In this text, an attempt is made to evaluate the driving impulses of formal search, in which the artistic will of a modern architect lives and pierces its path. It is claimed that today, in the conditions of the super-mobility of the spatial energy of the of the 21st century city, resulted from the action of social, economic and political springs, the artistic will of an architect is reflected in the tactics of creating affects. The hypothesis is that in the 21st century the tactics of creating affect coincide with the revived romantic desire to create and observe something incredible. It seems that modern art of architecture is able to respond to the redrawing of space dynamics by creating new scenarios of the future, free from social conjunctures.

The article is devoted to the problem of understanding the concept of the “truth of life” with reference to the practice of Russian sculptors of the academic Petersburg and Moscow sculpture schools. Relevance to this topic was given by an active polemic in the ranks of art critics regarding the concept of realism and the criteria for evaluating works of art in the context of the development of this artistic method. A very original interpretation of this problem of the correlation between the truth of life and the persuasiveness of the artistic image was demonstrated in his critical articles by L.N. Tolstoy.Particularly acute polemics unfolded on the relationship between the “truth of life” and the concept of “realism.” The problem of boundaries of freedom of expression of the author was understood by artists and art critics quite differently. Representatives of new trends in Russian sculpture of the boundary period actively used the renewal of the plastic language. In this regard, their views on the credibility of the imaginative solution are not always adequately perceived by representatives of the traditional trends of Russian art in the second half of the 19 century.

The article proves that the universal organization of sacral space asa garden not only results from the dominant religious ideas, but also determines the mode of their perception in the course of a person’s self-knowledge formation,or, in the language of anthropology, the formation of human consciousness. The structuredness of this space makes it possible to understand both the boundaries of a person’s awareness of his own nature when confronted with new knowledge,and the person’s readiness to accept new knowledge while finding the boundaries of his own nature. The garden as a sacred space creates a situation in which a person is not turned to the nature of things, but to the account of the fundamental properties of his own nature. With regard to the theoretical conclusions of M. Eliade and I.A. Ilyin it can be argued that universal religious experience is the experience of systematizing initial natural intuitions, in order to perceive anew knowledge about oneself, which at a certain point in history becomes the knowledge of Revelation, or, in another theoretical system, the norms of his life that are outside of man. Theoretical art criticism has made it possible to isolate such necessary structural universals as the images of the “fence”, the “source”,the “central alley”, the “heavenly vault,” the “sacred grove,” and the study of the specific interrelationship of those five images makes it possible to understand the possibility of changes in aesthetic settings in the collision with such a limiting stable construction in the history of art, as a sacred garden.

I.E. Repin, choosing plots for his paintings, was guided not only by the life and life impressions, but also by literary sources. It is known that the first impulse to writing the picture was the poem of N. Minsky “The Last Confession,” but at the same time the fate of the Narodnik movement in the 1870s could not but interest Repin. In the article it is proved that one of the sources of the picture is I.E. Repins’ picture “Before the Confession” was a poem by N.M. Minsky. In Soviet historiography, the picture was interpreted in a certain way, allowing the artist to be included in the number of representatives of the democratic camp that supported people’s liberation movement in its struggle against the autocracy, interpreting the painting as the artist’s support for revolutionary resistance to the existing order. Newest studies of the history of conception and embodiment, without challenging the general idea of the conflict between the old and the new world, clarify peculiarities of the collision of worldviews collision. First of all, in this picture for the first time the topic of temptation and ascetic feat is applied to the contemporary situation of life of a secular private person, an intellectual nihilist. Lastly, the characters are presented in contradiction according to the then literary tradition, in which any decision of an independently thinking person was represented as a consequence of an internal struggle. To judge the outcome of the conflict was left to the viewer, the artist deliberately does not give unambiguous answers to the questions posed,moreover, he seeks to bring the troubling problems of rebellious youth against the old world order to a new level of comprehension. That is not completely clear, and it is implied that the conflict will be resolved only in real life. Thus, consideration of the creative history of one picture helps to understand both the plot of the picture and its characters, and to clarify the place of this small-sized picture in the artist’s work and the history of Russian realism.

There are many images of mythical Amazons of the Black Sea Region. They either copied the look of the actual Early Scythians with their costume and weapons or were indeed fantastic and armed with the sacred weapon of Bronze Age - the ‘labrys’ axe. In the paper the unique and very rare images of the early nomadic women-warriors were analyzed. The images are known from several statues of the 3^rd-1^st cc. BC in Kyzyluiik and Akuiik sanctuaries in the Western Kazakhstan, on the north border of the desert Ustyurt Plateau, which were dedicated to the cult of ancestors. They are presented with daggers and dressed in the short costume of “male type” or the long dress (fig. 1, 1-3). Probably, the woman warrior were also depicted on the paired Early Scythian tombstone in Central Ciscaucasia (Meskety) (fig. 1, 4). The women symbolically touching the military belt it with their right hands. For the Early Middle Ages Turks (such as well as for closely related to them Iranian-speaking Sogdians) women-warriors are represented only in epic scenes, as a kind of a relic of the past. At the same time, the girls costume in such scenes in ethnologically correct. There is no exaggeration of details as it happens in epic texts. The participation in wars usually did not raise the women’ status in those times, it was the manifestation of exploitation (in addition to sexual and economic ones).

