DOI: 10.7256/2306-0174.2014.6.12659

Abstract: The author tries to show why in our era of globalization and a celebration of information society suffering continues to paint life of many people that does this problem actual for the philosophical analysis. The author connects the reason of so intensive interest to this subject with transformation of a philosophical and anthropological paradigm. The classical philosophical anthropology considered the person as the mortal creation urged by all experience of the life to overcome vital tests. Therefore the suffering was treated as the inevitable satellite of human life and as a peculiar expression of a human nature. However in the conditions of consumer society the anthropological subject found other meanings. In public consciousness the belief became stronger that the suffering is simply negative experience and he need to avoid, achieve that life answered ideals of hedonistic ethics. The analysis method in article is subordinated to the historical principle. The author seeks to show that the subject of suffering was a judgment subject during various eras and contained different meanings. Besides, the author relies on methodology of philosophical anthropology. The subject of suffering is, as a rule, treated according to a philosophical and anthropological paradigm. Novelty of article consists in attempt to show basic distinction in treatment of suffering in classical and modern philosophy. Modern concepts of a deantpropologization and debiologization of the person are subjected to the critical analysis. Supporters of transhumanity without critical analysis advertize ideas of human immortality, release from all sufferings and a hedonism celebration.

DOI: 10.7256/2306-0174.2014.6.12575

Abstract: Since antiquity and up to now philosophers, art critics, critics, didn't ignore the problem of the viewer in art, its role and value for the artist, process of perception of a work of art, mechanisms of its interpretation by the viewer. Both art creativity, and art perception is caused by sociohistorical prerequisites.What viewer in the field of art video? The modern viewer is a user, the client, the observer, the accomplice, the coauthor? What place of the viewer in art in general from the point of view of various philosophies and socio-political systems? In the history of the art, the change which have recorded process of art styles and graphic systems throughout centuries, the XX century is considered as absolutely special period. This century generated such quantity of various directions, made so many experiments with visual perception, so legalized use of "others" receptions that the artist of our time is faced by a choice problem – in what graphic system to work, what "language" to speak with the viewer. It would seem, the artist is in a situation of a full freedom of choice of graphic language: no official doctrine prevails over it; there are no ordering instructions from above; the range of the directions is wide and various. And, nevertheless, never the artist was so we depend: it is more, than ever, it depends on the viewer, on his readiness to perceive and understand this graphic language. The phenomenological analysis of processes of perception meets extremely seldom, and art perception especially. The author believes that between the ontologic bases of a work of art (on Gadamera – game, a symbol and a holiday) and culture of time and space of its creation the steady set of meanings and the valuable orientations which part is quite often bared in dialogue of the artist and the viewer settles down. It caused a phenomenological view of a work of art in dialogue of the artist and the viewer. Between ordinary and art perception there is a considerable distinction. Picture – not only the image of that is available to a look, but also realization in a visible form of representations of the world and of a place of the person in this world. The artist possesses special perception – the surprise, unpredictability, novelty. And, besides, language of the fine arts doesn't remain to the same, as a century ago, at least because the world picture promptly changes – the Internet, the cellular communication, new technologies cardinally changed perception of time, space, speed.Language of the fine arts can and has to change owing to new forms of communication – performance, installation, a happening. But how? How to combine tradition and experiment? How to make active a field where the art perception will have an adequate spectator response? How there is that actual context in which the artist and the viewer enter fruitful interaction? On the example of notes to works and/or during an open dialogue with the audience the author answers many questions reflecting the author's position and at the same time gives us a chance to interpret his artwork in many different ways. 

DOI: 10.7256/2306-0174.2014.6.12434

Abstract: In the article the explication of the cultural and anthropological bases of a mythologization of historical events, in traditional and new European societies in their genetic interrelation with activity of public and historical consciousness is carried out. The analysis of phenomenology of perception by consciousness of society of the phenomena of human life in the world including everyday life and historical events is realized, specifics of similar perception in a discourse of traditional and new European cultures come to light. Special attention is paid to a question about particular relations between myth history, historical events and everyday life in public consciousness.By means of use of a phenomenological method the conceptualization of such phenomena as everyday life and histrorical events is realized, and also their interrelation with process of formation of myth history is analyzed. It is pointed out that mythological interpretation of the past by public consciousness in traditional and new European societies is interconnected with perception of phenomena of everyday life and historical events is made. The phenomenon of everyday life in culture of traditional society is constantly substituted for historical events that leads to a full mythologization of the whole world. In consciousness of the new European society, on the contrary, the aspiration to the elimination of surprise and the associated phenomenon of everday life is observed.

