The article considers the mirror symbols that is present in the works of the 18th century Ukrainian philosopher G.S. Skovoroda and the Russian writers and thinkers of 20th century: L.D. Zinovieva-Annibal, Vyach. Ivanov, V.F. Ern. Basing on a fragment from L.V. Ivanova’s memoirs about her father, the researcher shows a significant similarity of symbols in the texts of the above authors. That can be explained by their involment in the common Platonic and Neoplatonic traditions. In all cases it is about the problems of Plato’s Eidos and its material incarnations. At the same time, the semantic specificity of each of the considered mirror symbols is also clarified. To clarify some of the details the author refers to a copy of G.S. Skovoroda works of 1894, which was used by V.F. Ern and which keeps his notes and comments in margines.

The article continues the research on the interpretation of apocatastasis concept in Russian philosophical tradition. The works of A.K. Gorskii, N.A. Setnitskii, V.N. Murav’ev, the philosophers who were the key figures of Christian religious cosmism, are viewed in the light of universality / non-universality of the salvation. An idea of apocatastasis is explained differently in works of the thinkers. Setnitskii includes it into his “holistic ideal” concept opposing the “false multiplicity” of “fractional ideals”, while Gorskii feeds it with the Solov’ev idea of “universal synergy” and Murav’ev in his turn uses this idea as the foundation for his conception of the the Church, embracing the whole being. However despite all the differences, three philosophers develop and deepen the active apocalyptics concept and viewing The Revelationof St. John the Divine as both an apocatastic course of history and an integral plan of transforming the Earth and the Universe into the God Kingdom. The idea of apocatastasis also permeates D. Andreev’s works (1940–1950s) and reaches its peak in The Rose of Peaceand Iron mystery: the transformation of «suffering» into «purgatoring», Shadanakar’s enlightenment, Gagtungre’s salvation, co-creation with God.

The article is the first study of Alexandre Kojève’s “Notes on Hegel and Heidegger” in Russian. The article presents an analysis of Alexandre Kojève’s attempting to prove the mutual translatability of Hegel and Heidegger philosophy. The arguments of Kojève’s on the unity of the Hegel – Heidegger philosophy, on the issues of Hegelian and Heidegger texts, and on their complementarity are studied. Arguments on the common philosophy of Hegel – Heidegger are compared with an issue of relativism of worldviews and with origin of worldviews from the problematic beginning of philosophy and the possibility of another beginning. The author reconstructs principles of the Kojève’s approach to the conceptual translation and substantiates the anti-relativistic position of universal rationality in his conceptual translation. Key theses of Kojève’s conceptual translation are compared with the general positions of Hegelianism and with a criticism of the idea of Donald Davidson’s “conceptual scheme”.

The article is devoted to the study of the degree and scale in the founding of F. Schleiermacher’s doctrine of the religion by the transcendental philosophy of I. Kant, I. Fichte, F. Schelling and G. Hegel.

On the basis of Schleiermacher’s text the author of the article tested the hypothesis of V. Dilthey that is one of the most important reforms in the history of Western theology (the emergence of liberal theology of Protestantism) and its accompanying product (the philosophical and theological trend in religious studies became possible thanks to the discoveries of the German transcendental philosophy of the 18^th – 20^th centuries.

The author of the article believes that Schleiermacher borrows Schelling’s justification for the possibility of intuitive knowledge of the Absolute as a prerequisite for any knowledge. Thus, in Schleiermacher, religion turns into an immediate contemplation of the infinite or in the experience of unconditional dependence. The logic of the development of transcendental philosophy and its transformation into the philosophy of identity in Schelling predetermines the reform of Christian theology and promotes the genesis of religious studies. The Absolute existence within the framework of the philosophy of identity and knowledge of the Absolute become prerequisites for knowledge of religion in Schleiermacher’s theology and religion studies. Comprehension of Christianity and other religions turns into a kind of absolute knowledge about the Absolute.

