Abstract: The author of the article introduces the idea of the personality map by using the category of "anthropoid cartoid". The author suggests that we should consider the problem of personal development from the point of view of a guide/map created by a person in the process of his personal development. The researcher underlines the need for creating such a map and at the same time stresses out how difficult it is to develop it. The latter is due to the fact that modern man is experiencing the "after Auschwitz" situation, a cultural pause, i.e. the time when previously adopted basic cultural symbols and patterns are either destroyed or fundamentally changed. The author demonstrates that a form of cultural transmission in such a situation is the testimony of one who has the ultimate anthropological experience. The author emphasizes the complexity and fraught with such experience in witnessing the 'after' situation. The author of the article introduces a number of principles forming the basis of the anthropological cartoid that differs from the usual personality map because it is both an external tool for personal self-navigation and a diary/part of personality of a person who creates the map. The intruduction of the term 'cartoid' allows to point out peculiarities of personal development. The novelty of the article is caused by the fact that the author offers a definition of anthropoid cartoid and describes a number of the basic principles the anthropopractical method of creating the anthropoid cartoid is based on. The author emphasizes the need to work on creation of such anthropoid cartoids as the sitution of recession of the symbolic horizon of culture, i.e. the situation that was called The After Auschwitz Situation. The author stresses out the problem for transferring experience throughout generations in the after auschwitz situation characterized with the ontological emptiness and fundamental inability to transmit experience and cultural patterns. This emphasizes the need for creating a personality map that would be based on different principles rather than usual individual development pathways.

Keywords: personality map, situation of human being, semantic self-navigation, anthropoid kartoid, egonal, evidence, after Auschvitz, conductor culture, tutor, symbolic horizon

DOI: 10.7256/2454-0625.2015.6.67056

Keywords: symbolic horizon, tutor, culture conductor, personality map, situation of man, semantic self-navigation, anthropoid cartoid, egonal, evidence, after Auschwitz

DOI: 10.7256/2454-0625.2015.6.16643

Abstract: The article is devoted to the role of the semantic inversion in cultural archetypes of socialist realism and Soviet Pop Art. The author of the article traces back to the relationship between socialist realism and didactics of Christian world perception. Limanskaya defines the role of semiotic codes and iconographic formulas that allowed the ideology of socialist realism to acquire the status of a particular worldview in art. The author also describes ideological stereotypes of socialist realism and analyzes types of their deconstruction in Soviet Pop Art. The research method is based on the comparative analysis of cultural archetypes in socialist reliasm and Soviet Pop Art. As a result, the author comes to the conclusion that in Soviet Pop Art the change of the semiotic code of socialist reliasm is based on the semantic inversion that appears in response to structural symmetry of cultural archetypes. The research method is also based on the research of the role of cultural archetypes and inversion of art images in iconographic programs of socialist realism and Soviet Pop Art. According to the author of the article, socialist realism deconstructed the Christian mythologem and replaced it with the Communist mythologem. That substitution was possible due to their structural symmetry. The change of the semiotic code of socialist realism in Soviet Pop Art was also based on the mechanism of the semantic inversion as a response to the structural symmetry of existing semiotic codes.

Keywords: propaganda, typification, social art, socialist realism, metaphorical / figurative sense, archetype, metahero, ideology, semiotical, code

DOI: 10.7256/2454-0625.2015.6.67057

Keywords: ideology, metahero, archetype, metaphorical / figurative sense, socialist realism, social art, typification, propaganda, semiotical, code

DOI: 10.7256/2454-0625.2015.6.16663

Abstract: Fashion is the phenomenon, which has already become an essential part of pop culture and has its influence practically on everyone, but in the field of science the attitude to this phenomenon hitherto is a bit skeptical. Nevertheless sociology is a branch of science which takes fashion seriously trying to construct theoretical investigations in order to define the role played by fashion in society. Thereby the subject of the present research is the analysis of different theories of fashion in sociology as well as the attempt to trace back the genesis of the fundamental classical theories in following concepts. The study of these theoretical models of fashion in terms of their historical perspective will lead us to the description of the essential features of fashion discovered through analyzing the 'intersection points' of different fashion theories. A big variety of fashion theories is caused by the nature of fashion that always changes its meaning at different historical epochs. That’s why the analysis of the genesis of fashion theories is one of the ways to understand the essense of the phenomenon of fashion.

