This article is dedicated to the attitude of two Christian theologists, John Milbank and Sergius Bulgakov, towards critical views of Karl Marx on religion. It is known that, on the one hand, the criticism of religion in Marx’s philosophy seemed to him to be the base of any other criticism and, on the other hand, that already amongst his contemporaries there were thinkers who named themselves “Christian socialists”. Sergius Bulgakov also identified himself with that tradition and John Milbank, who develops those ideas today, refers not only to the first socialists of 19th century, but also to works of Russian thinkers including Bulgakov. This article not only points out to the affinity of thought of two authors, who declares themselves to be Christian socialists, but also to the difference in critical methods and in accents on philosophical context in which Marx’ attitude towards religion was shaped. For example, while Bulgakov concerns Marx not to be self-contained thinker in the philosophy history, completely dependent on Feuerbach’s ideas, Milbank goes further, drawing attention to precondition of Marx’ foundations to be already existed in the classic German idealism.

he article is devoted the problem of political domination, which S. Frank discovers in his social philosophy. The structure of society is to be shown through a description of the nature of power relationships. Frank introduces the concept of “moral and legal consciousness of society” in order to show the real structure of power. He understands this concept as a complexly organized law making force. At the first period of his philosophy, Frank criticizes social contract theory. He pays special attention to the phenomenon of the irrational, which plays an important role in any social and political production. For Frank, the question of state mechanism is closely intertwined with the question of the state of personal and collective psychology. Frank’s social philosophy stays close to political philosophy and philosophical psychology. Scrupulous comprehensive consideration of these areas makes it possible to assemble complete picture of a “living” society, which is based on the principles of hierarchism and equality.

The author of the article attempts to implement a “turn to the material” in the analysis of social practices and social risks they generate. Such an approach demonstrates the rejection of the classical subject-object consideration of the issue. Instead, an object-centric approach is proposed, according to which the object comes with the function of an actor in social interaction, which has traditionally been attributed to the subject. The methodology of the object-centric approach used in the article makes it possible to expand in a new way the analysis of the concept of “conspiracy of silence” (E. Zerubavel) – towards its communicative reproduction. The author follows step by step the process of constructing communicative acts that form a kind of multiple ontology of a “conspiracy of silence” around certain events. Thus, exploring the social and political aspects, the article focuses on two trends, say: the “conspiracies of silence”, firstly, can create communicative conditions of the communities solidarity and, secondly, they can create the social risks. The author defends the position that the ontology of the object is not given in the order of things, but it is reproduced in the variety of socio-material practices. As a significant illustration of such position, the author uses the practices of conceptualizing multiple ontologies of the body and the diseases which are negotiated in the investigation of A. Mol, and the symbolic practices of the everyday life coordination (T. Pinch).

The distinctive features and mutual correspondence of the Real and Non-real are considered by the example of theatre as a kind of communicative practice. The term “Non-Real” (hyphenated) is introduced to denote various non-contingent systems of meanings and significations, that serve as correlates of the actual dimensions of human worlds or spaces, as well as the main means of communication. The signs of the Real include, firstly the human corporeality in its movements, actions, feelings, secondly objects with which in one way or another, a human being comes into the bodily contact and acts, as well as a contingence or chance, a combination of the uncertainty and certainty of each time a particul ar human situation. Special attention is paid to the distinction between the Non-Real a system of meanings and the Fictional. The article critically analyses A. Schutz’s position concerning a consciousness of the reality of the on stage performance for which the concept of W. James on the diversity of realities was the starting point. Erving Goffman’s concept of theater as a frame is taken into a detailed account, along with his decision to apply the term “role” to both stage’s and off-stage’s life, that is analyzed critically. A comparison between the theatre and the cinema in terms of communication between viewers and performers is made.

