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The paper deals with the continuity of ideas concerning the Eternal Feminine and Sophia as the Wisdom of God from the point of view of Dante Alighieri and Vl.S. Solovyov. The analysis focuses not so much on the very notion of Sophia as on the meaning, origins, and contexts of their conception of Sophianic unity. The latter, being an ideal form of reducing a multitude to a unity, is considered as either an alternative or a supplement to the model of totality that reproduces the binary and hierarchical structure which at the social and political level is considered to be the pattern of imperial centralism. The study proceeds from the consequences of Dante's negation of the difference between the spiritual sense of the Holy Scriptures and the literary sense of secular poetry. It is shown that for Dante it was necessary, first of all, to understand under whose inspiration and guidance he composed his verses, which gave particular importance to the image of a guide in his magnum opus. I show that in this context Dante turned to the intuitive representation of the feminine idea as a guiding principle that was personified by Beatrice, although Dante did not use the term "Sophia" and could not use the term "the Eternal Feminine," which did not yet exist at the time. The disputes in Dante's time on the essence of monarchy are considered in connection with his understanding of femininity as the guiding principle of such a unity of humanity that could reject a rigid hierarchy and, thus, free itself from imperial centralism. It is pointed out that the social and political aspects of the all-encompassing Sophia, which also resolves contradictions as a supplement to the intrinsically contradictory Logos, were given great importance in Solovyov's philosophy. The paper concludes that it was Solovyov, who, having identified Sophia with humanity as a whole, created the presuppositions for a detailed study of the structure of Sophia's unity. This study ends with a discussion of the validity of the convergence of a non-hierarchical Sophianic unity with the deconstructive strategies of modern philosophy, the aim of which is the elimination of binary oppositions and hierarchies from the gender context.

The author stresses that military progress is a part of the social progress, therefore its analysis involves the understanding of common problems and criteria of the development of mankind at this or that stage of history. The article covers new trends characterizing the military progress of the modern world. In particular, peculiarities of military progress after the «cold war», after the abolition of bipolar world system are analyzed. However, the real aims are the same, although they assume more rational nuance. ; Автор подчеркивает, что военный прогресс представляет собой часть общественного прогресса, поэтому его анализ предполагает понимание общих проблем и критериев развития человечества на том или ином историческом этапе. В статье освещаются новые тенденции, характеризующие военный прогресс современности. В частности, анализируются особенности военного прогресса после «холодной войны», после упразднения мировой биполярной системы. Тем не менее, реальные цели при этом остаются прежними, хотя и приобрели более рациональную окраску.

In this paper the cultural phenomenon has been represented in the context of humanities. Tracing misfortunes of European culture for the last three centuries, author considers Modern as the starting point of utilitarianism and modernization of society. As a result, author argues, a culture of contemporary epoch has been deprived of an element of individuality due to wide spread and universal character of consumerism. It is argued for dominant role of aesthetical principles necessary for the safeguarding of the eternal values of homo culturae by means of considering aesthetics as the ground for culturology.Today we pay tribute to the culture. For its existence at risk, due to the modern, open the gates of the realm of politics and economics, the rule of pragmatism and ulitarizma, absolute business installation in building a picture of the world. Aesthetics and Cultural Studies as a true daughter of philosophy, poorly fi into the processes of modernization, as a result and are replaced by modern backyard elitism, proudly waiting for its release in the naphthalene chests eternal values.But their mission is exceptional - they are the keepers of musical chaos sounding and creative potential of cultural unfolding scenario, the whole idea that only knows «Author». Formalizing it is contraindicated. In the world of market relations the concept of humanitarian or philosophical «product» denies a priori meaning of the eternal values of music and gaming nature of free creativity, projecting condition of the culture and evolution of updated forms.Culture is being, which preserves human values that defie the true meaning of man and saves him from the destruction of the living space. Culture in times of utilitarian and cultural barbarism, is designed to hold a barometer of eternal values. So culture does not fi into the modernization.This is its exclusive mission. In this our «doom» on the culture as a refuge, the bosom, pervobytie wisely protects sparkle baby from the danger of self-destruction. Homo culturae - and more! No other way. «Author» knows how to extend the play in eternity. We trust him, carrying out a role in its homo culturae metahistorical destination. ; В статье представлено осмысление феномена культуры в контексте проблемы гуманитарных наук. Отслеживая потери европейской культуры за последние три столетия, автор определяет Модерн точкой отсчёта утилитаризма и модернизации общества, в результате которых массовость и универсализация потребительской культуры выхолащивают индивидуальное из культуры современности. Определяя эстетику как основу культурологии, обосновывается доминирующая роль эстетических принципов в сохранении вечных ценностей homo culturae. ; У статті представлено осмислення феномену культури в контексті проблеми гуманітарних наук. Відстежуючи втрати європейської культури за останні три століття, автор визначає Модерн точкою відліку утилітаризму та модернізації суспільства, в результаті яких масовість та універсалізація споживчої культури вихолощують індивідуальне з культури сучасності. Визначаючи естетику як основу культурології, обґрунтовується домінуюча роль естетичних принципів в збереженні вічних цінностей homo culturae.

