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Introduction. The article focuses on the changes that happened in the portrayal of U.S. characters in Soviet Thaw cinema. The contribution of the article in the field of cultural Cold War is threefold: for the first time, it studies the American characters' images through the prism of the concept of rehumanization; establishes common and particular traits of deconstruction of the image of the enemy in Soviet and American cinema; and introduces new materials into scientific circulation. The materials consist of the movies on which Soviet cinematography worked in the early 1960s; reviews in film magazines; and archival data of discussions on movies and their scenarios that took place in film studios. Analysis. Specifics of the dehumanization of 'enemy number one' in Soviet cinema. The Soviet anti-Americanism was based on the idea of 'two Americas': dehumanization has been subjected only to class and politically alien Americans. Deconstructing the image of the enemy in Thaw cinema. Humanizing U.S. characters was achieved with the help of endowing them with kindness, empathy, creativity, emotionality, moral behavior, ability for love, friendship, and comradeship, emphasizing the similarity of the basic values of 'us' and 'them', and demonstrating the possibility of peaceful coexistence through cases of mutual aid, cooperation, and the occurrence of friendly and romantic relations. The humanness of U.S. characters becomes less dependent on political factors. The cinema expressed the idea that man by nature was good, and this original human goodness was noticeable most of all in children, including American ones. The limits of rehumanization. The conservative part of the Soviet elite accused 'abstract humanism' of forgetting the class principle and juxtaposed it to 'revolutionary humanism'. Criticism of 'abstract humanism' in ideology was accompanied by a tightening of demands for representing America that representatives of the Soviet controlling bodies made. Results. In the 1960s, Soviet cinema (just like U.S. cinema) had the tendency of deconstructing the image of 'enemy number one', which took the form of rehumanization. The rehumanization had its limitations.

Introduction. The article is the first to study the use of the symbol of childhood by the USSR and the USA songs for the representation of Cold War issues. Methods and materials. Based on the methodology of constructivism, the author analyzes the reasons for the politicization of the image of childhood and the role of popular music as an instrument of symbolic politics. Qualitative content analysis is used to examine more than 400 songs of the USSR and the USA related to Cold War issues; about 70 of them use the symbol of childhood. The symbol of childhood in the Soviet song. A study of USSR songs demonstrates that images of children were an important component of the "cultural Cold War" on the musical front. The symbol of childhood in the American song. U.S. musical pieces contributed significantly to the legitimation of the Cold War and the construction of images of "us" and "them," including with the help of images of children. Results. The comparative analysis shows that in both the USSR and the USA, it was used to represent such issues as peace, war, security, nuclear weapons, freedom, justice, and the future of humanity. Not only did it create the image of the enemy, but it also deconstructed it by showing the similarity of the two nations in basic values, including attitudes toward children. In addition to the common features, songs in the USA and the USSR also reveal different characteristics. In the former, children are primarily the object of defense; in the latter, they are also subjects of politics and active fighters for peace. In the former, one can find negative images of childhood in the USSR; in the latter, young Americans are first and foremost children, just like everyone else. In the Soviet song, these images remain practically unchanged; in the American protest song, the symbol under study is used to delegitimize the policy of the authorities.

Introduction. The scientific relevance of the topic is due to the fact that the concepts of colonialism and neocolonialism are currently becoming part of the official Russian political discourse. The article examines how film representations of the struggle against American neocolonialism in Latin America are used to create the image of the American enemy in the context of the Cold War, which determines the novelty of this work. Methods and materials. The article is based on Soviet features and documentary films about Latin America. Analysis and results. The author comes to the following conclusions: images of neocolonial exploitation of Latin America contributed to the creation of the image of the American enemy, endowing it with such features as immorality, greed, cruelty, and contempt for the population of the Third World. In addition, the images of Latin America and the struggle of its population against neocolonialism were used in the politics of Soviet identity. A demonstration of solidarity with the people of Latin America maintained the image of the USSR as the leader of the liberation struggle against (neo)colonialism. The struggle against pro-American governments in Latin America acquired legitimacy through images of the plight of the countries ruled by powers accomplishing American neocolonialism. Films about the Cuban and Nicaraguan revolutions served to predict victory over neocolonialism in the region in particular and the American enemy in the Cold War in general.

