The article is intended to convince a reader that the scientific and educational discipline, called in the national academic tradition linguoculturologija, can make more progress in the context of not only linguistic, but also the actual culturological knowledge, focusing on the relevant theoretical and methodological guidelines and using the concepts, terms and research techniques developed in the sciences of culture.

This article aims to highlight the role of the concept “nation” in consideration of modern Germany’s historical and sociopolitical experience. Through the methodology of such research program as Historical semantics and such research program as Conceptual history one can manage to observe how the concept “nation” appears as an implicit or explicit precondition for the major socio-political discussions. In order to study the concept resemantisation in social and political sciences, it is put in context of four major for the modern Germany’s socio-political and historical experience topics: German reunification; globalization; European Union; immigration.

Such a prospective not only makes it possible to discover new meanings acquired by the concept “nation”, but also its crucial binding role. Having the concept nation in focus, one can discover a number of theoretical interconnections of these four seemingly unconnected topics.

The article gives a brief overview and an analysis of the main existing in the literature views about the origin and content of the “Savior in Powers” which is one of the most mysterious Russian iconography. Having appeared about half a thousand years ago, it has still not been deciphered and causes a variety of interpretations.
There are results of testing a hypothesis saying that the text of the first Chapter of the book of Ezekiel and a commentary on it by the Pope Gregory the Great (the Dialogos) were the main sources of the iconography. An issue of the time of introducing the readings from the first Chapter of Ezekiel into Russian Divine service and thus causing the possibility of their impact on the iconography emerging is defined. There also are results of analysis of hypothesis that the text of the Liturgy was the source of the iconography, as well as of the Russian full-length Deesis tier composition which included the icon of the Saviour in Powers. The article consideres two assumptions known in the literature about the iconography name; their authors offered to consider it to be based on the words of Psalms 23 or 150. Finally, the article presents cases of using by Russian textual sources of the epithet “in Powers” in relation to various icon images in Russian textual sources and offers a new approach to the iconography of the Savior in Powers and its sources.

The article is dedicated to the analysis and understanding the emergence of new power symbols in the writings of philosophers of the Russian emigres after the october revolution. In the period from 1917 to 1929 there was a change of paradigms and the transition from pre-revolutionary consciousness to revolutionary. While abroad, philosophers of the Russian emigres could speak openly about the new world, and also tried to preserve the cultural heritage of Russia. In their works, they not only describe the events that took place in the period from 1917 to 1929, but also what consequences the revolutionary results had for Russia. Entering a debate with the government, Russian philosophers tried to expose the true motives for introduction of the official and unofficial symbols: how symbols and to show the emergence of symbols of post-revolutionary culture, reflecting the interests and values of the new ideology, and the mechanism for reading and interpreting same symbols by the power and philosophers of the Russian emigres. The arrival of the new government, marked not only changes in the visual and symbolic culture, a new turn in self-awareness in the culture of the 20th century, but also the construction of a new world.

Popular science film is considered as one of the varieties of mass and media culture products and, accordingly, as a source of information for a large audience, as a translator of certain natural science knowledge, ideological and methodological attitudes of its producers. The author explores the representation of scientific energetic ideas by a concrete example. He presents Gary Johnstone’s film “The great idea of Einstein” (“E = mc2 / Einstein’s Big Idea”, BBC, 2005). The limits of possibilities in popularization of complex physical concepts, satisfaction of requirement of scientific character for the works calculated on mass audience are considered. Aside from content related to physical knowledge, the author analyzes the key concepts and methods of presenting methodological knowledge and biographical material. Particular attention is paid to the composition of the representation of socially significant ideas and relevant daily practices in the content of the film.

