Аннотация: This article, based on separate examples, illustrates the distinctive features of I. Lisnyanskaya lyrical perception of the world – a neo-Acmeist “sixtier” – in intertextual communication with the traditional (classical) Acmeism, poetry of A. Akhmatova and M. Tsvetaeva, as well as the culture of European Renaissance. The author determines the foundation, concept, and “semantic poetics” of neo-Acmeism alongside its specific mythology, which in turn, structures a poetic model of the world. The article analyzes the spatial and time continuum, its coordinates, artistic space and time as a peculiar aesthetics and verbal phenomenon. The notion of synchronic-reminiscent chronotope, shifted relatively to the boundaries of the actual space and time, is being introduced; and thanks to this, the “monologue on polyphonic basis” is being formed within mythology. In the center of comparative approach lies the resemblance of expressive means and author’s stylistics – from literary approaches, general phrases, quotes, allusions to the integrity of the author’s concept of lyrical plot, artistic space, and synchronic-reminiscent chronotope, which in a similar way is presented in the poems of I. Lisnyanskaya, “Divine Comedy” of Dante, lyrical cycles of A. Akhmatova, and poetry of A. Tarkovsky. The comparative analysis along with the method of semiotic reconstruction of a poetic text serve as the key towards understanding of the semantics and inner structures of neo-Acmeism paradigm. The author comes to a conceptual conclusion that neo-Acmeism continued the mission of symbolism; it transforms the concept of the world as an “aesthetic phenomenon” (Schopenhauer) into the principle of mystical energetism, cognizing the world through the “mystical elucidation”. The scientific novelty consists in the fact that the works of I. Lisnyanskaya are subjected to comprehensive interpretation, as well as viewed in light of the action of mechanism of the cultural memory – as the synthesis of form and content.

Ключевые слова: Archetype, Prototype, Literary context, Reminiscence , Lyrical character, Synchronic-reminiscent chronotope, Divine Comedy, Neo-Acmeism , Literary studies, Philology

Библиография:
Lisnyanskaya I. L. Shkatulka: v kotoroy stikhi i proza. M.: Russkiy mir': Moskovskiy uchebnik, 2006. 480 s.
Bryusov V. Vchera, segodnya i zavtra sovremennoy russkoy poezii // Kritika russkogo postsimvolizma / Sost, vstup. st., preambuly i primech. O.A. Lekmanova. M.: Olimp; AST, 2002. S. 225–237.
Levin Yu. I., Segal D. M., Timenchik R. D., Toporov V. N., Tsiv'yan T. V. Russkaya semanticheskaya kul'turnaya paradigma // Russian Literature (Hague). 1974. № 7-8. P. 49-89.
Nayman A. Rasskazy o Anne Akhmatovoy: Iz knigi «Konets pervoy poloviny KhKh veka». M., 1989. 237 s.
Kikhney L. G. Poeziya Anny Akhmatovoy: Tayny remesla. M., 1997. 148 s.
Leyderman N.L., M.N. Lipovetskiy. Sovremennaya russkaya literatura: V 2 t. T. 2. – 2-izd., ispr. i dop. M.: Akademiya, 2006. 688 s.
Levin Yu. I., Segal D. M., Timenchik R. D., Toporov V. N., Tsiv'yan T. V. Russkaya semanticheskaya kul'turnaya paradigma // Russian Literature (Hague). 1974. № 7-8. P. 49-89.
Evropeyskaya kul'tura: KhKhI vek / Pod red. E. V. Vodop'yanovoy. M.; SPb.: Nestor-Istoriya, 2013. 480 s.
Serova M. V. Anna Akhmatova: Kniga Sud'by (fenomen «akhmatovskogo teksta»: problema tselostnosti i logika vnutristrukturnykh vzaimodeystviy). Ekaterinburg, 2005. 332 s.
Solov'ev V.S. Sochineniya: V 2 t. M., 1989. T. 2. 588 s.
Akhmatova A. Sobr. soch.: V 6 t. T. 2. Stikhotvoreniya. 1941-1959. M.: Ellis Lak, 2000. 528 s.
Lotman Yu. M. Simvolika Peterburga i problemy semiotiki goroda // Tr. po znakovym sistemam. XVIII. Tartu, 1984. 768 s.
Dante Alig'eri. Bozhestvennaya komediya / Per. s ital. M. Lozinskogo; Vstup. st. K. Derzhavina. M.: Pravda, 1982. 670 s.
Lozinskiy M. Primechaniya // Dante Alig'eri. Bozhestvennaya komediya. Per. s ital. M. Lozinskogo; Vstup. st. K. Derzhavina. M.: Pravda, 1982. 670 s.
Pakhareva T. A. Syuzhet «moleniya o chashe» v poeticheskoy ideologii i mifologii A. Akhmatovoy // Russkiy yazyk, literatura, kul'tura v shkole i VUZe: Yubileynye chteniya k 120-letiyu so dnya rozhdeniya A. A. Akhmatovoy. № 5 (29). Kiev, 2009. S. 2-6.
Chukovskaya L. K. Zapiski ob Anne Akhmatovoy: V 3 t. T. 2. M., 1997. 432 s.
Mandel'shtam O. E. Utro akmeizma // Kritika russkogo postsimvolizma / Sost., vstup. st., preambuly i primech. O. A. Lekmanova. M.: AST, 2002.-S. 189-194.
Gadamer Kh.-G. Istina i metod: Osnovy filosofskoy germenevtiki. M., 1988. 740 s.
Lisnyanskaya I. Roskosh' prostoty // Lisnyanskaya I. L. Shkatulka: v kotoroy stikhi i proza. M.: Russkiy mir': Moskovskiy ucheb., 2006. 480 s.
Aleksandr Solzhenitsyn. «Inna Lisnyanskaya s rannego vozrasta byla proniknuta chuvstvom sostradaniya…» // Lisnyanskaya I. L. Shkatulka: v kotoroy stikhi i proza. M.: Russkiy mir': Moskovskiy uchebnik, 2006. 480 s.
Russkie pisateli KhKh veka: Biograficheskiy slovar' / Sost. P. A. Nikolyukin. M.: BRE, 2000. 1124 s.

References (transliteration):
Lisnyanskaya I. L. Shkatulka: v kotoroy stikhi i proza. M.: Russkiy mir': Moskovskiy uchebnik, 2006. 480 s.
Bryusov V. Vchera, segodnya i zavtra sovremennoy russkoy poezii // Kritika russkogo postsimvolizma / Sost, vstup. st., preambuly i primech. O.A. Lekmanova. M.: Olimp; AST, 2002. S. 225–237.
Levin Yu. I., Segal D. M., Timenchik R. D., Toporov V. N., Tsiv'yan T. V. Russkaya semanticheskaya kul'turnaya paradigma // Russian Literature (Hague). 1974. № 7-8. P. 49-89.
Nayman A. Rasskazy o Anne Akhmatovoy: Iz knigi «Konets pervoy poloviny KhKh veka». M., 1989. 237 s.
Kikhney L. G. Poeziya Anny Akhmatovoy: Tayny remesla. M., 1997. 148 s.
Leyderman N.L., M.N. Lipovetskiy. Sovremennaya russkaya literatura: V 2 t. T. 2. – 2-izd., ispr. i dop. M.: Akademiya, 2006. 688 s.
Levin Yu. I., Segal D. M., Timenchik R. D., Toporov V. N., Tsiv'yan T. V. Russkaya semanticheskaya kul'turnaya paradigma // Russian Literature (Hague). 1974. № 7-8. P. 49-89.
Evropeyskaya kul'tura: KhKhI vek / Pod red. E. V. Vodop'yanovoy. M.; SPb.: Nestor-Istoriya, 2013. 480 s.
Serova M. V. Anna Akhmatova: Kniga Sud'by (fenomen «akhmatovskogo teksta»: problema tselostnosti i logika vnutristrukturnykh vzaimodeystviy). Ekaterinburg, 2005. 332 s.
Solov'ev V.S. Sochineniya: V 2 t. M., 1989. T. 2. 588 s.
Akhmatova A. Sobr. soch.: V 6 t. T. 2. Stikhotvoreniya. 1941-1959. M.: Ellis Lak, 2000. 528 s.
Lotman Yu. M. Simvolika Peterburga i problemy semiotiki goroda // Tr. po znakovym sistemam. XVIII. Tartu, 1984. 768 s.
Dante Alig'eri. Bozhestvennaya komediya / Per. s ital. M. Lozinskogo; Vstup. st. K. Derzhavina. M.: Pravda, 1982. 670 s.
Lozinskiy M. Primechaniya // Dante Alig'eri. Bozhestvennaya komediya. Per. s ital. M. Lozinskogo; Vstup. st. K. Derzhavina. M.: Pravda, 1982. 670 s.
Pakhareva T. A. Syuzhet «moleniya o chashe» v poeticheskoy ideologii i mifologii A. Akhmatovoy // Russkiy yazyk, literatura, kul'tura v shkole i VUZe: Yubileynye chteniya k 120-letiyu so dnya rozhdeniya A. A. Akhmatovoy. № 5 (29). Kiev, 2009. S. 2-6.
Chukovskaya L. K. Zapiski ob Anne Akhmatovoy: V 3 t. T. 2. M., 1997. 432 s.
Mandel'shtam O. E. Utro akmeizma // Kritika russkogo postsimvolizma / Sost., vstup. st., preambuly i primech. O. A. Lekmanova. M.: AST, 2002.-S. 189-194.
Gadamer Kh.-G. Istina i metod: Osnovy filosofskoy germenevtiki. M., 1988. 740 s.
Lisnyanskaya I. Roskosh' prostoty // Lisnyanskaya I. L. Shkatulka: v kotoroy stikhi i proza. M.: Russkiy mir': Moskovskiy ucheb., 2006. 480 s.
Aleksandr Solzhenitsyn. «Inna Lisnyanskaya s rannego vozrasta byla proniknuta chuvstvom sostradaniya…» // Lisnyanskaya I. L. Shkatulka: v kotoroy stikhi i proza. M.: Russkiy mir': Moskovskiy uchebnik, 2006. 480 s.
Russkie pisateli KhKh veka: Biograficheskiy slovar' / Sost. P. A. Nikolyukin. M.: BRE, 2000. 1124 s.

Аннотация: The subject of this research is the modern interpretation of classical art. The authors refer to the issues of understanding of the classical art, adequacy of conveying its meanings, experiencing the art and communication with it, value aspect of art works, as well as question of tradition and innovations in modern perception of the classical art. These problems are reveals through the reference to the practice of modern art – multiple movie and theatrical production of the classicism. The authors attempt to answer the question what is the modern interpretation of art, by analyzing the position of the classics in modern art and basing themselves on the works of philosophers, aestheticians, critics, literary scholars, and members of art community. Based on the analysis of “life” of the classicism in modern cultural-aesthetical field, the authors demonstrate the crisis of its understanding, rather than the attentive perusal realized by the contemporary means. Today, any re-interpretation of the composition can find (and finds) its justification and explanation. It is associated not only with the factors that should be viewed through the prism of development of the art, innovations, search of the new forms, but also more extensively – as a sustainable trend of confrontation of “non-classicism” with the traditional classical art. Such confrontation to a considerable degree causes the “crisis of understanding” of the classical artistic legacy and its interpretation in the modern art.