The article attempts to define the boundaries, select the features and give a social portrait of the NEET-youth. The author shows that this group includes young people of 15–24 years old, unemployed or economically inactive, who do not study and do not undergo professional training or retraining. The emergence of such a group at the beginning of the 21^st century have been encountered by European countries, USA, Japan, China, South Korea. At present, the number of NEET-youth in Europe reaches 14,7%, with some correlation across countries. The author shows that those young people are an integral part of the Z generation and inherit its features: realism, mistrust of power, exactingness towards others, a clear distinction between work and personal life, free use of new technologies, orientation to leisure, immediate needs satisfaction. However, as a rule, they have neither material nor spiritual possibilities for their full realization. In the structure of NEET one can differentite unemployed and economically inactive youth, using alternative employment practices. For example, a conscious refusal from work and study for a time, as well as voluntarily made choice in favor of this variant of life. That makes the NEET-youth behavior socially and individually unpredictable. The author concludes that NEET-youth forms the precarious group of modern society, since it is under the threat of poverty, alienation and social exclusion.

The article deals with the life and value orientations of Moscow suburban farmers, the reasons for their moving from the city to the countryside, their relations with local residents and authorities. It is revealed that the new villagers moved to the countryside because they wanted to live “in nature” and engage in agriculture. Usually they are middle-aged or older people, and they see their life “in the village” as permanent.

The farmers call the proximity to nature, clean air, the ability to grow their vegetables, fruits, have their meat, eggs and other agricultural products (environmental factors) the advantages of living in rural areas. Agricultural activity is attractive in itself, so does work on the ground and with animals, birds. The opportunity to manage their own time independently is also important. Material benefit is significant: life in the village is cheaper both in payment of utilities, taxes, and in terms of food.

The prospects for the children of farmers in the village are either negative or uncertain. This is due to the disadvantages of life in the village: the lack of cultural environment and the necessary social infrastructure (kindergartens, schools, hospitals, recreation areas), as well as a limited range of activities.

The article represents a short historical outline of creation and development of the music industry. It analyzes the prerequisites for shaping the music industry as well as the historical facts, which influenced the music industry development. The author outlines stages of the development and studies the influence on the music industry emergence of such inventions as book printing, sound recording, radio, cinematography and Internet. Special attention is given to the digital technology influence on music production and consumption.

The article attempts to think through creation history of Gorky Central Park for Culture and Leisure during the “cultural revolution” in the Soviet Union. The author describes Moscow in the 1920–1930s as “peasant metropolis” which made a request for the development of urban culture. The leadership of the country approved the concept of parks as “cultural complexes”. The result of a wide public discussion was opening of Gorky Central Park for Culture and Leisure in Krymsky Val in 1928. First Park visitors were not only outside observers, but also active participants in entertainment, educational and sports programs. The author shows that during the 1930s the Park conducted regular social surveys of visitors. The purpose of the surveys was to study the social composition, as well as the needs and interests of visitors. According to the results of those surveys events held in it were modified, privileges were established for certain categories of the population (for example, Stakhanovites and labor overachivers).

The conclusion of the article claims that creation of Gorky Central Park for Culture and Leisure as a large social experiment was the product of merging the state policy of “cultural revolution”, new trends in the urban planning and greening, and a powerful social demand from the citizens.

The article analyzes the modern directions of sociological research in religiousness on the Internet web and the Internet role in the religiousness formation. The Internet is considered here as a communicative field of social interactions about religion, as a repository of religious information, as an instrument of influence on religiousness, and finally, as a space for its online research. The author also tries to identify main trends in the development of religious consciousness in the Network and through the Internet.

The old Russian monastery, having inherited the Byzantine principle of architectural organization, was read in a new way in the new landscape conditions. This paper proves that the landscape is not only a challenge, but also a creative task both for the existence of an ethnos and for architectural and artistic solutions.

The culture of the monasteries of the old Russia was associated both with the ideals of monastic silence, and with the need to master the landscape as a necessary part of spiritual life. The landscape was understood as a place of salvation, therefore it acquired an eschatological dimension, and at the same time as a place of the common doing, what influenced the architecture of monasteries and the specific place and role of the garden in the monastery.

The monastery garden turned out to be not only a place of solitude and economic activity, but also a necessary component of the ascetic ideal of beauty. A comparative historical study of these gardens allows us to show how that ideal of beauty shaped the specific principles of the life of Russian monks and the architectural solutions highly demanded outside the monastery as well. The influence of these decisions on landscape thinking in the modern Russia is also proved.

The article aims to show the evolution of the spatial concept in the era of baroque and classicism in the Russian urban form of the 18^th century. It is noted that in the wake of the aggravation of attention to illusiveness, they did not forget about the content side of the matter.