This article is about the representation of popular music as a form of collective memory. As a source, the film “Roger Waters: The Wall” is examined from the point of view of the modes of perception set in it. In the film, two types of narrative are combined: along with the excerpts from the concert event, real evidence it also shows, a real evidence connected with the personal experience and biography of the musician. Understanding the cinema requires not only a superficial glance, but also readers’ vision is also required, which allows to interpret them from different perspectives, including the historical, philosophical and political contexts. The movie and concert meaning remains undisclosed for the viewer, if not viewed through a prism of texts such as H. Arendt’s “The origins of Totalitarianism” by H. Arendt and “1984” by G. orwell. An important meaning in cultural communication is not so much an individual experience of the author of the film but an appeal to the collective memory. The concert as a method for appealing to the collective memory, in this case, is one of the preset modes of vision, as an alternative view of post-war time, close to repentance experience of repentance, or to overcoming those qualities that are associated with imperial self-consciousness.

This paper is dedicated to modern video game practices (idle games, achievement spam games, playbour) developed primarily in the segment of free-to-play games. over the course of the last several years the development of the video game industry facilitated the expansion of such concepts as “video game” or “video game practice” to the point of including some objects that may seem to contradict the traditional views regarding what a game is. As Illustrative examples there are self-playing games that require little to no action from a user (idle games), and also video games that suggest deliberately non-engaging and laborious tasks to the users with an intention to give them an incentive to pay extra for having these tasks done by the game itself (fee-to-pay games, playbour).
In order to give an explanation to the aforementioned phenomena, game scholars employed the concept of interpassivity developed by R. Pfaller and S. Žižek. By suggesting to regard the delegation of passivity to the other (suffering through the other) along with the delegation of activity (acting through the other) as mutually complement ways of constituting subjectivity Pfaller and Žižek established a language of description for an array of practices emerged during the digital era. By employing this concept in analyzing idlegames S. Fizek proved its applicability in the field of game studies. Based on her conclusions, in this paper we will make an attempt is made to employ the concept of interpassivity for explaining other modern video game practices.

The article is devoted to the topic of identity as an integral part of a perspective of a “new” social movements problematics. Identity is understood in its “weak” version – as created by a voluntary chosen symbolic system of values, convictions, beliefs – shared by an individual with the group. Thus, the participation articipation in new social movements, thus, allows the individual to represent himself as a supporter of these values and meanings, not only defending his interests, but also creating an image of his “Self”. The interactivity of the new media allows the participants of the movement to interpret, process and appropriate cultural values associated with the movement and build on their basis new social practices. Among the symbolic parameters of the movement one can name an ideology, an image of the group (who “we” are), the degree of aggressiveness of the movement, the degree of commitment and motivation of participants. Among the sources – verbal (manifestos, statements of leaders and rank and file members) and visual (symbols of the movement, photos and videos, demotivators, memes, gifs, etc.). The analysis focuses on the stated goals, values, principles of action; rhetorical characteristics of texts and aesthetic – of visual materials; the proportion of rational, emotional, moral categories in the discussions.
The article through example of two movements reveals mechanisms of the representation and appropriation of meanings (ideology and image of “us”) associated with social movement. Сonclusions are drawn about the relationship between the typological characteristics of the movement and the ways of its representation, the homology of verbal and visual means, the importance of not only the content but also the image of movement for the self-identification of its participants.

The article makes an attempt to define the state of scientific discussion around the paradox of privacy, which became the subject of interest for many Internet researchers. Studying the various practices of Internet users, the researchers paid attention to the existence of a certain gap between the concern with privacy issue and the real actions of users on the Internet. The main goal of this work is to identify possible reasons for the paradox of privacy existence and study appropriate explanatory models of this phenomenon. In addition, in course of the analysis various methodological approaches are described including the ways of assessing of the gap between users’ perceptions of the private and their actions on the network. The author asserts a necessity to refrain from considering the privacy of users as something unified and consistent. Attention is drawn to the importance of studying a variety of privacy types: be it representations of the private, manifested in the course of online transactions, and representations of romantic privacy, business privacy, etc. It is concluded that it is necessary to study various types of personal information disclosed in various cultural and technological contexts. The main goal of the future study of the privacy paradox of privacy is a specifying the research subject and a combination of different methodological approaches.