Purpose. Romanticism as a movement developed in Germany, where, becoming the philosophy of time in the 18th-19th centuries, spread to all European countries. The "mobility" of the Romantic doctrine, its diversity, sometimes contradictory views, attitude to man as a free, harmonious, creative person led to the susceptibility of this movement by ethnic groups, different in nature and mentality. Its ideas found a wide response in Ukraine with its "cordocentric" type of culture in the early nineteenth century. Since the peculiarity of (...) "Ukrainian Romanticism" was its "literary-centric" nature, the purpose of this study is to analyse and comprehend the place of man in the national philosophy and literature of this period. Accordingly, the main tasks of the work are as follows: to determine the main features, the nature of Ukrainian Romanticism; to trace the main vectors of comprehension and image of man in the literature of this time. Theoretical basis. The ideas of European Romanticism were creatively rethought and assimilated during the emergence of new Ukrainian literature. It provided samples of highly artistic works, unique names of talented writers – creators and thinkers, who in their works reflected the philosophy of time. Based on the works of F. Schlegel, partly E. Husserl, M. Heidegger, K. Jaspers, Romanticism in the Ukrainian humanities, in terms of philosophy, culturology, as well as at the intersection with literature, was studied by T. Bovsunivska, Y. Hrybkova, S. Efremov, N. Kalenichenko, S. Kozak, T. Komarynets, D. Nalyvayko, Y. Nakhlik, I. Ogorodnyk, V. Ogorodnyk, A. Sinitsyna, D. Chyzhevsky, M. Yatsenko, E. Kyryliuk, M. Biletsky, D. Dontsov, S. Efremov, G. Kostyuk, S. Krymsky, Y. Sherekh and others. Originality. The authors of the article prove that Romanticism in Ukraine, being "literary-centric" inherently, having absorbed the main ideas and features of European Romanticism, has its own features and vectors of formation and development. Man in this kind of movement, thanks to the means of art, appears very clearly as a spiritually rich, sensitive, vulnerable and strong person. For him or her, the highest value is freedom, the ability to make freely independent fateful decisions. Conclusions. Ukrainian writers, reflecting the philosophical ideas of Romanticism, saw in man a harmonious combination of "natural" and "social", through which he indirectly carries out his own national existence. In addition to the objective realities of the external world, in their works, Romantic writers appeal to the subjective, internal, spiritual, "ideal" world of the hero, who interacts with reality through his own system of values. At each level of development of the humanities and methodology of cognition, this allows a new reading of these works. (shrink)

In contemporary linguistic studies, the category of taxis is one of the poorly studied aspects of language. It is explained by the fact that the means of expressing time relations are different in different languages. That is conditioned by the properties of the grammatical structure of the languages. Taxis relations are influenced by the representation of the situation in the utterance from the standpoint of its allocation and progression in a set period of time. The relations of the strict chronological (...) asynchrony are of particular interest for contemporary linguistics. In the study of the expression of the asynchrony relations, one of the actual question is the defining of the strict limits of the preceding and following actions. The study conducted on the material of belles-lettres allows the authors to demonstrate the most frequent means of expression of the relations of the strict chronological asynchrony in the German language. The morphological, lexico-grammatical, and syntactic means of organization of utterance, serving for expression of the relations of the strict chronological asynchrony can be used in speech in isolated form and in combination with other means. (shrink)

The article examines the situation associated with the spread of social networks, which brought not only new communication opportunities, but also the risks of blurring the boundaries between privacy and publicity. People voluntarily share personal data in exchange for public acceptance. This information is recorded and studied by various government and commercial institutions. The danger to information privacy as a right to control access to personal information is aggravated by the peculiarities of online communication, which is characterized by “context collapse”: (...) the merging of different audiences with different norms and values. Content posted on social media is searchable beyond a specific point in time and situation. If offline communication involves a foreseeable number of interlocutors, there is an “invisible audience” on social networks, which leads to information asymmetry. However, despite the fact that most users are aware of the potential dangers of privacy breaches, they share personal information on social networks. This phenomenon is called the privacy paradox. The reasons for this behavior are a lack of technical and social skills, a reluctance to spend time and energy on measures to minimize risks, a desire to have wide social connections and skepticism about the effectiveness of the efforts being made. The behavior of users on social networks is influenced primarily by factors such as age and education. The most concerned about the preservation of privacy are young people and middle-aged people, as they have to manage the most complex social relations. (shrink)

(1993). Transformation of Morphomechanical constraints into generative rules of Organic Evolution. World Futures: Vol. 38, Theoretical Achievements and Practical Applications of General Evolutionary Theory, pp. 33-42.

