In the past twenty years, all the key authors who wrote about the state of postmodernity either began to be engaged in other research areas (Fredric Jameson) or declared that the postmodernism is dead (Linda Hutcheon). Since 2000, when the fatigue from the postmodernism became evident to everyone, various researchers, critics and theorists began to offer their concepts of our era. However, all these theories, emphasizing the change of cultural paradigms, interpret culture traditionally not paying attention to total digitalization and (...) the introduction of new technologies into our lives. However, in two concepts of our time these processes become central. These are the concepts of the digimodern and automodern. The focus of this article is the idea of automodernism, proposed by the American social theorist Robert Samuels in 2007/2009. He believes that our world is characterized by two contradictory tendencies – automation and the desire for autonomy (personal freedom). From his point of view, the former often does not allow to reach the latter due to certain circumstances. Samuels, using the example of a car, a personal computer, the Internet, etc., shows what exactly our culture is in the broadest sense. Analyzing the concept of “digital youth,” he also pays attention to the formation of a new subjectivity of the era of automodernity. Finally, the most interesting part of the concept of automodernism, which is most relevant today, is the criticism of leftwing social and philosophical concepts (Slavoj Žižek, Jameson) and cultural theories (Henry Jenkins). At the end of the article, the author mentions Adam Greenfield’s latest book Radical Technologies: The Design of Everyday Life. Thanks to this book, Samuels’ theory can be verified. (shrink)

Legal assessment of the provisions of the Federal Law "On Freedom of Conscience and Religious Associations", which contradict the Constitution of the Russian Federation and generally accepted norms of international law.

Монография предназначена для специалистов в области социальной философии, социологии и истории, а также для широкого круга читателей.

The article discusses an actual problem of the contemporary social theory – a problem of post-postmodernism that is the answer to the question: what comes to replace the supposedly outdated postmodernism. Post-postmodernism in an umbrella term that brings together various concepts like digimodernism, automodernism, metamodernism, hypermodernism, supermodernism, etc. One of the replacing postmodernism theories is the French curator and art theorist Nicolas Bourriaud’s concept that was called “altermodern” or “other modernism.” In his previous books Bourriaud proposed to rewrite modernism and, (...) as the result, developed a new theory. The concept appeared in 2009 when Bourriaud presented the exhibition in London, timed to the publication of his manifesto Altermodern, and edited and published the book of collected papers of the same title. Globalization, which opened borders for art, is a central concept of the altermodernism theory. The main terms of altermodern are heterochrony (time diversity) and viatorisation (nomadism). The main social subject of the alternodern era is a free travelling artist, who interprets the meanings of “rewritten” art for the public. They are “rewritten” because Bourriaud proposes to use phenomena and products of past ages to make them work in a new way. However Bourriaud’s concept should be considered critically, as it was formerly done by several researchers. The article proposes a critical review that answers to the question: to what extent the idea of altermodern is heuristic and therefore it could compete with other concepts that abolish postmodern. The author gives a negative answer to this question first of all because altermodern just borrows a lot of elements of the language and apparatus of postmodernism and actually does not offer anything new. (shrink)

для научных работников, преподавателей, аспирантов, студентов юридических вузов и факультетов.

t. 1. Vlastʹ kli︠u︡cheĭ -- t. 2. Na vesakh Iova.

Despite tendencies to compete for a prime place in moral theory, neither virtue ethics nor the four principles approach should claim to be superior to, or logically prior to, the other. Together they provide a more adequate account of the moral life than either can offer on its own. The virtues of principlism are clarity, simplicity and (to some extent) universality. These are well illustrated by Ranaan Gillon’s masterly analysis of the cases he has provided. But the vices of this (...) approach are the converse of its virtues: neglect of emotional and personal factors, oversimplification of the issues, and excessive claims to universality. Virtue ethics offers a complementary approach, providing insights into moral character, offering a blend of reason and emotion, and paying attention to the context of decisions. The cases provided can be more adequately understood if we combine the approaches. Both should foster the virtues of humility and magnanimity. (shrink)

Издание адресовано научным работникам, преподавателям, студентам и аспирантам, а также практикам, интересующимся вопросами истории философии, эстетики, религиоведения и смежными проблемами.

The history of philosophy is rich in diverse and sometimes directly contradictory views on the character of the relation between science and art. There have been times when art was proclaimed as lower than science, as an inadequate form of assimilation of reality by man, while at others it was seen as the sole means of adequate reflection of the world hidden "behind Maia's mysterious veil." And although today we are far from overestimating or underestimating either of the ways in (...) which man perceives reality, the fact is that the problem of the relationship between science and art remains quite acute, as is shown in particular by the broad discussion on this question that has arisen in the pages of Problems of Philosophy [Voprosy filosofii] during the last three years. The present article is an attempt to treat yet another facet of the relationships between science and art, taking as point of departure the capacity of art to model not only certain aspects of reality but human reality itself, including that of scientific theory. From this standpoint art, as a meta-activity as it were, relates to positive cognition such as philosophy not so much "horizontally" as "vertically.". (shrink)

Книга представляет собой исследование, где предпринимается попытка на основе детальной проработки первоисточников и воспроизведения основных ходов мысли и интуиций Гегеля и позднего Шеллинга провести сравнительный анализ их учений об абсолюте.