Nowadays, young people from all over the world are fascinated by the mass popular culture of South Korea. This process of spread of Korean culture in the world came to be called “Korean current” or “Korean wave”, which became a kind of “Korean cultural boom”. The spread of the “Korean wave” has been compared to a viral disease that first spread throughout East Asia, then Southeast Asia, and eventually engulfed the entire world. Despite the fact that the phenomenon of the (...) “Korean wave” had a sufficient public resonance, due to its novelty and unexpected emergence, it remains an understudied subject of scientific study, especially in the West and in particular in Ukraine. That is why the topic of this study is relevant nowadays. The aim of the article to investigate the mass cultural phenomenon “Korean wave”, to analyze its sources and dynamics of development, to characterize its inherent features, to determine the aspects of its spread and popularization, to investigate its influence on world society and culture, as well as to find out the peculiarities of its influence on the consciousness of the masses. The research methodology is based on a philosophical and cultural analysis of such a mass phenomenon of modern artistic culture as the “Korean wave”. When writing the work, we tried to adhere to the principles of objectivism, systematicity, comprehensiveness and multifactoriality. To comply with these principles, we used a number of general scientific and special methods in the research: comparative-historical, axiological, phenomenological, logical, retrospective, analytical-synthetic, socio-critical, systemic, structural-functional, generalizing and statistical. Adherence to these principles and methods made it possible to avoid bias and tendencies in judgments. Results. Such a mass cultural phenomenon as the “Korean wave” is a kind of entanglement of opposite principles: modern Western (progressive-innovative) and traditional Eastern (Confucian) cultural values. It manifests itself in the spread of fashion to everything Korean (or to be more precise, South Korean): not only K-pop, dramas, toys, clothes and other types of South Korean entertainment industry, but also Korean cuisine, household items, etc. In the past, despite the geographical proximity and cultural connectivity, for political reasons the countries of Asia largely suppressed cultural exchanges among themselves. China, Korea and Japan began to develop cultural ties between themselves relatively recently. It should also be noted that South Korea is a country that was previously considered a cultural periphery in international exchanges, now it plays an important role in the regionalization of mass culture as a whole in East and Southeast Asia and the product produced by it is considered a center of mass culture and one of the ways of cultural exchange throughout Asia. Conclusions. To sum up, we can say that the great popularity of the “Korean wave” is a kind of leap in the modern culture of South Korea. This phenomenon is represented not only by the synthesis of modern Western (European-American) culture and traditional Eastern (Korean), but also by the fact that in our time it has turned into a powerful locomotive of the entire South Korean economy, a kind of “dragon’s head”. The phenomenon of the “Korean wave” helps to raise the level of the image of South Korea as a prosperous country, and also visually demonstrates the modern South Korean culture to the world. The “Korean Wave” demonstrates to other countries in Asia and to the whole world in general that South Korea is not a periphery in our time, it is no longer a third world country, and it is as modern an urbanized country as most of the developed countries of the West, which has not only modernized its culture, but also spread it, and even managed to influence other countries and their cultures. (shrink)

Disputes about the “uniqueness” of one’s era in comparison with the achievements of previous ones have always been a “cornerstone” in the perception of past concepts regarding the values of the achievements of predecessors. However, at one time, Confucius said his world-famous phrase that if you don’t look back, there is no way forward. But many people are not interested in their past. That is why the “Querelle des Anciens et des Modernes” in the form of a literary debate, centered (...) on a comparison of the value of the contributions of ancient authors and French authors of the 17th century, and which was widespread at the time, is still relevant today. The purpose and objectives of the article. The purpose of the article is to highlight the perception of the values of previous eras in the paradigms of “non-contemporary” prominent philosophers and writers. The tasks of the article are to reveal the reasons for the primordial disputes about “ancient and new”, a natural return to ancient literature and ancient philosophy. Research methodology. The leading research methods were: content-comparative - to analyze the reliability of judgments of French writers of the 17th century; retrospective, which helps to investigate the phenomenon of the value of “the ancient in the new” in the century-old controversy, the method of personalization, which ensures the study and understanding of the works of S. Perrault and his contemporaries. The results. It’s no secret that the tasks of art in the Antiquity, Middle Ages and Modern times differed greatly. For Antiquity, every craftsman was an artist, while the activity of a painter and sculptor was a more complex craft. It is typical for that time that there was almost no idea about creativity and the creative act, but despite this, the ancient Greeks were able to create immortal examples of art. The art of the Middle Ages was supposed to embody a moralistic