The coincidence of the symbol with reality is an ancient question, which in Vyacheslav Ivanov’s symbolism is re-proposed as absolutely current, at the beginning of the 20th century and even more so today, in the third millennium. Ivanov’s reflection on “form” begins with the mystical search for the “inner form” that characterized the history of the Symbolist movement, and in general of the whole “silver century” of Russian culture. The common sentiment led to changing the cultural and social forms, and at the same time to the rediscovery of the sources and the authentic nature of the Russian soul and its poetic and literary expressions, but also theological and ecclesial ones. The union of soul and body, of being and essence, in the movement of reality is the encounter of the divine and the human, which gives meaning to the existence of the universe: it is the movement of the “Stars Nocchieri [Pilot Stars]”, title of the first collection of poems by Ivanov. Faith is not a denial of power, as Nietzsche argued, but it is the act in which the whole power of being manifests itself in the form of living beings. In the post-modern era, the Nietzschean objection is taken up in an even more radical and nihilistic form, for which there is no unity between form and matter, since the essence of both one and the other is excluded: the divine origin of every being is not denied, the being of every reality is denied. It is therefore more necessary than ever to rediscover the meaning of the existence of things, not to save the divine, but not to completely lose the human.

Reflections on the nature of angels in Russian religious philosophy are inseparable from political theology and reflection on scientific and technical achievements. Based on the works of N. Boldyrev, A. Losev and S. Averintsev, the article proves that the doctrine of angels was to spiritualize technical progress and not less to preserve humanitarian culture in the field of symbolic-mathematical speculation. Therefore, Russian angelology is dialogical and controversial: it relies on the hermeneutics of a symbol, while symbolism is considered as part of intellectual production parallel to technical invention. It is proved how exactly the reception of ideas related to the parameters of perception and a certain style of intellectual reasoning made it possible to single out questions about angels into a separate area of philosophical problematization. Accordingly, the study of how exactly the questions were thought of as autonomous, makes it possible to clarify how Russian thought could assert the autonomy of orders of philosophical reasoning.

In his treatise on Suprematism, Kazimir Malevich criticises transcendentalism and contrasts it with transcendence. Malevich is critical of the transcendental paradigm, as he essentially turns out to be a platonist. Pavel Florensky also criticizes transcendentalism – that precedes Malevich in time. Florensky views Kant as rooted in a “human” perspective and matches him with Plato. Florensky’s proposal, like Malevich’s later, is to return the transcendent. By comparing Florensky’s work on aesthetics and Malevich’s theory of new art, one sees that both authors criticize the illusionistic character of perspective and European painting. Florensky continued the concept of “reverse perspective” in iconography. Malevich argued that his fellows felt a close connection to the icon. It is also known that both Florensky and Malevich taught at art institutes (GINHUK and VKhUTEMAS) and worked to protect cultural heritage. In the theoretical works on metaphysics and art, the positions of Malevich and Florensky converge, as both were platonic. Thus, it is important to compare these figures in their different guises in order to identify the features of the revolutionary era.

The Religion-Science relationship is often understood as problematic, and they themselves as sides in the confrontation between clericalism and scientism. Against the background of these polemic party positions the study of the positive significance of theological toposes, tropes, mythologemes in science stands out, when it is conducted secularly, and even more so emphatically atheistically. One of the vivid examples of that is met in the reflections of two French philosophers of Russian origin, Alexandre Koyré and Alexandre Kojève. By studying the genesis of science, Koyré discovers that modern mathematical physics requires a homogeneous world, and it became so for the first time in Christian Europe in the 16^th–17^th centuries. Kojève continues Koyré’s reflections – according to him, the application of the celestial science of mathematics to terrestrial physics became possible through the habit of European thinkers to the scandalous thought about the Incarnation of God, about the possibility for the infinity and for the perfection to be born in the flesh and thus “heal” it. The positions of both have their origin in Hegel’s thoughts, but in some points do not agree with him. The research consists of three parts published in three separate articles: on the foundation of Modern science according to Koyré, Kojève and Hegel. The here presented third part is about Hegel.

The article analyzes the socio-political views of Russian citizens about the future of the Russian state and Russian society. Analyzing the dynamic data series of the monitoring “How do you Live, Russia?” and its last wave of November–December 2020, the authors consider the changes in mass consciousness in terms of assessing the effectiveness of the government’s efforts to ensure the most important rights, freedoms and norms of the social state and the democratic regime, which manifests itself in the attitude to the existing political system and affects the level of trust in the government, where the executive power traditionally leads. Identifying the expectations of Russian citizens about the possible development of the country in the political, economic and cultural spheres, the authors conclude that the level of socio-political optimism allows one to describe the existing political system as fairly stable, on the one hand, with a high level of legitimation, on the other with a high level of alienation of citizens from power.