DOI: 10.7256/2454-0625.2015.6.67058

Keywords: fashion, imitation, body, ambivalence, identity, fashion actors, infiltration theory, conspicious consumption, democracy, gender

DOI: 10.7256/2454-0625.2015.6.16632

Abstract: The conversation with Abraham Solomonik has been recorded within the framework of the editorial project 'Who creates philosophy in Russia today' and devoted to the philosophical aspects of semiotics that expand the linguistic turn of the humanities. Abraham Solomonick (born in 1927) is a doctor of pedagogy, expert in teaching foreign languages, lexicographer, philosopher and founder of the original 'general semiotics' (the theory of signs, sign systems and semiotic reality). In 1974 Solomonik moved Israel with his family where he taught Hebrew to repatriates from other countries. After working for the Ministry of Education of Israel for 18 years, he got retired and started to work on semiotics. Since then, he has published over a dozen of articles devoted to semotics both in Russian and English. He lives in Jerusalem. He is the Professor Honoris Causa and a member of the Russian Academy of Information Sciences (Moscow). The following books written by him are published in Russian: 'Language as a Sign System' (Moscow, 1992), 'Philosophy of Sign Systems and the Language' (Minsk, 2002), 'Positive Semiotics' (Minsk, 2004), 'Paradigm of Semiotics' (Minsk, 2006), 'Syntax in Sign Systems' (Minsk 2007), 'Essay on General Semiotics' (Minsk, 2009), 'Semiotics and Knowledge Theory' (Moscow, 2012), 'A Theory of General Semiotics' (Cambridge, 2015). In his conversation Nilogov has used semiotic, hermeneutic, linguistic, comparative historical reserach methods and the method of interview/conversation. Already at the beginning of the last century a Swiss linguist Ferdinand de Saussure stated that language was a system of signs and linguistics should be regarded as other semiotic disciplines, or even seen as the leading branch of semiotics. Ever since then there have been ongoing discussions on the place of language among other sign systems. The theory of general semiotics presented by Abraham Solomonick claims to explain the laws of functioning of all sign systems, from the most primitive (semaphores, for instance) to the most complex systems (language, mathematics, mustic language, etc.). Therefore Solomonick's approach to the place and role of languages in the universe of semiotics is seen by Nilogov as very important, all the more so as Solomonick's approach plays a specific role in a range of never-ending and constantly changing views on this problem.

Keywords: philosophy of antilanguage, philosophy of semiotics, antilanguage, sign reality, ontological reality, Solomonik, sign system, semiotics, philosophy of language, general semiotics

DOI: 10.7256/2454-0625.2015.6.67059

Keywords: Solomonick, ontological reality, sign reality, anti-language, philosophy of semiotics, sign system, philosophy of anti-language, semiotics, philosophy of language, general semiotics

DOI: 10.7256/2454-0625.2015.6.15305

Abstract: One of the themes discussed by Rozin in his article is the possibility for the synthesis of art and science. Discussing this topic, the author creates the discourse that combines scientific and art genres. Relying on modern philosophical, semiotic, psychological and biological researches, Rozin establishes the concept of 'cosmogual' in a form of a novel. In his novel cosmoguals are aliens who feed on mental energy of humans and have long been guiding human development and evolution. The first part describes how the author of the novel Mark Vadimov has learnt about cosmoguals from the Black Communicant and what comogualies are. Victor Zun, Vadimov's friend who died tragically, also appears in the story. The first part of the article is ended with the commentary of Rozin regarding the reality and existence of cosmoguals. Quite obviously, the discourse made by Rozin is quite unusual. It involved both rational (philosophical and scientific) considerations and fictional methods such as scientific facts and fantasy. The author's methodology and creative work are what brings together all these diversified elements. As a result, Rozin has managed to touch upon a few important issues such as the synthesis of scientific and artistic thinking, reality and existence of fictional phenomena (in fact all phenomena, even very real, were originally thought up by someoine), explanations of human evolution. In addition, Rozin has actually created a scientific and artistic discourse that allows to discuss these problems.