Ключевые слова: Value, Artistic legacy, Tradition, Dialogue, Theatre, Cinematography, Distortion, Understanding, Modern interpretation, Classical literature

Библиография:
Bykova Rimma. Unizheny dostoynye pokloneniya.-URL: http://www.mxat-teatr.ru/docs/tpl/doc_clean.asp?id=132&. Data obrashcheniya 23.01.2016.
Georgiy Sviridov. Muzyka kak sud'ba, M., 2002. S. 205.
Bakhtin M.M. Avtor i geroy v esteticheskoy deyatel'nosti // Estetika slovesnogo tvorchestva. 2-e izd. M., 1986. S. 77.
Lavrova Lyudmila. Mariya Gulegina: «Net zhizni bez lyubvi» // «Literaturnaya gazeta», № 31 (6519) (29-07-2015). S. 21.
Morsin Aleksandr. Postanovshchik «Tangeyzera» Timofey Kulyabin: Kogda rezhisser vynuzhden ob'yasnyat' prokuroru svoy zamysel — eto chudovishchno. –URL: https://snob.ru/selected/entry/89397#comment_775647. Data obrashcheniya 22.01.2016.
Sitkovskiy Gleb. Shchenyach'i nezhnosti. – URL: http://www.smotr.ru/2004/2004_gitis_malchiky.htm. Data obrashcheniya 22.01.2016.
Khoruzhiy S.S. «Brat'ya Karamazovy v prizme isikhastskoy antropologii // Dostoevskiy i mirovaya kul'tura. Al'manakh. 2009. № 25. S. 39.
Samokhvalova V.I. Bezobraznoe: razmyshleniya i ego prirode, sushchnosti i meste v mire. M., 2010. S. 165.
Khominskaya V.M. Kul'turno-esteticheskiy faktor v sovremennom razvitii russkogo yazyka // Metody, ponyatiya i kommunikatsii v sovremennom esteticheskom diskurse. Materialy III mezhdunarodnoy konferentsii, provedennoy v MGU 21-22 noyabrya, 2008 god. M., 2008. S. 108.
Bychkov V. K filosofii Leksikona //Leksikon nonklassiki. Khudozhestvenno-esteticheskaya kul'tura XX veka / Pod red. V.V. Bychkova. M., 2003. S. 8.
Rid G. Znachenie iskusstva. (Fragmenty) // Sovremennaya zapadnoevropeyskaya i amerikanskaya estetika. M., 2002. 224 s.
Frank S.L. Dukhovnye osnovy obshchestva. M., 1992. S. 11.
Levinson J. What is Aesthetic Pleasure? // The Pleasures of Aesthetics. Ithaca and London. 1996. P. 7.
Vel'flin G. Klassicheskoe iskusstvo. Vvedenie v ital'yanskoe Vozrozhdenie. M., 2004. 368 s.
Tsapesh V.V. Esteticheskaya sushchnost' teatral'nogo deystviya: obshchenie kak tvorchestvo. M., 1992. 121 s.
Dyufren M. Vklad estetiki v filosofiyu // Estetika i teoriya iskusstva XX veka. Khrestomatiya. M., 2007. S. 159.
Norshteyn Yu. Sneg na trave. – URL: http://theatre-teorema.ucoz.com/rejissura/Norshtein_U_Sneg_na_trave.doc.
Artyukh A.A. Virtual'naya real'nost' i problema ee reprezentatsii (animatsionnyy effekt) //Materialy pervoy vserossiyskoy nauchno-prakticheskoy konferentsii. 27-28 aprelya 2005 goda. Moskva, VGIK. M., 2006. 230 s.
Andreeva E.Yu. Postmodernizm: Iskusstvo vtoroy poloviny XX – nachala XXI veka. SPb., 2007. S. 14.

References (transliteration):
Bykova Rimma. Unizheny dostoynye pokloneniya.-URL: http://www.mxat-teatr.ru/docs/tpl/doc_clean.asp?id=132&. Data obrashcheniya 23.01.2016.
Georgiy Sviridov. Muzyka kak sud'ba, M., 2002. S. 205.
Bakhtin M.M. Avtor i geroy v esteticheskoy deyatel'nosti // Estetika slovesnogo tvorchestva. 2-e izd. M., 1986. S. 77.
Lavrova Lyudmila. Mariya Gulegina: «Net zhizni bez lyubvi» // «Literaturnaya gazeta», № 31 (6519) (29-07-2015). S. 21.
Morsin Aleksandr. Postanovshchik «Tangeyzera» Timofey Kulyabin: Kogda rezhisser vynuzhden ob'yasnyat' prokuroru svoy zamysel — eto chudovishchno. –URL: https://snob.ru/selected/entry/89397#comment_775647. Data obrashcheniya 22.01.2016.
Sitkovskiy Gleb. Shchenyach'i nezhnosti. – URL: http://www.smotr.ru/2004/2004_gitis_malchiky.htm. Data obrashcheniya 22.01.2016.
Khoruzhiy S.S. «Brat'ya Karamazovy v prizme isikhastskoy antropologii // Dostoevskiy i mirovaya kul'tura. Al'manakh. 2009. № 25. S. 39.
Samokhvalova V.I. Bezobraznoe: razmyshleniya i ego prirode, sushchnosti i meste v mire. M., 2010. S. 165.
Khominskaya V.M. Kul'turno-esteticheskiy faktor v sovremennom razvitii russkogo yazyka // Metody, ponyatiya i kommunikatsii v sovremennom esteticheskom diskurse. Materialy III mezhdunarodnoy konferentsii, provedennoy v MGU 21-22 noyabrya, 2008 god. M., 2008. S. 108.
Bychkov V. K filosofii Leksikona //Leksikon nonklassiki. Khudozhestvenno-esteticheskaya kul'tura XX veka / Pod red. V.V. Bychkova. M., 2003. S. 8.
Rid G. Znachenie iskusstva. (Fragmenty) // Sovremennaya zapadnoevropeyskaya i amerikanskaya estetika. M., 2002. 224 s.
Frank S.L. Dukhovnye osnovy obshchestva. M., 1992. S. 11.
Levinson J. What is Aesthetic Pleasure? // The Pleasures of Aesthetics. Ithaca and London. 1996. P. 7.
Vel'flin G. Klassicheskoe iskusstvo. Vvedenie v ital'yanskoe Vozrozhdenie. M., 2004. 368 s.
Tsapesh V.V. Esteticheskaya sushchnost' teatral'nogo deystviya: obshchenie kak tvorchestvo. M., 1992. 121 s.
Dyufren M. Vklad estetiki v filosofiyu // Estetika i teoriya iskusstva XX veka. Khrestomatiya. M., 2007. S. 159.
Norshteyn Yu. Sneg na trave. – URL: http://theatre-teorema.ucoz.com/rejissura/Norshtein_U_Sneg_na_trave.doc.
Artyukh A.A. Virtual'naya real'nost' i problema ee reprezentatsii (animatsionnyy effekt) //Materialy pervoy vserossiyskoy nauchno-prakticheskoy konferentsii. 27-28 aprelya 2005 goda. Moskva, VGIK. M., 2006. 230 s.
Andreeva E.Yu. Postmodernizm: Iskusstvo vtoroy poloviny XX – nachala XXI veka. SPb., 2007. S. 14.

Аннотация: The reasoning of Plato on beauty, art is often criticized, especially from the time when the aesthetic sphere began to be understood as a purely autonomous (superficial interpretation of the concept of autonomy is not allowed to consider the phenomena of art and beauty in the long term benefits), and the usefulness of art, which Plato put acutely philosophical issues, has moved into the sphere of social-democratic ideology and social thought, has acquired a journalistic character. In this article the aesthetics of Plato is seen in the horizon of good ideas. Attempts to draw parallels between the critical reasoning of Plato on art and a number of ideas of such thinkers as J. Winkelmann, J. J. Rousseau, F. Nietzsche, S. Freud. So, we can talk about overcoming the habit of talking about art in general only in the positive sense, about the protest against the aesthetics of the passion as a socially harmful phenomenon, etc. In the context of reflections about the beauty and art reveals the comparison at first glance alien to each other phenomena - the "natural" man Rousseau, a citizen of the ideal state of Plato. The paper shows also how in the future the idea of the good of Plato develops the theme of pure pleasure - a theme that has continued in the areas of post-classical art, abstractionism and minimalism. In the context of the good ideas also emphasized the erotic relationship of the philosophy of Plato with the sphere of theology. In this article, we have used some of the principles of ontological studies, hermeneutics, and comparative and phenomenological methods. This study revealed a positive sense of criticism of Plato common "cave" views on art and beauty and is accented existential dimension of these phenomena in the philosophical aesthetics of Plato. All analogies and parallels given in the study, not random. They allow to identify a still relevant content of Plato's aesthetics, which as the entire Plato's philosophy, is a search of good, and its foundations within the human being.

Ключевые слова: fun, use, imitation, passion, beauty, art, ontology, aesthetics, good, erotic experience

Библиография:
Plotin. Enneady: 5; 12; 33. Kiev, 1995. (Perevody s drevnegrech. i angl.).
Platon. Gosudarstvo: Kn. 2: 378 de; 382 cd. Kn. 3: 387 bc; 390 c; 400 c; 401 d; 410 d; 411 e – 412 a. Kn. 10: 605 cd; 606 d. // Platon. Sobr. soch. v 4-kh t.. T.3. M., 1994. (Per. s drevnegrech. A.N. Egunova)).
Shelling F. V. Y. Filosofiya otkroveniya. V 2-kh t. T.1. S.-Pb., 2000. (Per. s nem. A.L. Pestova).
Platon. Pis'mo Sed'moe: 341 c. // Platon. Sobr. soch. v 4-kh t. T. 4. M., 1994. (Per. s drevnegrech. S. P. Kondrat'eva).
Gomer. Iliada (p. 14; 294). M., 1985. (Per. s drevnegrech. N. Gnedicha).
Losev A.F. Ocherki antichnogo simvolizma i mifologii. M., 1993.
Nitsshe F. Kazus Vagner. Problema muzykanta. // Fridrikh Nitsshe. Soch. v 2-kh t. T. 2. M., 1990. (Per. s nem. N. Polilova).
Vinkel'man I. I. Mysli po povodu podrazhaniya grecheskim proizvedeniyam v zhivopisi i skul'pture. // Iogann – Ioakhim Vinkel'man. Izbrannye proizvedeniya i pis'ma. M. – L., 1935. (Per. s nem. A. A. Alyavdinoy).
Rafael'. Pis'mo grafu Bal'dassare Kastil'one ot 1514 g. // Mastera iskusstv ob iskusstve. V 7-mi t. T. 2. M., 1966. (Per. s it. A. I. Aristovoy).
Platon. Timey: 52 c. // Platon. Sobr. soch. v 4-kh t. T. 3. M., 1994. (Per. s drevnegrech. S. S. Averintseva).
Platon. Fedr: 249 c; 250bc; 251ab; 251d-252b; 275d. // Platon. Sobr. soch. v 4-kh t. T. 2. M., 1993. (Per. s drevnegrech. A. N. Egunova).
Russo Zh.-Zh. Rassuzhdenie: Sposobstvovalo li vozrozhdenie nauk i iskusstv uluchsheniyu nravov? // Zhan – Zhak Russo. Izbr. soch. v 3-kh t. T. 1. M., 1961. (Per. s fr. N. I. Kareeva).
Russo Zh. – Zh. Pis'mo k D` Alamberu o zrelishchakh. // Zhan – Zhak Russo. Izbr. soch. v 3-kh t. T. 1. M., 1961. (Per. s fr. D. A. Gorbova).
Platon. Zakony: Kn. 2: 667c; 667d; 667e; 668 b. // Platon. Sobr. soch. v 4-kh t. T. 4. M., 1994. (Per. s drevnegrech. A. N. Egunova).
Platon. Sofist: 235 de. // Platon. Sobr. soch. v 4-kh t. T. 2. M., 1993. (Per. s drevnegrech. S.A. Anan'ina) .
Platon. Fileb: 13ab; 31 c; 32 bc; 51 b; 51 cd. // Platon. Sobr. soch. v 4-kh t. T. 3. M., 1994. (Per. s drevnegrech. N.V. Samsonova).
Gadamer G. – G. Dialekticheskaya etika Platona. (Fenomenologicheskaya interpretatsiya «Fileba»). S.-Pb., 2000. (Per. s nem. O.A. Koval')).
Didi-Yuberman Zh. To, chto my vidim, to, chto smotrit na nas. S.-Pb., 2001. (Per. s fr. A. Shestakova).

