of civilization. The Russian thinker seeks to build an ontological "world between", a connecting structure, the role of which should be played by a symbol. But as a result of Bely's attempts to combine R. Steiner's esoteric philosophy with the logic of neo-Kantianism, it turns out that the symbol in his constructions became incomprehensible and imperceptible. So there is a need for an additional element, which becomes the emblem, acting as the external surface of the symbol. The emblem in Bely's philosophy is a form of present existence, through which cultural reality is created, constructed and cognized.

The article retrospectively analyzes the stage of the origin of philosophy of culture as a discipline in Leningrad at the end of the 20 th century on the example of the prominent professor Elmar Sokolov, who brought a community of interested philosophers together. The problem of spirituality substantiation through involvement in the philosophical culture can be called a key and consolidating effort of thinkers with different political orientations. At the same time, a characteristic feature of the era was the idea of the unity of a philosophical culture that does not scatter into a multitude of diverse practices. At the opposite pole from official Marxism the dividing line passed between the religious type of spirituality and the secular cultural practice of philosophy, and, accordingly, between religious morality and "moral culture" as individual free aspiration. The concept of "moral culture" in various interpretations was developed by Professor Sokolov. The basis of morality for him is freedom, and the value is a productive "freedom for", which implies the participation of the individual in the whole (family, society, and culture). Philosophical "self-care" leads to the desire for fullness of spiritual life, and freedom is supplemented by the "dictatorship of conscience", which is not given rationally, logically, or socially, but is rooted in the love of goodness.

AbstractAn article is concerned with the theoretical conditions of transgression in pre-modern, modern and contemporary society. Author argues that in pre-modern worldview there were no conceptual conditions which made transgression possible. In modern and especially postmodern de-enchanted world a real transgression is a creative work which goes beyond the limitations of exclusive humanism. Among the discussed authors are: Ch. Taylor, D. Castaldo, M. Douglas

The author refers to the most "mysterious" work of Vyacheslav Ivanov which was essentially his testament. It is shown that "The Tale of Tsarevich Svetomir" is the quintessence of Ivanov's philosophical worldview. The author maintains that some key concepts of Ivanov's cultural philosophy find their artistic embod­iment in the "Tale": symbol, myth, Russian idea, element. The author examines the genre classification of the "Tale" and concludes that the Ivanov's choice of the genre of the work was determined by the use of folklore material in the framework of modernist literary experiments, which is characteristic of the poet­ics of Silver Age. The distinctive features of Ivanov's symbolism in relation to the artistic trends of the Silver Age are also indicated. The mythological form of the "Tale" reflects Ivanov's philosophy of mythology which can be therefore un­derstood as a structure-forming principle of the artwork. This makes it possible to use the basic concepts of Ivanovs's symbolism as hermeneutic keys to "The Tale of Tsarevich Svetomir". The final part of the article justifies the hy­pothesis that the Russian idea qua myth constitutes the main content of "The Tale of Tsarevich Svetomir"

AbstractCulture is a demanding word, particularly when it is used in the context of the contemporary academic discipline of international relations (IR). It is often employed in order to distinguish one identity from another, allegedly illuminating idiosyncrasies embedded in a particular society or group of people. The essentialized understanding of culture is also detectable in the case of the current debate on the non-Western international relations theories (IRT). Non-Western politicians and scholars often employ the term culture in order to distinguish their values from alleged Western values. However, culture has another important function mainly advanced by a left-wing Kyoto School philosopher Tosaka Jun, that is, culture as a mirror for critical reflection for morality (Tosaka, 1966). This article is based on Tosaka's argument that culture has an important function for moral reflection beyond that of a mere means to identify one's distinctiveness from the West, and it criticizes Japan's soft power diplomacy or the total absence of it from that point of view. It also argues that this absence is the result of the soft power discourse's over-simplified interpretation of culture that results in confrontation between the West and the rest, particularly when it is employed in non-Western IRT discourses. Towards the end, I examine Miyazaki Hayao's films,Princes Mononokein particular, as examples of cultural works facilitating a moment of critical reflection, and I extract embedded messages of relevance to critical reflection on contemporary IR literature, particularly non-Western literature.