The paper considers a language functioning from the prospective of phenomenological analysis of the reading. It identifies the written text and its reading as the main means for conveying meaning through the peculiar communication within the text space.

The starting point of the research is Husserl’s interpretation of the tradition (as the meaning translation) explained in “Origin of Geometry”. The article mentions the implicit paradoxes of Husserl’s interpretation: 1) how the meaning becomes ‘omnitemporal’ through its expression in the historical and actual language; 2) how the re-activation of meaning, which was not yet intelligible to us in experience, was not actively carried out.

An idea of the corporeality gestural language proposed by M. Merleau-Ponty could be efficient to resolve those paradoxes. That idea grounds the concept of the “cultural empathy” and allows to trace the relationship between the two components of the tradition issue, taken by Husserl separately: the question of the language expression of the meaning, and the issue of intersubjectivity. Involving the measurement of corporeality and related aspects of the Husserl’s concept of intersubjectivity is productive in describing even those cases of communication when there is no living presence as such.

A resolution of the aporia of time in the third volume of Time and Narrative by Paul Ricoeur is considered in the article. It also considers the statement of an issue that the phenomenological tradition fails to describe consistently the constitution of the objective time on the basis of the time of consciousness. From Riceour’s point of view, the poetics of the narrative can resolve the issue. This paper is focused on the criticizing its resolution through the narrative. The notion of “analytical phenomenology” is introduced here. An analytical phenomenology is compared with Paul Ricoeur’s critical examination of idealistic interpretation of the Husserl’s phenomenology. The difference between phenomenology and hermeneutics, proved by Ricoeur, is investigated too. The author passes criticism upon general thesis of Paul Ricoeur’s phenomenological hermeneutics that any experience is designed to be expressed in language (dicibilité). Depending on the adoption of various theories of language, this thesis opens the way for countless interpretations. It is argued that some phenomena of the experience are not available to language expressions; they can be recognized only in linguistic haltings as moments of silence A typical example of such a phenomenon is an event. Phenomenological hermeneutics of Paul Ricoeur fails to analyse it. As an alternative approach to the concept of the event, the phenomenology of Jean-Luc Marion is proposed..

The focus of the article is not an abstract concept of labour, but the precise human labor, identified with professional occupation, the work aimed at maintaining a decent standard of living and personal fulfillment. Attitude to labor, its role in the human life and society are constantly undergoing changes, forcing individuals to vary and to adapt to new working conditions, learning new professions and skills. In addition to the labor metamorphoses in the end of 20th century, connected with trends of post-industrial society, contemporary researchers, facing strengthening of globalization processes, technological progress and further income polarization in early 21st century, fix unprecedented changes in regard to labor relations and new social phenomena which allow even to talk about the «end of labor» in its traditional sense (M.N. Makarova).

Among them the article considers the rise of a new class called precariat and the precarization of labor relations (G. Standing), the concept of two-thirds society, the phenomenon of meaningless jobs (D. Gruber) and downshifting, which, being a voluntary refusal of the career may be one of possible society reactions to useless, time-consuming labor. One of the potential ways to solve some issues mentioned in the article and supported by a great number of scientists, is the introduction of an unconditional basic income.

The most important criterion of definition of philosophy as a science is the existence of a certain subject of research and of an appropriate method. The Soviet philosopher E.V. Ilyenkov proposed understanding of the subject of philosophy as the logic of human thinking reflecting dialectics of the essence and laws of being, and expressed in the most general categories and concepts. On the one hand, his view of philosophy differed from the positivist concept of philosophy as the “science of sciences”. On the other hand, he criticized the prevailing view of philosophy in the USSR as a science that studies directly the world as a whole, i.e. the most general laws of nature, society and thinking. Philosophy, from the point of view of Ilyenkov, explores thinking not as combination of processes occurring in the brain of an individual, but as universal logical forms of social practice, that develops historically. Ilyenkov denied conceptualization of philosophy as abstract scheme installed above other sciences and regulating their activities (in the form of Kuhn’s paradigm, etc.). According to Ilyenkov, philosophy is a positive science, and only in collaboration with other sciences it develops a scientific worldview. Dialectics is intrinsic to every science, and philosophy should allow scientists to produce a correct, dialectical understanding of their subject.