References (transliteration):
Plotin. Enneady: 5; 12; 33. Kiev, 1995. (Perevody s drevnegrech. i angl.).
Platon. Gosudarstvo: Kn. 2: 378 de; 382 cd. Kn. 3: 387 bc; 390 c; 400 c; 401 d; 410 d; 411 e – 412 a. Kn. 10: 605 cd; 606 d. // Platon. Sobr. soch. v 4-kh t.. T.3. M., 1994. (Per. s drevnegrech. A.N. Egunova)).
Shelling F. V. Y. Filosofiya otkroveniya. V 2-kh t. T.1. S.-Pb., 2000. (Per. s nem. A.L. Pestova).
Platon. Pis'mo Sed'moe: 341 c. // Platon. Sobr. soch. v 4-kh t. T. 4. M., 1994. (Per. s drevnegrech. S. P. Kondrat'eva).
Gomer. Iliada (p. 14; 294). M., 1985. (Per. s drevnegrech. N. Gnedicha).
Losev A.F. Ocherki antichnogo simvolizma i mifologii. M., 1993.
Nitsshe F. Kazus Vagner. Problema muzykanta. // Fridrikh Nitsshe. Soch. v 2-kh t. T. 2. M., 1990. (Per. s nem. N. Polilova).
Vinkel'man I. I. Mysli po povodu podrazhaniya grecheskim proizvedeniyam v zhivopisi i skul'pture. // Iogann – Ioakhim Vinkel'man. Izbrannye proizvedeniya i pis'ma. M. – L., 1935. (Per. s nem. A. A. Alyavdinoy).
Rafael'. Pis'mo grafu Bal'dassare Kastil'one ot 1514 g. // Mastera iskusstv ob iskusstve. V 7-mi t. T. 2. M., 1966. (Per. s it. A. I. Aristovoy).
Platon. Timey: 52 c. // Platon. Sobr. soch. v 4-kh t. T. 3. M., 1994. (Per. s drevnegrech. S. S. Averintseva).
Platon. Fedr: 249 c; 250bc; 251ab; 251d-252b; 275d. // Platon. Sobr. soch. v 4-kh t. T. 2. M., 1993. (Per. s drevnegrech. A. N. Egunova).
Russo Zh.-Zh. Rassuzhdenie: Sposobstvovalo li vozrozhdenie nauk i iskusstv uluchsheniyu nravov? // Zhan – Zhak Russo. Izbr. soch. v 3-kh t. T. 1. M., 1961. (Per. s fr. N. I. Kareeva).
Russo Zh. – Zh. Pis'mo k D` Alamberu o zrelishchakh. // Zhan – Zhak Russo. Izbr. soch. v 3-kh t. T. 1. M., 1961. (Per. s fr. D. A. Gorbova).
Platon. Zakony: Kn. 2: 667c; 667d; 667e; 668 b. // Platon. Sobr. soch. v 4-kh t. T. 4. M., 1994. (Per. s drevnegrech. A. N. Egunova).
Platon. Sofist: 235 de. // Platon. Sobr. soch. v 4-kh t. T. 2. M., 1993. (Per. s drevnegrech. S.A. Anan'ina) .
Platon. Fileb: 13ab; 31 c; 32 bc; 51 b; 51 cd. // Platon. Sobr. soch. v 4-kh t. T. 3. M., 1994. (Per. s drevnegrech. N.V. Samsonova).
Gadamer G. – G. Dialekticheskaya etika Platona. (Fenomenologicheskaya interpretatsiya «Fileba»). S.-Pb., 2000. (Per. s nem. O.A. Koval')).
Didi-Yuberman Zh. To, chto my vidim, to, chto smotrit na nas. S.-Pb., 2001. (Per. s fr. A. Shestakova).

Аннотация: The subject of this research is the examination of the spirit of surrealism as an ontological characteristic of this direction in art. Under this notion the author means an expression of metaphysical essence of a particular art direction. On the example of the creative work of a well-known surrealist Joan Miró, an attempt is made to reveal the ontological characteristics of the spirit of surrealism. It is demonstrated that by using typical for the creative method oа Miróspecificities of art expression, which are based on paradoxical and aggressive-expressive transformations and metamorphoses of the objects of visual reality and stylization for children paintings, a famous surrealist creates in his works a special other being atmosphere. Scientific novelty consists in the following: the entire list of Joan Miró’s major works illustrates that they lead a recipient to submersion into dramatic or even tragic spaces of otherness that are filled with a spirit of catastrophism and apocalypticism, including his eschatological understanding, which is considered by the author as a spirit of surrealism.

Ключевые слова: Surrealism, Metaphysical painting, Contemporary art, Apocalypticism , Symbolism, Aesthetic experience, Artistry, Joan Miró, Giorgio De Chirico, Salvador Dali

Библиография:
Breton A. Oeuvres complètes. Vol. 1. Paris, 1988.
Breton A. Nadja. Paris, 1964.
Breton A. Manifestes du Surrélisme. Paris, 1962.
Becks-Malorny U. Wassily Kandinsky. 1866-1944. Aufbruch zur Abstraktion. Koeln, 1993.
Apollonio U. Pittura metafisica. Milano, 1945.
Fedotova E. D. Beklin. M.: Belyy Gorod, 2001.
Kassu Zh. Dukh simvolizma // Entsiklopediya simvolizma. Zhivopis', grafika i skul'ptura. Literatura. Muzyka. M.: Respublika, 1998. S. 5-30
Antologiya frantsuzskogo syurrealizma. 20-e gody. M.: GITIS, 1994.
Dukh simvolizma. Russkoe i zapadnoevropeyskoe iskusstvo v kontekste epokhi kontsa XIX – nachala XX veka. M.: Progress-Traditsiya, 2012.
Bychkov V.V., Man'kovskaya N.B., Ivanov V.V. Trialog plus. M.: Progress-Traditsiya, 2013.
Bychkov V.V. Metafizicheskiy smysl iskusstva El' Greko // Vestnik slavyanskikh kul'tur. 2014. № 2 (32) iyun'. S. 158-170.
Bychkov V.V., Man'kovskaya N.B., Ivanov V.V. Trialog: Zhivaya estetika i sovremennaya filosofiya iskusstva. M: Progress-Traditsiya, 2012.
Bychkov V.V. Esteticheskaya aura bytiya. Sovremennaya estetika kak nauka i filosofiya iskusstva. M.: Izdatel'stvo MBA, 2010.
Bychkov V. Khudozhestvennyy Apokalipsis Kul'tury. Stromaty KhKh veka. Kn. 1. M.: Kul'turnaya revolyutsiya, 2008.
Borzykh S.V. Chelovek epokhi Apokalipsisa // Filosofiya i kul'tura, 2015. № 4(88) aprel'. S. 513-523
Carra M. Metaphysical Art. New York, Washington, 1971.
Dupin J. Miro. New York, 1962.
Erben W. Joan Miro. 1893-1983. Mensch und Werk. Koeln, 1988.
Grohman W. Wassily Kandinsky. Leben und Werk. Koeln, 1958.
Miro. Von der Erde zum Himmel. Ed. G. Fischer, J-L. Prat. Muenchen, London, New York, 2014.
Oliva A.B. De Chirico. New York, 1985.
Richter H. Dada. Art and Anti-Art. New York, 1965.
Waldberg P. Der Surrealismus. Koeln, 1981

References (transliteration):
Breton A. Oeuvres complètes. Vol. 1. Paris, 1988.
Breton A. Nadja. Paris, 1964.
Breton A. Manifestes du Surrélisme. Paris, 1962.
Becks-Malorny U. Wassily Kandinsky. 1866-1944. Aufbruch zur Abstraktion. Koeln, 1993.
Apollonio U. Pittura metafisica. Milano, 1945.
Fedotova E. D. Beklin. M.: Belyy Gorod, 2001.
Kassu Zh. Dukh simvolizma // Entsiklopediya simvolizma. Zhivopis', grafika i skul'ptura. Literatura. Muzyka. M.: Respublika, 1998. S. 5-30
Antologiya frantsuzskogo syurrealizma. 20-e gody. M.: GITIS, 1994.
Dukh simvolizma. Russkoe i zapadnoevropeyskoe iskusstvo v kontekste epokhi kontsa XIX – nachala XX veka. M.: Progress-Traditsiya, 2012.
Bychkov V.V., Man'kovskaya N.B., Ivanov V.V. Trialog plus. M.: Progress-Traditsiya, 2013.
Bychkov V.V. Metafizicheskiy smysl iskusstva El' Greko // Vestnik slavyanskikh kul'tur. 2014. № 2 (32) iyun'. S. 158-170.
Bychkov V.V., Man'kovskaya N.B., Ivanov V.V. Trialog: Zhivaya estetika i sovremennaya filosofiya iskusstva. M: Progress-Traditsiya, 2012.
Bychkov V.V. Esteticheskaya aura bytiya. Sovremennaya estetika kak nauka i filosofiya iskusstva. M.: Izdatel'stvo MBA, 2010.
Bychkov V. Khudozhestvennyy Apokalipsis Kul'tury. Stromaty KhKh veka. Kn. 1. M.: Kul'turnaya revolyutsiya, 2008.
Borzykh S.V. Chelovek epokhi Apokalipsisa // Filosofiya i kul'tura, 2015. № 4(88) aprel'. S. 513-523
Carra M. Metaphysical Art. New York, Washington, 1971.
Dupin J. Miro. New York, 1962.
Erben W. Joan Miro. 1893-1983. Mensch und Werk. Koeln, 1988.
Grohman W. Wassily Kandinsky. Leben und Werk. Koeln, 1958.
Miro. Von der Erde zum Himmel. Ed. G. Fischer, J-L. Prat. Muenchen, London, New York, 2014.
Oliva A.B. De Chirico. New York, 1985.
Richter H. Dada. Art and Anti-Art. New York, 1965.
Waldberg P. Der Surrealismus. Koeln, 1981

Аннотация: Expanding the traditional concept of musical sound recordings, the author introduces it in the context of contemporary aesthetics. The article considers the most significant scientific concept of sound recording's study, where the subject of research is the genesis of its aesthetic and artistic characteristics.With the installation of the aesthetic interpretation author explores concepts of "aura", "absolute music", "the dialectic of the general and specific ontological regularities of sounding matter", "creative simulation" et al., and also offers a variety of methodological approaches to the study of the sound recording art. Analyzes and correlates local and foreign research, which related to the topic of sound recording, in order to identify the most significant patterns in this process. In the art of music in the Age of Technical Reproduction there is resumption of in its aura of a qualitatively new form. The modern stage is also characterized by an alternative perception contrary to the traditional music listening experience. The novelty of the presented analysis consists in the interpretation of the artistic phenomenon in the sound recording system of philosophical and aesthetic reflection that provides the key to understanding of many things in musical science and offers substantial interest in the theory of art of the XX and XXI centuries.

