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Introduction. Researchers have studied manifestations of collaborationism of Soviet citizens during the Great Patriotic War quite well, however, the problem of the perception of collaborators in the postwar period needs additional coverage. Of particular interest is the reflection of this topic in art cinema, which was one of the most important means of propaganda. Methods and materials. The basis of the study was a systematic approach. Historical-genetic and historical-comparative methods were applied, in addition, content analysis was used to identify characteristic characters, images, ideas in films. The study was carried out on the basis of published materials, as well as archival files, which make it possible to compare the motivation of collaborators during the Great Patriotic War with its representation in Soviet cinema. Analysis. The study of the evolution of the coverage of the Great Patriotic War and related events in cinema made it possible to identify the main genre and stylistic devices used to demonstrate the place and role of collaborators. Through the analysis of the motivation of collaborators based on the protocols of their interrogations and investigative cases, as well as the consideration of their behavior in feature films, the functions of this topic in the Soviet propaganda discourse were determined. Results. The study of the methods and forms of demonstration of collaborationism showed this problem was reflected in Soviet cinema throughout the entire post-war period. Cooperation with the Germans was explained by several reasons: nationalist motives, hatred of the Soviet regime, cowardice or a desire to save one's own life, or pathological manifestations up to mental illness. Authors' contribution. O.V. Romanko proposed the concept of the article, supervised the research, studied the sources and historiography of the problem, and edited the final text of the paper. E.V. Prosolova carried out analytical work on the analysis of sources, systematization and classification of the image of a collaborator in Soviet cinema, designed the text of the article.

The article considers philosophy as a special mode of perception-awareness of the human psyche and a form of cognitive activity. Its structure and main directions of updating are revealed. The result of philosophical thinking and experience is theoretical knowledge, on the one hand, and practical activity, on the other hand. The definition of the classical philosophical tradition (metaphysics) and the reasons for its crisis are given. The criticism of the classical philosophical tradition in modern philosophy and its results are analyzed. All lines of philosophizing that deploy the basic model of philosophical thinking and the forms and modes of cognitive activity associated with it formed the classical philosophical tradition. Separate schools and areas of philosophy developed different possibilities and structures of this way of thinking and perception-awareness. A feature of the modern stage of philosophy is that the cognitive theoretical resources of this way of thinking and the mode of cognitive activity have already been realized to a great extent. The creative field of philosophy is not so much the creation of new theoretical constructions, but the practical application of existing ones, involving their operationalization and modification for specific problems. Based on the findings, the specifics of philosophical theory and practice in the modern world are determined. The place and status of the philosopher in previous historical epochs and in the modern world is analyzed. The practical role of philosophy in the modern worlds of everyday life and the global world is determined. It is concluded that philosophers today, if they want to remain relevant and not fall out of modernity into a kind of «bookish eternity», not only can, but must not only cognize reality, but also change it. The role of the Department of Philosophy at the modern university and within the educational system is analyzed. A number of basic provisions are formulated that can and should guide the staff of the Department of Philosophy in their current work.

Introduction. The article is dedicated to the study of the hetaireia of infantrymen – the Byzantine Imperial Guard troop in the 970–980s, which included mercenaries from Rus' and Scandinavia. Methods. The research is based on a combination of systemic and institutional approaches in the analysis of Byzantine and Old Icelandic written sources that allow us to establish a chronological framework for the existence of this military formation, its composition, structure and place in the development and transformation of the foreign mercenary corps in the Byzantine Empire during the 10th century. Analysis. The unit is known by the rank of its commander, the hetaireiarches of infantrymen, mentioned in "Escurial Taktikon" (970s). The main information on the hetaireia of infantrymen and related foreign mercenary groups in Byzantine service is contained in the treatise "De Cerimoniis" (963), the historical work by Leo the Deacon (late 10th century), the military treatise "De castrametatione" (second half of the 980s) and in the Old Icelandic sagas such as "Hrafnkels saga Freysgoða", "Finnboga saga ramma", "Hallfreðar saga vandræðaskálds" and "Brennu-Njáls saga". Results. As the study shows, the hetaireia of infantrymen was organised during the reign of the emperor John I Tzimiskes (969–976) and existed from 970 to 988–989, becoming one of the stages in the formation of the so-called "Varangian-Russian" corps as part of the Byzantine armed forces. Presumably, this unit consisted of two troops of northern mercenaries with a total number of about 400–800 warriors.

