DOI: 10.7256/2454-0757.2019.12.31617

Abstract: This article describes the concept of the Sufi communication studies as a new interdisciplinary direction, emerged at the intersection of philosophy, theology and theory of communication. The theory of meaning develops within the framework of Sufi communication studies. The author defines the information leaning on the term of Claude Shannon “anti-entropy” through the Sufi category of “nizam”. Further, meaning is defines as achievement of such resonance in a uniform order that leads to Encounter. The article introduces the following philosophical metaphors: “You-are” boundary, manifestation of “You-are-being”, theological autism, game field, and encounter space. Communicative methodology is applied as an alternative to logical-conceptual and cultural-historical methods in researching mystical literature and medieval sources. The author structures the theory of meaning, where meaning is described through the following attributes: 1) communicativeness, since decoding of a symbol and derivation of meaning is only between the two; 2) dynamism, since meaning is always the result of movement towards the Other, “efforts-towards-You”, vector, path where meaning will signify the “You-Are” boundary, and ending of the path; 3) supra-rationality, when meaning is obtained as love, aesthetic and spiritual experi3ences, aletheia, clarity and light; 4) meaning as an Encounter in understanding of Buber and Bollnow, where the game suddenly ends and encounter is attained, the “You-are” boundary is being reached.

DOI: 10.7256/2454-0757.2019.12.31892

Abstract: Mythologem of the Siberian exile and its role within the structure of national mentality for the past decades is a subject of meticulous research of culturologists, philosophers and literary historians. However, the problem of visual representations of such mythologem, which supposedly in the conditions of modern “visual turn” should attract greater attention of the humanities scholars, it still remains outside of scientific research. The author is firs to determine and align the chronological series of the landmark and prominent  works of the national art capturing the sesquicentennial period of visual documentation of the Siberian servitude and exile, which allows tracing the pivotal transformations of the created visual images at various stages of national history. The study carries culturological character, as it is structured on determination and analysis of the common trends and patterns of the indicated process, claiming no detailed art review of separate compositions. The artworks that became the sources for this research are examined as visual demonstration of the existing within Russian society representations on Siberian exile, and simultaneously, as the way of their formation and establishment. The author outlines parallel between the “known from firsthand experience” – structured on the basis of the existing myths, and emotions – informative, which is related to temporal parameters and level of criticism of the works.

DOI: 10.7256/2454-0757.2019.12.31897

Abstract: The subject of this research is the phenomenon of art as an intrinsic element of the value-normative system of society. Emphasis is made on determination of the role of art in the symbolic struggle of generations for absolute understanding of the world, interpretation of human collective and individual existence, as well as ensuring spiritual security of a human and society. It is noted that if in various eras the relation to art of the bearers of culture may significantly change under the influence of diverse objective and subjective factors, then the status of art as an element of the value-normative system of society remains unchanged. The priority focus of research is the interdisciplinary approach based on axiological methodology for determining value priorities in the society. The following conclusions are made: 1) in the current conditions of social development, art becomes more obscure, difficult to interpret, possibly distorting the reality, henceforth is referred to as art; 2) despite the shift in accents in interpretation of the types and forms of art, it remains a powerful factor of consolidation of society, preserving the worldview experience of many generations of the bearers of culture.

DOI: 10.7256/2454-0757.2019.12.31705

Abstract: The focus of this research is associated with the phenomenon of wide proliferation of information and communication technologies and electronic means of communication. The selection of topic is substantiated by the relevance of following problems: consequences of informatization and virtualization of society; establishment of fundamental grounds of information society; occurrence of crises and challenges in the course of the development of information society. The article examines the process of transformation of socio-communication space in modern society in the context of its informatization and virtualization. The author attempts to determine and describe the basic structural peculiarities of the forming virtual socio-communication space. The research leans on N. Luhmann's theory of social systems, A. Toffler’s wave model of society, M. McLuhan’s classification of the types of communication, G. Deleuze’s philosophical concepts, and J. Baudrillard’s idea of hyperreality. It is determined that the result of informatization of society is a new form of social existence – the virtual social space. It suggests the proliferation of the network method of organization of social systems and formation of a virtual social subject therein. Network structures of the virtual social space are characterized by of deterritorialization, cybernation and decentralization. The genesis of network structures of information society increases the threat of information opposition.  

DOI: 10.7256/2454-0757.2019.12.31564

Abstract: The goal of this article consists in the analysis of the most representative anime movies of Hayao Miyazaki for determining a row of worldview matrixes that may clarify the role of Shinto semiotic concepts in his artistic practice. Relevance of studying Shinto motifs in Miyazaki’s works as one of the prominent and most popular filmmakers within the European cultural space is justified by the fact that the broadest semantic level formed by semiotic concepts of Shintoism slides by the European audience that assesses the works of film director only from the visual and narrative perspective and comprehend only the “surface” meanings, while the Japanese audience is able to read the semiotics of Shintoism along with ideas expressed through it at the level of worldview automaticity due to a tremendous role of Shintoism in the world outlook and everyday use. The article articulates the problem of ambivalence of the modern Japanese society formed after the World War II; analyzes the filmography of Hayao Miyazak and fundamental principles of his worldview, which allowed not only explaining the role of Shinto in his works, but also defining the three functional level of Shinto semiotic concepts applied by him: didactical-worldview, national-historical and social-instrumental. Examination of Shintoism and oriental religions within the national human science allows connecting with the foreign perception of the world, grasp the mentality that drastically differs from the European, and see new semantic meanings in the works of oriental culture. Such expansion of horizons is exactly what needs the modern culture and society within the framework of globalization and constantly changing world.