The paper is a case-study, fulfilled as a part of the research project, which aims to investigate philosophical background of the “religious crisis” narrative which was actively used by German theologians of the 1st half of the 20th century. The study concentrates on the material of phenomenological philosophy of the 1900–1930s. Analyzing explicit mentions in the works of Husserl, Reinach, Stein and Scheler and considering biographical and historical context of their thought, the paper tries to observe connections between the considerations of “spiritual crisis” and philosophical programme of the phenomenological movement. The paper analyses as well original projects of refounding the Christian theology, offered by each of the above mentioned authors. As a result, it is possible to distinguish three aspects of criticism of the contemporary religious situation: 1) the conviction that there is a fundamental conflict between the Christian tradition and the intellectual situation of the New Age, 2) concern about the common for science as well European culture as a whole forgetting the essential foundations of all spheres of action, 3) indicating the need to update the theological language andtoclarify the key dogmatic statements. The results of the review can be used to formulate the categories hypothetically inherent in the concept of “religious crisis”.

The article is devoted to the sociological understanding the “meaning of life” by the Russian intelligentsia, the simulation of ideas about the role of the intelligentsia in the public social space, the substitution with the “simulacra” of scientific and educational activities among representatives of modern social sciences and humanities. It presents different points of view on the Russian intelligentsia, designed to express the meanings of life and the social interests of all strata and groups of Russian society, in contrast to western intellectuals seeking to become part of the establishment. The author critically considers the urgency of the public need to uncover the creative potential of the humanitarian intelligentsia and the paradoxical forms of distortion of the meaning of the life of the intelligentsia, the loss of ideas about it as a social and status community, carrying the mission of education, culture, education, social serving to the people. She shows attempts of the intelligentsia ideological mobilization, the imitation of its participation in the democratization of public life, the replacement of the traditional image of the university professor by the person providing “educational services”, in alienating the creative reproduction of the humanitarian intelligentsia.

The article problematizes the main drawback of addictive behavior research – the lack of proper attention to the topic of sobriety as an independent subject of study. Most of the works on the causes of the emergence and analysis of the social consequences of addictive behavior interpret sobriety exclusively in the context of “lack of intoxication”. At the same time, in social knowledge there is a lacuna of endowing sobriety with an independent scientific significance and meaning. In the paper, the author attempts to build an interpretation space for the concept of sobriety from the point of view of various areas of social knowledge – sociology, anthropology, philosophy, and social psychology. He proposed variants of approaches to the study of sobriety as a value, as a stigma, as a life strategy, as the meaning of life and as a determinant of individual subjectivity. In addition to a brief overview of the main theoretical concepts, the article provides examples of applied research in which such approaches to the study of sobriety were applied or could be applied.

This article is devoted to the articulation of issue of creative career. It considers approaches to definition of that type of professional career, features of its development in modern societies, professional groups occupied with creative activity. Central attention is paid to the conditions and principles of its professional regulation, which is associated with the possibilities of professional control. The main methodological approaches and findings in the research that consider different types of careers, specifics of professional regulation in that area are analyzed. The author highlights approaches developed within the sociology of professions. Conclusions are drawn about the main stream and principles of favorable environment for the development of creative careers formation through the build up of opportunities and norms of “negotiation processes” with the state and the market about the areas of competence, as well as relations with society. Ideas about the stages and ethical regulation of the conditions for the creative careers development can contribute to the development of indicators that would organically mark those stages, the general procedures for their evaluation; social measures, such as types of effective employment contracts, social insurance in creative work; rules of expertise regarding career, norms of professional ethics within the community and ways of their influence on professional advancement.

Article analyzes pluses and minuses of use of a scientometrics for studying the science development. It says about scientometrics sources as parts of science of science in Russia and abroad. It is noted that in the 60th years of the 20th century the use of “Science Citation Index” served as quite effective tool for a research of the science development. Currently, the possibilities of ascientometrics have become significantly wider, it is promoted by information technology development. In parallel with the development of a scientometrics there is the absolutization of quantitative data, formalization and depersonalization of information. Especially it concerns the higher school science. On the basis of a series of deep interviews the author analyzes the higher school teachers and researchers opinions and estimates concerning ascientometrics as the performance criteria for faculty members. It is revealed that practice of applying scientometric methods are often simplified and one-sided. Strict requirements on compliance with scientometric criteria lead to formalization of publication activity. The specific market for services on rising the citation indexes and rendering any “publication services” is formed (preparation and placement of articles in the VAK magazines, SKOPUS and so forth).