The article presents an attempt to compare the concepts “values”and “value orientations”, establish border between them and also synthesize separate scientific developments in order to find the most suitable approach to studying values and value orientations. For that end the paper considers scientific developments of foreign and domestic sociologists who were engaged or continue to be engaged in studying values (E. Durkheim, M. Weber, T. Parsons, U. Thomas and F. Znanetsky, V.A. Yadov, N.I. Lapin, Zh.T. Toshchenko, R. Inglehart, H. Joas). The author makes a try at classification of the scientists’ views on distinctions of the concepts “values” and “valuable orientations” and on functional features of value orientations in the context of social reality.In the conclusion with due account for the developed classification an approach which is most accurately distinguishing the concepts “values” and“valuable orientations” is chosen. Advantages of this approach for empirical researches are described.

This article considers the specifics of volunteers work with families raising disabled children. With regard to the analysis of empirical research data,the authors reveal the particular nature of interaction with parents of the disabled children, as well as features of the value-motivational structure of volunteers, are revealed. It is concluded that volunteerism is an important factor in the professional socialization of future specialists in helping professions, because in the course of acquiring the experience of social service, socially important values, socially approved motives, professionally important qualities are formed in them; a conscious self-identification in the professional sphere takes place.

Today, museums and galleries of contemporary art are popular cultural attractions for Muscovites. The share of events, exhibitions, thematic presentations, conducted and initiated by museums and galleries, is steadily growing in the total amount of leisure offers in Moscow. often, attendance of museums and galleries is ahead of theaters and concerts. Each museum and gallery presents visitors with a variety of “typical” events, such as exhibitions and installations and they strive to specialize and stand out among others like them on their particular (unique) cultural project, a unconventional offer from a wide range of types of spatial and visual art. This article tells about the offers of museums and galleries of contemporary art in the market of leisure services.

The article deals with the fragment of polemic between Des-cartes and Hobbes from the point of view of its influence on philosophic thought of modernity. The author makes a hypothesis that this dispute appeared to be a primary demonstration of difficulty, which a present-day thinker came across, taking up a critic position according to “intellectual legacy of the past” and suggesting personal interpretation of its problems. on the base of main works by Hobbes and “Meditations on First Philosophy” by Descartes the author makes an attempt of historico-phylosophical analysis, inside of which he shows that there is a string of misunderstandings in the polemic background - that each of the sides interprets the opponent’s position in a wrong way.

According to the author’s opinion - the reason of this - is a special mechanism which acts obviously in modernity’s intellectual situation, - he calls it “effect of mirror”. This mechanism actions are demonstrated in the context of Cartesian reflexion, where a thinking subject bifurcates and, consequently, appears to be unable to define foundations of autonomous being, because any attempt to answer this question generates s new wreath of reflexion, and thus - a new bifurcation. So, a specific situation appears, in which a critical gesture toward Cartesian heritage leads not so much to a substantial polemic as to constant misunderstandings because the “object” of critique or defense leaves to be undetermined.

The article generalizes results of the research, devoted to the formation and development of apocatastasis issue in Russian philosophical discourse. The author shows that the majority of Russian Christian thinkers strived for resolving the problem of universality / non-universality of salvation,and the one of eternality / temporality of infernal torment. The arguments for apocatastasis, once proposed by N. Fedorov and V.S. Soloviev in their works, are also been examined in the article. It is shown that their idea of apocatastasis is directly related to the conception of historyas “an act of salvation” and as “active creative eschatology”. According to that conception the human race participates in historical destiny acts as well as in transforming the Earth into the Kingdom of God. The problem of apocatastasis issue is analyzed in the wider artistic and literary context (icon painting, frescos, and works by Pushkin, Lermontov, and Dostoevsky).

The article is devoted to analysis of Russian philosophical language of death. It is argued that philosophical language should be appropriate to its subject. For philosophical thinking about death requires philosophical language of death. In Russian philosophy the language of death is a moral language, because the phenomenon of death is a phenomenon of morality. Language death is opposed to the language of immortality. Language death is a philosophical language, the language of immortality is the language of religion. Philosophical language asks but does not answer. The language of religion should answer. The article considers the variants of philosophical language adequate to its subject (death): the philosophical language of B.P. Vysheslavtsev, N.F. Fedorov, L.P. Karsavin and Archimandrite Theophan (Avsenev). The conclusion of the article: the language of death is different from the language of immortality in content and form.

The Russian sociology of religion studies religious identity primarily through quantitative features of religiosity. At the same time, researchers pay little attention to the theoretical definition of identity. The article aims to fill this lacuna. Based on discursive approaches, it offers a theoretical description of identity as a linguistic phenomenon. The author relies on the concepts of discourse and identity, proposed in the works of Foucault, Fairclough, Laclau and Mouffe. In the beginning the article gives a general description of the identity understanding of identity within the framework of discursive approaches, and focuses on the following aspects: definition of discourse, mechanisms of identity formation in discourse, role of agency and subjectivity in the process of identity building. Discursive identity is described as open to changes. Further ideas developed within the framework of discursive approaches are used to describe the characteristics of religious identity as discursive. The author shows that the understanding of identity as a linguistic phenomenon moves the research focus from the quantitative description of religiosity to the analysis of various communicative practices existing within Christian communities. That can be as an analysis of sermons, analysis of conversations between members of the community (conversation analysis), and analysis of Christian media