Библиография:
I.P. Nikitina Estetika i khudozhestvennaya kritika // Filosofiya i kul'tura.-2010.-7.-C. 67-75.
Kushch E.V. Fonokul'tura kak novaya paradigma akusticheskogo prostranstva // Kul'turnaya zhizn' Yuga Rossii № 1 (48). – Krasnodar, 2013. C. 20
Tup D. Okean zvuka.-M.: AST; Adaptek, 2007. S. 21
Leksikon nonklassiki. Khudozhestvenno-esteticheskaya kul'tura XX veka. / Pod red. V.V.Bychkova.— M., 2003. S. 318
Theodor Adorno, “Opera and the Long-Playing Record,” trans. Thomas Y. Levin, in Essays on Music, ed. Richard Leppert. – Berkeley and Los Angeles: University of California Press, 2002. P. 284.
Bogomolov A. G. Metafizika zvuka v zapadnoevropeyskoy kul'ture. – M., 2012. S. 23.
Estetika muzykal'naya // Muzykal'naya entsiklopediya. — M.: Sovetskaya entsiklopediya, Sovetskiy kompozitor. Pod red. Yu. V. Keldysha. 1973—1982
Mikhaylov A. V. Muzykal'naya estetika Germanii XIX v. – M., 1981. T. 1. S. 13.
Brayan Ino: o tvittere, plastiline i kollektivnom razume URL: http://www.lookatme.ru/flow/posts/art-radar/111399-brayan-ino-o-tvittere-plastiline-i-kollektivnom-razume#comments
Agamben Dzh. Stantsy. Slovo i fantazm v kul'ture Zapada/Per. s it. B. Dubina:URL http://kinoart.ru/archive/1998/11/n11-article21
Ocherki estetiki i teorii iskusstv XX veka / Otv. red. N. A. Khrenov, A.S. Migunov. – M., 2013. S. 23
Sineokiy O.V. Vostochnyy rok: zvukozapis' iz sotsialisticheskoy Azii // Chelovek i kul'tura.-2013.-6.-C. 1-22. DOI: 10.7256/2409-8744.2013.6.7072. URL: http://www.e-notabene.ru/ca/article_7072.html
Petruseva N.A. O dvukh tendentsiyakh Novoy muzyki // NB: Filologicheskie issledovaniya. — 2013.-№ 3.-S.177-233. DOI: 10.7256/2306-1596.2013.3.10184. URL: http://e-notabene.ru/fil/article_10184.html
Shapinskaya E.N., Kiyashchenko N.I.. Dialog ob esteticheskom vospitanii: krizis tsennostey i puti ego preodoleniya.. // Kul'tura i iskusstvo.-2014.-№ 4.-C. 417-427. DOI: 10.7256/2222-1956.2014.4.12885
Bueva L.P.. Voobrazhenie kak stimulyator iskusstva. // Psikhologiya i Psikhotekhnika.-2014.-№ 8.-C. 863-879. DOI: 10.7256/2070-8955.2014.8.12561
E.V. Evstigneeva. Psikhologiya vospriyatiya muzyki v traktovke A.Shopengauera. // Psikhologiya i Psikhotekhnika.-2010.-№ 7.-C. 54-60.
V.M. Rozin. Sushchnost' i tayna muzyki. // PHILHARMONICA. International Music Journal.-2014.-№ 2.-C. 194-218. DOI: 10.7256/1339-4002.2014.2.13588
V.N. Kholopova. Spetsial'noe i nespetsial'noe muzykal'noe soderzhanie. // PHILHARMONICA. International Music Journal.-2014.-№ 1.-C. 14-25. DOI: 10.7256/.2014.1.1240

References (transliteration):
I.P. Nikitina Estetika i khudozhestvennaya kritika // Filosofiya i kul'tura.-2010.-7.-C. 67-75.
Kushch E.V. Fonokul'tura kak novaya paradigma akusticheskogo prostranstva // Kul'turnaya zhizn' Yuga Rossii № 1 (48). – Krasnodar, 2013. C. 20
Tup D. Okean zvuka.-M.: AST; Adaptek, 2007. S. 21
Leksikon nonklassiki. Khudozhestvenno-esteticheskaya kul'tura XX veka. / Pod red. V.V.Bychkova.— M., 2003. S. 318
Theodor Adorno, “Opera and the Long-Playing Record,” trans. Thomas Y. Levin, in Essays on Music, ed. Richard Leppert. – Berkeley and Los Angeles: University of California Press, 2002. P. 284.
Bogomolov A. G. Metafizika zvuka v zapadnoevropeyskoy kul'ture. – M., 2012. S. 23.
Estetika muzykal'naya // Muzykal'naya entsiklopediya. — M.: Sovetskaya entsiklopediya, Sovetskiy kompozitor. Pod red. Yu. V. Keldysha. 1973—1982
Mikhaylov A. V. Muzykal'naya estetika Germanii XIX v. – M., 1981. T. 1. S. 13.
Brayan Ino: o tvittere, plastiline i kollektivnom razume URL: http://www.lookatme.ru/flow/posts/art-radar/111399-brayan-ino-o-tvittere-plastiline-i-kollektivnom-razume#comments
Agamben Dzh. Stantsy. Slovo i fantazm v kul'ture Zapada/Per. s it. B. Dubina:URL http://kinoart.ru/archive/1998/11/n11-article21
Ocherki estetiki i teorii iskusstv XX veka / Otv. red. N. A. Khrenov, A.S. Migunov. – M., 2013. S. 23
Sineokiy O.V. Vostochnyy rok: zvukozapis' iz sotsialisticheskoy Azii // Chelovek i kul'tura.-2013.-6.-C. 1-22. DOI: 10.7256/2409-8744.2013.6.7072. URL: http://www.e-notabene.ru/ca/article_7072.html
Petruseva N.A. O dvukh tendentsiyakh Novoy muzyki // NB: Filologicheskie issledovaniya. — 2013.-№ 3.-S.177-233. DOI: 10.7256/2306-1596.2013.3.10184. URL: http://e-notabene.ru/fil/article_10184.html
Shapinskaya E.N., Kiyashchenko N.I.. Dialog ob esteticheskom vospitanii: krizis tsennostey i puti ego preodoleniya.. // Kul'tura i iskusstvo.-2014.-№ 4.-C. 417-427. DOI: 10.7256/2222-1956.2014.4.12885
Bueva L.P.. Voobrazhenie kak stimulyator iskusstva. // Psikhologiya i Psikhotekhnika.-2014.-№ 8.-C. 863-879. DOI: 10.7256/2070-8955.2014.8.12561
E.V. Evstigneeva. Psikhologiya vospriyatiya muzyki v traktovke A.Shopengauera. // Psikhologiya i Psikhotekhnika.-2010.-№ 7.-C. 54-60.
V.M. Rozin. Sushchnost' i tayna muzyki. // PHILHARMONICA. International Music Journal.-2014.-№ 2.-C. 194-218. DOI: 10.7256/1339-4002.2014.2.13588
V.N. Kholopova. Spetsial'noe i nespetsial'noe muzykal'noe soderzhanie. // PHILHARMONICA. International Music Journal.-2014.-№ 1.-C. 14-25. DOI: 10.7256/.2014.1.1240

Аннотация: The article is devoted to some peculiarities of interpreting Russian classical writings when they are being transferred to other art forms. Much attention is paid to cinematography. Toporina has described such peculiarities as specific nature of the literary, cinema- and theatrical languages, the problem of defining the artistic interpretation (transfer), style, detail, national literary tradition, aesthetic component of a literary writing, problems of traditionalism and novelty as well as the role of personality in Russian literature. These peculiarities are defined through analyzing particular materials, i.e. modern artistic interpretations of Russian classical literary works. When writing her article, Toropina has appealed to classical fiction as well as literary, aesthetical and philosophical researches devoted to the problems of theoretical and artistic interpretation of texts. Conclusions: the researcher shows special features of a classical text as a source of active creative understanding in an artistic intepretation; describes peculiarities of artistic interpretation of classical literature as the way to convey the deepest meanings of classical literature through other artistic forms; examines peculiarities of artistic interpretation of Russian classical literature based on the analysis of particular artwork; attempts to analyze whether modern interpetations of classical literature are adequate. 

Ключевые слова: world perception, human, realism, national literary tradition, artistic interpretation, Russian classical literature, distance, theatre, cinematography, compliance

Библиография:
Rudnev V.P. Slovar' kul'tury XX veka. M., 1997. S. 253.
Gacheva A.G. «Nam ne dano predugadat', Kak slovo nashe otzovetsya…»: (Dostoevskiy i Tyutchev). M., 2004. S.6.
Sm. Pechko L.P. Stili iskusstva: esteticheskie konteksty. Elets, 2010.
Frank S.L. S nami Bog // Frank S. L. Dukhovnye osnovy obshchestva. M., S. 304.
Bakhtin M.M. Estetika slovesnogo tvorchestva. [Elektronnyy resurs] /M., 1979. Dostupno po adresu: http://teatr-lib.ru/Library/Bahtin/esthetic/. Data obrashcheniya: 25.09.2014.
Nabokov V.V. Kommentariy k romanu «Evgeniy Onegin». SPb., 1998. S. 593.
Tynyanov Yu.N. Pushkin i ego sovremenniki. M., 1969. S.158.
Azarova N.M. Tekst. Chast' I. M., 2002. S. 206.
Pushkin A.S. Pis'mo P.A. Vyazemskomu ot 4 noyabrya 1823 g.// Sobranie sochineniy v 10t. M., 1962. T.9. S.77.
O. Mandel'shtam. O prirode slova//Esteticheskoe samosoznanie russkoy kul'tury: 20-e gody XX veka. Antologiya. Sostavitel' G.A. Belaya. M., 2003. S.167.
Chekhov A.P. Povesti i rasskazy. M., 1997. S 261.
Tarkovskiy A.A. Lektsii po kinorezhissure: Stsenariy /Uroki rezhissury. M.,1993.S.19-20.
Volkova E.V. Proizvedenie iskusstva v mire khudozhestvennoy kul'tury. M., 1988. S.129-130.
Shlegel' F. Estetika. Filosofiya. Kritika. T.2. M., 1983. S.294.
Averintsev S.S. Glubokie korni obshchnosti// Sov. Muzyka, 1988. №11, S.76-83.
Stepanyan K.A. Yavlenie i dialog v romanakh F.M. Dostoevskogo. SPb., 2009. S.16.
Ganiyants Mariya «Fil'm Sergeya Ovcharova «Sad» po p'ese Chekhova predstavili v Moskve» RIA Novosti, Moskva, 29 oktyabrya 2008.
Shpet G.G. Esteticheskie fragmenty. [Elektronnyy resurs]. Dostupno po adresu:ModernLib.Ru.http://modernlib.ru/books/shpet_g/esteticheskie_fragmenti/read/. Data obrashcheniya: 26.09.2014.

