This paper examines the musical tradition, widespread in the giant habitat of the northern hemisphere--from theUrals in the east to the Pacific and even capturing the regions of North America. The author considers mus...This paper examines the musical tradition, widespread in the giant habitat of the northern hemisphere--from theUrals in the east to the Pacific and even capturing the regions of North America. The author considers music as areflection of worldview and religion. For this purpose the author uses a method of comparison of a mythological picture of the world and properties of musical language. An important element linking the two areas is vertical. In mythology, this is turning the world on several floors in which the world of people occupies the middle one. At the level of music--it is the vertical of overtone sound row. The initial timbre ideal of this tradition are th esounds of throat singing which are associated with the vertical of the universe and consciousness used as an important formative structure of the World Model. In the article the author considers a materialization of musical consciousness in musical instruments. For this purpose, eight instruments under different names are selected andpresented in musical cultures of people. This allows the author to create the card of geographical distribution of tengri consciousness.展开更多
The study was concerned with the problem of the Russian youth, with a special emphasis on the history of the theoretical and empirical researches devoted to the youth issues. The research delineates the term thesaurus...The study was concerned with the problem of the Russian youth, with a special emphasis on the history of the theoretical and empirical researches devoted to the youth issues. The research delineates the term thesaurus and its connection with the formation of youth＇s outlook. The central focus of the research is social and cultural value orientations of the young Russian. The study presents a detailed analysis of impact that mass media plays in socialization of youth, its generations, its influence on public opinion formation and priority directions of national policy of regulation of mutual relations between youth and mass media. It attempts to examine the presence of mass media in youth＇s everyday life. The research provides a detailed analysis of contemporary state of the youth＇s trust to the mass media and degree of dependence on it. The study also presents a detailed analysis of the traces of mass media＇s influence on young Russians. The completed research is fundamental for the sociological and the philosophical generalisations that underline comparative research on the youth problems in Russia, its social and cultural value orientations and the influence on public opinion formation and priority directions of national policy of regulation of mutual relations between youth and mass media.展开更多
The main aim of this article is to describe the intersubjective relationship between the observer and the subject depicted in a work of art. More precisely, I am interested in the observer＇s imagination as it is mani...The main aim of this article is to describe the intersubjective relationship between the observer and the subject depicted in a work of art. More precisely, I am interested in the observer＇s imagination as it is manifested in this relationship. I argue that every act of empathy involves the imagination, but the act of imagination is never understood as an act of empathy. This article will take a new approach towards the perception of a work of art and challenges the traditional notion of empathy as ＂looking into,＂ ＂looking in,＂ or ＂seeing-in.＂ I describe the experience of empathy as a lived experience, where I understand it as a type of intentional act that is distinct from imagination; meanwhile, I show that the imagination plays a role in the empathetic experience of the work of art. How？ I understand this situation as one that brings the observer into a new reality, an intersubjective mode of being where she finds a better understanding of her own （as an observer） inner world. I wish to argue that empathy gives a new dimension to experience, where being ＂here＂ becomes being ＂there.＂ Empathy is in fact a special form of meeting the Other. In the case of a work of art, we do not meet the Other as a person who lives their daily life like everyone else; instead we have an independent empathetic experience of the world, taking place within the work of art, in relation to the depicted subject. The nature of empathy is that it enables the observer to enter the deepest intimacy of the work of art and dwell inside it. This depends solely on the observer on how open they are to this world and how much it coincides with the observer＇s will, as she always retains limitless freedom when interpreting a work of art.展开更多
Charlotte Gilman＇s utopian masterpiece Herland （1915） dramatizes a confrontation between three men and an all-female society. Gilman not only creates a political vacuum, where the whole patriarchal civilization, in...Charlotte Gilman＇s utopian masterpiece Herland （1915） dramatizes a confrontation between three men and an all-female society. Gilman not only creates a political vacuum, where the whole patriarchal civilization, including patriarchal system, superstructure, ideology, influence, and consciousness have ceased to exist, but also men are done away with all together. Most reviews claim that Herland criticizes the patriarchal tradition and manifests concern for humanity and some even regard Herland as the first truly feminist work in the American tradition. But this supposedly utopian world is actually static, without possibilities of growth and even inhuman, gothic, and nightmarish. And this is because Gilman constructs the women＇s utopia out of the conviction in women＇s superiority over men. Herland is a little paradise that is designed too perfect. Women＇s utopias still need to promote social change in the real world展开更多
文摘This paper examines the musical tradition, widespread in the giant habitat of the northern hemisphere--from theUrals in the east to the Pacific and even capturing the regions of North America. The author considers music as areflection of worldview and religion. For this purpose the author uses a method of comparison of a mythological picture of the world and properties of musical language. An important element linking the two areas is vertical. In mythology, this is turning the world on several floors in which the world of people occupies the middle one. At the level of music--it is the vertical of overtone sound row. The initial timbre ideal of this tradition are th esounds of throat singing which are associated with the vertical of the universe and consciousness used as an important formative structure of the World Model. In the article the author considers a materialization of musical consciousness in musical instruments. For this purpose, eight instruments under different names are selected andpresented in musical cultures of people. This allows the author to create the card of geographical distribution of tengri consciousness.
