DOI: 10.7256/2454-0757.2018.8.27106

Abstract: The subject of this research is the conceptual correlation between the criticism of metaphysics and post-secular paradigm. The object of this research is the metaphysical concepts relevant to the philosophical discourse on the post-secular as post-metaphysical. The author meticulously reviews the deconstruction of quasi-metaphysical concepts of the “religious”, “secular”, and “post-secular” in their interrelation in the analytics of the leading contemporary critics of post-secular ad post-metaphysical philosophy: Habermas, Taylor, Caputo, Meillassoux, and Barber. Special attention is given to the history of metaphysics as a factor and environment for the formation of quasi-metaphysical forms of post-metaphysics and post-secularism. The main conclusion lies in the statement that the condition of cogitability and transcendental soil of the paradigm of post-secularism is the criticism of metaphysics. The author determined that the criticism of metaphysics alongside any anti-metaphysics is certainly not the overcoming of metaphysics, but continue to reproduce the metaphysical structure. The deconstruction of the post-secular leads to overcoming the key metaphysical binaries, including dualism of the religious and secular. The author comes to a conclusion that talking about the post-secular implies talking about the various paradigms of correlation between the quasi-metaphysical concepts of the “religious” and “secular”, rather than interaction and transformation of the specific religious confessions and philosophical traditions. The scientific novelty lies in demonstration of the fact that the specific historical form of faith and mind, theology and metaphysics do not align with the quasi-metaphysical and refined forms of the “religious” and “secular” that function within the discourse of post-secularism.

DOI: 10.7256/2454-0757.2018.8.27155

Abstract: The subject of this research is the consideration of specificity of conceptualization of creativity as a phenomenon in rationalistic philosophical tradition. Such conceptualization implies the transition from comprehension of creativity as an attribute of existence towards the most significant attribute of human existence, the activity of omnipotent, in other words “pure mind”. It is noted that the novelty as a result of rational activity of a creative subject is predetermined by the universal, substantial nature of the world manifested in the uniform consistencies, which in turn, must be open. The scientific novelty lies in discovering the analogues of “pure mind” and its determinant role in understanding of the phenomenon of creativity within the discourse of rationalistic philosophy. The author reveals a definitive concept – a human is creative, encapsulating the characteristics of utter certainty in omnipotence of mind as a source of all creative intentions and absolutization of the possibility of creative inquiries in the area of scientific knowledge, as well as conquering and transformation of the surrounding world. A conclusion is made that the rationalistic philosophy sets the logical and gnoseological objectives in the context of the philosophical conceptualization of creativity.

DOI: 10.7256/2454-0757.2018.8.25955

Abstract: The subject of this article is the impact of Digital Revolution on human civilization. The development and active implementation of digital technologies leads to serious transformation in the structure and functionality of the government and society, as well as influences the life of each individual. The authors focus on the processes of globalization and their results produced in the conditions of digital society. Special attention is given to the problem of creative abilities of a human, which stops being an existential experience, but becomes mundane, and then a social debt of a person. As a result of this analysis, the author determined the outlines of a number of big challenges aroused before humanity and led to the process of digitalization (implementation and distribution of digital technologies). In particular, it is the formation of the new global virtual reality, which provides the pseudo-empirical experience and deprives human of the need for physical self-realization. The authors assume that humanity apprehends the critical danger of the idea of “revolutionary progress” and will shift to the new paradigm of the scientific-technological and social development.

DOI: 10.7256/2454-0757.2018.8.26848

Abstract: The object of this research is one of the important plots associated with the key issue: what is the place of aesthetics, and in a broader sense, the artistic endeavor in modern world. For discussion of the indicated topic, the author chose the two prominent French philosophers Gilbert Simondon and Gilles Deleuze, whose works slowly but surely are accustomed by the Russian philosophical thought. The article also attempt to determine the profound link between the various philosophical strategies that touch upon the subject of aesthetics. Every art experiments with itself, checking the own limits, and making the visible invisible, hearable unhearable, and spoken unspoken. Every art experiments with the forces; as various oeuvres of this art invent and reveal the forces they use. And every art experiments with the body of sensation, which for Deleuze is the body without organs, unorganized body-world of the unshaped elements and anonymous effective forces. If there exist the area common for arts, then it is the area of molecular forces, which ametric rhythms and pulseless time of individual arts are involved in various combinations of light, color, sound and word. Namely this area generates the open system of arts, which common problem is not the problem of reproduction of invention of forms, but the problem of the use of forces.

DOI: 10.7256/2454-0757.2018.8.27112

Abstract: At the turn of the XX-XXI centuries, have emerged multiple works dedicated to the analysis of so-called “cultural trauma”, in other words, a psychological trauma that affects the formation of one or another collective (national, religious, class, etc.) identity. These research used the various, and at times, conflicting methodologies: behavioristic, psychoanalytic, and constructivist. The author attempts to combine all of the valuable achieved within the framework of modern methodologies, having revised the initial prerequisite of examination of cultural traumas. First assumption of the author is the hypothesis of non-communicative nature of language, according to which language is formed as a “strategic computational system” that originally was indented for interaction between people (N. Chomsky and others). The second – is a creative, essential for the establishment of personality and community character or repressed to subconscious traumatic factors (Freudism of the 1920’s – 1930’s). The third – is a “selective” character of any culture, which transmits or suppresses the existing at its disposal meanings and values (Foucault and others). As a result, the author suggests to view the cultural trauma as a process of complicated interaction of the conscious (representative, communicative) and the subconscious (strategic-intellectual) factor. Notably, at the conscious level, it would always be the traumatizing external circumstances, “hostile environment”; while at the subconscious level – about the frustrated self-abnegation, inability to “become different”. Both levels are necessary for the establishment of collective identity.

DOI: 10.7256/2454-0757.2018.8.26526

Abstract: The subject of this research is the group of picturesque oeuvres of Venetian Renaissance depicting young women, which can be attributed as the portraits of “beauties” popular in art of the XVI century. Such works signify the complicated semantics of its creative content, first and foremost, associated with the philosophical concept of the ideal beauty accepted in spiritual culture of the Renaissance. Their consideration in the context of Renaissance philosophy allows providing a fuller description of the metaphoric world of the paintings, as well as more precisely determining the context of the categories applied to the concept of female beauty in representations of the Renaissance era. The research method consists in search for the conceptual parallels between portraits of the “beauties” and positions of the philosophical teaching on beauty presented in treatise of Agnolo Firenzuola “On the Beauty of Women”. The found analogies allow spotting in portraits of the “beauties” a variety of “visual treatise” about the ideal essence of beauty. They were assigned with a role of so-called aesthetic mediators in the process of its perception, because the basic meaning of such oeuvres in spiritual parlance of the Renaissance lied in transformation of the desire to be beautiful towards strive for comprehending its true sublime nature and its admiration.