Стаття розглядає категорії «культура» і «цивілізація» у вимірах сучасної гуманітаристики. Автор відмежовує наукові засади власне культурології (culturology) від культурографії сучасних англо-американських «cultural studies». Проведено розрізнення постнекласичної наукової парадигми. Обґрунтовується база для історичної культурології як окремої галузі науки, котра, власне і вивчає історію культури та цивілізації – з позицій не традиційно-історичної, а культурологічної методології пізнання. Автор пропонує власне розуміння співвідношення динаміки вимірів культури і цивілізації крізь призму картини світу (моделей ментальності). Акцентується важливість інформаційного обміну в культурі, його більша роль у (...) цивілізаційному процесі, аніж соціально-економічні механізми чи ландшафт, котрі, тим не менш, органічно включені в зазначений обмін і можуть суттєво корегувати його динаміку. (shrink)

The main purpose of the article is to analyze the statements of philosophical Ukrainian Studies about the anthropological specifics of Ukrainian philosophical thought by means of historicalphilosophical cultural-predicative analysis. The research methodology was determined primarily by the concept of cultural attribution and translation in the dialogue of languages of historical cultures of the Poznań Methodological School (J. Topolski, W. Wrzosek, E. Domańska) and the culturological approach in historical-philosophical Ukrainian Studies (V. Horskyi, S. Rudenko). The statements of the language of historical (...) and philosophical Ukrainian studies are analyzed by means of historicalphilosophical cultural-predicative analysis. The latter is a specific humanities research strategy, which we propose as a means of studying the communicative specifics and syntactic correctness of the language of historical-philosophical theory. The study of communicative specifics takes place from the perspective of modernized versions of metaphysical, phenomenological, and dialectical logic. The first is understood as the logic of transcendental metaphysics, the second as the logic of immanent metaphysics, and the third as the logic of procedural metaphysics. Such an approach provides a qualitative and comprehensive understanding of the analyzed statements. The statements of the language of the historical-philosophical theory are generalized in its names, depending on the perspective of one of the three versions of the logic of philosophical reasoning. The offered historical-philosophical cultural-predicative analysis of communicative specifics and the syntactic correctness of the Ukrainian historical-philosophical theory statements opens new dimensions in research of the anthropological specifics of Ukrainian philosophy. (shrink)

The author of the monograph is a Candidate of Culturology, Associate Professor of Tyumen State University. The monograph tests approaches to the understanding of the essence of Hobbes’s and Locke’s ideas about miracles that are more flexible than a formational-evolutionist approach. The monograph presents the main characteristics of these ideas as Christian philosophical ones, shows their general Christian direction and the historiographic perspective of studying these ideas primarily in line with Christian philosophy. The monograph is intended for experts in (...) the history of philosophy, the history of ideas, theology, religious studies, historical anthropology, as well as for those interested in the problems of historical-philosophical knowledge. Автор монографии – кандидат культурологии, доцент Тюменского государственного университета. В монографии апробируются более гибкие подходы к пониманию сущности идей Гоббса и Локка о чудесах по сравнению с формационно-эволюционистским подходом. Представлены основные характеристики идей Гоббса и Локка о чудесах как христианских философских идей. Показана общехристианская направленность идей Гоббса и Локка о чудесах и историографическая перспективность изучения этих идей в первую очередь как христианских философских идей. Монография рассчитана на специалистов в области истории философии, истории идей, теологии, религиоведения, исторической антропологии, а также на всех, кто интересуется проблемами историко-философского знания. (shrink)

В противостоянии эгоизма и гуманизма лишь „возделывание души“ может предотвратить всеобщее падение в пропасть безумия и мракобесия.

The set of symbols of success is a set of cultural determinants of activity and their functioning is connected with the fundamental functions of culture as a system of historically developing supra-biological programs of life. The relevance of considering the symbolization of success in modern cinema is due to several factors. First, according to the majority of art historians and film theorists, cinema remains the leading, most widespread form of art throughout the 20th and 21st centuries. If we understand art (...) as a figurative comprehension of reality, its process and result, which is expressed in works, then the symbolization of success in cinema can be considered one of the most common practices for representing the determinants of activity through a figurative comprehension of reality. An analysis of this process in modern cinematography reveals the mechanisms of functioning of one of the elements of the totality of joint life programs as a segment of modern culture, limited by the boundaries of film communication. Secondly, the development of cinematography largely determines the fundamental changes in the culture of the 20th century. and there is no reason to believe that its influence is diminishing in recent times. Consequently, modern cinema remains one of the most important areas of cultural life, the study of which allows expanding scientific understanding of the patterns of changes taking place in culture. Thirdly, the development of information and communication technologies at the end of the 20th century. led to the fact that the value complexes of traditional cultures of different peoples of the world and expansive global neoplasms of a supranational nature (mass, elite, corporate, fandom, etc.) are simultaneously transmitted into the space of personal culture. Cinema in the new conditions only strengthened its position as the leading relay of value complexes. The special socio-forming qualities of cinema were noted both by its pioneers (L. Delluk, A. Dovzhenko, Ch. Chaplin, S. Eisenstein, etc.), scientists (B. Balash, V. A. Gottwald, E. M. Samuylenko, etc.) , and the ideologists of cultural revolutions at the beginning of the 20th century. G. Turner, in particular, drew attention to the fact that “to achieve control over the everyday representation of the world for a nation means to acquire strong power over the representation of individuals about themselves and about each other”, referring to the threat to the integrity and coherence of an individual’s understanding of the world under the pressure of foreign cultural domination over film communication. In this regard, the search for ways to relevantly measure the trends in the development of modern culture by marking in cinema the cultural determinants of activity, which are the symbols of success, seems to be an urgent theoretical and scientific-practical task, the solution of which expands the predictive potential of culture and its projective possibilities. (shrink)