character and remind of the eternal, the art of romanticism saw godlike creativity as its goal. The art of the 20th century presented its ideal in the denial of everything that the previous era saw as its goal, periodically declaring the death of art. Based on the fact that today there are many different ideas about the goals and tasks of modern art, we cannot say with full confidence what is the common goal of the art of our days, and it is even more difficult for us to imagine how art will live, for example, through a hundred years. Conclusions. So, we can come to the conclusion that in the era of the early Enlightenment, the attitude to the ancient heritage, in particular in France and England, was not unambiguous even among the educated aristocracy or university professors who knew Greco-Roman works well enough. This is clearly evidenced by the century-old dispute “about ancient and new”, which caused a lot of auxiliary discussions. Undoubtedly, even today arguing and debating about the art of previous eras and our own has a place in philosophy and literature, and they continue to do this with success for more than one hundred years. But to prove the rightness of one of the sides of these disputes is a sufficiently dubious matter for science. (shrink)

The article describes the interpersonal relationships of various states of society of the «post-Shakespearean» era in the artistic work of the outstanding English playwright and actor Benjamin Johnson. Relying on sources and scientific literature, the author of the article tries to recreate the layer of everyday life in London at the turn of the 16th and 17th centuries, to reveal the problem of the «survival» of actors in the first stationary theater «Globus», their attempts to communicate with aristocrats, the attitude (...) towards famous actors and directors in the English late Middle Ages society The central problem of the research is also the relationship between V. Shaksrip and A. Ferabosko, whose acting troupes shared the «stage» of the «Globus» theater. All these questions are most vividly revealed in Benjamin Johnson’s tragedy «Thrice Crossing the Thames», which was published after his death at the author’s request. The image of English society revealed through the thoughts and worldview of his contemporary is simply amazing. In the author’s opinion, it is also valuable that Benjamin Johnson personally knew V. Shakespeare and A. Ferabosko, the unforgettable young actress Catherine Loster. Research methodology. The content-comparative method, the method of modification of concepts and terms, generalizing and problem-searching methods to reproduce the realities of the era were used to write the article. Conclusion. we see that the place of man and the concept of «humanity» in the English dramaturgy of the «post-Shakespearean» era have changed significantly. In English art, more and more realistic «notes» are felt. Instead of “elevated” and “low” on the pages of books, «street life», «urban slums», relations between new states of society, new social morality come to the English stage. In order to fully feel the depth of these changes, it is worth discovering the realistic human images reproduced by contemporaries of the «post-Neckspearian» era, understanding the criteria of their morality and humanity from the point of view of the author of the dramatic work, who wrote at the crossroads of two great eras. (shrink)

Cancel culture necessitates a thorough examination for optimizing the efficacy of reputation management and societal influence. It’s essential to assess its effectiveness in driving social change, recognize ethical nuances, and pinpoint potential issues. Originally a value-driven phenomenon, it has evolved into a manipulative tool, amplifying societal emotions. Despite attempts at crisis communication, it often fails to alleviate the consequences for individuals or businesses subjected to «cancellation». The purpose of the study. The article explores cancel culture as a mechanism for social (...) influence and activity, presenting it as an ambiguous phenomenon without clear positive or negative connotations. Methods. The study employed interdisciplinary and logical methods, incorporating systemic and functional approaches, to comprehensively analyze cancel culture. The logical-contradictory method characterized cancel culture as a neutral phenomenon. Content analysis of mass media, social networks, and other platforms was conducted to determine its impact on the public sphere. Results.The article delves into cancel culture within an instrumental context, scrutinizing its effects on influencers and the broader audience. It highlights trends in cancel culture and its significance in the media landscape. Examining its origins across historical contexts, from ancient Greece to Soviet denunciations, reveals cancel culture’s rise in popularity through internet influence. Its core aim is to attribute «violations» to individuals or their communicators, employing mechanics like mass negative reactions and imposing consequences such as boycotts, dismissals, and even death threats. Cancel culture introduces contradictions, resembling a «witch hunt» with the potential for unfair cancellations due to the presumption of innocence and challenges in proving guilt. It denies the right to make mistakes and impacts individuals differently across cultures. While effective on social media, cancel culture often shifts from broad campaigns to personal-level cancellations, capturing societal attention and influencing perceptions of canceled entities.Despite initial destructiveness, it can stimulate constructive discussion and shape public opinion, but risks include excessive sensitivity and the potential for aggression and psychological self-assertion. Cancel culture poses the danger