文摘The study was concerned with the problem of the Russian youth, with a special emphasis on the history of the theoretical and empirical researches devoted to the youth issues. The research delineates the term thesaurus and its connection with the formation of youth＇s outlook. The central focus of the research is social and cultural value orientations of the young Russian. The study presents a detailed analysis of impact that mass media plays in socialization of youth, its generations, its influence on public opinion formation and priority directions of national policy of regulation of mutual relations between youth and mass media. It attempts to examine the presence of mass media in youth＇s everyday life. The research provides a detailed analysis of contemporary state of the youth＇s trust to the mass media and degree of dependence on it. The study also presents a detailed analysis of the traces of mass media＇s influence on young Russians. The completed research is fundamental for the sociological and the philosophical generalisations that underline comparative research on the youth problems in Russia, its social and cultural value orientations and the influence on public opinion formation and priority directions of national policy of regulation of mutual relations between youth and mass media.
文摘The main aim of this article is to describe the intersubjective relationship between the observer and the subject depicted in a work of art. More precisely, I am interested in the observer＇s imagination as it is manifested in this relationship. I argue that every act of empathy involves the imagination, but the act of imagination is never understood as an act of empathy. This article will take a new approach towards the perception of a work of art and challenges the traditional notion of empathy as ＂looking into,＂ ＂looking in,＂ or ＂seeing-in.＂ I describe the experience of empathy as a lived experience, where I understand it as a type of intentional act that is distinct from imagination; meanwhile, I show that the imagination plays a role in the empathetic experience of the work of art. How？ I understand this situation as one that brings the observer into a new reality, an intersubjective mode of being where she finds a better understanding of her own （as an observer） inner world. I wish to argue that empathy gives a new dimension to experience, where being ＂here＂ becomes being ＂there.＂ Empathy is in fact a special form of meeting the Other. In the case of a work of art, we do not meet the Other as a person who lives their daily life like everyone else; instead we have an independent empathetic experience of the world, taking place within the work of art, in relation to the depicted subject. The nature of empathy is that it enables the observer to enter the deepest intimacy of the work of art and dwell inside it. This depends solely on the observer on how open they are to this world and how much it coincides with the observer＇s will, as she always retains limitless freedom when interpreting a work of art.
文摘Charlotte Gilman＇s utopian masterpiece Herland （1915） dramatizes a confrontation between three men and an all-female society. Gilman not only creates a political vacuum, where the whole patriarchal civilization, including patriarchal system, superstructure, ideology, influence, and consciousness have ceased to exist, but also men are done away with all together. Most reviews claim that Herland criticizes the patriarchal tradition and manifests concern for humanity and some even regard Herland as the first truly feminist work in the American tradition. But this supposedly utopian world is actually static, without possibilities of growth and even inhuman, gothic, and nightmarish. And this is because Gilman constructs the women＇s utopia out of the conviction in women＇s superiority over men. Herland is a little paradise that is designed too perfect. Women＇s utopias still need to promote social change in the real world
