The paper analyzes the correspondence between Prince Evgenii Troubetzkoy and Marian Zdziechowski, from 1905–1916 (not yet published). The correspondence focuses on the question of Russian-Polish relations and the possibility of Poland’s autonomy within the Russian Empire or the restoration of Poland’s independence. With the clarification of these two thinkers’ positions on the “Polish question,” the paper examines their concepts of nationalism and patriotism, their attitude to the idea of Slavic unity and the role of Russia as well as the correlation (...) between their political views and their religious outlook. It demonstrates how the “fascination” of Polish intellectuals with Russian constitutional democrats in 1905 was replaced by disappointment due to the failure of the First Russian revolution, and then by serious disagreements during the First World War. The conclusion states that despite their disagreements on the “Polish question,” Evgenii Troubetzkoy and Marian Zdziechowski retained respect for each other, and their correspondence reveals new facets of their personalities. (shrink)

The paper is to render homage of memory to a historian, tireless explorer of the local history, researcher of the biography and works of Yuriy Kondratyuk Dr. Nadiya Kocherha. The paper represent facts, telling the story of rehabilitation Yuriy Kondratyuk’s good name as scientist and inventor, and the popularisation of his ideas at Poltava Yuriy Kondratyuk National Technical University.

The paper is to render homage of memory to a historian, tireless explorer of the local history, researcher of the biography and works of Yuriy Kondratyuk Dr. Nadiya Kocherha. The paper represent facts, telling the story of rehabilitation Yuriy Kondratyuk’s good name as scientist and inventor, and the popularisation of his ideas at Poltava Yuriy Kondratyuk National Technical University.

У статті типологізовано основні культурні форми філософії на підставі використаних у них засобів філософування - знань, цінностей та практичних норм. Для цього автор спочатку розглядає питання про інваріантну сутність філософії, її специфічну соціокультурну функцію; виділяє ті основні сфери культури, у синтезі з якими виникають певні форми філософії; встановлює поняття "форма буття філософії в культурі" як особливої категорії; визначає певні можливі та історично зумовлені форми буття філософії та специфіку їх культурної мови; розмежовує "форми буття філософії в культурі" та внутрішні "видові форми (...) філософії", а також окремі "філософські жанри та стилі". Такий підхід, на думку автора, дозволяє відійти від редукціонізму в осмисленні філософії та збагнути її сутнісну, формальну та типологічну специфіку. (shrink)

First we should define the concepts ‘narod’ and ‘intelligentsia.’ Usually the concepts ‘narod’ and ‘populace’ [naselenie] are equated, and indeed the etymology of the word ‘narod’ assumes the inclusion of all those who are born [narodivshiesia]. But this equating of narod with populace is not fully valid since it disregards the fact that a narod is not simply the aggregate of all people but a determinate whole, united not only by a common language and territory but also by a common (...) consciousness, an idea. In determining the meaning of the concept ‘narod,’ not only must it be distinguished from the concept ‘populace’ but the two must be contrasted to a certain extent. (shrink)

In this book is the first meeting of Andreĭ Astvat︠s︡aturov the prose writer with Andreĭ Astvat︠s︡aturov the philologist. In this book of essays "Chaos and Symmetry", Astvat︠s︡aturov, as befits a philologist, is a sophisticated researcher and connoisseur of literature: classical Anglo-American and modern Russian. He will explain why in Oscar Wilde's The Canterville ghost" the ghost is an artist, how William Golding's "Lord of the Flies" echoes ancient tragedy, and why Henry Miller peered into the void. He writes about the (...) features of the modern literary process as well as prose by Mikhail Elizarov, Roman Senchin, German Sadulaev, and other famous authors. Personal experience is mixed with literary observations. Biographical details are a continuation (or, conversely, the source) of the writers' work, and all together it forms an elegant mosaic, not devoid of some practical usefulness: it is helpful to look at the tips and tricks of others. (shrink)

Throughout the 20th century, the theory and history of performing arts repeatedly attempted to systematize various phenomena in the field of interpretation of works of academic music. The number of performing styles and types in various researches has risen dramatically, until the beginning of this century when it was reduced to a single concept - to the category of an individual style. This topic was discussed mainly in research papers devoted to the theory of pianism. The results of their observations (...) and conclusions can be applied to the performing arts in general. The article mentions the works of K.A. Martinsen, D.A. Rabinovich, V.P. Chinaeva, A.V. Malinkovskaya and others. The topic of musical perception is addressed both in musicology and in musical psychology. This research offers a new vector for studying of musical perception, linking the features of musical imagery created by the performer and the nature of perception. The following aspects are revelated: patterns that allow us to talk about the types of musical image, the principles of its construction and the types of perception. This is an affective image created on the principle of contrast. It corresponds to the psychophysical type of perception. The contextual image is guided by the principle of connections. It corresponds to the aesthetic type of perception. The integrative image is formed, focusing on the principle of the whole. It corresponds to the symbolic type of perception. A hermetic system of typology is considered to be impossible; artistic practice will largely oppose it. However, these tendencies are able to shed light on the nature of musical perception and allow to continue the scientific discussion of the current topic of musical performance. (shrink)

The article presents a philosophical understanding and real interpretation of the existence and evolution of pedagogical (educational) discourse in the postmodern space. The results of scientific research are analyzed and the structural-semantic relationship of the concepts, terms and categories associated with the terminological field “discourse” is defined. The authors raise the problem of the postmodern significance of discourse in the period of the global transformation of the educational environment, caused by the pandemic COVID-19, which has put humanity before the fact (...) of actualization of remote communication and receipt of educational services. The authors believe that distance learning should be provided with strong technical and technological support on the one hand and the use of this vector set of educational, pedagogical, learning and development technologies in the preparation of future specialists in the system of higher education on the other. The article deals with new approaches to the application of discourse-supporting technologies and methods. Thus, the emphasis is placed on the relevance of an open informational and educational environment of higher education institutions in the postmodern space where the role of discourse as a constructive tool of postmodernism is determined by the new interpretation, and the teacher becomes a generator of innovations in this context. (shrink)