of low personal responsibility, fostering manipulation and abuse. Sociocultural aspects involve the tolerance paradox and the influence of egocentrism on participants.Cancelling may become a tool for personal aggression rather than a quest for justice. Distinguishing real violations from exaggerated or outdated statements is crucial to avoid unjust sanctions. Despite its justice-seeking appearance, cancel culture often relies on emotions and subjective factors, emphasizing the need for careful case analysis. Conclusions. Cancel culture provides a space for discussion as it can serve as a tool for advocating social change and raises questions about the responsibility of influential individuals. However, it is manipulative and selective, and the examination of each cancellation case should consider potential bias and subjectivity. Another danger lies in the increasing sensitivity of audiences to content, which may lead to the perception of offensive material without considering the real context of events. (shrink)

In the article, the author analyzes the views of the leading ideologues of the concept of pan-Slavism in the Russian Empire, who, according to Ivan Mirchuk, had a decisive influence on the formation of the modern ideological mythologeme of the hegemony of the Russian state on a planetary scale and contributed to the deepening of ideological differences between Western and Eastern civilizations. Using the example of the arguments of representatives of the Slavophile stream of Russian Pan-Slavism regarding its messianic role (...) in the history of the Slavic peoples, the researcher proves the absurdity of the very idea of the superiority of one nation over another. At the same time, intelligence focuses the reader’s attention on those dangerous tendencies of the spread of this theory, which in the future may lead to global world conflicts with catastrophic consequences.Following the further development of the ideology of pan-Slavism during the second half of the 20th century, the researcher reveals the process of transformation of Moscow messianism into the leading role of the now Soviet (Soviet) people in world history, which received its theoretical embodiment in the concept of pan-Sovietism. It was she who contributed to the final consolidation of the lawless position of the Slavic peoples within the framework of a single state entity on the territory of Eastern Europe, and the emergence of a new socio-cultural generation with an ideologically shaped rejection of values contrary to communist ideals and a negative attitude towards the entire surrounding world.The research methodology is based on the philosophical-anthropological and psychological analysis of the key ideas of the concept of pan-Slavism and pan-Sovietism in the historical-philosophical studies of I. Mirchuk. In particular, we used formal-logical, critical and hermeneutic methods of research to reveal the process of transformation of the pan-Slavism mythology in modern Russia and its influence on the socio-political life of other Slavic peoples. Among the general scientific methods, the methods of deduction and comparison came in handy, which helped to analyze the views of individual representatives of various pan-Slavic currents on the problem of uniting the Slavic peoples into a single ethnic substratum in different historical time periods. And the principles of objectivity and systematicity helped us dispel the myth of Russian messianism among other Slavic peoples.Conclusion. Thus, the main mythologeme of the ideology of Pan-Slavism in the studies of the Slavic scholar I. Mirchuk was reduced to the messianic role of Russia and its people, as the leader among the entire Slavic world, in relation to all other, primarily European nations. Neglecting the historical and spiritual contribution to the development of the world culture of other nations and peoples, the Moscow Empire to this day continues to call itself the only center of true Christian traditions, which strives to lead the planet to a better future. Declaring itself the successor of the Roman Empire as the “Third Rome”, Muscovy, and later the Soviet Union, completely usurped the right of other Slavic peoples of the continent to independently choose their own path of state formation and social development.The transformational processes experienced by pan-Slavism at the beginning of the 20th century brought only the change of the name of the ideology to pan-Sovietism, fully preserving the essence of the imperial unity principle in all spheres of social and political life of the communist era. According to the leading communist ideologues, all the best that the world had could be found only in the Soviet Union, or rather in its capital. Other Slavic peoples got the desired equality only in the negative attitude of the center towards any manifestations of their own spiritual identity and economic initiatives, which were instantly punished by brutal repression and physical destruction under the slogans of finding non-existent enemies of the people and invented counter-revolutionary activities. The theoretically attractive idea of the special purpose of the Slavic peoples in the international arena has in practice turned into an imperial totalitarian dictatorship of one country, which wanted only one thing – world domination. (shrink)

