Eucharistic ecclesiology, which underlies Orthodox ecclesiology, has at its core a communion between the Local Churches. In practice, it manifests itself in the mutual recognition between the various autocephalous and autonomous Churches. The head of a separate Church of the Universal Orthodoxy during the Liturgy commemorates all the leaders of other self-governing Orthodox Churches. Communion through the sacraments also happens between the Churches, namely, unity is manifested through communion in the Eucharist. The teachings of the early Christian author, Ignatius Theophoros, (...) Bishop of Antioch, formed the basis of the local structure of the Church. The main principle of his theology is the unity of all the faithful of a certain territory around his bishop, that is, the common communion of all Christians in the Eucharist, which only the bishop of that territory is entitled to fulfill. The bishop, in turn, is a member of the "universal bishopric" and through it the local church is part of the one universal Church. (shrink)

v. 1. Recursive model theory -- v. 2. Recursive algebra, analysis and combinatorics.

In the resolution of the Central Committee of the CPSU entitled "On the Periodical Kommunist," the study of the dialectics of the forces and relations of production is assigned to the sphere of economics. It is no accident that the question is posed in this way. Today, under conditions of restructuring, a concrete analysis of the economic connections, contradictions, and interactions of socialist society and of the real forms of manifestation of economic relations is more important than ever. The [current] (...) criticism of erroneous views, widespread in their time, about the exceptional character of the economic system of socialism that made it possible to "constitute" productive relations through the "creative force of the economic plan," is especially timely and substantive. However, a more general sociophilosophical study of the dialectics of the forces and relations of production is also necessary. Lenin's words have never lost their vital force: we cannot take up "particular questions without first solving the general question. …"' It is from these general sociophilosophical positions that we shall be examining some aspects of this topic that we think important. (shrink)

Due to the growing religiosity of the Ukrainian population, there is a need to explore more deeply the new religious movements that are emerging in our territories. In particular, to consider the problem of modern Ukrainian paganism. Given that the number of believers and adherents of neo-pagan doctrines is increasing every year, this makes the study of this phenomenon quite relevant. The subject of paganism and neo-paganism is increasingly beginning to be raised at scientific religious conferences, covered in educational literature (...) and in the press. The subject of this study is the three largest non-pagan religious movements in Ukraine: the Unification of the Ukrainian Motherland, the Cathedral of the Native Ukrainian Faith, and the Family Center of the Native Orthodox Faith. (shrink)

Over the last 30 years, the growing role of political Islam has attracted attention from both the media and academia. Although it is given various names, such as "Islamic fundamentalism", "militant Islam", "political Islam", all this is due to the fact that a certain trend in Islamic movement is gaining more influence in politics and security in the global scale. The decisive moment in this was the overthrow in 1979 of the pro-Western Shah monarchy in Iran and the creation of (...) the first theocratic world in the modern world there. (shrink)

Iurii Kovalenko.Orthodox theological understanding of church-state relations in Ukraine at the time of development of Media and Information Technology. The author, who for many years was the press-secretary to the Primate of the Ukrainian Orthodox Church, considers continuity UOC position on the principles of church-state relations and their genesis in accordance with the socio-political processes taking place in Ukraine, the development of media and information technology.

In this research, author analyzes and interprets data of sociological researches of the Razumkov Centre concerning the religious self-identification of Ukrainian citizens, their attitude towards the Church in general and towards the denominations and religions presented in Ukraine in the dynamics from the year 2000 to nowadays. The author also considers external and internal outlook trends and shows a dangerous contradiction between them. As an alternative to solve this conflict, the author suggests the idea of Open Orthodoxy and presents an (...) example of its implementation in projects of the Open Orthodox University of Saint Sophia the Wisdom. (shrink)

The subject of this research is the period of Russian symphonic music of the 1960s. A new generation of composers – the “Sixtiers” – introduced a fresh modern musical language and remarkable artistic achievements. In first part of the article, the author dwell on several fundamental symphonic works by R. Shchedrin, S. Slonimsky, E. Denisov, Y. Falik, N. Karetnikov, as well gives general characteristics to this period. The second part of the article examines the compositions by A. Schnittke and L. (...) Prigozhin. Special attention is turned to the Symphony No.3 by Boris Tishchenko, who opens new stylistic horizons and encompasses the key trends of modern music, including the avant-garde, into his stylistic orbit. This article is first to consider B. Tishchenko's outstanding Symphony No.3 in the context of stylistic and linguistic innovations of the 1960s, which defines the scientific novelty. Analysis is conducted on the role and place of the youngest composer of the “Sixtiers” B. Tishchenko in the struggle for the “new music”. The conclusion is made that Tishchenko was one of the leaders in revival of the Russian music of the late XX century, and his Symphony No.3 reflects the pursuits of the postwar generation of Soviet composers to the fullest. (shrink)

The subject of the study is the period of Russian symphonic music of the 1960s. A new generation of "sixties" composers has entered the Soviet music scene, imperiously declaring themselves with bright creative achievements, fresh and modern musical language. The epoch of the turning point dictated a new reality, required new artistic thinking, generated diverse creative ideas. The panorama of Russian music was quite colorful, many things in art appeared and disappeared very rapidly, stylistic pluralism, lost at the dawn of (...) Soviet power, returned to the music scene. Special attention is paid to the works of composers of the Leningrad school — S. Slonimsky, Y. Falik, L. Prigozhin and V. Gavrilin. All of them opened new stylistic horizons and absorbed into their sound orbit the main trends of modern music, including the conquests of the Western avant-garde.  The scientific novelty of the work consists in the fact that the author examines the bright and original works of young Leningrad authors in the context of stylistic and linguistic innovations of the 1960s. The article analyzes the role and place of "Sixties" composers in the struggle for "new music". The main conclusion of the article is the idea that the period of musical renewal of the 1960s under consideration turned out to be extremely saturated with the most complex and diverse problems: ideological, general aesthetic, musical style. S. Slonimsky, Y. Falik, L. Prigozhin, V. Gavrilin became undisputed leaders in the renewal of Russian music of the second half of the twentieth century, and their works-"symbols" fully reflected the intense search of the post-war generation of Soviet composers. (shrink)

The subject of this research is the period of Soviet music in the 1960s. A new generation of the composers – the “Sixtiers” – came upon the stage, demonstrating remarkable artistic achievements, fresh and modern musical language. This article is dedicated to the symphonic work of the prominent Russian composer of the late XX century Boris Ivanovich Tishchenko. Particular attention is given to the Symphony No.1, which he created at the age of 22. Tishchenko burst into the Soviet musical space (...) with creative fervor, and asserted himself as a tremendous and unique talent. His extemporaneous music pieces kept pace with the time, in unison with the global changes that took place in Russian symphonism. The scientific novelty lies in consideration of B. Tishchenko’s Symphony No.1 in context of stylistic and linguistic innovations of the 1960s. Detailed analysis is conducted on the role and place of Tishchenko — the youngest of the generation of “Sixtiers” – in the struggle for "new music". The main conclusion lies in the thought that Tishchenko was one of the leaders in the renewal of Russian music in the late XX century, and Symphony No.1 of his early period fully reflected the intense pursuits of the post-war generation of the Soviet composers and opened the path towards the "new shores" in symphonic music of that time. (shrink)