References (transliteration):
Rudnev V.P. Slovar' kul'tury XX veka. M., 1997. S. 253.
Gacheva A.G. «Nam ne dano predugadat', Kak slovo nashe otzovetsya…»: (Dostoevskiy i Tyutchev). M., 2004. S.6.
Sm. Pechko L.P. Stili iskusstva: esteticheskie konteksty. Elets, 2010.
Frank S.L. S nami Bog // Frank S. L. Dukhovnye osnovy obshchestva. M., S. 304.
Bakhtin M.M. Estetika slovesnogo tvorchestva. [Elektronnyy resurs] /M., 1979. Dostupno po adresu: http://teatr-lib.ru/Library/Bahtin/esthetic/. Data obrashcheniya: 25.09.2014.
Nabokov V.V. Kommentariy k romanu «Evgeniy Onegin». SPb., 1998. S. 593.
Tynyanov Yu.N. Pushkin i ego sovremenniki. M., 1969. S.158.
Azarova N.M. Tekst. Chast' I. M., 2002. S. 206.
Pushkin A.S. Pis'mo P.A. Vyazemskomu ot 4 noyabrya 1823 g.// Sobranie sochineniy v 10t. M., 1962. T.9. S.77.
O. Mandel'shtam. O prirode slova//Esteticheskoe samosoznanie russkoy kul'tury: 20-e gody XX veka. Antologiya. Sostavitel' G.A. Belaya. M., 2003. S.167.
Chekhov A.P. Povesti i rasskazy. M., 1997. S 261.
Tarkovskiy A.A. Lektsii po kinorezhissure: Stsenariy /Uroki rezhissury. M.,1993.S.19-20.
Volkova E.V. Proizvedenie iskusstva v mire khudozhestvennoy kul'tury. M., 1988. S.129-130.
Shlegel' F. Estetika. Filosofiya. Kritika. T.2. M., 1983. S.294.
Averintsev S.S. Glubokie korni obshchnosti// Sov. Muzyka, 1988. №11, S.76-83.
Stepanyan K.A. Yavlenie i dialog v romanakh F.M. Dostoevskogo. SPb., 2009. S.16.
Ganiyants Mariya «Fil'm Sergeya Ovcharova «Sad» po p'ese Chekhova predstavili v Moskve» RIA Novosti, Moskva, 29 oktyabrya 2008.
Shpet G.G. Esteticheskie fragmenty. [Elektronnyy resurs]. Dostupno po adresu:ModernLib.Ru.http://modernlib.ru/books/shpet_g/esteticheskie_fragmenti/read/. Data obrashcheniya: 26.09.2014.

Аннотация: The article is devoted to the phenomenon of fashion in contemporary culture. In this research Guzha gives a philosophical and aesthetical definition of fashion, examines the meaning and importance of such terms as 'aesthetic experience' and 'aesthetic knowledge' and analyzes the verbal and visual levels of aesthetic communication in fashion. The author also studies the manners in which aesthetic perception of fashion is achieved and excessive aesthetic meanings are conceptualized in individual aesthetic  experience. The author describes the main concepts on the matter and defines semantic codes transmitting aesthetic communication at nonverbal and verbal levels. The methodological basis of the research involves the philosophical-aesthetic modus of the communication theory, philosophical and aesthetic analysis of the fashion phenomenon from the point of view of verbal and visual aesthetic communication. The scientific novedlty of the research is caused by the fact that the author applies the aforesaid methodology, which is exclusively innovatory for such kind of research, provides a detailed description of the communication levels determined and views implicit and explicit levels of aesthetic messages in modern fashion industry. The following expressive kinds and means are described at the visual level: colour, silhouette, composition, rhythm, ornament, style making process, eclectic and stylization. The analysis of the verbal level of aesthetic communication focuses on the rhetoric of fashion magazines and advertising companies. 

Ключевые слова: fashion, semantic code, aesthetic communication, aesthetic experience, aesthetic knowledge, visualization, verbalization, expressivity, style, play

Библиография:
Elias N. O protsesse tsivilizatsii: Sotsiogeneticheskie i psikhogeneticheskie issledovaniya.-M., 2001.
U. Eko. Otsutstvuyushchaya struktura. Vvedenie v semiologiyu.— TOO TK «Petropolis», 1998.
Filosofskiy entsiklopedicheskiy slovar'. Ritm/ Red.-sost. E.F. Gubskiy i dr., 2003.
Fedorova A. V. Problema ritma v esteticheskoy teorii // Vestnik Moskovskogo universiteta. Seriya 7. Filosofiya. №1, 2002.
Levin Dzh. Harper's Bazaar. Velikolepnyy stil'. – M., Izd-vo EKSMO, 2008.
Mikhalkovich V.I., Stigneev V.T. Poetika fotografii.-M., izd-vo «Iskusstvo», 1990.
Polyakh. E.A. Postmodernizm i dizayn/ Vestnik moskovskogo universiteta.Seriya 7.Filosofiya. №5., 1998.
Svendsen L. Filosofiya mody ( per. s norv. A. Shipunova).-M.: Progress-Traditsiya, 2007.
Kozlova T.V., Il'icheva E.V. Stil' v kostyume XX veka. Uchebnoe posobie dlya VUZov.-M.: MGTU im. A.N. Kosygina, 2003.
Kommunikativnye proekty v kontekste sovremennoy teorii mody: materialy mezhvuzovskogo seminara v ramkakh proekta «Kommunikatsiya. Kul'tura. Moda»/ M.: RGGU, 2005.
Kuznetsova T.V. Fenomen mody: estetika i dialektika // FN, 1991, № 6.
Kuznetsova T.V. Fenomen mody: esteticheskie aspekty // OMEK I. Estetika: proshloe, nastoyashchee i budushchee. – M.: MGU, 2005.
Yuniya Kavamura. Teoriya i praktika sozdaniya mody. – M.: Izd-vo OOO «Grevtsov Pablisher», 2009.
V. Kandinskiy. O dukhovnom v iskusstve. – M.: izdatel'stvo «Arkhimed», 1992.
Il'in I.P. Poststrukturalizm, dekonstruktivizm, postmodernizm. – M.: Intrada, 1996.
Dzikevich S.A.. Estetika Reklamy: Uchebnoe posobie. – M.: Gardariki, 2004.
Gofman A.B. Moda i obychay //Rubezh: al'manakh sotsial'nykh issledovaniy, vyp. 3,1992.
Gofman A.B. Moda i lyudi. Novaya teoriya mody i modnogo povedeniya.-M., 1994.
Vaynshteyn O. Dendi: moda, literatura, stil' zhizni. 2-e izd., ispr., dop. – M.: Novoe literaturnoe obozrenie, 2006.
Bart Rolan. Sistema Mody. Stat'i po semiotike kul'tury(per. s fr., vstup. st. i sost. S.N. Zenkina).-M.: Izdatel'stvo im. Sabashnikovykh, 2003.
Bodriyyar Zh. Simvolicheskiy obmen i smert'.-2-e izdanie-M.: Dobrosvet, KDU, 2006.

References (transliteration):
Elias N. O protsesse tsivilizatsii: Sotsiogeneticheskie i psikhogeneticheskie issledovaniya.-M., 2001.
U. Eko. Otsutstvuyushchaya struktura. Vvedenie v semiologiyu.— TOO TK «Petropolis», 1998.
Filosofskiy entsiklopedicheskiy slovar'. Ritm/ Red.-sost. E.F. Gubskiy i dr., 2003.
Fedorova A. V. Problema ritma v esteticheskoy teorii // Vestnik Moskovskogo universiteta. Seriya 7. Filosofiya. №1, 2002.
Levin Dzh. Harper's Bazaar. Velikolepnyy stil'. – M., Izd-vo EKSMO, 2008.
Mikhalkovich V.I., Stigneev V.T. Poetika fotografii.-M., izd-vo «Iskusstvo», 1990.
Polyakh. E.A. Postmodernizm i dizayn/ Vestnik moskovskogo universiteta.Seriya 7.Filosofiya. №5., 1998.
Svendsen L. Filosofiya mody ( per. s norv. A. Shipunova).-M.: Progress-Traditsiya, 2007.
Kozlova T.V., Il'icheva E.V. Stil' v kostyume XX veka. Uchebnoe posobie dlya VUZov.-M.: MGTU im. A.N. Kosygina, 2003.
Kommunikativnye proekty v kontekste sovremennoy teorii mody: materialy mezhvuzovskogo seminara v ramkakh proekta «Kommunikatsiya. Kul'tura. Moda»/ M.: RGGU, 2005.
Kuznetsova T.V. Fenomen mody: estetika i dialektika // FN, 1991, № 6.
Kuznetsova T.V. Fenomen mody: esteticheskie aspekty // OMEK I. Estetika: proshloe, nastoyashchee i budushchee. – M.: MGU, 2005.
Yuniya Kavamura. Teoriya i praktika sozdaniya mody. – M.: Izd-vo OOO «Grevtsov Pablisher», 2009.
V. Kandinskiy. O dukhovnom v iskusstve. – M.: izdatel'stvo «Arkhimed», 1992.
Il'in I.P. Poststrukturalizm, dekonstruktivizm, postmodernizm. – M.: Intrada, 1996.
Dzikevich S.A.. Estetika Reklamy: Uchebnoe posobie. – M.: Gardariki, 2004.
Gofman A.B. Moda i obychay //Rubezh: al'manakh sotsial'nykh issledovaniy, vyp. 3,1992.
Gofman A.B. Moda i lyudi. Novaya teoriya mody i modnogo povedeniya.-M., 1994.
Vaynshteyn O. Dendi: moda, literatura, stil' zhizni. 2-e izd., ispr., dop. – M.: Novoe literaturnoe obozrenie, 2006.
Bart Rolan. Sistema Mody. Stat'i po semiotike kul'tury(per. s fr., vstup. st. i sost. S.N. Zenkina).-M.: Izdatel'stvo im. Sabashnikovykh, 2003.
Bodriyyar Zh. Simvolicheskiy obmen i smert'.-2-e izdanie-M.: Dobrosvet, KDU, 2006.

Аннотация: The article is devoted to the phenomenon of historicism as a distinctive feature of the European mind in the XIXth century as well as the implementation of the phenomenon of historicism in Victorian culture. The author of the article traces back the prerequisites and the main stages of the development of historicism, describes the genres and styles influenced by historicism such as a historical novel in literature (illustrated by the novels of Walter Scott), archeological naturalism in theatre (plays staged by William Macready, Charles Kean or Henry Irving), the Neo-Gothic architecture (Augustus Pugin's and Charles Barry's projects), historicism in art (creative work of the Pre-Raphaelites). In her research the author has applied the descriptive method to state historical and factual material (including the description of new historical genres and movements in the art of the XIXth century) as well as the cultural-philosophical approach to interpreting this material. The author concludes that there were the two main directions of English historicism. The first one was addressed to the national Middle Ages (Medievalism) and the second one referred to Italian Renaissance (Italianism). The vastness of the material collected and analyzed by the author allows to conclude that historicism was one of the key factors in the process of development of the English national art. Projection on the historical trends of the century moved historicism from the periphery to the avant-garde of the European art. 

Ключевые слова: historicism, Victorian culture, art of the XIXth century, English art, the Pre-Raphaelites , Neo-Gothic architecture, archeological naturalism, Art Nouveau, Renaissance, Italian images

Библиография:
Clive J. The Use of the Past in Victorian England//Salmagundi. No. 68/69. The Literary Imagination and the Sense of the Past. London: Skidmore College, 1985-1986. – P. 48-65.
Trel'ch E. Istorizm i ego problemy. M.: Yurist, 1994. – C. 720
Sviderskaya M. I. Istoriya, istoricheskoe, «istorizm» v kul'ture XIX stoletiya. // Liki istorii v evropeyskom iskusstve XIX veka. Katalog vystavki v GMII im. A. S. Pushkina. 30 noyabrya 2009-8 fevralya 2010. M., 2009. S. 10 – 34.
Prerafaelity. Viktorianskiy avangard. Katalog vystavki v GMII im. A. S. Pushkina. 10 iyunya-22 sentyabrya 2013 M., 2013. – S. 196.
Meyneke F. Vozniknovenie istorizma. M.: ROSSPEN, 2004. – C. 480.
Karleyl' T. Geroi, pochitanie geroev i geroicheskoe v istorii//Teper' i prezhde. M.: Respublika, 1994. — S. 415.
Kirichenko E. I. Arkhitekturnye formy XIX veka v Rossii. M.: Iskusstvo, 1986. – S. 344.
Vipper B. R. Vvedenie v istoricheskoe izuchenie iskusstva. M.: Izdatel'stvo V. Shevchuk, 2008. – S. 368.
Artamonova Yu.D. Rubo, istoritsizm i istoricheskaya pamyat'. // Sokrat. Zhurnal sovremennoy filosofii. № 2. 2010. – S. 192-197.
Artamonova Yu.D. Osnovnye versii proiskhozhdeniya istorizma // Epistemologiya & Filosofiya nauki. M. , 2010. T. 25. № 3.-C. 169-185.
Kenneth Cl. The Gothic Revival: An Essay in the History of Taste. New York: Holt, Renihart & Winston, 1950. – P. 272.

