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The article attempts to present in a holistic form the aesthetic views of one of the central figures of Russian culture and aesthetics of the mid and second half of the 19th century – Vladimir Vasilyevich Stasov, whose views on the fundamentals of the development of art and artistic culture in general are relevant at the present time. In connection with the task, the concepts of nationality, historicism and nationality in art, which form the core and main line of development of Stasov’s aesthetic thought, come to the fore. At the same time, the unity of the theoretical attitudes of Stasov, who has enormous erudition in the field of both ancient and modern art, with his extensive practical activities as a music and art critic, responding to all significant events of cultural life, is emphasized. Based on the analysis of Stasov’s colossal critical and epistolary heritage, a general description of his aesthetic position is given, combining a democratic approach to understanding nationality, historicism as a support for the visual brightness of the national character, along with the elaboration of those shortcomings that are associated with the embodiment of these principles in art (“official” , “artificial” pseudo-nationality, stylizations - rough and refined, direct transfer of old outdated forms into modernity). The comparative historical method used in the study is represented mainly by analogies, as well as a statement of the existing differences in the cultural and aesthetic concepts of Stasov and the writer and philosopher, author of the famous «Russian Nights» V.F. Odoevsky. In this vein, the problem of Stasov’s influence on the aesthetics of the Balakirev circle in the field of music and the principles of social service, realism and nationality in the art of the «Itinerants» in painting are touched upon. The peculiarity of the article is that it is based to a large extent on rare sources – lifetime journal publications and the publication of Stasov’s collected works of the late 19th century.

This article is an attempt to analyse the stylistic changes in Lviv's religious monumental painting between 1890 and 1914. The best religious buildings of the capital of the Kingdom of Galicia and Lodomeria are characterised by an intense interaction of spatial arts. Lviv painters demonstrated their ability to solve a complex artistic problem - the creation of an architectural-painting ensemble. Their decorative works were characterised by an organic connection with the tectonics and function of the buildings. Decorating the interiors of large sacred buildings with the means of mural painting concretised their purpose. Lviv’s monumental painting, often associated with sacred architecture, was caught up in the patterns of academism of the time. In competition with Academism and Historicism, Art Nouveau in the works of Stanislaw Debicki, Kazimierz Sichulski, Marian Olszewski, Modest Sosenko and other artists, along with the Neo-Byzantine school of Mykhailo Boychuk, soon began to assume the function of the avant-garde.

تناول البحث أولاً فكرة الحداثة ومناهج الحداثيين العرب في فهم النصوص الشرعية، وقد رجع البحث إلى ما كتبه أبرز الحداثيين العرب (في مصر وتونس والجزائر والمغرب) أمثال حسن حنفي، وعابد الجابري، ومحمد أركون، وقام بنقل آرائهم وتحليلها. وقد وصل إلى أن فكرة الحداثة تركز على رفض القديم إلى ما هو جديد، وتعتمد على العقلانية والواقعية، وأن الحداثيين العرب اعتمدوا في فهم النصوص الشرعية على مبدأين أساسين؛ تحكيم الواقع في فهم النصوص، وتاريخية النصوص، بناءً عليه يسوغون تغيير الأحكام الشرعية -حتى الثوابت منها- برؤية جديدة معاصرة. وتناول البحث بعد ذلك نقد مناهج الحداثيين، من حيث كون الأحكام في الشريعة الإسلامية ليست نوعاً واحداً من حيث الثبات والتغير؛ فهناك بعض الأحكام الشرعية يمكن أن تتغير باختلاف الظروف والأحوال، ويمكن تحكيم منهج التاريخية فيها، وهي الأحكام التي استنبطها العلماء من النصوص الشرعية باجتهاد منهم ومراعاة لظروف بيئتهم. وأما الأحكام التي تتعلق بالأسس المبادئ تكون في النصوص الشرعية القطعية التي تجعلها من الثوابت، فلا يجوز تحكيم المنهج التاريخي في مثل هذه النصوص.

Arthur Danto in order to achieve the definition of art, while rejecting previous views and clearly opposing the essentialism of the concept of art, seeks a new explanation in challenging contemporary artworks with a completely different view. By turning away from Kant's point of view, which dominated the theories of art until the middle of the 20th century, he bases his theory under the influence of Hegel and based on the historical context of the process of transfiguration of the ordinary object to an artwork. Based on this, a historical, cultural, and social context is necessary for the objects to acquire the legitimacy of being an artwork. From his point of view, a new narrative of an ordinary thing emerges through the artist's way of looking at the ordinary thing (in the historical context) and the way he presents it, and he transforms it into an embodied concept and meaning, which leads to the transformation into a work of art. The excessive emphasis of his theory on subjectivism causes personal interpretations and relativism. This article follows the question of “what makes a work of art, a work of art?”, by examining and explain Danto's opinions, while pointing to the works of art referred to by him, I try to describe the factors influencing his theory to finally analyze some of the flaws in this perception of the concept of art.