Problem’s statement. This article is the result of a study of the historical context in which Isidore of Seville is inserted as an author, as the creator of a unique method, which became the result of his hard work. But in order to describe the method of Isidore of Seville, it is necessary to outline the range of problems that arise before us. Due to serious political and social upheavals in the Western Roman Empire, the preservation of education comes to (...) the fore. The need for “Christianization,” on the contrary, fades into the background. The authors of this period perceived the works of the church fathers and apologists as a legacy, as part of tradition. On the other hand, representatives of the intellectual culture of the era under consideration were part of the aristocracy of Roman (in the broad sense) origin and in this sense, like their predecessors, were bearers of ancient education and culture.The purpose of the study. Analyze the historical context in which the method of Isidore of Seville developed and to consider the influence of the method of Isidore of Seville on the development of knowledge and ideas in the dark ages.Methods. To achieve the goal of the study, a number of general and specific methods were used that contributed to the study of the creative heritage of Isidore of Seville: the etymological method used in the practice of Isidore for the classification and origin of sciences and arts; togoria method for understanding the symbolism of medieval language and judgments; historical-retrospective, contributing to the study of the contribution of Isidore of Seville to European education from the first monastic schools to the formation of universities; terminological selection – for the purpose of selecting, clarifying and modernizing the system of individual terms used in the educated circles of Visigothic Spain; reconstruction – to reproduce the events of the cultural and historical process on the Iberian Peninsula during the Visigothic Kingdom.Results. The reception of the ancient heritage in the works of the authors of this era – and these are primarily Boethius, Cassiodorus and Isidore of Seville – occurs in a different vein than that of the church fathers (Ambrose, Jerome and Augustine) and the German kings of the Carolingian revival. This question concerns a narrower issue that is discussed in the article, and it is connected with Isidore as the author. Isidore of Seville (560-636) is known primarily as an encyclopedist, indicating the wide coverage of topics in his works, on the other hand, in a certain way characterizes the level of these works.However, Isidore was not only and not so much an antiquarian – a collector of ancient knowledge. If we use the “intellectuals and power” scheme, then Isidore was, so to speak, an intellectual in power. He occupied the position of bishop of Seville (the episcopal rank was considered the best conclusion for the cursus honorum even in the 5th century, his authority significantly exceeded the authority of the constantly changing Visigothic kings of Spain. Isidore presided over the IV Council of Toledo (633), whose priests formulated an order with its significant the influence of the episcopate on public affairs.We can say that Isidore, through his works, in a certain sense constructed an ideology. (or what might be called ideology) and the educational program inextricably linked to it.Discussion. First, the era of the “Dark Ages” is a period of permanent military-political struggle between the local nobility and kings, the German kingdoms and Byzantium, which occurred as a result of the height of the Western Roman Empire. The second question is religion, since there were several religions in the territory of the Visigothic kingdom; Christianization of culture and education and, as a consequence, a contradiction with ancient philosophy. Hence the problem of preserving and transmitting knowledge. It was these reasons that complicated the creation of a high-quality educational system. Thirdly, Isidore was not a methodologist, but created a unique method, he was not a scientist, but wrote an encyclopedic work, was not a philosopher, but wrote about philosophy, distinguished it from dialectics, constructed a certain type of knowledge of the real world known to him, was not even a philologist, but he knew Visigothic, Latin, Greek, and Hebrew.How did Bishop Isidore create an effective method? Fourth, after the authors of the “Golden Age” of patristics in the 6th–7th centuries. A new generation is emerging, which is faced with slightly different tasks. How does Isidore “construct” knowledge and what impact has his work had on society? Another important problem is the question of the scale and nature of Isidore’s influence on the intellectual culture of the Middle Ages. At the same time, special attention was paid to “etymologies, or principles,” its distribution, influence on the presentation of the seven liberal arts, etc. On the significance of Isidore’s method for medieval education.Conclusions. The method of Isidore of Seville was an important contribution to the preservation and transmission of knowledge in the Middle Ages and influenced the further development of encyclopedic knowledge. (shrink)

The article deals with the determining role of the primary literary source on the Ukrainian theme in the creation of ballets. This made it possible to assert that at the junction of various arts, choreography and its special plastic form contribute to the creation of new avant-garde forms of art, thereby realizing the richest artistic potential of the direction. Based on this, it becomes clear that the relationship between literary and choreographic arts is close, because it affects the enrichment of (...) the ballet repertoire. Creating a choreographic work based on a literary background is one of the most important achievements of choreography.The artistic integrity of choreographic works forms the basis of the principle of art synthesis. The author of the article determined the important role of Ukrainian dance in creating a choreographic performance based on a literary source, because Ukrainian choreographic art is noted for its inexhaustible wealth of dance colors, emotional fervor, subtle folk humor and sincerity of