Данная статья посвящена изучению с точки зрения нынешних взглядов «юсуфовской» интерпретации дуалистического феномена человека, характеризуемого как деистический мудрец и вносящего ясность в суть противостояния и вечного соотношения пространства и времени, природы и духа.
This article is devoted to the study from the point of view of current views, by the "yusufsky" interpretation of the dualistic phenomenon of man, characterized as a deistic sage, clarifying the essence of the opposition and the eternal correlation of space and time, nature and spirit.

The article analyzes Derzhavin's poem Glimpse [Problesk] (1810, ed. 1816), which is mistakenly considered a translation from L. Kosegarten, and proves that this is an original work. Only the first and last stanzas of it (5 out of 14) have partial correspondences in Kosegarten's poem Aussicht, which deals with posthumous retribution for earthly suffering, the bliss of eternal life that awaits the one who does not completely lose faith in it. Derzhavin, in contrast to Kosegarten, who proceeds from the doctrine 'sola fide', writes about his deeds, for which he deserves heavenly bliss. The central stanzas in Glimpse are autobiographical, they contain an apology for Derzhavin's life, especially his official activities. He applies the Gospel Beatitudes to himself in order (Mt 5:3-11), dedicating a separate stanza to each, and proves that he has fulfilled them (everywhere using the implicative construction 'if ... then ...') and deserves 'eternal blessings'. The article comments on all these stanzas, notes correspondence with other texts of Derzhavin, including his memoir and business prose, hints at the political circumstances of 1810, when, while on Zvanka, he created a cycle of spiritual poems, which began with Hope, and finished with Glimps (the Beatitudes refer specifically to Hope as one of the three Christian virtues: Faith, Hope and Love). In two of those stanzas that have a correspondence with Kozegarten, Derzhavin also refers to his literary work. Glimpse is among such his poems as Monument (1795), My Idol (1794), Swan (1804), etc., where Derzhavin speaks of his rights to 'immortality' and the gratitude of posterity, and should be considered in this series as well.

The report analyzes the importance of the memory of anti-fascism, in a country like Italy where fascism originated. The concept of long Resistance is examined, focusing on the early twenties of the twentieth century, when Mussolini rose to power, considering in particular the notable figure of Piero Gobetti and his activities as a publisher. In the short space of three years, he published 114 volumes. Among the authors there were all the major figures of the anti-fascist culture of the time, from Einaudi to Salvemini, from Amendola to Salvatorelli, from Ruffini to Monti, from Sturzo to Nitti, literary critics such as Fubini and Sapegno, novelists, poets, including Eugenio Montale, future Nobel laureate. A Committee chaired by me took the initiative to republish the entire corpus of Gobettian books, to make available to the new generations the best democratic literature of the time, as a contribution - in an era of right-wing populism and crisis of democracy in various parts of the world - to the struggle against fascism which is always taking on new forms, against the "eternal fascism" Umberto Eco spoke about. Eighty volumes have been released so far (October 2020) which - hopefully - will help to preserve the memory and to maintain an intergenerational message, foreseeing a future without oblivion. ; The report analyzes the importance of the memory of anti-fascism, in a country like Italy where fascism originated. The concept of long Resistance is examined, focusing on the early twenties of the twentieth century, when Mussolini rose to power, considering in particular the notable figure of Piero Gobetti and his activities as a publisher. In the short space of three years, he published 114 volumes. Among the authors there were all the major figures of the anti-fascist culture of the time, from Einaudi to Salvemini, from Amendola to Salvatorelli, from Ruffini to Monti, from Sturzo to Nitti, literary critics such as Fubini and Sapegno, novelists, poets, including Eugenio Montale, future Nobel laureate. A Committee chaired by me took the initiative to republish the entire corpus of Gobettian books, to make available to the new generations the best democratic literature of the time, as a contribution - in an era of right-wing populism and crisis of democracy in various parts of the world - to the struggle against fascism which is always taking on new forms, against the "eternal fascism" Umberto Eco spoke about. Eighty volumes have been released so far (October 2020) which - hopefully - will help to preserve the memory and to maintain an intergenerational message, foreseeing a future without oblivion.