References (transliteration):
Clive J. The Use of the Past in Victorian England//Salmagundi. No. 68/69. The Literary Imagination and the Sense of the Past. London: Skidmore College, 1985-1986. – P. 48-65.
Trel'ch E. Istorizm i ego problemy. M.: Yurist, 1994. – C. 720
Sviderskaya M. I. Istoriya, istoricheskoe, «istorizm» v kul'ture XIX stoletiya. // Liki istorii v evropeyskom iskusstve XIX veka. Katalog vystavki v GMII im. A. S. Pushkina. 30 noyabrya 2009-8 fevralya 2010. M., 2009. S. 10 – 34.
Prerafaelity. Viktorianskiy avangard. Katalog vystavki v GMII im. A. S. Pushkina. 10 iyunya-22 sentyabrya 2013 M., 2013. – S. 196.
Meyneke F. Vozniknovenie istorizma. M.: ROSSPEN, 2004. – C. 480.
Karleyl' T. Geroi, pochitanie geroev i geroicheskoe v istorii//Teper' i prezhde. M.: Respublika, 1994. — S. 415.
Kirichenko E. I. Arkhitekturnye formy XIX veka v Rossii. M.: Iskusstvo, 1986. – S. 344.
Vipper B. R. Vvedenie v istoricheskoe izuchenie iskusstva. M.: Izdatel'stvo V. Shevchuk, 2008. – S. 368.
Artamonova Yu.D. Rubo, istoritsizm i istoricheskaya pamyat'. // Sokrat. Zhurnal sovremennoy filosofii. № 2. 2010. – S. 192-197.
Artamonova Yu.D. Osnovnye versii proiskhozhdeniya istorizma // Epistemologiya & Filosofiya nauki. M. , 2010. T. 25. № 3.-C. 169-185.
Kenneth Cl. The Gothic Revival: An Essay in the History of Taste. New York: Holt, Renihart & Winston, 1950. – P. 272.

Аннотация: This article is devoted to the topic that has never been truly studied in the academic literatue -  Nietzsche's aesthetics. The only serious research of Nietzsche's aesthetics that is worthy of being mentioned is Zeitler's book ' Nietzsche's Aesthetics' published in 1900. However, the book had no trace of 'true' Nietzsche because by the time it was published Nietzsche had already managed to drop the field of aesthetics, started to study ethics and metaphysics and went insane. The only one who wrote about Nietzsche and doubted his insanity was Jaspers. The author of the present artile has used Nietzsche's methods comparing Greeck mythology and general culture (nempe), defining functions of gods (analysis inside mythology) and studying Greek culture which Nietzsche called 'religious'. The author makes the following two conclusions: 1) the content-related conclusion. The author completes Nietzsche's method and believes that it is possible to replace the main beginnings of art according to Nietzsche (dream and drunkeness) with the symbolic and affective beginnings defined by the author. 2) the pro forma conclusion: even the same method used may lead to different results. This proves the fact that humanities still lack an accurate method of research. 

Ключевые слова: symbolic, drunkeness, a dream, comic, tragic, lyric, epic, dionysian, apollonian, affective

Библиография:
Juenger Friedrich Georg. Nietzsche. Fr.-am-Main: Vittorio Klostermann, 1949.
Heidegger Martin. Nietzsche. In 2 Bde. Stutt.: J. G. Cotta'sche Buchhandlung Nachfolger, 1961.
Jaspers Karl. Nietzsche. Einführung in das Verständnis seines Philosophierens. Berlin: Springer,1936.
Zeitler Julius. Nietzsches Ästhetik. Leip.:H. Seemann nachfolger, 1900
E.M. Spirova. Genial'naya oshibka Fridrikha Nitsshe. // Psikhologiya i Psikhotekhnika.-2012.-№ 10.-C. 90-97.
Yu.V. Naumov. Religiozno-filosofskie idei naslediya F. Nitsshe i V. Solov'eva (Komparativistskiy analiz).. // Filosofiya i kul'tura.-2011.-№ 6.-C. 114-120.
A.N. Mochkin. Revolyutsiya «nigilizma» F. Nitsshe i konservativnaya revolyutsiya O. Shpenglera. // Filosofiya i kul'tura.-2013.-№ 3.-C. 316-324. DOI: 10.7256/1999-2793.2013.03.5.
Nietzsche Friedrich. Die Geburt der Tragödie. Oder: Griechenthum und Pessimismus. Leipzig : C. G. Naumann, 1907.
A.N. Mochkin. Labirint nigilisticheskoy revolyutsii F. Nitsshe. // Filosofiya i kul'tura.-2013.-№ 6.-C. 766-775. DOI: 10.7256/1999-2793.2013.6.7652.

References (transliteration):
Juenger Friedrich Georg. Nietzsche. Fr.-am-Main: Vittorio Klostermann, 1949.
Heidegger Martin. Nietzsche. In 2 Bde. Stutt.: J. G. Cotta'sche Buchhandlung Nachfolger, 1961.
Jaspers Karl. Nietzsche. Einführung in das Verständnis seines Philosophierens. Berlin: Springer,1936.
Zeitler Julius. Nietzsches Ästhetik. Leip.:H. Seemann nachfolger, 1900
E.M. Spirova. Genial'naya oshibka Fridrikha Nitsshe. // Psikhologiya i Psikhotekhnika.-2012.-№ 10.-C. 90-97.
Yu.V. Naumov. Religiozno-filosofskie idei naslediya F. Nitsshe i V. Solov'eva (Komparativistskiy analiz).. // Filosofiya i kul'tura.-2011.-№ 6.-C. 114-120.
A.N. Mochkin. Revolyutsiya «nigilizma» F. Nitsshe i konservativnaya revolyutsiya O. Shpenglera. // Filosofiya i kul'tura.-2013.-№ 3.-C. 316-324. DOI: 10.7256/1999-2793.2013.03.5.
Nietzsche Friedrich. Die Geburt der Tragödie. Oder: Griechenthum und Pessimismus. Leipzig : C. G. Naumann, 1907.
A.N. Mochkin. Labirint nigilisticheskoy revolyutsii F. Nitsshe. // Filosofiya i kul'tura.-2013.-№ 6.-C. 766-775. DOI: 10.7256/1999-2793.2013.6.7652.

Аннотация: The question about cultural and ideological reasons of the origin of Christian art in the late Ancient Times is still a rather understudied topic. The grounds for creating the fine art canon that defined the particularity of the Byzantine Art are still rather unknown, too, while canonic art itself is rather a well-studied phenomenon. The present article touches upon the problems of esthetical and spiritual experience in art of the early Christian and Byzantine epochs. The author analyzes the process of creation of esthetic concepts and transformation of artistic canons, the shift of the esthetic modus and refusal from the idea of the beauty and replacement of it with the idea of the sublime. Special attention is devoted to studying ways and methods of application of anagogic experience in art and analysis of the role of creative fantasy as a special form of esthetic experience. The topic under research lies at the interface of esthetics, theology, cultural research and art studies which creates the need for application of interdisciplinary methods and attraction of a wide circle of sources. Canon is presented by the author as a set of rules and recommendations aimed at artistic fixation of the so called anagogic spiritual experience typical for Eastern Christianity. Canon is presented as a mechanism regulating the process of creative imagination of an icon painter. The process of imagination is defined as a specific form of the imaginary space where theoretical categories become the images to be understood.

Ключевые слова: Byzantine canon, icon, mystical experience, fantasy, esthetic experience, symbol, artistic image, the sumblime, mimetic representation, anagoge.