Of particular relevance was the depth motive, which, with all the commonality, conditioned the rules of perspective, has a different embodiment in the drawings of M.I. Makhaev, modeling the grandiose space of the ideal imperial city, and the paintings of F.Ya. Alekseev, who in the observable space gives a visual representation of the history of St. Petersburg with its main mythologemes.

Special attention is paid to the Neva river, which connects spatial plans and the length of time, a specific area and an image of the ideal European city into a single ensemble, worthy of its content as a phenomenon of the Enlightenment.

In the history of Russian culture S.M. Tretyakov, younger brother to P.M. Tretyakov, the founder of the Tretyakov Gallery, known as a collector of mainly French school of painting, first of all, Barbizon masters. Tretyakov began his collecting in the early 1870s.

He used to come for a short time from Russia to France and it was difficult for him to understand the specifics of the European art market. And here a few helped him, among them the landscape painter, collector, founder of the Radischev (Saratov) Museum A.P. Bogolyubov, who was the official mentor of pensioners of the Academy of Fine Arts.

For S.M. Tretyakov, he became an ideal consultant in the formation of the collection. The paper is devoted to the role of Bogolyubov in Tretyakov’s collecting activity, to the stories of specific acquisitions, including two historical paintings by J.-P. Laurence, as well as it helps to clarify the significance of Bogolyubov for Russian artistic culture of the 1870–1890s. Analysis of relations between Tretyakov and Bogolyubov allows us to understand the motives of collecting by both collectors.

Throughout the 1960s, artists of pop art and of similar tendencies used a number of photomechanical techniques in their work. of course, post-war pop art, both American and French, called “new realism”, used the methods of collage and photomontage, but then it had no relevance neither to the issues that were raised by modernism in relation to the aesthetic autonomy of avant-garde art, nor to the need of establishing links with a new mass audience, forms of distribution and promotion. Man Ray – the main practitioner of American Dadaism, French photographer and Surrealist painter, remaining a marginal figure in his homeland, however, served as a little-studied example to one of the most famous and odious artists of America in the revival period of Dada and the formation of pop art. In response to Ray’s entropic repetition strategy, Andy Warhol creates a systemic artistic principle that has become the anthem of “mass culture”. His art is located at the intersection of a number of cultural and historical trends, and is usually considered in the context of fundamental changes that drew a line between the practices of the post-war neo-avant-garde and pre-war avant-garde. one of the most striking intersections is related to the question of how closely the work of both was connected with the emerging “culture of the spectacle”. When the artists of the 1920s caused scandals and shocked the public, their actions were always perceived as social or political provocations. Ray was one of the first artists who did not resist the conditions of a new society, but on the contrary, tried to suit his modernism into its cultural and economic practice. In the future, Warhol built his art work in accordance with the growing demand for the “value” of mass production. The true degree of Man Ray’s influence on Andy Warhol ultimately remains ambiguous. The article is devoted to some aspects of these issues.

When interpreting the poetry of Mandelstam Averintsev not only referred to the works of art as illustrating his thoughts, but also imagines non-existent illustrations to explain poetic images, notably those breaking our habits of perception of works of art or book culture, being close to the technique of ekphrasis as lively and expressive description of non-existent paintings. The paper discusses how exactly such an argumentative technique works and what is its productivity for the development of literary interpretation. Averintsev argues on the basis of four Aristotelian causes, but in order to save the distinction betweencause-effect and eidetic relations, inevitable in the epoch of the novel, the final cause is not mentioned, as no aim of art is mentioned too, and catharsis is identified with the contemplation of symbolically significant entities. Causal relations in art are identified with the action of the efficient cause, understood as both criticism and strengthening of representation, amplifying contradictions in expectation of catharsis, whereas the material cause is understood as the initial readiness of any work of art to be representative. The ekphrasis as case and genre therefore is not constructed as expedient rhetorical exercise, but as interpretation of the limits of the material use in art, and the emphatic sequence of the material, instrumental, and formal causes turns out to be hermeneutically significant.

The article shows how Averintsev’s art criticism thought always becomes hermeneutic, interprets the sense of images when it allows not simultaneous, but only sequential and dialectical action of above three reasons.