The article analyzes the estimates of the October revolution of 1917, given by various sources. The positions of the intelligentsia and the authorities are compared on the role of the revolution in the lives of Russians, as well as the consequences that have occurred in the public and private life of the people. In the assessments of the October revolution of 1917, one can see a clear discrepancy between the official literature presented by V.I. Lenin, the textbook “History of the CPSU (b)”, released under the control of I.V. Stalin, and the thoughts of intellectuals – P.A. Sorokin, N.A. Berdyaev, I.A. Bunin and others. It is revealed that representatives of the intelligentsia of those years speak out about the changes in the darkest shades, their book-works and articles are full of the despair, pessimism and bitterness. Many scientists having experienced those events and analyzing it after the years do not lose sight of the losses suffered by the Russian people. The official literature of the Soviet era expresses the position of the ruling elites, does not allow doubts about the success of the revolution, its uniqueness on the world stage, extols the personality of Lenin as a talented and great leader and theorist, and emphasizes the inevitability of the difficulties that the masses endured, especially that all those challenges were in the name of the great goals of the proletarian revolution.

The article is devoted to the substantiation of the possibility of using methodological deaccumulation of knowledge as a strategic cognitive approach in the art studies researches. Importance of input in the art studies disciplinary turn of such approach is caused by need to look for optimal means which could be used for overcoming discourse of the art studies researches – one of the main issues of art studies which undermines fundamental bases of its disciplinary identity. That approach is functional and takes the place of a strategic approach, serving the meta-paradigmal and special methodological cognitive strategies based on the transition from the naturalistic to the activity approach to cognition. In such quality the methodological deaccumulation of knowledge replaces a cumulative stage of the program of science- research activity and sets new productive initial cognitive conditions in which need of obligatory inclusion of the researcher in a conceptual discourse and polemic with conceptual predecessors is overcome. Thus, that approach not only optimizes an individual work of the researcher-art critic who is relieved of irresistible discursive dependence caused by to the pre-paradigmal specificity of art studies as a specific disciplinary subject, but, most importantly, it lays the foundations for a fundamentally new disciplinary culture, potentially possible as a normative for art studies.

The article deals with the artistic understanding of the war as a global catastrophe in the work of a leading Russian sculptor-monumentalist of the 20th century Vladimir Efimovich Tsigal. V.E. Tsigal volunteered for the front. From 1942 to 1944, he was a front-line artist in the Black sea fleet, participating in combat operations and landings upon Malaya Zemlya, Novorossiysk and Kerch. Initially, the sculptor expectedly takes part in the Grandiose program on perpetuation of the heroes and victims of the Great Patriotic war. He creates a famous memorial complex on Malaya Zemlya, also the memorial complex-a monument to the victims of fascism and a monument to Dmitry Karbyshev in Mauthausen. However, years later, terrible insights about the true nature of what happened to him, to his comrades, to the country, make the artist change his view of the past. That space of war as the anti-idea of all human was realized in the chamber art of V.E. Tsigal: in sculptural reliefs, graphic works and epistolary heritage of the master. Thus, analyzing the work of the sculptor, it is possible to trace the vector of inner metamorphosis in the understanding of war as the artist’s complex set of experiences.

In this article the author examines the main stylistic trends of theatre scenery in the second part of the 19th century. It is also noted that the scenery is gradually relegated to a kind of supporting art not having any significant artistic value in the performance. The author outlines the features of the development of scenery art in each decade beginning from the middle of the 19th century. She clearly tells about the substitution of theatre-scenery art for the scenography in its up-to-date meaning. In one part of this work the author analyzes scenery of some drama performances in the imperial theaters. The tremendous vitality and progressiveness of the Wanderers (“peredvizhniks”), the fruitfulness of their artistic method, was reflected in the fact that it was the Wanderer (“peredvizhnik”) Simov who was thefirst to introduce the Stanislavsky system into theatre-scenery art. Obviously, the experience of previous years provided the basis for the further developmentof theatre scenery art as a whole. That particularly enabled the Moscow Art Theatre founders to rethink a lot and introduce new ideas.