Библиография:
Tertullian (De Carne Christi. 9), tsit. po Tertullian. Apologiya. M.: AST. 2004. – Rezhim dostupa: http://www.biblestudy.ru/lib/patrologia/27383-apologiya-tertullian
Propretrik, gl.4. Tsit. po Kliment Aleksandriyskiy. Uveshchevanie k yazychnikam. / Per. A. Yu. Bratukhina. – SPb.: Izdatel'stvo RKhGI, 1998. 208 S.
Flaviy Filostrat. Zhizn' Apolloniya Tianskogo. – M.: Nauka, 1985. – Rezhim dostupa: http://krotov.info/acts/03/1/filostrat_00.htm
Dionisiy Areopagit. Korpus Areopagitikum. O tserkovnoy ierarkhii. tsit. po Vostochnye ottsy i uchiteli Tserkvi V veka. Antologiya. – M.: Izdatel'stvo MFTI, 2000. Rezhim dostupa: http://krotov.info/acts/05/antolog/page26.htm
Stoglav. Izd. D. E. Kozhanchikova. − SPb., 1863. S. 128.
Plotin. Enneady. T. V – S-Pb.: Izd. Olega Abyshko, 2005.
Vasiliy Velikiy. Beseda na den' svyatykh chetyredesyati muchenikov i O Svyatom Dukhe, 18, 27. Besedy. M.: Izd-vo Moskovskogo podvor'ya Svyato-Troitskoy Sergievoy Lavry, 2001.-Rezhim dostupa: http://www.pagez.ru/lsn/0290.php
Vitruviy Mark Pollion. Desyat' knig ob arkhitekture / Per. F. A. Petrovskogo. T. 1. — M.: Izd-vo Vses. Akademii arkhitektury, 1936. — 331 s.
Al'berti L-B. Tri knigi o zhivopisi // Al'berti L-B. Desyat' knig o zodchestve. V2-kh tt. T. 2. M., 1937.
Dyurer A. Traktaty. t.2 – L.-M.: Iskusstvo, 1957. – 254 s.
Ioann Damaskin. Tri zashchititel'nykh slova protiv poritsayushchikh svyatye ikony ili izobrazheniya. — Sergiev Posad: TSL, 1993.-168 s.
Isaak Sirin. O bozhestvennykh taynakh i o dukhovnoy zhizni: Novootkrytye teksty.-SPb.: Aleteyya, 2003.-256 s.
Maksim Ispovednik. Izbrannye tvoreniya / Per. i kommentarii A. I. Sidorova.-M.: Palomnik', 2004.-494 s.
Mnogotsennaya zhemchuzhina. Literaturnoe tvorchestvo siriytsev, koptov i romeev v 1 tys. n. e. — M., Ladomir. 1994. Per. Averintsev S.S.
Nemeziy Emesskiy, episkop. O prirode cheloveka / Perevod F.S. Vladimirskogo. M., 1998.
Origen. O nachalakh. – SPb.: Amfora, 2000. – 382 s.
Ottsy i uchiteli tserkvi III veka: Antologiya v dvukh tomakh / Sost. Illarion (Alfeev). – M.: Libris, 1996. – 464 s.
Dvořák M. Kunstgeschichte als Geistesgeschichte («Katakombenmalereien. Die Anfänge der christlichen Kunst»)− München 1924. S. 3–40.
Grabar A. Plotin et les origines de l'esthétique médiévale. // Cahiers archéologiques. Fin de l'antiquité et Moyen Age, vol. 1, 1945, p. 15-34.
Mango C. The art of the Byzantine Empire 312-1453. − New Jersey, 1972.
Schweizer B. Mimesis und Phantasia // Philologus.1934. Bd.39. S. 286-300.
Averintsev S. S. Poetika rannevizantiyskoy literatury. Zoloto v sisteme simvolov rannevizantiyskoy kul'tury. — SPb: Azbuka-klassika, 2004. S. 404-422.
Averintsev S.C. Khristianskiy aristotelizm kak vnutrennyaya forma zapadnoy traditsii i problemy sovremennoy Rossii // Ritorika i istoki evropeyskoy kul'turnoy traditsii. — M., 1996. — stb. 319—329, 347—367.
Averintsev S.S. Simvol // Averintsev S. S. Sofiya-Logos: Slovar'. — 2-e izd. ispr. — Kiev: Dukh i Litera, 2001. — S. 155—161.
Alpatov M.V. Iskusstvo Feofana Greka i uchenie isikhastov. // Vizantiyskiy vremennik. 1972.-T.ZZ.-S. 190-202.
Bel'ting X. Obraz i kul't. Istoriya obraza do epokhi iskusstva / per. s nem. K.A.Piganovich.-M.: Progress-Traditsiya, 2002.-752 s.
Burkkhardt T. Sakral'noe iskusstvo Vostoka i Zapada. Printsipy i metody. – SPb.: Aleteyya, 1999. – 216 s.
Bychkov V.V. Malaya istoriya vizantiyskoy estetiki. — Kiev: Put' k Istine, 1991.-407 c.
Vel'flin G. Osnovnye ponyatiya istorii iskusstv. M.: V. Shevchuk, 2009.-344 s.
Vygotskiy L.S. Psikhologiya iskusstva.-M.: Iskusstvo, 1986.-341s.
Dvorzhak M. Istoriya iskusstva kak istoriya dukha.-SPb.: Akademicheskiy proekt, 2001. – 336 s.
Demus O. Mozaiki vizantiyskikh khramov.-M.: Indrik, 2001.-160 s.
Zhivov V.M. «Mistagogiya» Maksima Ispovednika i razvitie vizantiyskoy teorii obraza // Khudozhestvennyy yazyk srednevekov'ya. M.: Nauka, 1982. S. 108-127.
Kassirer E. Filosofiya simvolicheskikh form. // tt. 1-3. M.: Akademicheskiy proekt, 2011.
Lidov A.M. Ierotopiya. Prostranstvennye ikony i obrazy-paradigmy v vizantiyskoy kul'ture.-M.: Feoriya, 2009. – 352 s.
Losev A. F. Problema simvola i realisticheskoe iskusstvo. — 2-e izd., ispr. — M.: Iskusstvo, 1995. — 320 s.
Losev A. F. Khudozhestvennye kanony kak problema stilya. — «Vopr. estetiki», 1964, № 6, s. 351—399; On zhe. O ponyatii khudozhestvennogo kanona. — V kn.: Problema kanona v drevnem i srednevekovom iskusstve Azii i Afriki, s. 6—15.
Lotman Yu.M. Kanonicheskoe iskusstvo kak informatsionnyy paradoks // Problema kanona v drevnem i srednevekovom iskusstve.-M., 1973.-S.16-22.
Panofskiy, E., Perspektiva kak «simvolicheskaya forma». — SPb,: Azbuka-klassika, 2004. – 336 s.
Raushenbakh B.V. Prostranstvennye postroeniya v drevnerusskoy zhivopisi.-M . : Nauka, 1975.-185 s.
Raushenbakh B.V. Geometriya kartiny i zritel'noe vospriyatie. − SPb.: Azbuka-klassika, 2001. 320 S.
Rotenberg E.I. Ot kanona k stilyu. // Voprosy iskusstvoznaniya 2-3/94. M., 1994. S. 175-187.
Uspenskiy B. A. «Pravoe» i «levoe» v ikonopisnom izobrazhenii. // Sbornik statey po vtorichnym modeliruyushchim sistemam.-Tartu, 1973,-s. 137–145.

References (transliteration):
Tertullian (De Carne Christi. 9), tsit. po Tertullian. Apologiya. M.: AST. 2004. – Rezhim dostupa: http://www.biblestudy.ru/lib/patrologia/27383-apologiya-tertullian
Propretrik, gl.4. Tsit. po Kliment Aleksandriyskiy. Uveshchevanie k yazychnikam. / Per. A. Yu. Bratukhina. – SPb.: Izdatel'stvo RKhGI, 1998. 208 S.
Flaviy Filostrat. Zhizn' Apolloniya Tianskogo. – M.: Nauka, 1985. – Rezhim dostupa: http://krotov.info/acts/03/1/filostrat_00.htm
Dionisiy Areopagit. Korpus Areopagitikum. O tserkovnoy ierarkhii. tsit. po Vostochnye ottsy i uchiteli Tserkvi V veka. Antologiya. – M.: Izdatel'stvo MFTI, 2000. Rezhim dostupa: http://krotov.info/acts/05/antolog/page26.htm
Stoglav. Izd. D. E. Kozhanchikova. − SPb., 1863. S. 128.
Plotin. Enneady. T. V – S-Pb.: Izd. Olega Abyshko, 2005.
Vasiliy Velikiy. Beseda na den' svyatykh chetyredesyati muchenikov i O Svyatom Dukhe, 18, 27. Besedy. M.: Izd-vo Moskovskogo podvor'ya Svyato-Troitskoy Sergievoy Lavry, 2001.-Rezhim dostupa: http://www.pagez.ru/lsn/0290.php
Vitruviy Mark Pollion. Desyat' knig ob arkhitekture / Per. F. A. Petrovskogo. T. 1. — M.: Izd-vo Vses. Akademii arkhitektury, 1936. — 331 s.
Al'berti L-B. Tri knigi o zhivopisi // Al'berti L-B. Desyat' knig o zodchestve. V2-kh tt. T. 2. M., 1937.
Dyurer A. Traktaty. t.2 – L.-M.: Iskusstvo, 1957. – 254 s.
Ioann Damaskin. Tri zashchititel'nykh slova protiv poritsayushchikh svyatye ikony ili izobrazheniya. — Sergiev Posad: TSL, 1993.-168 s.
Isaak Sirin. O bozhestvennykh taynakh i o dukhovnoy zhizni: Novootkrytye teksty.-SPb.: Aleteyya, 2003.-256 s.
Maksim Ispovednik. Izbrannye tvoreniya / Per. i kommentarii A. I. Sidorova.-M.: Palomnik', 2004.-494 s.
Mnogotsennaya zhemchuzhina. Literaturnoe tvorchestvo siriytsev, koptov i romeev v 1 tys. n. e. — M., Ladomir. 1994. Per. Averintsev S.S.
Nemeziy Emesskiy, episkop. O prirode cheloveka / Perevod F.S. Vladimirskogo. M., 1998.
Origen. O nachalakh. – SPb.: Amfora, 2000. – 382 s.
Ottsy i uchiteli tserkvi III veka: Antologiya v dvukh tomakh / Sost. Illarion (Alfeev). – M.: Libris, 1996. – 464 s.
Dvořák M. Kunstgeschichte als Geistesgeschichte («Katakombenmalereien. Die Anfänge der christlichen Kunst»)− München 1924. S. 3–40.
Grabar A. Plotin et les origines de l'esthétique médiévale. // Cahiers archéologiques. Fin de l'antiquité et Moyen Age, vol. 1, 1945, p. 15-34.
Mango C. The art of the Byzantine Empire 312-1453. − New Jersey, 1972.
Schweizer B. Mimesis und Phantasia // Philologus.1934. Bd.39. S. 286-300.
Averintsev S. S. Poetika rannevizantiyskoy literatury. Zoloto v sisteme simvolov rannevizantiyskoy kul'tury. — SPb: Azbuka-klassika, 2004. S. 404-422.
Averintsev S.C. Khristianskiy aristotelizm kak vnutrennyaya forma zapadnoy traditsii i problemy sovremennoy Rossii // Ritorika i istoki evropeyskoy kul'turnoy traditsii. — M., 1996. — stb. 319—329, 347—367.
Averintsev S.S. Simvol // Averintsev S. S. Sofiya-Logos: Slovar'. — 2-e izd. ispr. — Kiev: Dukh i Litera, 2001. — S. 155—161.
Alpatov M.V. Iskusstvo Feofana Greka i uchenie isikhastov. // Vizantiyskiy vremennik. 1972.-T.ZZ.-S. 190-202.
Bel'ting X. Obraz i kul't. Istoriya obraza do epokhi iskusstva / per. s nem. K.A.Piganovich.-M.: Progress-Traditsiya, 2002.-752 s.
Burkkhardt T. Sakral'noe iskusstvo Vostoka i Zapada. Printsipy i metody. – SPb.: Aleteyya, 1999. – 216 s.
Bychkov V.V. Malaya istoriya vizantiyskoy estetiki. — Kiev: Put' k Istine, 1991.-407 c.
Vel'flin G. Osnovnye ponyatiya istorii iskusstv. M.: V. Shevchuk, 2009.-344 s.
Vygotskiy L.S. Psikhologiya iskusstva.-M.: Iskusstvo, 1986.-341s.
Dvorzhak M. Istoriya iskusstva kak istoriya dukha.-SPb.: Akademicheskiy proekt, 2001. – 336 s.
Demus O. Mozaiki vizantiyskikh khramov.-M.: Indrik, 2001.-160 s.
Zhivov V.M. «Mistagogiya» Maksima Ispovednika i razvitie vizantiyskoy teorii obraza // Khudozhestvennyy yazyk srednevekov'ya. M.: Nauka, 1982. S. 108-127.
Kassirer E. Filosofiya simvolicheskikh form. // tt. 1-3. M.: Akademicheskiy proekt, 2011.
Lidov A.M. Ierotopiya. Prostranstvennye ikony i obrazy-paradigmy v vizantiyskoy kul'ture.-M.: Feoriya, 2009. – 352 s.
Losev A. F. Problema simvola i realisticheskoe iskusstvo. — 2-e izd., ispr. — M.: Iskusstvo, 1995. — 320 s.
Losev A. F. Khudozhestvennye kanony kak problema stilya. — «Vopr. estetiki», 1964, № 6, s. 351—399; On zhe. O ponyatii khudozhestvennogo kanona. — V kn.: Problema kanona v drevnem i srednevekovom iskusstve Azii i Afriki, s. 6—15.
Lotman Yu.M. Kanonicheskoe iskusstvo kak informatsionnyy paradoks // Problema kanona v drevnem i srednevekovom iskusstve.-M., 1973.-S.16-22.
Panofskiy, E., Perspektiva kak «simvolicheskaya forma». — SPb,: Azbuka-klassika, 2004. – 336 s.
Raushenbakh B.V. Prostranstvennye postroeniya v drevnerusskoy zhivopisi.-M . : Nauka, 1975.-185 s.
Raushenbakh B.V. Geometriya kartiny i zritel'noe vospriyatie. − SPb.: Azbuka-klassika, 2001. 320 S.
Rotenberg E.I. Ot kanona k stilyu. // Voprosy iskusstvoznaniya 2-3/94. M., 1994. S. 175-187.
Uspenskiy B. A. «Pravoe» i «levoe» v ikonopisnom izobrazhenii. // Sbornik statey po vtorichnym modeliruyushchim sistemam.-Tartu, 1973,-s. 137–145.