Keywords: kosmogualy, evolution, reality, psychic energy, novel, science, art, discourse, transition, synthesis

DOI: 10.7256/2454-0625.2015.6.67060

Keywords: cosmoguals, evolution, reality, psychic/mental energy, novel, science, art, discourse, transition, synthesis

DOI: 10.7256/2454-0625.2015.6.16467

Abstract: In his article Spektor analyzes the historical and genetic aspects of the tragic action traced back from the times when the tradic action was first performed as part of rituals (in comparison to the comedy which has common historical sources with the tragedy). In addition, the author of the article compares the referencial subbase to developing views on the essence of the tragic action performing the functin of mimesis in narrative. Special attention is paid to the relationship between syntagma and paradigm in the tragedy as well as ontology of the tragic action due to its influence on the phenomenological and existential philosophy of the XXth century. The method of the research chosen by the author refers to a successive reduction of the tragic to its historical bases; the structural components of the tragedy revealed in the course of the research are studied further from the point of view of their genesis. The scientific novelty of the research is caused by the fact that the author establishes the structure of the tragic action that includes the initiating mystery play, dialogic agon and integral fiction. The author of the article demonstrates that the tragedy constructs the concept of death in ontology and ideology of reality (physical bodies) through describing the path to death (one's own death or death of the other). The absence of alternatives to death represents the irreversible presence.

Keywords: Tragic, patrimonial, substantive, laughter, paradigm, syntagma, lives-to-death, genesis, sacrifice, initiation

DOI: 10.7256/2454-0625.2015.6.67061

Keywords: sacrifice, tragic, patrimonial, substantive, laughter, paradigm, syntagma, lives-to-death, genesis, initiation

DOI: 10.7256/2454-0625.2015.6.16411

Abstract: The subject of research is the work of a renowned American composer, music theorist, artist and a pioneer of aleatory (chance music) in electroacoustic music John Milton Cage (05.09.1912 - 12.08.1992), author of the famous "prepared piano" and the piece 4'33'', the comosition of 'music silence'. Conceived by the composer in 1947-1948, the piece became for Cage the epitome of his idea that any sounds may represent and constitute music. The composer developed the idea of expanding the space of the academic performance of concerts by the use of natural sounds as elements of the music that changed not only the notion of music but also the concept of the musical material. Music critics evaluated John Cage as one of the most influential American composers of the twentieth century and one of the leading figures of the post-war avant-garde. In his research Lipov has used the philosophical - aesthetic method for studying the diverse creative work of the composer that formed the basis for the evaluation of the piece 4'33'' as a model of the music of silence and examples of the and music of noise and aleatoric music because it forms random sounds of the environment. The author examines the experimental work of the composer as one of the most radical attempts in the history of music to transform the musical text, to extend the boundaries of the art of music and the use of new sound materials for composing music. The main contribution of the author's research is that the research fills in theoretical gaps in Russian academic literature on the art of music and aesthetics of music in relation to the creative work and personality of the composer.

Keywords: The philosophy of music, American music experimentalism, creativity composer Cage's, aleatory music, "extended musical instruments", Acoustic sound, "random operations", the uncertainty principle, the music of silence, the play "4'33".

DOI: 10.7256/2454-0625.2015.6.67062

Keywords: the music of silence, uncertainty principle, American music experimentalism, philosophy of music, creative work of a composer John Cage, aleatory music, acoustic sound

DOI: 10.7256/2454-0625.2015.6.16822

Abstract: In his article Sineokiy presents the results of his research devoted to the social process of rock music recording as a youth subcultural phenomenon in the second half of the XX century. The subject of the research is the socio-communicative conditions of formation and development of the tape recording community as part of the history of Soviet youth subcultures in the 1970-80's. The purpose of the research is to conduct a retrospective study of the tape recording culture, i.e. the culture of home music rewriting in the USSR. In general, the Soviet youth subculture was a complex combination of different social groups, both interrelated and autonomous ones, where the passion for rock music occupied a central position. The author of the article examines the content and dynamics of the sociocommunicative component in the development of informal entities of the Soviet youth who were interested in collecting records and music tape recordings. Thereupon the author pays particular attention to the analysis of the social infrastructure of The Tape Recording Community in terms of recreational functions of record collecting. The images of 'Sound Writers' as part of the expansion of the socio-cultural scope of the term 'Magizdat' are characterized. The location of recording studios in the mass media and their organizational role during the consumption of the phonographic products are revealed. The interdisciplinary nature of the scientific description of the phenomenon of The Tape Recording Community led to the use of various human science methods in the present research. The phenomenon of tape recording subculture is characterized as part of the mass recording formed under socialism. The definition of the term Taping Subculture is substantiated. The similarity of the positions in this case has a syntactical nature. The phenomenon of Musical Recording Subculture as a complex cluster of spheres of social and cultural communication that formed stable interdependence rules and principles of the phonographic and record collecting cultures are presented. The hypothesis, according to which The Tape Recording Community was an important element of multichannel polysubcultural communication in the USSR both legally and illegally in the sphere of music is proved.