The article raises the question of the subjectivity level of the Russian intelligentsia, and its ability and willingness to assert interests of the Russian world. The conditions and factors contributing to the reduction of the subjectivity of the Russian intelligentsia are analyzed. As one of such factors, the policy of “dispersion” of the Russian intelligentsia is considered its use as a donor for the development of the national outskirts of the Soviet Union during the USSR. The question is raised about the anti-Russian essence of capitalism in modern Russia and the reasons for the ruling class Russophobia. The author analyzes the mechanisms and objectives of discrimination of Russian culture. He brings up a question of returning the paragraph “nationality” in the passport data. Forecasts are made of eventual development of the subjectivity of the Russian intelligentsia.

The author has investigated the border guards as a socioprofessional group of military intelligentsia, which is endowed with a special culture. The border guard culture is generated by professional qualities and actions of armed protection and safeguarding the State border of the Russian Federation. The author believes the features of that culture give grounds to define and explore it as the form of subculture inherent in the group. The research methodology is developed and the main content of the border guard subculture is substantiated following an analysis of the investigations in the subculture sociology, the border science and extreme situation psychology. It includes the terminal value of “life” and the terminal norm of “institutionalized violence”, the instrumental values of courage, fighting capacity, discipline, efficiency and others. It also contains the manifestation of those qualities in actions as the daily service norms. The research methodology includes 12-point scales of expert assessments of the facts extremity, professional qualities, values and standards of performance. Guard subculture is estimated at the extremity level which reaches a maximum as “extreme” and “hyperextreme “. It is a prerequisite and a factor of adequate actions of border guards, a source of professional qualities.

The author of the article make attempt to trace the dynamics of the development of the European magistracy, to identify the features of its formation in the German higher education, compare this experience with the Russian. Оn a basis of the analysis of official documents, statistical data and the results of the surveys conducted by the German researchers, the author shows how under the influence of external and internal factors in Germany, the second level of higher education is formed. In particular, within the framework of expanding the availability of education, not only universities but also professional higher schools received the right to carry out training in master’s programs, which led to the formation of not only academic and applied magistracy, but also it another varieties. In turn, the course of reducing the period of study in higher education ensured the establishment of such a close relationship between programs of the first and second levels of training that the defense of the bachelor’s degree work perceive not as the end of the first stage of higher education, but rather as an intermediate test necessary for continuing in magistracy. It explains the low level of internal mobility during the transition from the first to the second level of higher education. Summing up the twenty-year experience of Germany on the transition to multi-level higher education, the author concludes that in the presence of a variety of types and forms of training, as well as degrees awarded, single-level training of specialists, adjusted to modern requirements, continues to operate in Germany.

Article analyzes the phenomenon of Russian rap, the reasons for the growing popularity of rap in Russia, the protest potential of rap and its poetry features. . The attitude of the generation of millennials, the specifics of their communications and speech practices are considered. The attitude of young people towards rap culture is analyzed, .The social aspect of the popularity of rap culture is studied. One of the features of Russian rap culture is that with today ‘s social stratification of Russian society Russian rap has no class and national-cultural barriers. Among the 20 most popular Russian rappers there are representatives of many cities and regions of the country and former republics of the USSR. Rap culture in Russia is multinational. Rap performers do not share “low” and “high” in culture. In the texts of Russian rap there are existential meanings and gross swearing, we see a mixture of English and Russian words, the Latin and Cyrillic. The super popularity of rap is determined by a number of factors: universalism of rap, the ability to be perceived by any audience. The Internet is a powerful tool that makes it possible to quickly distribute and replicate rap culture. Russian rap is much more than the situational youth subculture that emerged on the crest of fashion. Rap became a form of manifestation of the youth maximalism and self-affirmation, the protest against injustices of life, a search for internal support in rapidly changing world.

The article analyzes the main interpretations of the concept of “paraculture” in modern research. The concept itself is closely related to the generic concept of “culture” and the main approaches to its interpretation. Exactly the axiological approach to culture contributes to the development and improvement of the man and society. In the framework of the postmodern paradigm, the concept of “culture” is significantly modified and expanded, including dehumanistic and non-rational foundations. The concept of “paraculture” along with the concepts of “quasiculture”, “pseudoculture”, “anticulture” in modern scientific and journalistic literature is used as a synonym for mass culture, in the context of the degradation,commercialization, and popularization of low values. In addition, along with that meaning, the concept of “paraculture” is used to denote occultism. The surge of interest in occultism is explained by postmodern disappointment in a rational, scientific picture of the world, in traditional religious dogmas and in searches for irrational ways of cognition. The permanent state of uncertainty and the existential challenges of our time also became important reasons for the global spread of paraculture. The article analyzes the process of expansion of the occult, esotericism, interest in paranormal phenomena in the world.

