DOI: 10.7256/2454-0757.2019.6.29279

Abstract: The subject of this research is one of the least advanced and most discussed phenomena of globality. The author assumes that the phenomenon of globality appears to be that core subject, and in globalistics – even the object underlying the global vector of science. It is demonstrated that this ambiguous concept gains more and more relevance as the world is rapidly turning into the global world, influenced by human activity along with natural factors – global processes and constraints. The author examines the meanings of the concept of globality in modern science, and specifically the ongoing transformation of “global” from quality of the subject into “globality” as the object of research; as well as determines the basic forms of the concept of globality within the global cluster of scientific knowledge. The author applies the integrative-interdisciplinary, system and global approaches; historical and evolutionary methods of research; as well as a set of other scientific methods, such as forecasting and studying of future. The article illustrates the main forms of globality: spatial-geographical, spatial-temporal, and qualitative-conceptual. The author also refers to the listed above main forms of globality the existential meaning of the concept of globality, associated with the global risk and global security. The article discusses the peculiar types of globality with regards to global phenomena, mostly on the examples of globalization and global problems. It is suggested that globality manifests as the basic concept for global studies, guiding the vector of scientific inquiry.

DOI: 10.7256/2454-0757.2019.6.30130

Abstract: The second half of the XVIII century is characterizes by the appearance of first treatises on mastering playing the harp; each of them contained information on the elements of music texture and techniques of playing the harp, as well as had individual peculiarities. Thus, the subject of this analysis became the evolution of the harp performance in the context of characteristics of instrument’s structure, aesthetic ideals and methodological trends of the harpists in the XVIII century. The goal lies in the need for theoretical interpretation of the role of harp pedagogy of the XVIII century in establishment of artistic performance. Methodology includes the interdisciplinary approach that allows attracting scientific theories and concepts from other fields of knowledge, such as philosophy, art history, culturology, psychology; historical-culturological for determination of factors contributing to alignment of the European culture with other cultures; system approach aimed at studying professional artistic performance as a result of the development of harp pedagogy of the XVIII century. The scientific novelty consists in complementing the knowledge, systematization of new information of the professional artistic performance as a result of the development of pedagogy of the XVIII century. The author underlines the need for further examination of the evolution of technical elements of harp performance in the historical context and the future. It is noteworthy to reveal the origins and peculiarities of establishment of different national harp schools.

DOI: 10.7256/2454-0757.2019.6.29563

Abstract: The subject of this research is the philosophical image of the devil as the progenitor and carrier of all evil, personified in the characters of Mephistopheles (Goethe’s “Faust) and Woland (Bulgakov’s “The Master and Margarita”). For achieving the set goal, the author determines the dialectics of internal and external in images of the devil; separates the common and peculiar in artistic depiction and philosophical interpretation of evil in the works of J. W. Goethe and M. A. Bulgakov; describes the role of devil’s forces in the Universe, as well as the problem of good and evil in both oeuvres. Research methodology contains the historical-philosophical analysis for objective completeness of the study; culturological and comparative approaches for establishing spiritual connection of the writers from historical eras. Throughout the XVIII-XX centuries, the image of the Duke of Darkness has experienced significant metamorphoses, substantiated by cultural, philosophical and moral changes. In Goethe’s perception, good and evil are absolutely equal in their power, but completely opposite to each other potentialities. He created a unique conceptual reality, which set the scale for philosophical and culturological interpretation of Satan in the XX century. The author traces an apparent correlation between the images of Mephistopheles and Woland. Mikhail Bulgakov in his novel, depicted the devil as power that often objectively doing good and punishing the unworthy, having developed a philosophical interpretation of evil applicable to the realities of Soviet Russia.

DOI: 10.7256/2454-0757.2019.6.29614

Abstract: This article reviews the type public consciousness, collectively expressed in the concept of Aristotelian subject, in relation to the characteristic context of the various forms of conceptualizations of the “end of history” in the conditions of the existing global world order. Historically, Aristotelian subject for a great while has exemplified the essential degree of rationalization and cognition of social being. Its gnoseological role simultaneously has always been balanced out by the irrational factors of religious-mythological institutionalized practice with the necessary conceptual formalization. At the same time, the criticism of actual destruction is often subjected to the same processes of losing the methodological scientific reference points. It typically tries to rely on the religions dogmas, pursuing the line of fideism, and ultimately, obscurantism. In such moment, both, the apologists of the existing state of things, and the seemingly irreconcilable critics, are quite in accord, and as their creation reveals the example of multilevel protection of the established world order. In the course of this work, the author applies the method of dialectical analysis in the context of Hegelian principles of the concreteness of truth, coupled with the logical-critical orientation. Throughout multiple centuries, the pan-European civilizational discourse has been functioning in controversial unity of the own rational, nonrational, and irrational components. The author demonstrates evolution of the cognitive Aristotelian type towards the gradual destruction of its rational-conceptual core, loss of the true civilizational-existential meanings under the prevailing influence of the supremacy of plutocracy. Presently, Aristotelian subject has completely dissolved in the atmosphere of postmodern analogy and decentration; while the processes of true public cognition not only gained back same problematic as thousand years ago, but also special relevance.

DOI: 10.7256/2454-0757.2019.6.28679

Abstract: This article is dedicated to the question of understanding of “melancholic” beauty in different cultures. The object of this research is the influence of the idea of melancholy upon comprehension of beauty in the Russian and Korean cultures. Having defined and compared “melancholy” and beauty in Korea and Russia, the author attempts to determine the specificity of “melancholic beauty” in both cultures, primarily, in Russian. Methodological foundation is the methods of comparison and ethnolinguistics that allow viewing culture based on “keywords”. First, the article provides definition to “melancholy”. If Russian melancholy is the feeling of “narrowness of the expanse” and “feeling abandoned by God”, the Korean Han is an “unrealized desire” that appears as a result of constraints or misery. Both, Russian melancholy and Korean Han contain the sense of hope; they are also similar in overcoming through creation. Then, the article explores the impact of the sense of “melancholy” upon the perception of beauty in both cultures. The conclusion is made that in Russian “melancholic” beauty, the “sadness of blank background” is usually balanced with the ornamental images that serve as a “pillar in the blankness”. The Korean “improper beauty” of meot – is the beauty of flow, rhythm and its disturbance (therefore, traditionally it is not associated with color). The feeling of Han in beauty of meot is balanced by joy of Jeong. Thus, the meot objects contain senses of both, irony and melancholy.