The object of this research is the fragmented everyday life of social life practices. The subject of the research is personal stories realized in storytelling and considered as the result of the creative activity of the subject and a way to overcome the fragmentation of everyday life of modern culture. The authors consider the fragmentation of everyday life as a factor in the desocialization of the subject and the leveling of unified mechanisms of social interaction. Storytelling is defined as a (...) way for a person to consistently present various storylines and broadcast the principles of their personal existence, creating an effect of belonging among recipients and awakening their imagination. The research substantiates that storytelling resources allow a subject to broadcast personal values, creatively express their individuality through virtual self-presentation and respond to current public demands, thereby overcoming the fragmentation of everyday life. As the conclusions of the research, the authors state that public order and social interaction are conditioned by the influence of the narratives of each subject on the foundation of their own being and the formation of a vector of development of all participants in intersubjective relations through the dissemination of the principles of personal existence in the storytelling system. The authors emphasize the creative nature of personal stories, the creation and telling of which is a prerequisite for the formation of unified principles of social existence due to the transmitted ideas about socially acceptable rules and stable patterns of behavior that become a set of rituals. The authors conclude that personal stories allow the subject to overcome fragmented everyday life, move to a qualitatively new level of normative determination, develop a strategy of self-identity and move from a separate way of being to a holistic existence in the context of intersubjective interactions. (shrink)

The subject of the study is the ontological nature of the phenomenon of creativity in the context of conceptual constructions of the most important nominal layers of non-classical philosophy. The aim of the work is to reveal the ontological essence of creativity in the context of European philosophy of the XIX–XX centuries based on the works of A. Schopenhauer, A. Bergson, J.-P. Sartre, A. Camus and M. Heidegger. The theoretical and methodological basis of the research is the works of representatives (...) of the non-classical period of the development of philosophical thought, as well as the works of modern domestic and foreign researchers, in their works directly or indirectly touching on the problem of the ontological determinant of creativity. The central research methods are comparative and complex methods for establishing connections and relationships between phenomena that are part of the sphere of creative being, as well as an analytical and interpretive method for analyzing existing interpretations of the phenomenon under study and presenting the author's position. The scientific novelty of the research consists in the identification and systematization of philosophical ideas regarding the ontological determinant of creativity in the conceptual field of Western European non–classical philosophy of the XIX-XX centuries. As a result of the conducted research, the author comes to the conclusion that within the framework of non-classical philosophy, the ontological nature of creativity is revealed both at the level of objective reality and in the existential-personal space of the subject. Unlike the classical tradition of philosophizing, which absolutizes the epistemological component of the subject's creativity, in the subject field of non-classical philosophy, creativity regains its ontological rootedness, since it acts as the general existential of human existence, revealing itself through the prism of such concepts as the Will to live, pure duration, creative evolution, Vital impulse, imaginative consciousness, rebellion against the absurd, the promotion of truth and the way out of inauthenticity. (shrink)

The object of this paper is creativity as a cultural philosophical and historical-philosophical phenomenon. The subject of the research is the substantiation of the essence of creativity by Russian religious philosophy on the example of the doctrine of V.S. Solovyov and N.A. Berdyaev. The aim of this research is to identify and articulate the key semantic constructs of creativity from the positions of the above-mentioned thinkers. The article also explores ideas about the nature of creativity and the specific features of (...) a creative subject through the prism of relevant concepts of a socio-humanitarian orientation. A brief historical and philosophical excursion into the understanding of the ontological essence of creativity is carried out, modern ontological concepts of creativity are revealed and an existentially oriented concept of creativity is proposed. The theoretical basis of the research is the original works of V.S. Solovyov and N.A. Berdyaev, as well as various commenting scientific sources. The methodological foundation of the research is a comparative analysis and a method of contextual vision of creativity. The main result of the conducted research is the articulation of key aspects of the understanding of creativity by V.S. Solovyov and N.A. Berdyaev. It is shown that for the first philosopher, the central task of creativity is the spiritualization of the material world through the realization of the unity of Goodness, Truth and Beauty, while the second thinker considers the main mission of creativity to be the establishment of a fundamentally different spiritual being by the subject. The scientific novelty of the research also lies in the comparative characterization of the concepts of creativity of these thinkers in terms of essence, tasks, meaning, material, sources, functions, result and other structural aspects. (shrink)