performance, therefore creating a choreographic work based on literary works, especially on national themes, which is an auxiliary factor for activating the harmonious interrelationship of the specified time, space and transmitted events of the work with the means of stage and everyday dance vocabulary. The aim. The purpose and task of the article is to show the interpretation of literary works in the Ukrainian choreographic art of the 20th and early 21 centuries. Research methodology. A content-comparative method for comparing the works of researchers in different fields, the method of historicism - for researching a phenomenon within specific chronological limits, the method of generalization - for identifying the common and different points of view of scientists on the phenomenon under study. Research results: however, in the Ukrainian ballet theater of the late 50s of the 20th century, new aesthetic principles began to dominate, which were of great importance for the development of all musical and choreographic creativity. It is about rejecting prosaic plausibility as the only way to reproduce the truth of life on stage, restoring the hegemony of dance in the system of expressive means. In the ballet work of Ukrainian artists, the direction towards the heroization of the genre, the tendency towards the epic type of drama and the wide use of folklore becomes noticeable. Conclusion. In the process of working on the embodiment of a literary work or an image, the dramaturgy has the ability to change, develop, acquire specific features and details, the dramaturgy becomes alive, filled and exciting for the viewer. The ballet master’s solution to the embodiment of the literary source is embodied by the ballet dancers, who bring it to the audience with their art. The development and enrichment of choreographic art, the search for new forms, in this way, we observe in a creative union with adjacent muses, in interaction with other arts, where choreography does not dissolve in them, but while keeping its face, makes a fruitful contribution to the development of this union. The artistic integrity characteristic of the best choreographic works is based on the principle of synthesis of arts. Forms and means of dance-plastic action, principles of music-choreography dramaturgy, which allow to create works commensurate with the outstanding achievements of other arts, were formed in this experience. The key to the success of choreographic art is the mastery and development of this experience. (shrink)

The image of jazz in Ukrainian pop music is reproduced, the subcultures that dominate its modern manifestations are shown: African music, Irish-European melodies and rhythms, the interaction between pop music and folklore, a diametrically symmetrical structure, the appropriate composition of variable phrases (voice-instrument), various combinations of timbre acoustic electronics, a fusion of Ukrainian folklore and rock music. But, first of all, it is a harmonious combination of Afro-European traditions with Ukrainian folklore, its best examples. The article also talks about the (...) leading masters of Ukrainian jazz who managed to do this - Leonid Goldshtein and Igor Zhuromskyi, for whom the processing of folklore materials - household and African) with a predominance of appeals to the traditional folkloric Ukrainian musical stratum is characteristic. The aim. To reveal the image of jazz in Ukrainian pop music and its significance in the subculture. The tasks of the research are the analysis of the constituent subcultures in the modern representation of the art of Ukraine and their significance for the world artistic treasury. Research methodology. The methodology of the author’s research is based on the paradigmatic method, which allows determining the priority of artistic paradigms, the ratio of traditionally established and non-traditional vision of Ukrainian jazz culture. Reconstruction was also used - to reproduce the main milestones of the development of art of the 20th century within the scope of the research. Also, the methodology is based on a transdisciplinary approach, thanks to which we can study jazz not only in an art-historical aspect, but as a structure of European life of the given period. Research results: The results are as follows - it is 1) a feature of rock music style, such as heavy metal, punk rock, rock and roll, instrumental composition, the use of distinctive fans and unique sounding productions and vocals Intonation technology. 2) Saxophone melodies are built according to the Hutsul system with a characteristic degree of saxophone. 3) Official use of colomous rhythm in the voice. 4) Application of antique blues harmonic sequence. 5) Use of bluesy principles of questions and answers when alternating statements and instrumental episodes. 6) For vocal improvisation. Conclusion.So, we analyzed the interaction of Ukrainian modern pop and real folklore and jazz. Jazz, rock and pop styles were found, which are ideal for interpenetration with various Ukrainian subcultures, jazz-rock, free jazz, alternative music, rock and roll, blues-rock, trip-hop, pop ballad, disco music. The characteristics of the processing of folklore materials (domestic and African) are, first of all, an appeal to the traditional folklore layer, the method of performance (expressed by a real saxophone), the use of folk instruments or their tones. Depending on the genre that created jazz, rock and pop groups, the composition can be divided into folk songs and original compositions based on folklore. Popular music quotes folk and jazz material from pop music. (shrink)

