DOI: 10.7256/2454-0757.2020.9.33801

Abstract: The object of this research is the popular within modern academic environment, but yet hypothetical without a precise definition, concept of “post-truth”. The subject of this research is the correlation between routine thinking and post-truth as a mode of functionality of the meaning. An attempt is made to clarify the interdependence of “post-truth” with the daily background practices. The concept of “post-truth” is based on the problematization of veracity in relation to dynamic development and expansion of communicative environment. This concept is attributed not only to political reality, but also influences the cultural, artistic and everyday life. The article indicates the key characteristics of post-truth: pluralism, fragmentation, consumer nature of truth, instrumentality, contextuality, post-publicity as an environment for people’s communication using technical means. A hypothesis is substantiated, according to which the “background expectations” as an important element of daily routine are one of the crucial conditions for functionality of meaning in the mode of post-truth. The goal of thus article consists in problematization of the concept of “post-truth” through correlation of its characteristics with the logic of routine thinking, as well as in indication of certain trends in the culture of post-truth. The relevance is justified by the need to clarify the meaning of the concept of “post-truth" for modern culture as a whole. The conclusion is made that the culture of post-truth is a more complex and multifaceted phenomenon, which is not limited by manipulations of public opinion and deception in mass media. Post-truth manifests as a condition for overcoming truth/falsehood dichotomy in the everyday life. In the culture of post-truth, emerges complete distrust in media (especially those that are considered reliable, such as documentaries). This contributes to the formation of “new truth” that rehabilitates the routine subjective experience, artistic language (post-documentary films), resulting in a so-called unveiling of total simulation through construction of individual, subjective perception in the media reality.

DOI: 10.7256/2454-0757.2020.9.33776

Abstract: The aim of the study is to clarify the aesthetic concept of color perception from the phenomenological reasoning of Edmund Husserl. Today, the orientation diagram of the field of phenomenological research is formed in various zones: from theological to naturalistic. In which of these zones the structures of the phenomenological analysis of color are located is not an easy question. The coloristic region is constituted according to the degree of consciousness, including aesthetic consciousness. It is extremely difficult to meet with the phenomenon of color, if only because its obviousness is fulfilled only by the fervor of the contemplative consciousness with its aesthetic pathos, a consciousness that distinguishes between, as it were, the reality of transcendent color and the aesthetic "continent of givens". We are talking, as Husserl would say, about the halo of consciousness, referring to the essence of perception performed in the mode of turning to the beauty of color. For the first time, approaches to the study of such a complex phenomenological topic as the description of a coloristic attitude, the eidetics of color experiences in Husserl's philosophy are outlined, the significance of its development for the comprehension of aesthetic and artistic consciousness is revealed. The main conclusions of the study are related to the philosophical interpretation of the idea of color as included in phenomenology in the experience of philosophical surprise, which turns into the acquisition of the essence of "phenomenological color" in general, and in aesthetics it is directly correlated with the appearance of its structures on the horizon of the harmonic synthesis of acts of perceptual performance in the imagination, "primordial giving visions" of color, with the creation of a picture coloristic impressions as cognitive emotions, reduced pure color perception, with an understanding of how art makes the very conditions of color visibility obvious, how its artistic synthesis is made, in the structure of which correlation analysis can see an analogue of a priori empiricism – this fundamental characteristic of purely Husserl synthesis and method revealed in domestic studies.

DOI: 10.7256/2454-0757.2020.9.33641

Abstract: The object of this research is the wordless novel – a genre at the confluence of literature and fine art that appeared in Europe in the late 1910s. Most of the time, the author of the narrative in wordless novel is the artist himself, and the compositions has no verbally foundation. Verbal function is performed by a visual component. The visual component is  illustrative, but independent and performs verbal functions. Frans Masereel – the founder of the genre and originator of the term, and Lynd Ward – the artist who contributed to proliferation of the genre in the United States, are two most prominent figures with in the genre of wordless novel. For other artists it was more of an experiment, therefore namely the works of Masereel and Ward were selected for this analysis. The main conclusions are associated with the peculiarities of literary language of wordless novels, the specificity of which is substantiated by the need to solve the tasks of the opposite in its essence verbal language, without having any suitable tools. Images in the wordless novels are narrative, and exist to the fullest only within the framework of the series. Moreover, these images are processed through experience of the text. Although the very idea of the genre consists in carrying out narrative without using words, it does not distort the verbal component. It is rather being transformed, shifting to inner layers of the image, and acquiring an implicit character. The article analyzes the key visual tools used by the artists in creation of wordless novels.

DOI: 10.7256/2454-0757.2020.9.33938

Abstract: The subject of this research is the problems of professional piano education outlined by the Chinese and Russian authors. The article features a level model for description and summarization of the following relevant problems of Chinese piano education:1) locally observed (isolated) problems; 2) problems of insufficient professional qualification of pedagogical personnel; 3) absence of universal theoretical-methodological framework for preparation of the highly qualified personnel; 4) theoretical-methodological problems of fusion of the European fundamentals of pianism with the peculiarities of Chinese traditional culture. The levels are discerned by gradation of the problems from evident and local, i.e. in the experience of students and educators, to more general (abstract) problems, which being theoretical and methodological, manifest as the sources of problems of the previous level. The author reveals the sublevels of the highlighted problematic areas and makes emphasis on interconnectedness of the indicated problems. This leads to the conclusion that the source of difficulties in Chinese piano education lies in the unresolved problem of integration of the international experience of piano education into the educational realities of China. The author believes that the conflict between the national and the European in Chinese pianism could have been overcome by getting rid of the idea of incompatibility of these piano cultures and creating an integrative model of theoretical-methodological fundamentals of professional musical education, which would combine the positions of Chinese and Russian scholars and pedagogues dealing with the theoretical-methodological problematic.

DOI: 10.7256/2454-0757.2020.9.33986

Abstract: The subject of this research is the problem of the meaning of life in Russian philosophy and in perception of modern students. Based on the analysis of essays on the topic “The problem of the meaning of life in Russian philosophy and personal perspective on the problem” written by the students of Altai State University, it was determined that the students understand the positions of Russian philosophers in this regard, accept or reject certain points of view described in their philosophical works. Main attention is given to the personal perspective of students on the meaning of life. The article compares the results of analysis of the essays with sociological research presented in the literature. The author revels the life-meaning orientations of modern student youth and their stance on one of the fundamental problems of Russian philosophy. Freedom in choosing the path of life, and right to seek their meaning in life, fulfilling of personal creative potential, good intentions – these are the ideas of Russian philosophers most affined to modern students. The students expressed both negative and positive opinions on the writings of Russian philosophers, which is an expected result of comprehension of a profound topic and attempt at self-determination in modern realties.