The study validates feasibility of interdisciplinary research into the problem of emotions and the language. The term text emotiogenicity is contrasted with the terms emotivity and emotionality. The emotional impact of the text upon the addressee is investigated experimentally. In accordance with V.P. Belyanin's classification, the two emotive literary texts, chosen as research material, represent "bright" and "sorrowful" types. The experiment involved the students of Saint Petersburg State Theater Arts Academy and the students of Herzen University. The auditive analysis of the readers' intonation was carried out to interpret the emotiogenicity of these texts. The high degree of text emotiogenicity actualizes when the addressee experiences the same emotions as the literary text character. In this case the emotions are expressed in reader's intonation. The prosodic correlates of admiration and tenderness when a person reads the "bright" text and the correlates of fatality and depression while reading the "sorrowful" text are described. The emotiogenicity of the same text is apt to vary depending on the personality of the recipient. The author identifies the main reasons for variable prosodic correlates of contrary emotions when reading emotive literary texts.

The paper adheres to the pragmatic approach to emotion processes and focuses on emotion-evocative communication. Its goal is to investigate the impact of contextualisation techniques, which employed by popularisation discourse to induce readers' interest. The research is carried out in two ways, discourse-pragmatic and experimental. First, by adopting the sociopragmatic view of emotions and using methods of discourse analysis, the paper fleshes out a model of emotion-evocative communication, outlines contextualisation techniques, and introduces text materials. Second, by representing the experimental study, the paper assesses the interest-evoking effect of contextualisation. The experimental study involved 400 undergraduate students. We employed the scaling method (7-point bipolar scales) to measure participants' attitude to generalised and contextualised text passages. The data analysis applied the Wilcoxon test, the Kolmogorov – Smirnov test, Spearman's correlation coefficient, the linear regression, and the explanatory factor analysis. The comparing tests reveal that contextualisation promotes reader's interest in the popularisation text. The findings suggest that contextualisation techniques make the text content more relevant to the reader. Personal relevance – as a kind of mediator – causes interest responses. Beyond that, it was found that that reader's expectations about text strategies to presents knowledge construct interest-evocative communication. The findings demonstrate how communicative variables combine into the model of emotion-evocative communication.

The purpose of the research is to clarify the current problems of education in terms of education management and to work out the ways of solving them within the framework of the humanistic paradigm, that is, "management for human education", presenting these solutions as implementing the required model of teachers' training. Methodology. The author implements the approaches of education anthropology, the basis for which was provided by monitoring in action, textual records and research letters, as well as general philosophical methods. Scientific novelty of the research lies in the anthropological view of the education problems, including the sphere of management. The perspective of the modern situation under study, that is, the neoliberal and managerial context add to the degree of scientific novelty. Results. Different conceptions of education management are revealed and the corresponding management models are considered, the difference of which is explained by opposing the humanistic and managerial paradigms. In a number of problems of education management, beyond the usual ones that appear for the collectives of educational organizations, it became obvious that new problems have emerged due to introducing "new management", which has a noticeable impact on the goals and values themselves, distorting "human education". As a response required from management to the needs of education in line with the humanistic paradigm, a "synergetic model of management" and "democratic management of education" are proposed. Conclusions. On the basis of analyzing the problems and education management models required for education, the author draws conclusions for teachers' training: highlights the ideas that make up its guidelines, and outlines possible approaches to the content and methods of teaching education managers and teachers in line with the model "Creative, autonomous, reflective teacher" corresponding to the humanistic paradigm.

The article studies the reflection of Carlist and 'Liberal' mythological concepts, formed in 1830s– 1890s in Spain, in the novel Zumalacárregui by Benito Pérez Galdós. There is given a brief overview of some previous research works concerning Galdós´s National Episodes and the novel Zumalacárregui. The paper focuses on the ways of representation of general Tomás de Zumalacárregui (1788–1835) in the novel and shows the processes of creating the myths related to the general. In the 19–20th centuries, Zumalacárregui became a hero for the representatives of three different ideologies: Carlism, Francoism, and Basque Nationalism. It is shown that mythologization of the general began just after his death in 1835. Based on the text of the novel, there are made conclusions concerning the sources that Galdós used when creating it. The writer studied the most relevant memoirs about the First Carlist War. The paper shows how Galdós's text was influenced by the memoirs of A. Sabatier, Ch. F. Henningsen, F. von Lichnowsky, J. A. Zarátiegui, F. Fernández de Córdoba, and H. Du-Casse. It is also noted that Galdós could have been inspired by some pictures created in the traditions of 'Carlist visual art'. It is concluded that the writer used both Carlist and 'Liberal' myths concerning Tomás de Zumalacárregui. The text of the novel is divided into two parts, 'historical' and 'narrative'. The 'historical part', i. e. a general description of the First Carlist War military operations carried out in 1834–1835, is mainly based on Carlist sources. In this part, the general Zumalacárregui is described as a war hero. The 'narrative part' mainly refers to 'Liberal' sources. The author introduced in this part a fictional character, priest José Fago, being the general's 'double'. Through Fago's moral doubts and hesitations Galdós showed the internal tension of Zumalacárregui.