Introduction. The article examines the circumstances of the simultaneous appearance at the end of the 10th century in the central fortress of the Mountain Crimea – Doros, a byzantine garrison led by topotherete and the establishment of a separate tourmarchia of Gothia in the region. A special study of the issue allows to expand understanding of the causes and content of military-administrative reform. Methods. The research is interdisciplinary in nature. It takes into account all available information from written, sphragistic, epigraphic and archaeological sources about the events that took place in Taurica during the reign of emperor Vasily II (976–1025). Analysis. Establishment at the end of the 10th century in the Mountain Crimea the tourmarchia of Gothia and the appearance of Byzantine topotherete in Doros are events that had common causes. In the case of the tourmarchia we are talking about a plan to create an independent administrative structure in the mountainous part of the peninsula, which was supposed to quickly respond to external threats and over time be transformed into a "small" theme typical of its epoque. The residence of the tourmarch was the Mangup fortress, where no later than 994–995 the reconstruction of the fortifications was completed. These works were supervised by a byzantine official with the title topotherete, who stood at the head of a regular military unit and whose powers were reminiscent of those known from the second half of the 8th century topotheretes of cities in the border provinces of the empire. Results. The history of the tourmarchia in Mountain Crimea was short and ended around the middle of the 11th century. However, its appearance and existence were fully consistent with the military-administrative practice of Byzantium at that time in many regions of the empire, where numerous "small" thematic structures were created in dangerous areas to contain the expansion of the enemy or consolidate the empire in the conquered territories.

Introduction. Crimean historians dated the liberation of the Klimata of Gothia from the control of the Eastern Roman Empire to the end of the 12th century, 1204 or 1070. Anna Komnene wrote about Cherson belonging to Byzantium in 1092. A.A. Vasiliev, as well as A.A. Kunik and V. Heid, saw in the text of the Alexei III Angel's chrysoboullos in 1198 a proof of the "liberation" of Crimean Gothia from political dependence on Byzantium. A.L. Jacobson joined this opinion. Analysis. According to the conclusion of A.P. Kazhdan, the Metropolitan of Athens Michael Choniates's letter no. 3 to Pegonites fixes the dispatch of tax collectors from Constantinople to the Klimata of Gothia and thus is evidence of the real power of Byzantium in the Klimata and the Cimmerian Bosporus around 1180. The term θέμα acquires its former administrative meaning after the reform of the Komnenoi, which restored, at least in Asia Minor, the old principle of dividing the territory of the empire into administrative units, again called themes and controlled by a high-ranking military officer – the doux, who again controlled the civil administration. These military districts formed the core of the Komnenian provincial administration. The 12th-century-seals of Byzantine aristocrats originating from the territory of the Klimata of Gothia testify to the possible sale of administrative positions in the Crimea by the Komnenoi to representatives of aristocratic families. Results. The administration of the Eastern Roman Empire in the region was interrupted by its defeat in 1204 by the Crusaders. Throughout the entire period of their existence in the Klimata of Gothia, there is no evidence of their autonomy. In 1261, the emperor of the Nicaean Empire, Michael VIII Palaiologos, captured Constantinople and restored the Eastern Roman Empire. The Empire of Trebizond continued to live an isolated life, and Cherson with Klimata of Gothia paid tribute to it.