Die Darstellung in Form einer fiktiven "absoluten Einheit" – des neuen Wij – in Majakowskis Gedicht "Krieg und Frieden" zeigt die Infernalität eines neuen Typs im Vergleich zu Gogol. Majakowskis Gedanke ist das Gegenteil von Tolstois Pazifismus und der Idee des "ewigen Friedens" (der Roman "Krieg und Frieden"). Im Gegensatz zu Tolstoi, der sich weigert, die wahre Vielfalt der Manifestationen des Menschen und des menschlichen Prinzips zu bemerken und anzuerkennen, reduziert Majakowski alle Menschen, ihre Gedanken und Sorgen auf ihre persönlichen Ideen. ; Representing himself in his poem War and Peace in the form of a fictional "absolute unit" - the new Vij - Mayakovsky demonstrates the infernality of a new type, in comparison with Gogol's one. Mayakovsky's ideacontrasts with Tolstoy's pacifism and the idea of "eternal peace" (the novel War and Peace). Unlike Tolstoy, refusing to notice and recognize the real diversity in the manifestations of man and the human principle, Mayakovsky reduces all people, their thoughts and concerns to their personal ideas. ; Репрезентируя себя в своей поэме Война и мир в виде вымышленной «абсолютной единицы» – нового Вия – Маяковский демонстрирует инфернальность нового типа, по сравнению с гоголевской. Мысль Маяковского обратна толстовскому пацифизму и идее «вечного мира» (роман Война и мир). В отличие от Толстого отказываясь замечать и признавать реальное многообразие проявлений человека и человеческого начала, Маяковский редуцирует всех людей, их помыслы и заботы к своим личным представлениям.

Борис Казанский — академический ученый с широким кругом интере- сов: от истории античной поэтики до кинематографа и биографии Пушкина. Интерес к современному театру был во многом обусловлен близким знакомством с вечными антагонистами в искусстве — Все- володом Мейерхольдом и Николаем Евреиновым. Его книга «Метод театра», посвященная Евреинову, вызвала взрыв ревнивых чувств Мейерхольда и стала причиной разрыва отношений. Этот конфликт сделал невозможным написание монографии о Мейерхольде, заду- манной Казанским. Но и с Евре- иновым отношения иссякли уже на политической почве. Письма содержат острые характеристики ленинградских премьер, мейерхоль- довского «Ревизора» и наблюдения над ленинградской театральной и научной средой. ; Boris Kazansky is an academic scientist with a wide range of interests: from history of ancient poetics to cinema and Pushkin's biography. Interest in modern theater was largely due to a close acquaintance with the eternal antagonists in art — Vsevolod Meyerhold and Nikolay Evreinov. His book The Theater Method, dedicated to Evreinov, caused an explosion of jealous feelings of Meyerhold and caused a break in relations. This conflict made it impossible to write a monograph on Meyerhold, conceived by Kazansky. But relations with Evreinov also dried up on political grounds. The letters contain sharp characteristics of the premieres, Meyerhold's Inspector General and observations of the Leningrad theatrical and scientific environment.

In the image of Great Patriotic War in the novel "The General and his Army" ("General i ego armija") by G. Vladimov there is an allusion to "War and Peace" by L. Tolstoy. Tolstoy's influence on Vladimov lead to the negative attitude of the author to the totalitarian policy of the soviet government. The same effect has an allusion to "Hadgy-Murat" by L. Tolstoy in the story "Causcasian" by V. Makanin. In the stories "The Crescent has come out of Mist" and the "To See a Tree" by V. Vishneveckoy there are some references to F. Dostoevskiy (the author of "Crime and Punishment") and to philosophy of so called "live life" of such characters as Mishkin and Karamzin. In L. Petrushevskaya's and T. Tolstaya's prose the issue of "a little person" typical of Russian classical literature is considered as an existential problem of constantly dramatical position of a person in a hostile environment. As for the issue of resignation and sacrifice modern writers L. Ulickaya and T. Tolstaya in their works demonstrate a tense opposition to Dostoevskiy's philosophy, they prefer characters of moral class of Natasha Rostova (L. Tolstoy "War and Peace") to "eternal Sonechka Marmeladova" (F. Dostoevskiy "Crime and Punishment").

