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In the article epistemological and methodological procedure in Platos metaphysics is considered. It will be named later in history of philosophy by transcendental the reduction. Its functions and results are analyzed.

The article is devoted to the problem of the interaction between the ethical views of the past and axiological concepts at the turn of the 19th and 20th centuries, which sheds light on the general problem of modernity associated with its general principle – the interrelationship of epochs. The study aims to show how the ethical concepts of the past years receive an axiological interpretation; to reveal the poetic peculiarity of the global synthesis of ethics and axiology through the example of the drama The Selicke Family by A. Holtz. The analysis has revealed that, under the influence of the philosophy of life, known as everyday life, and the understanding of contemporary philosophies, emphasizing the teaching on values as the basis of all activities, a new ethic is emerging among naturalists, which is what axiology becomes for them. Naturalists, seeking to cognize life while rejecting the former principle of normativity, consider life as being value-centered. The innovative role of the moral conclusions of a thinking subject leads to the ethical feeling taking major place in the soul. When subjected to axiological analysis, this feeling appears to be peculiar and subjective. It was found that the axiological criterion was also applied by naturalists to reinterpret the ethical notion of good. It is inseparable from evil, which naturalists see in the laws of environment and heredity. In The Selicke Family, the relationship between evil (immersion in environment) and good (victory over hatred and the triumph of love) is poetically realized through the change of representations of the beautiful (schön) and the ugly (schrecklich). The heroes of the drama derive from existence personal axiological judgment based on the transformation of ethical criteria: good is latently present in the environment, suffering leads to moral regeneration, the mysteries of good occur at the most tragic moment of life.

In various Protestant denominations (particularly in the Evangelical Church in Germany) the demand for the formation of artistic competence has been growing since the mid 20th century. The celebration of the 500th anniversary of the Reformation in Germany in 2017 contributed to a new round of discussion of this issue. Luther's attitude to artistic images has been reevaluated. Interconnectedness of the word and image in the process of religious communication has been emphasized. The autonomy of art and freedom of creative expression of an artist in the dialogue with religion (in the form of exhibitions, installations in churches, etc.) has been recognized.

The research is devoted to the phenomenon of admiratio (admiration, wonder, marvelous) as a criterion of art. The methodological basis of the study is the system theory of Niklas Luhmann. Admiration is presented as a factor in the activation of social autopoiesis, the media of successful communication. The German sociologist refers it to the "traditional" theories of art, the origins of which are found in philosophical and literary reflection starting from ancient Greece. In the sphere of describing art, admiration (wonder) appears in Homer's poems, marking the sphere of skillful activity (techne) and its works, which are considered as one of the ways of achieving fame for the author. In the philosophical thought of the classical period of Ancient Greece (in the works of Plato, Aristotle), further in the treatises of Cicero and the letters of Horace, admiration is revealed in many ways: the key aspect of the epistemological program; a source of pleasure, in connection with which it receives a controversial assessment; a phenomenon that has a strong and unpredictable effect on the audience. The initial orientation of this concept to observation and the figure of the observer is noted, allowing art to be conceptualized in terms of communicative theory, taking into account the expectations of the audience, directing attention to the reflection of what is perceived.

The article discusses the possibility of applying the theory of autopoietic communication systems to the scientific description of issues of gender differences. The proposed theory can act as a metatheoretical level of consideration of the topic and allows using the position of the observer of the "second order", directs the focus of attention to the differences verbalized in communication, reveals the observing system based on the involved code. The specificity of gender aspects in the functioning and self-description of the systems of art and religion presented in the discourses "patriarchal bias" and "scholarly bias" is indicated. Gender differences as a topic of communication often actualize the systemic codes of political, legal and moral systems. They represent one of the forms of monitoring the fulfillment of freedom and equality, critically observe the availability of universal inclusion in systemic communications, including in the systems of religion and art, when success within the systems is governed by specific codes and programs, but not by gender differences. A positive strategy is demonstrated for replenishing self-descriptions of systems of religion and art, including the "absent presence" of women in the memory of systems, making the contribution of women to systemic autopoiesis "visible".

The study is devoted to the semantic study of the phenomenon of "novelty" in the context of social and philosophical theorizing by Niklas Luhmann. The factor of novelty is considered as a necessary aspect of communication, its obligation as an informational or demonstrative component, the semantic ambiguity of the word in the subsystems of religion and art is indicated. On the basis of an etymological analysis and study of the resource of the National Corpus of the Russian language, three "basic" attitudes towards the novelty were identified: negative, neutral and positive in the fields of religion and art. Within the framework of the study, the dependence of the noting of the "new" and social valuations of this phenomenon depending on the cultural and historical context, the study of which is possible using the methodology of N. Luhmann, is indicated. As an example of the practical application of the method of "distinguishing differences" and identifying semantic dynamics in self-descriptions of autopoietic social systems, the experience of understanding the novelty in the society of Homeric and archaic Greece, the degree and forms of its acceptability/unacceptability is analyzed. In terms of Luhmann's philosophy, the society of our research refers to segmented, in which access to the forbidden, the unknown, of which the novelty is a part, is strictly regulated. On the basis of Homer's poems, as well as texts of the archaic period, the main mechanisms of the emergence of a novelty are shown, interpreted as news from the world of the gods, received by people through poets, oracles, signs. As a result of the study, the difference between the lexeme «novelty» and the social phenomenon of the new was demonstrated. The phenomenon of novelty is an integral characteristic of communication, however, the historical forms of its access to social life change depending on the context, which can be traced in the textual forms of self-description of a society.

The article considers the application of factor investing in the formation of an investment portfolio. Five general factors (momentum, size, low volatility, value, quality), as well as the theory underlying them, are identified; their efficiency and cyclicality over time are shown; the potential benefits of investing in factor strategies are identified. The aim of the work was to provide a broad overview of factor investing as a framework that includes decision-making about impact factors in the portfolio formation process. The article concludes with the main provisions of factor investing.