Аннотация: The focus of the present research is on the definition of interactivity. The problem is that interactivity does not have a clear definition and it is understood differently depending on the context. Today many artworks are described as interactive. When analyzing these artworks, it becomes obvious that even within the framework of one sphere interactivity has many faces. The author of the present article analyzes different artwork created by using computer technologies and tries to understand what makes this artwork ‘interactive’. The author uses different research methods in the article. First of all, the author uses the historical method that allows to track back the development of the term ‘interactivity’ throughout the XIXth and XXth centuries. The author also analyzes and compares both Russian and foreign researches devoted to the phenomenon of interactivity. At the same time, the author also conducts a comparative analysis of different creative programs. The author compares the traditional definition of co-creation with the innovative definition of interactivity. The author defines the two types of creative programs, closed programs and open programs, in order to understand in what cases the interaction between a user and a program is actually creative. Thus, the author substantiates the position that some computer programs can actually provide the user with a platform for being truly creative.

Ключевые слова: computer technologies, computer art, interactivity, interactive art, creative program, graphic editor, cocreation, authorship, creativity of a software engineer, creativity of a user.

Контактная информация: Khanolaynen Darya Pavlovna, 185035, Russia, Republic of Karelia, Petrozavodsk, ul. Krasnaya 8.

Библиография:
Khanolaynen D.P. Estetika vosproizvodimogo v sovremennom iskusstve // Filosofiya i kul'tura.-2013.-11.-C. 1598-1606. DOI: 10.7256/1999-2793.2013.11.9658.
A.V. Yukhvid Virtual'nyy teatr: filosofiya, iskusstvo i tekhnologiya XXI veka. // Filosofiya i kul'tura.-2010.-10.-C. 94-98.
N. B. Kirillova Medialogiya kak sintez nauk // Kul'tura i iskusstvo.-2012.-6.-C. 71-83.
E.V. Smirnov Mashina T'yuringa i chelovek: ontognoseologicheskiy aspekt komp'yuternoy metafory soznaniya // Filosofiya i kul'tura.-2012.-3.-C. 115-123.
A.V. Yukhvid Filosofsko-metodologicheskaya kontseptsiya virtuologii // Filosofiya i kul'tura.-2010.-9.-C. 81-85.
Smorkalov A.Yu., Sadovin I.A.. Sistema perenosa lektsiy v virtual'nyy mir vAcademia s ispol'zovaniem vozmozhnostey Microsoft Kinect i potokovykh protsessorov. // Programmnye sistemy i vychislitel'nye metody.-2013.-№ 4.-C. 354-362. DOI: 10.7256/2305-6061.2013.4.10547
Erokhin S. V. Estetika tsifrovogo izobrazitel'nogo iskusstva. – SPb.: Alteyya, 2010.
Burrio N. Estetika vzaimodeystviya. // Kul'turnyy Al'yans. Proekt Marata Gel'mana. [Elektronnyy resurs] — Rezhim dostupa: http://www.guelman.ru/xz/362/xx28/x2808.htm
Galkin D. V. Ponyat' interaktivnost': kibernetika v zerkale estetiki // Sayt mezhdistsiplinarnogo sbornika statey «Gumanitarnaya iformatika» [Elektronnyy resurs] – Rezhim dostupa: http://huminf.tsu.ru/jurnal/vol5/gdv_kibernetika_estetika/
Lopes D. A Philosophy of Computer Art. – London: Routledge, 2009.
Manovich L. On totalitarian interactivity (notes from the enemy of the people), 1996 [Elektronnyy resurs] – Rezhim dostupa: http://manovich.net/TEXT/totalitarian.htm
Gurevich I.M. Fizicheskaya informatika – novoe sinteticheskoe nauchnoe napravlenie // NB: Kibernetika i programmirovanie. — 2013.-№ 3.-S.55-74. DOI: 10.7256/2306-4196.2013.3.9133. URL: http://e-notabene.ru/kp/article_9133.htm

References (transliteration):
Khanolaynen D.P. Estetika vosproizvodimogo v sovremennom iskusstve // Filosofiya i kul'tura.-2013.-11.-C. 1598-1606. DOI: 10.7256/1999-2793.2013.11.9658.
A.V. Yukhvid Virtual'nyy teatr: filosofiya, iskusstvo i tekhnologiya XXI veka. // Filosofiya i kul'tura.-2010.-10.-C. 94-98.
N. B. Kirillova Medialogiya kak sintez nauk // Kul'tura i iskusstvo.-2012.-6.-C. 71-83.
E.V. Smirnov Mashina T'yuringa i chelovek: ontognoseologicheskiy aspekt komp'yuternoy metafory soznaniya // Filosofiya i kul'tura.-2012.-3.-C. 115-123.
A.V. Yukhvid Filosofsko-metodologicheskaya kontseptsiya virtuologii // Filosofiya i kul'tura.-2010.-9.-C. 81-85.
Smorkalov A.Yu., Sadovin I.A.. Sistema perenosa lektsiy v virtual'nyy mir vAcademia s ispol'zovaniem vozmozhnostey Microsoft Kinect i potokovykh protsessorov. // Programmnye sistemy i vychislitel'nye metody.-2013.-№ 4.-C. 354-362. DOI: 10.7256/2305-6061.2013.4.10547
Erokhin S. V. Estetika tsifrovogo izobrazitel'nogo iskusstva. – SPb.: Alteyya, 2010.
Burrio N. Estetika vzaimodeystviya. // Kul'turnyy Al'yans. Proekt Marata Gel'mana. [Elektronnyy resurs] — Rezhim dostupa: http://www.guelman.ru/xz/362/xx28/x2808.htm
Galkin D. V. Ponyat' interaktivnost': kibernetika v zerkale estetiki // Sayt mezhdistsiplinarnogo sbornika statey «Gumanitarnaya iformatika» [Elektronnyy resurs] – Rezhim dostupa: http://huminf.tsu.ru/jurnal/vol5/gdv_kibernetika_estetika/
Lopes D. A Philosophy of Computer Art. – London: Routledge, 2009.
Manovich L. On totalitarian interactivity (notes from the enemy of the people), 1996 [Elektronnyy resurs] – Rezhim dostupa: http://manovich.net/TEXT/totalitarian.htm
Gurevich I.M. Fizicheskaya informatika – novoe sinteticheskoe nauchnoe napravlenie // NB: Kibernetika i programmirovanie. — 2013.-№ 3.-S.55-74. DOI: 10.7256/2306-4196.2013.3.9133. URL: http://e-notabene.ru/kp/article_9133.htm

Аннотация: The article is devoted to art work during an era of its technical reproduction. The author of the article proves that it is necessary to view reproduced art as a separate category. The aspiration of the author to rethink some tendencies of development in the field of the modern art caused consideration and differentiation of the following concepts: original, copy, reproduction, authenticity, plurality and reproducibility of an artwork. The author of the article proves the thesis that reproduced arts are not ‘original’ in a strict sense of this word. Besides, the concept of explicit versions inspired by ideas of the Canadian professor of philosophy of D. Lopez is developed. The new concept \"explicit version\" is compared with the traditional terms ‘copy’ and ‘original’. Besides, on the basis of the analysis of different examples of creative works, the author defines interactive art as a special type of reproduced art proving that the result of interaction between the audience and interactive work is an explicit version but not a new original art work.

Ключевые слова: replication of art work, diverse art, reproduced art, interactive art, computer art, modern art, original, copy, explicit version, authenticity.

Контактная информация: Khanolaynen Darya Pavlovna , 185035, Russia, Republic of Karelia, Petrozavodsk, ul. Krasnaya 8.

Библиография:
Lopes D. A Philosophy of Computer Art. – London: Routledge, 2009.
Lewis G. E. Too Many Notes: Computers, Complexity and Culture in Voyager // Leonardo Music Journal. – 2000. – Vol. 10. – P. 33-39.
Estetika i teoriya iskusstva XX veka. Khrestomatiya / uchebniki i uchebnye posobiya po kul'ture iskusstvu. – M.: ACADEMIA XXI: Progress-traditsiya, 2007.
Goodman N. H. Languages of Art: An Approach to a Theory of Symbols. – Indianapolis: Hackett Publishing, 1976.
Erokhin S. V. Estetika tsifrovogo izobrazitel'nogo iskusstva. – SPb.: Alteyya, 2010.
Erokhin S. V. Problema podlinnosti proizvedeniy tsifrovogo izobrazitel'nogo iskusstva. // Vestnik Tambovskogo universiteta. Seriya: Gumanitarnye nauki. – Tambov, 2008. – Vyp. 10 (66). – S. 159-165.
Gel'man M. O tsifrovom iskusstve [Elektronnyy resurs] // Personal'nyy sayt M.Gel'mana. URL: http://www.guelman.ru/artists/mg/original
Galkin D. V. Tekhno-khudozhestvennye gibridy, ili proizvedenie iskusstva v epokhu ego komp'yuternogo proizvodstva (V.1.0) // Gumanitarnaya informatika. – Tomsk, 2007. – № 4. – S. 22-38.
Berdyaev N. A. Tsarstvo dukha i tsarstvo Kesarya. – Parizh: YMCA press, 1951.
Ben'yamin V. Proizvedenie iskusstva v epokhu ego tekhnicheskoy vosproizvodimosti. Izbrannye esse. – M.: Medium, 1966.
Mitchell W. J. The Reconfigured Eye: Visual Truth in the Post-photographic Era. – Cambridge MA: The MIT Press, 1994.

References (transliteration):
Lopes D. A Philosophy of Computer Art. – London: Routledge, 2009.
Lewis G. E. Too Many Notes: Computers, Complexity and Culture in Voyager // Leonardo Music Journal. – 2000. – Vol. 10. – P. 33-39.
Estetika i teoriya iskusstva XX veka. Khrestomatiya / uchebniki i uchebnye posobiya po kul'ture iskusstvu. – M.: ACADEMIA XXI: Progress-traditsiya, 2007.
Goodman N. H. Languages of Art: An Approach to a Theory of Symbols. – Indianapolis: Hackett Publishing, 1976.
Erokhin S. V. Estetika tsifrovogo izobrazitel'nogo iskusstva. – SPb.: Alteyya, 2010.
Erokhin S. V. Problema podlinnosti proizvedeniy tsifrovogo izobrazitel'nogo iskusstva. // Vestnik Tambovskogo universiteta. Seriya: Gumanitarnye nauki. – Tambov, 2008. – Vyp. 10 (66). – S. 159-165.
Gel'man M. O tsifrovom iskusstve [Elektronnyy resurs] // Personal'nyy sayt M.Gel'mana. URL: http://www.guelman.ru/artists/mg/original
Galkin D. V. Tekhno-khudozhestvennye gibridy, ili proizvedenie iskusstva v epokhu ego komp'yuternogo proizvodstva (V.1.0) // Gumanitarnaya informatika. – Tomsk, 2007. – № 4. – S. 22-38.
Berdyaev N. A. Tsarstvo dukha i tsarstvo Kesarya. – Parizh: YMCA press, 1951.
Ben'yamin V. Proizvedenie iskusstva v epokhu ego tekhnicheskoy vosproizvodimosti. Izbrannye esse. – M.: Medium, 1966.
Mitchell W. J. The Reconfigured Eye: Visual Truth in the Post-photographic Era. – Cambridge MA: The MIT Press, 1994.