Introduction. The article, based on a wide range of sources, described the creation of a memorial complex on Mamaev Kurgan in the hero city of Stalingrad/Volgograd and related public and non-public discussions. Methods and materials. An attempt was made to comprehend this process through the prism of the general dynamics of the formation of historical memory of the Great Patriotic War and the development of Soviet monumental art in the 1940s and 1960s. Using the method of actor-network analysis, the author of the article tries to reconstruct the goals, motives and actions of the main circle of interested parties (actors) who participated in the creation of the memorial complex "Heroes of the Battle of Stalingrad": the highest state-party leadership of the USSR, municipal authorities, residents of the hero city, representatives of the creative community (architects, sculptors, writers, artists), as well as veterans – participants in the battle on the Volga. Analysis and Results. Based on the study materials, it is concluded that all these "historical memory designers" contributed to the creation of a unique monument-ensemble on Mamaev Kurgan, opened in 1967, guided not only by commemorative, but also by political-ideological, financial, career, status, moral-ethics and aesthetic motives. The need to erect a large memorial in the context of the Khrushchev campaign to combat excesses in architecture and criticism from individual members of the public demanded that the authors of the project, led by sculptor E.V. Vuchetich, transform it and adapt it to new realities, and also updated the process of forming the concept of the "Lenin's plan of monumental propaganda".

Introduction. In the basilicas discovered on the Mangup plateau (fig. 3), in the Karalez valley (fig. 1) that begins at its foot and on Eski-Kermen (fig. 2, 1), inscriptions were found, the interpretation and dating of which caused many years of discussion. Some scientists considered them as evidence of the activities of the Eastern Roman Empire in the region in the 6th century, while other specialists doubted both such an interpretation of the inscriptions and their dating. Methods. To substantiate the chronology of the mentioned inscriptions, it is important to consider the formulas and linguistic features contained in them, as well as the stratigraphy recorded during the excavation of temples and the revealed dated closed ceramics complexes. Analysis. The text of the inscription with the name of Justinian I is correlated with the information of Procopius about the construction of the "Long Walls" in the Dory region at the behest of the emperor. Most likely, the inscription reported the construction of one of the "Long Walls" in the Karalez valley at the foot of Doros. It is possible that the stone (fig. 1) with the typical Byzantine graffiti with the formulas ΦΩС ΖΩΗ and κ(ύρι)ε βοήθ(ει...) was inserted into a wall of an apse of the basilica right after its construction in the Karalez valley in the second half of the 6th century. On a stone over the graffiti ΦΩС ΖΩΗ letters of the second graffiti "Ἰς νικᾷ" are cut out which means Ἰ(ησοῦ)ς (Χριστὸς) νικᾷ – "Jesus Christ wins". In Byzantium the images of a cross with the formula IC XC NI ΚΑ (Ἰ(ησοῦ)C Χ(ριστὸ)C Ν(ικ)Α) appeared at the iconoclast emperor Leo III (717–741) and were distributed in later time. Results. Undisputed evidence of Byzantium's activity in the region in the 6th century is only the fragment of a plate with a building inscription that means the emperor Justinian I found in a late slab grave at the basilica on Mangup. According to the stratigraphy, revealed in 1938 during the excavations of the Baptistry on Mangup, the graffiti (fig. 3) that caused a long discussion was carved on the back of the cornice in the second construction period not earlier than in the 9th century.

Introduction. The article is devoted to the icon-pendant with the image of the horseman St. George the Warrior, discovered in 2020 in the cultural horizon of the late 13th–14th centuries at the research site of the Mangup's Princely Palace. Methods. The study is complex. The traditional methods of art history analysis and the method of analogies, widely used in archaeological science, are used in the description and attribution of the sign icon. The dating of the product is established using one of the most important stratigraphic methods in archaeology. In explaining the historical context of the find, the available data from archaeological and narrative sources on the history and culture of Mangup at the end of the 13th–14th centuries are used. Analysis. The value of the icon, in addition to its clear archaeological context and the iconographic type of the holy rider-triumphant, which is rare for Byzantine applied art, lies in the expansion of our source base on the spread of the cult of St. George in the Late Byzantine period of the history of South-Western Crimea, represented before that mainly by the churches of Eski-Kermen and Mangup. Results. Despite the general proximity of the iconography and the technique of making the Mangup find and numerous similar products from the territory of Old Rus, there is no reason to consider it as an icon-pendant of Ancient-Russian origin. The conducted research definitely indicates a weak study of this category of Christian objects of personal piety on the territory of Byzantium, the lack of their cataloging and the study of special issues. In this regard, the conclusion that the icon belongs to the number of finds of the Byzantine circle from the cultural layer of the Mangup settlement, made in one of the provincialbyzantine centers, seems to be the most objective.