The article presents a critical analysis of the concept of «universal concreteness» in Voltaire’s philosophy. The content of the ontological and epistemological foundations of Voltaire’s worldview in his historical-philosophical searches is revealed. The abstract nature of the principles of deism and «universal unity» in the philosophy of the French enlightener is the result of the influence of the one-sidedness of representatives of empiricism and rationalism. Voltaire and his associates in their philosophical constructions, argued G. Hegel, proceeded from the principle of (...) universality and the embodiment of the concept of «wit», while the Germans relied on the possibilities of criticism of pure reason. The potential possibilities of the concept of «universal concreteness» in Voltaire’s worldview form the basis of his theoretical and practical philosophy, in particular of human existence, morality and free will. (shrink)

The modern era is characterised by global changes based on the acceleration and continuous «incitement» of civilisational processes. The complex collisions of life were reflected in the public consciousness by the actualisation of the identity problem, which acquired special significance. Therefore, many reasons can be given, but we will emphasise only such. First, the existing anthropological situation is marked by all the signs of novelty and unusualness; social life reveals a steady tendency to weaken individual identifications with traditional (ethnos) and (...) modern (nation) communities. Secondly, in a situation where ethnic and national factors of identification are blurred, society becomes quite fragmented; under such conditions, a person exists at the intersection of local cultures, in an open cultural space, surrounded by a multitude of cultural forms, lifestyles, and traditions; all these forms become significant for a person at the same time and require ordering. Thirdly, the cultural self-determination of a modern person requires the interpretation of those models of cultural existence that represent other communities and the establishment of an individual relationship with them. Thus, identification processes in modern society, on the one hand, become problematic; on the other hand, they act as a driving force of cultural development. The purpose and task of the article are to study identity issues in the context of spectacular forms of mass communication. The research task is to analyse specific forms of mass visual production, ready-made visual images (images, brands, lifestyles) associated with the production of the phenomenon of «partial» identity. Research methodology. The application of the phenomenological method for revealing the content of human identity and the specificity of the phenomenon of human identification in modern society was important for this article. The theoretical basis of the article is also made up of approaches that emphasise the ontological openness of human existence, the universal significance of communicative interaction about human subjectivity, and the influence of spectacular forms on the construction of human identity. The results.In modern scientific discourse, the key term «identity» denotes a set of phenomena that cannot be reduced exclusively to psychological or socio-psychological forms; therefore, the following components are inherent in the phenomena of identity: a). – complex cognitive and figurative content; b). – a variable cultural component that changes due to many life factors, such as ethnic, speech, religious, political, professional, informational, gender, and virtual differences. We propose to consider «hyper-real reality» from the point of view of a special spectacular form of mass communication; the entire set of modern media resources is aimed at creating this form. In the conditions of the spread of spectacular forms of mass communication to all spheres of human life, popular images, lifestyles, and well-known brands become effective identification factors. At the same time, these factors are closely related. For example, acquiring a popular image and desired lifestyle by a person requires the consumption of positional goods and services. The production of such positional goods and services is aimed at meeting the needs of those groups of consumers who strive to be different from others in terms of level and quality of life.Many positional goods and services offered by global manufacturers and actively promoted on the market with the help of brands are created to meet urgent life needs and satisfy a certain human dream. Modern marketing strategies, represented in brands, contain certain signs of spectacular models of mass communication.Appealing to human feelings and inciting imagination, brands present the worlds of high fashion, entertainment and leisure as those that imitate the signs of the real world, creating the illusion of fulfilling desires. Therefore, the task of well-known brands as identification factors consists of the unification of personal meanings, goals, and desires, with the further transformation into one artificially narrowed meaning and one general need for material consumption. Conclusions.The article analyses specific forms of mass visual production, visual images, such as images, lifestyles, brands; in the conditions of the spread of spectacular forms of mass communication to all spheres of human life, these images become effective factors of «partial» identification; their task consists in the unification of personal meanings, goals and desires, followed by their transformation into one artificially narrowed meaning, into one general need for material consumption; it is believed that the conducted research on identity issues in the context of spectacular forms of mass communication will contribute to the development of scientific strategies and concepts of identity formation, will help to work out philosophical problems related to personal existence, creativity, and self-development. (shrink)