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)

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)

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

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)

The article offers an overview on the most notable features of the implementation of psychonarratives in fiction and documentary and fiction prose about the Anti-terrorist Operation and the hybrid warfare in Donbas from the standpoint of the achievements of modern humanities, which gives intelligence a multidisciplinary nature. The degree of academic research on the outlined topics at both the world and the national scientific levels has been clarified. The contribution of the Western scientists to the development of theoretical and methodological (...) principles of parameterization of psychonarratives is outlined. There is a tendency to increase the interest of domestic specialists in narratology, in particular psychonaratology, mainly in empirical terms. At the same time, an objective lack of thorough theoretical developments of the monographic or dissertation level on the outlined issues has been stated in Ukrainian studies. Terminological vagueness and imbalance in the interpretation of the key concepts of psychonarrative studies have been recorded. Methods and means of realization and manifestation of the psychonarratives in the text structures are established. There is a growing interest of domestic researchers in the direct or indirect consideration of narrative, psychonarrative and selfnarrative in fiction prose and documentary and fiction prose about the ATO and the hybrid warfare in the Donbas in the context of discursivity and intermediality. The peculiarities of psychonarrative expression on the formal structure and sence-content levels are indicated. The common and distinctive features of the realization of psychonarratives in fiction and non-fiction literature are briefly noted. (shrink)

The purpose of the article is to demonstrate how Heidegger's statement, "Language is the House of Being," claims to represent the essence of all Western European philosophy, namely, as an outline of the unity of indirect identities - being, form and name. The author raises a number of questions in his research. Can we identify "beginning" and "consequence" by exploring the phenomenon of language? Is there anything in the language between beginning and effect? What is a language? And why does (...) Heidegger call language home? Is it possible to identify philosophically what makes language possible regardless of cultural contexts and historical eras? Does the question "What is language?" at the same time lead us to the question "What is a person?" and then "What does it mean to be?" The article focuses on the connection of Heidegger's philosophy with Plato's philosophy, and therefore on the constancy of fundamental philosophical problems, which finds different ways of expression (mythological, metaphysical, phenomenological...). The second part of the article is devoted to the actual analysis of the concept of "house of being" through the comprehension of the speech (communicative) dimension of one's being. The author also explores the concept of Heidegger's philosophy of openness, distance, speech: existence is Dasein's relation to being, that is, to one's own making; speech (Rede) as a mode of openness (Dasein) is an existential phenomenon; language (Sprache) is an implementation of self-projecting (entwerfen) speech (Rede) into the "world". Given that a language contains a plurality of certain elements and relationships, the essential unity of the language should be sought at the discontinuity. The gap means openness and freedom of speech. That is, the existential condition of the possibility of language, called in the early Heidegger openness, in his later work appears as a gap, but here and there it is the essential language, which is at the same time the essence of man. (shrink)

The article is devoted to the study of the history of the "innovation ecosystem" concept formation and provides a simplified schematic representation of the system as five interacting modules. Innovations are assumed by national governments and companies as a source of long-term sustainability. In the past decade, there has been an increased interest in identifying approaches that would accelerate the development and deployment of innovations. The attention of the academic and business communities representatives to the innovation ecosystems underlines the fact (...) that it is ecosystems and IT platforms that implement them that are the most promising candidates for the role of an organizational structure for the accumulation and scaling of new knowledge in the era of the industrial revolution. (shrink)

The purpose of the article is to destruct the metaphor of “turn” in M. Heidegger`s philosophy. The author argues that this problem has already been formulated in the phenomenological project by E. Husserl. There is analized the influence of transcendental philosophy (first of all I. Kant`s one) on the phenomenology, as well as the influence of some other philosophical projects, which actualized the philosophical problem which was called by Heidegger as the “turn”. The author substantiates the idea that the “turn” (...) is a principled methodical requirement of philosophizing in a phenomenological way. (shrink)

The article analyzes the philosophical concept of the “porous self” of J. Rivera. The originality of this concept in the post-phenomenological project is determined by the role of theological constructions that modify the primal experience of self-consciousness. This modification allows us to interpret the phenomenological description of the human self as different from the classical — “porous” temporality, i.e., correlating through “two entrances”—the internal and external—with eternity. Within this approach, the primary phenomenon of the constitution of the "porous" self becomes (...) the inner word, which in the appeal to eternity turns out to be the original self-awareness of the self as a temporality. The secondary phenomenon of the constitution of the “porous” self is not the mundane temporality of M. Heidegger, but Epektasis as an intense striving towards the end of time in General. The worldly temporality of the self, transformed by faith, is phenomenologically revealed as open to eternity in each of its moments. The third phenomenon of the temporality of the self is Memoria, whose interpretation reveals how the structure of the inner consciousness of time by E. Husserl can be framed ontologically and harmoniously integrated into the theological concept. The article shows how, based on this understanding of both the internal and external openness of the “porous” self for eternity, the integral structure of its temporality is formed. The temporality of the porous self is a modification of Husserl’s time diagrams and the intertwining of two streams of temporality at the same time from past to future and from future to past, which itself constitutes a phenomenal field of events of self. This understanding of temporality sets new perspectives for the phenomenological analysis of subjectivity. (shrink)

Created during a certain time period of the world’s art development, fictional history embodies not only a set of individual authorial creative acts, but it is the only "artistic-historical model" conditioned by a number of objective aesthetic and non-aesthetic factors. As such, fictional history represents an integral part of the national worldview. Its exploration requires a combinatorial unity of methods. The article proposes a set of modern methodological principles for studying the processes of artistic modelling of history in the aesthetic (...) consciousness on the synchronous level and their representation in literary works. The methods of academic literary criticism are combined with the advanced methods of modern interdisciplinary humanities that are based on postmodern philosophy. Thus, in the chosen combination of the scientific approaches, the heuristic potential of the structural-semiotic and structural-typological methods, mythopoetics and myth-restoration, imagology, hermeneutics, and receptive aesthetics, correlates with the methods of systematic and descriptive analysis. Such diverse theoretical combinations, the existence of a kind of "methodological sinusoid" within the study, do not contradict but complement each other. (shrink)