DOI: 10.7256/2454-0625.2015.6.67063

Keywords: collectors, sound recording, studios, music, rock, record collecting, subculture

DOI: 10.7256/2454-0625.2015.6.15732

Abstract: The subject of the research is one of the most popular contemporary genres of music composing, the genre of instrumental theatre. The author of the article examines the variety of mass instrumental performance such as 1) compositions when an instrumentalist (leading performer, character) opposes to the orchestra or band (individual is personified, contrasts or conflicts with the other participants which namely typical for pieces written for a leading performer and orchestra); 2) pieces when a number of instrumentalists (leading performers, characters) have their personification and enter into relationship with the orchestra, band or one another, 3) pieces when personification is not an individual feature (of a instrumentalist or leading performer) but the feature of a group of instruments, parts of the orchestra, which allows to achieve the theatre stage effect of "mass confrontation". Mass instrumental performance is viewed as an integral phenomenon, therefore the author of the article has applied the method of the integral analysis of the phenomenon. The result of this research is the description of specific relations between dramaturgic layers in the process of mass instrumental performances (musical, behavioral, visual, verbal, etc.). It is noted that the presence of these layers, on the one hand, encourages a more basic understanding of music (dramaturgic comparison of layers reveals the essence of music through the behavior of instrumentalists on stage, their visual appearance and/or the use of the word), and on the other hand, withdraws music from the traditional performance of compositions which attracts the attention of a larger audience.

Keywords: music, instrumental theatre, postmodernism, musical actionism, genre, performance, dramaturgy, the synthesis of the arts, synesthesia, scene

DOI: 10.7256/2454-0625.2015.6.67064

Keywords: synthesis of the arts, music, instrumental theatre, postmodernism, musical actionism, genre, synesthesia, performance, dramaturgy, scene, stage

DOI: 10.7256/2454-0625.2015.6.16486

Abstract: The article presents a creative portrait of the famous in Russia and abroad scientist and art critic Alla Sokolova from Adygea. In 2015 Alla Sokolova is going to celebrate her anniversary. The author of the article provides a description of the polycultural environment in Kazakhstan and Sokolova's professional music education (received in Karaganda and Almaty) which encouraged a better understanding of Kazakh music and efficient methods of studying Kazakh folk art. The author also describes the first years of Alla Sokolova's professional activity and the beginning of scientific researches on the identity and values of the Adyghe folk music. The author of the present article proves the fact that it is possible to analyze and research ethnic culture for a scientist who is not a genetic bearer of tradition. It is emphasized that ethnographic researches started by Kazakhs in the nineteenth century were based on the traditions of Russian science and were written mostly in Russian. The main method used by the author to analyze the scientific activity of Alla Sokolova is the diachronic method combined with the method of structural analysis which has allowed to describe the main focus of her work including research, mentoring, enlightenment and social practice. The novelty of this research is caused by the fact that the author presents a brief review of the main works of Alla Sokolova that demonstrate how she developed the methodology of her system research of the Adyghe music culture. It is proved that her research and mentoring activities created the basis for a scientific school. Alla Sokolova's researches have become an example for many researchers of folk music of Caucasus and Russia in general. The author proves that Adyghe ethnomusicology presented by Alla Sokolova should be recognized at the international level. Foreign speeches and publications of Alla Sokolova present Adyghe music culture to the international academic community systematically. In her researches Alla Sokolova combines narrow music studies with a broader cultural research of long-term complex processes.

Keywords: ethnomusicology, A. N. Sokolova, anniversary, the Adyghe musical culture, instrumental music, system method, scientific school, followers, social projects, international recognition

DOI: 10.7256/2454-0625.2015.6.67065