The article concerns one of stylistic tendencies in English country house architecture of Late Victorian time, ‘Queen Anne style’. That time in the field of manor architecture is characterized by a motley stylistic variety. However, the so-called “national styles” come to the fore. An appeal to the images of the national past was characteristic for the Victorian time in general. The interest was aroused mostly for the epochs that were considered ‘golden age’ of British Empire, such as medieval heritage or the Tudor epoch.

In the Late Victorian time the attention of architects is increasingly drawn by the Queen Anne epoch. The article examines the features of the interpretation of architectural images in Victorian age. That interpretation is discussed in two aspects: the planning decision and façade composition.

The article traces the changes occurring in those years in the planning of country houses, as well as the relationship of those changes with the social situation of the Late Victorian time and the nature of the order. It considers also the deliberative (in the scientific literature) question of the ‘Queen Anne style’ chronology and its distinguishing peculiarities

Jean Dubuffet (1901–1985), artist, collector, theorist, made a significant contribution to the formation of Art Brut in the period of the mid-twentieth century. The article reveals the Art Brut discourse during the analysis of the collector’s, exhibition’s, organizational activity of Jean Dubuffet, as well as his theoretical reflections. The study was conducted in the perspective of the methodology of the Michel Foucault discourse and the emergence surfaces, demarcation authorities, and gratings of Art Brut specifications were defined. The study analyzes a large range of biographical sources and theoretical texts of Jean Dubuffet, as well as works on the history of outsider art and Art Brut. In the course of the research is determined that Art Brut as a historical phenomenon at the initial stage was formed through Jean Dubuffet’s passion for the art of the mentally ill, which he had got from the book of Hans Prinzhorn. During the 1940-1950s the community of collectors, art dealers, gallerists became the main authorities of delimitation of Art Brut discourse and at the stage of the 1950s – the beginning of the 1960s museum institutions and various forms of scientific discourse were also connected to that circle. The grids of Art Brut specification were described through the gap between European culture and the “savages’ values”.

The article develops the concept of “projective identification” within the framework of identification theories as applied to the analysis of contemporary cinema. In the article, it is proved that cinema, in search of scenes, turns to fabulous and archetypal models that enhance the hero’s projection, identifying him or her with a role model. Such an identity becomes fatal for the hero himself. The striving of new Russian cinema, while maintaining a projective identity, to expand the range of identifications during dialogue with the viewer is also noted.

A critical analysis of theories of identity and an analysis of the specifics of screen art makes it possible to clearly distinguish between the identity and identification, and to distinguish various levels of identity due to the specifics of identification. An analysis of the motivations in the film and of the screen arts conventions made it possible to clarify at which point or defining moment in the film such identification begins. The author proves that it is associated not so much with the specifics of the plot as with the specifics of the visualization, due to the narrative substrate and the boundaries of its onscreen deployment.

Projective identification is considered as a resource of the spectator’s experience and as an innovation in cinema. It is proved that the modern existence of cinema in the space of new media and new arts turns what we consider art methods or devices into identification strategies that work differently depending on the expectations of the viewer and director’s optics, which becomes fundamentally changeable and unpredictable.

The article deals with the results of studying the factors that influenced the growth of popularity of French Comedy among the mass audience in 1970s. More than 120 films of the Comedy genre of the French production released in hire in the considered period are analyzed. The presented subject is not investigated neither in the Russian, nor in the French cinema literature, is of interest to a profile reader, the researcher of the French cinema. The relevance of the topic is obvious: in today’s difficult tough time Comedy films are especially need. They, along with good fairy tales, make the world and society kinder, more responsive, distract from negative thoughts. Laughter prolongs life-all familiar Maxim, so the search and finding the formula of laughter in our days are very popular. The formula of success of the French Comedy of 1970s which can be used for similar estimates in relation to modern film production is offered.