The article addresses the issue of organizational culture of political actors within the principles of natural and self-learning organization. The relevance of the subject is determined by the formation of the system of public authority, as well as the need to create conceptual stability in relation to the organizational culture of the political actor. As a result, the orientations of actors (be it the state or actors inside/outside the state) on confirmantropic or negantropic biopolitics may be developed. Methodologically, the article is based on the theory of organizational metaphors by G.Morgan, the approaches of P.Senge, F.Selznick, and the concept of biopolitics by M.Foucault. Asserting the epistemological significance of the analytical separation of natural and self-learning organization in the analysis of actors, the authors assume that there is a duality and possible coexistence of these approaches in the study of the organizational culture of political actors. Such a phenomenon became possible due to the biopolitical revolution that leveled this gap. As a result, there is a paradoxical possibility of the formation of a negantropic biopolitics that denies the significant role of an autonomous individual and leadership, suggesting a rejection of the emergence of self-learning political actors.

The purpose of this study is to determine the role of tradition in the work of S. Averintsev. The novelty of the study lies in the fact that the work of the author is considered as a trinity, which includes scientific research, translations and poetry of Averintsev. The article hypothesizes that Averintsev's worldview is based on the philosophy of omniscience, the scientific transcription of which was the Russian school of historical poetics and, more broadly, the Romantic hermeneutics of culture. Central to Averintsev's method is the concept of tradition, which allows the researcher to consider cultural phenomena that chronologically belong to different eras and styles within the framework of a single and unified semantic horizon – the "big time" of culture. The article substantiates the thesis that the dialogue with cultural tradition presupposes the procedure of self-removal, which he called "the chastity of non-personal inspiration". Self-removal, as listening to tradition, is the main hermeneutic setting of his creative consciousness and forms the basis of his poetic, translation and scientific method. The method of interpreting cultural tradition is examined in spiritual poems, translations from German-language poetry, and an example from his work "Ancient Greek literature and Near Eastern writings".

The article is devoted to the issue of the interaction of sacred and artistic words in the individual author's era. The purpose of the study is to trace how N.S. Leskov's poetics reflected his attentive attitude to the originality of the biblical word. The material is the story "Languor of the Spirit", the title and epigraph of which are quotations from the book of Ecclesiastes. On the basis of biblical and literary texts, the semantics of the combination "languor of the spirit" is determined. The study of the corresponding motive in Leskov's story necessitated the analysis of the work based on the concept of the dialogue of "literature" and "language arts", developed by S.S. Averintsev. The article indicates the main lines of comparison of the two creative principles formulated by the scientist. The features of "language arts" indicated by Averintsev are compared with the specifics of the genre, architectonics, plot, images of the heroes of Leskov's story, thanks to which the dominants of poetics are established: an image of the world as an "olam", an absence of portrait and landscape descriptions, a special concept of memory, an organization of the metaphysical perspective of the narrative around the motif of languor of the spirit. The results of the analysis allow to conclude about the interdependence of the elements of "literature" and "language arts" in the artistic creativity of the writer.

The book by Nicholas Buckley, professor at the Universidad Metropolitana del Ecuador, is the result of an oral history study based on interviews with 7 former activists of ETA who have served prison sentences. The monograph has both practical and theoretical value: the author aims to create a holistic narrative of the Basque conflict, complementing the existing positions with the life stories of the activists themselves, debating with a number of well-established theses on the problem. The practical significance of the work lies in the possibility of integrating the results of the study into the mechanisms of transitional justice in order to overcome the legacy of the political conflict that resulted in human casualties and systematic violation of human rights. The book may be of interest not only for historians, political scientists and ethnologists who study the Basque Country, but also for researchers who use the oral history method, since the author of the monograph presents extensive material on the application of this method within a specific case.