На основе обширного археологического материала, древнерусских письменных источников и данных этнографии проведен исторический анализ представлений наших предков дохристианской эпохи о подземном мире мертвых – своеобразном «антимире». Используя научный метод интерпретационного синтеза, автор смог выделить несколько наиболее характерных сюжетов древнерусских народных и дружинных представлений о загробном мире как «антимире» или «мире наоборот», царстве вечной зимы и холода или огромном пастбище, где пасутся безликие души умерших. A historical analysis of the representations of our pre-Christian era ancestors about the underworld of the dead (the antiworld) is conducted on the basis of extensive archaeological material, Old Russian written sources and ethnographic data. Using the scientific method of interpretative synthesis, the author was able to identify several of the most characteristic subjects of the ancient Russian folk and druzhina ideas about the afterlife as «antiworld» or «the opposite world», the kingdom of eternal winter and cold or a huge pasture where faceless souls of the dead were grazing. ; Kozlov M. N. Antiworld in the pagan representation of the Eastern Slavs / Kozlov M. N. // The Black Sea region. History, politics, culture. – Series A : Antiquity and the Middle Ages. – 2018. – No XXVI (VIII). – P. 118–126.

The article suggests a description of the main landmarks of the development of the Mongolian art at the beginning of the 20th century. It is stated that visual arts in Mongolia have always been concerned with the reality depicting the social and political life of the country as well as the mode of life, customs and religious beliefs of the people. For example, worship of khans who were considered to be khans due to the will of the Heaven is one of the most important values of the traditional Mongolian culture. This theme is widespread in the Mongolian art. However, this doesn't mean that the Mongolian art is initially politicized. In the author's opinion, statehood is one of the symbols which have always been of great importance for the Mongolian culture. It is this symbol that becomes the matter of the picture. As to the Mongolian art, it is essentially symbolic as it resembles the dialectics between the eternal and the perishable, the divine and the human underlying the interdependency of the natural and social laws. The symbolism of the Mongolian art makes it original and distinguishes it from the European realistic art. ; В статье прослеживаются основные вехи развития монгольской живописи в начале ХХ в. Отмечается, что изобразительное искусство в Монголии всегда отражало реалии общественной и политической жизни страны, а также быт, обычаи и религиозные верования народа. Так, например, одна из важнейших ценностей традиционной монгольской культуры – это почитание хана, который является ханом по воле Неба. В живописи эта тема также получает свое освещение. Однако это не означает, что монгольская живопись была изначально политизирована. По мнению автора, государственность – это один из символов, имеющих большое значение для монгольской культуры, и именно этот символ становится предметом изображения в живописи, которая по сути своей глубоко символична, представляя диалектику вечного только тленного, человеческого и божественного и подчеркивая взаимозависимость законов природы и общества. Символизм монгольского изобразительного искусства определяет его своеобразие и отличает его от европейского реалистического искусства.Ключевые слова: монгольская живопись, символизм, реализм, монгольские художники.The development of the national art of Mongolia in the first quarter of the 20th century The article suggests a description of the main landmarks of the development of the Mongolian art at the beginning of the 20th century. It is stated that visual arts in Mongolia have always been concerned with the reality depicting the social and political life of the country as well as the mode of life, customs and religious beliefs of the people. For example, worship of khans who were considered to be khans due to the will of the Heaven is one of the most important values of the traditional Mongolian culture. This theme is widespread in the Mongolian art. However, this doesn't mean that the Mongolian art is initially politicized. In the author's opinion, statehood is one of the symbols which have always been of great importance for the Mongolian culture. It is this symbol that becomes the matter of the picture. As to the Mongolian art, it is essentially symbolic as it resembles the dialectics between the eternal and the perishable, the divine and the human underlying the interdependency of the natural and social laws. The symbolism of the Mongolian art makes it original and distinguishes it from the European realistic art.Keywords: Mongolian art, symbolism, realism, Mongolian artists.

The article deals with one of the eternal themes of Russian society and the state - Russia between the West and the East. This problem determines the choice of orientation of domestic and foreign policy, and also determines the "swing" of the Russian political vector. The author notes that the geopolitical position of Russia (at the junction of the West and the East) contributed to the formation of different directions of social and political thought, which played a significant role in the development and implementation of the internal - and foreign policy vector of Russian society and state. The author concentrates on the understanding of the zigzags of modern Russian politics - from the pro-Western course in the early 1990s, which was replaced by a multi-vector approach from the 2000s, analyzing the reasons that influenced the choice of one or another course of development of the country, as well as its change. It is argued that the vision of the future of the Russian Federation, which broadcasts the modern liberal opposition, does not meet the needs, needs of the majority of the population, its national interests, sociocultural traditions, and the ill-considered reforms of the 1990s that had disastrous consequences did not contribute to sup-porting this course. As a result, since the 2000s, the policy of modern Russia has been characterized by a multivector approach and attempts to consolidate the status of an independent center of power, based on the principles of civilizational identity and originality.

