Vol 20, No 3-4 (2020)

The article compares the transdisciplinary and fractal approaches in the study of the fundamental human relations (to oneself, to the world, society, the Absolute). The methodology of both approaches proceeding from the general principles of postnonclassical rationality can be noticed in this analysis. The commonality of these approaches is presented in a new scientific direction — energy-information medicine. In the study of these human relationships, the fractal approach can be interpreted as transdisciplinary in its extremely comprehensive version. The aim of the study is to clarify the and commonality and differences in both approaches. The author comes to a conclusion the fractal and transdisciplinary approaches can intersect and overlap depending on the content and specific circumstances in studies of extremely complex systems (flora, fauna, humans, society, etc.).

The dynamic processes taking place in society encompass all the meridians of activity-based forms of culture, including art. The social optics of everyday life shows that today the conditions for the existence of institutions can suddenly change, leading to a change in the way a person exists, transforming his place and habitual forms of activity, leading to an unexpected change in perception, destroying established expectations and goals. Time in such a new social ontology loses its processuality and connectedness, turning into isolated moments, impulses. Creativity processes either freeze, giving way to states of obscurity, prostration, or go into the development of a new media reality, into the public sphere of the digital environment and social communication. The above-described properties of the modern social world have allowed Sigmund Bauman to metaphorically describe it as “fluid modernity”. But if the borders are fluid and “pass everywhere” (M. Bakhtin), then the global question arises of the place and position of culture and, in particular, art. Time in such a new social ontology loses its processuality and connectedness, turning into isolated moments, impulses. Creativity processes either freeze, giving way to states of obscurity, prostration, or go into the development of a new media reality, into the public sphere of the digital environment and social communication. The above-described properties of the modern social world have allowed Sigmund Bauman to metaphorically describe it as “fluid modernity”. But if the borders are fluid and “pass everywhere” (M. Bakhtin), then the global question arises of the place and position of culture and, in particular, art.

In the article, music as a form of culture is considered in relation to the social theory of Z. Bauman. And also mentioned D.D. Shostakovich in the context of the double meaning of his work.

The article attempts to outline the trend of Russian scribes to perceive the Byzantine Church tradition. The author also builds a view that the movement goes from anticipating the inheritance of the traditions of the Christian Byzantine Church and statehood to the process of direct perception of the Byzantine Church state power and authority by the Russian Church. The Byzantine theologians interpreted the split of Christianity as the appearance, along with the true Orthodox Church of the Western Church, in which a person was the individual desacralization. After the fall of Byzantium, it was the destined Russian Orthodox Church that acted as the guardian of the canonical and dogmatic tradition of true Orthodoxy. And, first of all, this was expressed in the continuity of the tradition integrity of the spiritual and secular authorities. The author considers the way of expressing these processes in the theological and political treatises of the aborning Russian book tradition, which gave rise to the formation of a specific Russian ideocratic project. The ideology of Moscow as the Third Rome, launched by Russian scribes, became possible due to the fact that Orthodox Russia has assumed the most important sacred mission.

Once of the largest event in the world culture of the twentieth century is premiere of the Seventh Symphony by D.D. Shostakovich in Kuibyshev. It took place on March 5, 1942 and is described in detail. The author of the article puts forward a hypothesis about the fixed image of Shostakovich in the city’s homosphere, namely as the author of the”military Symphony”. Other works created by him in the “reserve capital” did not receive a philosophical and cultural understanding. The article also presents a projective idea: Shostakovich’s music as a communication and University promoter. The article describes for the first time the internationalization of the almanac and the exhibition “Samaras Hommage”. The Samara project with this name was presented to Bonn, at The Russian Consulate General, on the anniversary of the end of World War II. Professors from Europa universities were also invited to the presentation. For the first time, describes how to participate in the intercultural project of the writer CH.T. Aitmatov. The author conclusion that the Kuibyshev period of D.D. Shostakovich is significantly shortened and read far from completely, including in a scientific and communicative way.

In this article the author refers to the philosophical and cultural concepts of “worldview” and “chronotope” and justifies their interpretation in musicology. In his concept, the author proceeds from the recognition of the content of musical matter, which allows attributing the historical belonging of musical works. The worldview of the epoch and the picture of the world inherent in this time is reflected in the most characteristic means of expression, based on musical intonation, semantics of typical forms and genres. The combination of the methodology of philosophical and musicological analysis of space and time in music allows us to achieve the most adequate interpretation of the semantic field of a work of art in its historical interpretation.