The article continues the theme of the tantric sādhana's soteriology and analyses stages of the spiritual tantric path. Depending on the specific text or school, dif­ferent stages of such a path can be distinguished. We consider the spiritual tantric path, consisting of 3, 4, 5, 6 and 7 stages. Three stages of practice are considered by Satyananda Saraswati (purification, "inspiration", connection). Three stages are also mentioned in the Sahajiyā's treatise "The Necklace of Immortality" by Mukundadāsa (17th cent.). Bhāskararāya (18th cent.) marks five hierarchical levels of liberation, reducing them to three "city", or stages of the path (pious life, reverence for the higher Self and reverence for the undifferentiated Abso­lute). Kashmir Śaivism develops a system of four "means", one of which (the so-called "non-means", which in turn is divided into two types) opposes the others. G. Kaviraj develops the idea of four stages of the spiritual path (indirect knowl­edge of Self, removal of doubts, direct knowledge and recognition). The Svac­chanda Tantra knows the five stages of the development process. There is also a model of six paths (ṣaḍadhvan) in Tantrism, which is appropriate to consider in the context of pravṛtti-nivṛtti, analyzed in our previous publication in this journal. A brief overview of the "six paths" is given by Maheśvarānanda (14th cent.). The very concept of the "stages" may go against the monistic posi­tions of a number of tantric schools (i.e. Trika), reflecting on the moment of lib­eration, but any such moment is preceded by a long preparatory work. There is another version of the "six paths" (viz. Yoginī Hṛdaya) as the stages of spiritual development and deepening of the levels of tantric hermeneutics. Finally, the septenary model of development (acara) includes the hierarchization of various spiritual systems and actually means the levels of development of an individual.

The article deals with the central aspects of tantric practice (sādhana) related to soteriological issues. Sādhana aims at siddhi as an ideal realization; liberation (mokṣa) is considered the highest siddhi. It is permissible to discern two interre­lated aspects of sadhana, i.e. narrow (specialized) and wide (coinciding with the whole way of life of the follower). Tantric sādhana positions itself as a highly effective tool for human improvement in Kali Yuga. While addressing all people, Tantra at the same time requires the observance of the secret of practice. Leading, as it were, a "double life", a number of tantric traditions (Śrīvidyā, for example) adapt to the needs of the orthodox Hindu society. Tantric works sometimes report the "lightness" of the spiritual path, which means the acquisition of the highest ideal during the earthly life of the practitioner, but does not mean the ease of the tantric procedures themselves. In general, Hindu Tantrism agrees with general In­dian soteriology that sādhana is a "return" (nivṛtti) process, which is accompanied by an increase of holistic perception of reality. Nevertheless, in Tantrism, nivṛtti and pravṛtti (deployment) are closely related to each other, since they represent different phases of the Śakti's "game" (B.K. Majumdar), also understood as the divine vibration-spanda. Depending on the level of his development, sādhaka is engaged in exercises either in the spirit of nivṛtti or pravṛtti. The effectiveness of pravṛtti at the final levels of the path is turned against pravṛtti itself. The vari­ability of tantric methods and ethical standards correlate with the level of con­sciousness of the practitioner. The stage of nivṛtti, as it were, models the ultimate state reached by the tantric adept after the end of his spiritual path.

The tantric interpretation of karma is in many ways in line with general Indian be­liefs. Karma is a complex causal mechanism that enslaves souls, which itself, in turn, is based on the activities of these souls. The actions of the soul arise from karmic impulses, which prepare it for a certain experience. Tantra knows the vari­ous classifications of karma (as valuable as neutral) and karmic fruits, as well as bodies into which souls enter under the influence of karma. Karma is "sleeping" and "waking up". The Supreme God controls karma for his own purposes, provid­ing the souls with their well-deserved living conditions; the unfolding of the world itself correlates with an increase in karmic activity. In Kashmir Śaivism, karma be­comes one of the three main types of enslavement of individuals (kārma-mala) and a direct source of saṃsāra. "Karma is the cause of saṃsāra" (Abhinavagupta). Karma is a part of the universal restrictive mechanism, niyati (Utpaladeva). The distinction between an action that carries karmic consequences (karma) and an action that doesn't carry such consequences (kriyā) can also be considered a tantric contribution to the concept of karma. Representatives of the Nātha school under­stand karma as a part of the physical body and distinguish five types of karma