More than sixty years after it has been written yet another novel about Jesus and diabolical temptation in the Russian capital of the twenties appeared in the journal Druzhba narodov. The history of the manuscript that first was burnt by a friend of the author and after its restoration got lost in the era of Stalinism is highly intriguing as is the biography of its author Jakov Golosovker. Due to his preoccupation with the works of Dostoevsky and the German philosophers, especially Kant, Golosovker Alexsander Graf Slavica tergestina 6 (1998) 144 in his novel gave the literary answer to the novel by Dostoevsky that had the highest impact on him: the Brothers Karamazov. In three successive nights in a Moscow clinic for mental illness a patient discusses with his alter ego, an appearence of Jesus himself, the ways of Christianity and the eternal questions of how Good could triumph in the world. The main issue is the question to which extent modern man is in need of Jesus and whether he needs him at all. The illustration of the philosophical discussions are four scenes on the streets of Moscow where in a highly sarcastic and ironic way judgement is pronounced on the state of mind of Soviet citizens and the power of the Idea of socialism. At the same time Golosovker reacts to various political statements of his fellow writers and tries to explain how it come that Jesus finds out that he is not needed anymore in a city widely subdued to a mistaken interpretation of the Christian teachings.

This article provides an overview of the Seventh International Readings on the History of Russian Philosophy, entitled "Intercultural Philosophy: A Polylogue of Traditions", which were held at the Sociological Institute of the Russian Academy of Sciences – a branch of the Federal Research Sociological Center of the Russian Academy of Sciences. The path of the intercultural philosophy began around the 1980ies and 1990ies in Germany and Austria as a criticism of Western-centrism in philosophy and as an ideological alternative to the Western style of thinking. In this conference, an attempt was made to transfer the principles and methods of intercultural philosophy (philosophy of polylogue) to the history of Russian philosophy. This article also offers a summary of the structure of the conference, the content of its plenary lectures as well as the reports on the intercultural subjects and polylogue methodology, including their applied aspects. The main parts of the plenary sessions, roundtables and seminars that were held within the conference are also analyzed. It is pointed out that the process of formation of intercultural philosophy has not been completed yet; its terminology has not been established; and, eventually, the methods and results have not received wide recognition. However, the period of declarations and of manifestos is coming to an end. The conference contributed to the popularization of intercultural philosophy and the philosophy of polylogue in Russia. Relying on the experience and traditions of non-Western thinking, it offers a solution to the problems facing modern humanity, it indicates a number of possible ways to overcome the crisis situations in culture and society, and it also provides some answers to the "eternal" philosophical questions.

Following the example of Dante's apocalyptic images in the "Divine Comedy" and Vladimir Solovyov's "A Short Story of Antichrist", this article takes into consideration the ideological and artistic elements of the counterpoint – the latter being meant as a simultaneous confrontation and combination of styles from different historical epochs. For this purpose, a given stylistic version of the cross-cultural method is adopted. As a result of it, the author demonstrates that the "Divine Comedy" belongs to the Italian proto-Renaissance style, in which, along with the traditions of medieval culture, the stylistic features of Renaissance and Modern times are forming. The conclusion is that the authorial style of Dante's eschatology is the style of the prophet and judge of humanity who proclaims the continuation of its eternal life. In the same way, the authorial strategy of Solovyov's last work may be also attributed to a stylization of the prophetic genre that was typical of the Russian culture of the late 19th and early 20th century. Despite all this, Solovyov's apocalyptic images do not have a clearly formulated idea concerning the coming salvation – which should be mandatory for the Christian eschatology, – but they only formulate in a new way a prediction regarding the inevitable continuation of great wars, coups and civil strives on the path leading to the end of history. In this transitional stage full of malice, lies and deceit, only the traditional Christian ideal of unselfish love and spiritual unity, which Solovyov employs within the framework of a new artistic style, is endowed with the ability to preserve its timeless value. The overall result of the comparison of the historical style of John's Revelation with the two subsequent stylizations of apocalyptic images is a confirmation of the existence of a cultural self-development that manifests itself in the iconic works of the era of change.