DOI: 10.7256/2306-0174.2014.6.12389

Abstract: The article is focused on the analysis of events of social dynamics in Ukraine which gained resonant value in evolution of Russia and all world community (elimination of a mode of Yanukovych, a referendum in the Crimea on March 16, 2014, reunion of the Crimea with Russia, formation of the Donetsk and Lugansk national republics, the armed opposition in the southeast of Ukraine, aspiration of the authorities of Kiev to "natsification" of all country, etc.) . Return of the Crimea to Russia was supported within the country: passed numerous meetings in many cities, the humanitarian assistance, etc. gathered. Events show communication with events of "reorganization" of the USSR, intention of Russia to leave an object state to the subject status. As methodology in article the materialistic dialectics acts. The traditional dialectics and its principles are supplemented with the provision on alternativeness of dialectics positive and negative as to a new historical form of contrast of dialectics and metaphysics. In such context the author offers the special methodology of research combining dialectic and system approaches. It is used at disclosure of alternatives of "economy" and "economism", as an analog of "mechanical philosophy' in the sphere of social dynamics, a political subsystem of social system and "Machivellianism", as kinds of a reductionism in a political subsystem of social dynamics. It is shown that the most important line in finding of subjectivity is finding of the last eventually each member of society, and not just the head of state when freedom and "sovereignty" belong, in the spirit of east monarchy, only to one or limited number of persons. This process correlate with inevitability of system change of the Russian culture in spheres of economy and socio-political system, ideology and education, a family and other social subsystems. In a context of social dynamics it is proved that described events appreciably are connected with events of "reorganization" of the USSR, its positive and negative lines, up to known revision of its results.

DOI: 10.7256/2306-0174.2014.6.11807

Abstract: In the article discussion between Blok & Stalnaker and Chalmers & Jackson about physico-physical and psychophysical identities and, in particular, about (not) possibilities of their a priori conclusion is analyzed. It is offered to allow this discussion by correction of both positions, generalizations of concept of a conclusion of a priori, and also elimination of some mixtures between epistemological and ontologic research levels. In the article the points of view of other philosophers relating to a considered perspective also are in brief analyzed. The analysis of positions is carried out in the spirit of late Wittgenstein's pragmatism and in a context of a so-called problem of an explanatory failure to consciousness philosophies. Thus as the basic of not defined concept the vittgenshtaynovsky concept of spontaneity is used. Is established that Chalmers & Jackson exaggerate a priori role in traditional sense whereas Blok & Stalnaker underestimate it. "Aprioristic" elimination of an explanatory failure in identities is possible, and it is possible only post factum and that is generalized a priori with residual spontaneity.

DOI: 10.7256/2306-0174.2014.6.12168

Abstract: The concept of the interpersonal birth and development of sexual love is offered. As a whole in genesis of love interpersonal, ontogenetic and sociocultural subgenesis is allocated. Love is naturally viewed as the attraction and positive feeling of the spiritual, esthetic and sexual nature. Ontogenetic roots generate the objectless love or a so-called philopotential of a person (from a Greek 'phileo' which means 'love'). The basis of these roots is a psychosexual maturity. Spiritual and esthetic components of the philopotential of a mature personality are also important. Interpersonal philogenesis is the proces of objectification of love as a result of a meeting, communication and relationship of a diad. The supremacy of a psychological factor in the objectification of love, especially in reciprocal and mutual philogenesis is established. The esthetic inclination naturally advances spiritual (the phenomenon of an esthetic advancing), its ultra - a phenomenon – love at first sight ("the genius of pure beauty" – at Pushkin, an arrow of Cupid – in religion, etc.) . In mutual philogenesis the following factors are essential: 1) equality of philopotentials; 2) compliance of esthetic mutually estimates; 3) mutual adequacy to the personified stereotype and individual idea of love. The scheme of a typical philogenesis is offered. For the birth of love the beginning of the relation to the individual as to object of love in unconscious, emotional, informative and behavioural aspects is accepted. Alternativeness (choice problem) in love is studied. Unconscious mechanisms in alternativeness and in philogenesis are discussed. The author also views the  phileo-appertception and phileo-catharsis and their communication with alternativeness. Non-reversability of mature,  moral love and its ethic and psychological importance, making a basis of advanced marriage and family is proved.