This article considers approaches to studying the career capital in the interdisciplinary career studies from the point of view of the creating conditions issues for professional development of employees. The concept was formed within the framework of the interdisciplinary career research, based on the concepts of the human, social and cultural capital, as one of the tools for understanding new processes in the field of labor. The content of those processes determines, among other things, the growing variety of career models and the need to adapt them to organizational strategies. Attention is focused on studying those concepts in two principal directions: considering it as a tool for management practices in modern organizations and considering it in the perspective of the career theory development. Conclusions are drawn that approaches to considering career capital are based on interdisciplinary interaction and understanding of the multilevel context of a career in the organizations research. Groups of environmental infrastructure factors are identified for the development of professional promotion opportunities; professional training of employees; individual career success.

The present technical intelligentsia, engaged in industrial production, has a significant intellectual potential, which is realized in its inventive activity. There are two ways of implementing that: formal and informal. The formal path (the possibility of registering its inventions through patents and the formalization of intellectual property) is characterized in general by a trend towards a decrease in applications for industrial designs, as well as uneven submission of them from the regions. The most popular and actively used among representatives of the technical intelligentsia is the informal method, which makes it possible to prove oneself among like-minded people and discuss the complexities of the patenting and implementation, new industrial designs, as well as business ideas, startups, features of modern industrial and scientific and technological policies on electronic platforms and forums.

The article considers an issue of the formation and embedding of the newest spaces (in particular, creative ones) into the urban landscape, the formation of which became both a consequence and a condition for the formation of a post-industrial society in the digital economy, which is actively discussed not only among foreign researchers, but also in the Russian humanitarian discourse. The emergence of such spaces updated the themes of using the creative potential of people in the formation or conversion of urban sites, revitalizing abandoned industrial areas, choosing a place to live, ways of spending the leisure time and much more. Creative spaces have become objects for the realization of human needs in the newest conditions of our time due to their key property – the use of the individual creativity of the site users. The article presents the results of a number of qualitative studies conducted from 2018 to 2020, including: content analysis “Creative space in Russian and Western practice”, expert interviews “Formation of creative spaces in modern Moscow through the eyes of experts”, and social mapping “Map of art-clusters of Moscow”, which made it possible to describe the hierarchy of creative spaces, the general algorithm for their formation, the conditions for the long-term existence of such clusters, as well as the peculiarities of their appearance on the map of Moscow.

The issue of the situation of women facing domestic violence in emergency situations, including the environmental and man-made disasters, pandemics, in general, remains poorly understood. The main body of scientific publications on the topic is represented by quantitative and qualitative research conducted in Australia, Canada, New Zealand, and the USA. Several important events have taken place in the Russian Federation over the past few years, which, in our opinion, have aggravated the issue of domestic violence: firstly, cessation of the statistical recording of offenses related to beating the family members and other close persons, therefore, the main data were obtained by the authors from non-profit organizations that provide assistance to victims of domestic violence. The second event that affected every country and territory is the COVID-19 pandemic: the first and second waves of the pandemic entailed restrictive measures, which provoked socio-economic tensions in isolation. The COVID-19 pandemic is classified as a public health emergency of international concern by the World Health Organization Declaration. In that context, the issue of the risks of domestic violence is of particular relevance.

The painting of the Kronstadt St. Nicholas Naval Cathedral is one of the largest and little-studied monuments of Russian church painting of the early 20^th century. Тhe study of the iconographic program of the painting of the cathedral will fill in the gaps in our understanding of the development of Russian art of that period. The article undertakes an iconographic analysis of some compositions united by liturgical symbolism, which brings us closer to a more complete understanding of the artistic method of the authors of the painting.

The theme of immortality as eternal life, which took an important place in the art of the period of the Great Patriotic War / World War II, was most fully expressed in the projects of memorial architecture. The competitions for projects of city centers, monuments and memorials, which were already widely held in those years, became a noticeable phenomenon of artistic life, and the graphic works themselves show that the very content of the concepts of memory and remembrance during the war years underwent significant changes. The attitude to memory becomes an essential dimension of the concept of memoriality; with the saturation of memory by symbols, a new interaction of the perceiving, experiencing and interpreting consciousness appears. That is how the mythologeme of Return is realized and the cultural tissues damaged by the revolution are regenerated. The study of the archetypal concepts of Life, Death, and Immortality in architecture, the visual arts in connection with similar phenomena in journalism and wartime poetry, allows one to understand how the return to lost values is reflected in artistic imagery, affects the cultural climate of the era, endows it with the features of tragic humanism.