The purpose of this article is to propose a method for analyzing the ideo­logical content of video games while taking into account the agency of the players. The interactivity of video games as a medium has been attracting the attention of researchers for many years, raising, in particular, the ques­tion of how this unique property serves to broadcast certain ideologies. The ability of games to make ideological statements was discussed by Bogost, Frasca, Aarseth, and many other pioneers of game studies. (...) Video games were analyzed both in the context of older media forms that promoted certain ideas through plots, visuals, and other traditional means, and as unique types of objects that can make statements through rules. I aim to introduce the player — as a subject who is able to transform and conceptual­ize the game based on their own cultural background — to this discussion. Using James Gibson’s theory of affordances, I want to acknowledge the player’s freedom of interpretation, the potential to assign one or another ideology to the game in each playthrough. On the one hand, the player acts as a consumer of content; on the other hand, they are a co-author who will use the tools offered by the video game to produce their own state­ments, to be interpreted independently. This leaves the final decision about the ideology of the game to the consumer; thus, game studies need an ap­proach that allows the analysis of the ideological content of specific games. It is especially important in the light of more and more games prioritizing player freedom and not providing any clear plot or even victory conditions. Of course, research can still proclaim, and rightfully so, that the specific rules in such games bear traces of certain ideological systems — capitalism or secularism, for example. But individual players could undermine such interpretations both at the level of reading the game as a “text”, and at the level of interactive actions inspired by those readings. (shrink)

Ancient Rus church music is one of the brightest pages of spiritual and artistic culture. It is included in the synthesis of arts along with construction, monumental and fresco painting, icon painting, fine plastics, applied art, literature.

One of the most essential characteristics of living material—indeed, according to many, its most essential characteristic—is the fact that it is irritable. A living cell responds to sudden environmental changes, and typically a cell of a given sort responds in a definite and particular way no matter what the nature of the stimulation. Thus when a muscle cell is exposed to sudden heat, to sudden cold, to a sharp mechanical impact, to ultraviolet radiation, or to an electric current, it shortens. (...) Similarly, a nerve fiber responds in its own characteristic way, and this response is independent of the nature of the stimulation. In general, mechanical impacts, ultraviolet radiation, electric shocks, and certain types of chemical substances are stimulating agents for many diverse types of protoplasm and they serve to arouse it to activity. The response of protoplasm to stimulation may be prevented by anesthetics. These are substances which nullify the effect of a stimulus without killing or seriously injuring the protoplasm. The remarkable fact is that there are general anesthetics, substances which in much the same concentration can prevent protoplasmic activity in widely different protoplasmic systems. Many fat solvents, such as ether, are general anesthetics. Magnesium salts also behave as anesthetics for many different types of cells. (shrink)

В монографии рассматривается проблема целостности духовного смысла в русской художественности на фоне социокультурной динамики. Для специалистов.

D. Blumbergi identifies three kinds of moral criticism: (i) of an individual for violating a moral practice in his society, (2) of a moral practice but not the individual who participates in it, and (3) of both an individual and the practice in accordance with which he acts ('practice-personal' criticism) (p. 348). According to Mr. Blumberg, successful derivation of a conclusive 'ought'-statement from statements about socially-created obligations would show how moral criticisms of type 1 are justified. Moral criticisms of type (...) 2 would still be allowed, but not those of type 3. -/- I discuss the following points made by Blumberg: (A) Criticism of type 1 is 'the most common kind of moral judgment' (p. 356); (B) Searle dispensed 'with the conclusive aspect of the conclusion, and with it the finality of the derivation, when it began to seem unrealizable' (p. 356); (C) 'It is impossible to derive conclusive "ought"-statements embodying our traditional moral outlook from statements about socially-created obligations, . . .' (p. 355); (D) 'Either we surrender the attempt to derive a conclusive "ought" -statement from statements about socially-created obligations, or else we must surrender our right to make practice-personal criticisms' (p. 357). -/- I argue that conclusiveness in judgments, both moral and non-moral, is always relative to the range of reasons weighed, the implications of action considered. Therefore 'ought' must always be taken to be context-bound just as moral principles are taken to be defeasible, elliptical. This interpretation of 'ought' and 'conclusive' as bound to a context, point of view or framework, is quite consistent with Searle's distinction between what is internal and external to an institution. (shrink)

Study on perception (pratyakṣa) according to the Nyāyabhūṣaṇa, an autocommentary by Bhāsarvajña, 10th century Kashmiri scholar, on his Nyāyasāra, aphorisms on the Hindu philosophy of logic (Nyāya).

Сборник докладов предназначен для специалистов.

В сборнике представлены очерки, герои которых - художники, философы, священнослужители, ученые, император Индии, французская крестьянка, Учитель Гималайского Братства и другие - сыграли немаловажную роль в земном творчестве Космической эволюции. Для широкого круга читателей.

Because of the outward openness of Platonov's world, and the existence in it of recognizable, seemingly deliberately enhanced motifs, one can easily be misled or in any event confused, never getting to the source of this diversity of meanings which, however, by being repeated over and over again, becomes a kind of monotone calling upon us to make sense of it as well. Something similar may also be identified in Dostoevsky: one and the same element, repeated incessantly, creates an "emblematic (...) theme" or an "ontological schema" the contours of which are discernible in almost all his major writings. (shrink)