Purpose. The purpose of the study is to determine the influence of historical and legal factors on the development of the legal ideology of Ukrainians in the 19th century. The main emphasis is placed on the characteristics of the key directions of legal ideology that were developing, and the level of their practical implementation in the socio-legal conditions of the 19th – early 20th centuries is also determined. One of the tasks of the study was to establish the importance of the influence of historicisms on the process of formation and development of legal ideology, which is also important in today's conditions, because of the full-scale invasion of Russia. It is one of the key factors that determine the need to abandon Soviet ideological stereotypes, including legal ones. Methods. The methodological basis of the research was a complex of general scientific, special scientific and philosophical methods, as well as the principles of historicism Results. Five approaches are followed in the works of Ukrainian scientists. The first, philosophical-legal, is characterized by a complete juxtaposition of legal ideology and national ideology. The second direction is exclusively historical and legal. Within the limits of the third direction, it is proposed to consider legal ideology as an element of the legal policy of the state, in particular, the sphere of ensuring human rights. There is also a popular opinion that the ideas of legal ideology are value orientations that actively influence the lawful behavior of a person and the process of law-making. As a result, legal ideology can be considered an element of legal culture or even legal mentality. At the same time, within the latter, legal ideology is the most dynamic category, because it depends on public opinion, group and individual legal awareness. It was established that historical conditions have a decisive influence on the process of formation of legal ideology, as they not only impose on it the specifics of the era, social attitudes, the general level of cultural development, spirituality, but also turn a specific legal ideology into an element of culture that takes root in the legal consciousness of the population, becomes a component of his legal mentality. It was in the 19th century. three main types of legal ideology of Ukrainians were formed: liberal, Christian-conservative and socialist (social-democratic). Originality. The internal and external historicisms that in the 19th century are characterized. contributed to the development of three types of legal ideology - liberal, conservative and socialist. Practical significance. The results of the study can be used in further historical and legal research, preparation of special courses.

The article deals with the Sevastopol stories of Leo Tolstoy in comparison with memoir sources and documents reflecting the events of the Crimean War of 1853‒1856. The works of M. I. Bogdanovich, E. I. Totleben, H. J. Gubbenet, F. K. Zatler, N. I. Pirogov, N. V. Berg, O. I. Konstantinov demonstrate the examples of historical evidence. The article shows that the source of the genre nature of the Sevastopol stories was the military experience of the young officer Tolstoy, who created a panorama of events woven from a qualitatively different figurative and artistic material and having an immeasurably greater impact than statistics and official documents. The analysis covrers artistic techniques of the writer in the paintings of the Sevastopol hospital, the assault on the Malakhov Kurgan and the departure of the Russian army from Sevastopol. Summing up the results, it can be concluded that the artistic scale of the Sevastopol stories created by Tolstoy corresponds to the historical scale of military events. The author not only did not deviate from the historical truth, but revealed the tragic depth and sacred meaning of the Crimean War in Russian history.

Józef Mehoffer’s competition design for the painting decoration of the Franciscan Church in Kraków in 1894 has not yet been found. This article is an attempt to reconstruct the artist’s decorative concept on the basis of the surviving sketches for the project, as well as notes drawn and written in a sketchbook from 1893–1894. The artist, who was in Paris in February 1894, heard about the competition from Tadeusz Stryjeński. The project he sent to the jury in May 1894 did not meet the formal requirements; it was too sketch-like and unpolished and was not accepted. Mehoffer began work on it with detailed studies of sources and iconography, documented by his drawings and notes in his sketchbook. These bear witness to his technical dependence on Jan Matejko and the painters of the historicist school. The artist’s meticulous approach in this respect was perhaps one of the reasons why the project was not completed within the three-month deadline set by the jury. A stylistic analysis of Mehoffer’s sketches for the decoration of the Franciscan Church leads to the conclusion that they were created under the influence of Matejko’s polychrome decoration of the presbytery of St Mary’s Church in Kraków, as well as other sacral decoration of the second half of the 19th century, associated with the current of academic historicism – an important model for the Polish artist was undoubtedly the polychrome decoration of the chapels of Notre Dame Cathedral in Paris – by Eugène Viollet-le-Duc and Maurice Ouradou. Mehoffer owed much of his inspiration for the iconography of his design, in which the dominant motifs were depictions of 13th-century Polish saints, nuns, female rulers and Piast princes, to Matejko’s work, The Defeat of Legnica – The Rebirth of Poland. 1241, 1888. The overall vision for the decoration of the Franciscan Church, which he did not include in the competition design but described in his notes, went beyond historicism. It demonstrates the artist’s sensitivity to the new trends in art at the turn of the 20th century, and the fact that he was already aware of the profound changes taking place in the style of monumental painting and in the perception of its function.

Contemporary changes in historical culture associated with various states of modernity actualize the problem of the foundations and prerequisites of historicism as a principle of thinking characteristic of modern societies. The ancient historicism background consists primarily in the advanced concepts of time and eternity, which contain the potential variability in the understanding of historicity in modern philosophy and culture. At the same time, the problem of the historical variability of the world remained on the periphery of ancient philosophy and culture, and classical historicism, which was established in the second half of the 18th century, was based on the rejection of some aspects of the ancient heritage. In opposing being and becoming, ancient philosophy preferred being, which was also manifested in the preference for truth over time, for one over multiple. Classical historicism of modern times is focused on the idea of becoming, which in a new way reveals the contradictions between truth and time, one and multiple. Relativism and plurality are becoming features of modern transformations of historicism, in which the structures of time are preserved, dating back to the ancient concepts of chronos, kairos, eon, etc. Of particular interest are modern ideas about time, which go back to the ancient concept of objectified chronological time and its correlation with other forms of time conceptualization. In the historical consciousness of modern times, the ancient concepts of time were transformed under the influence of the prophetic sense of time, characteristic of the biblical tradition, in which the historical process is considered in the context of the gradual revelation of the original intention and meaning of history.

Abstract:Architecture is the accurate mirror that reflects the society culture. Recently, it is noticeable that the architectural expression in Egypt is moving towards the Historicism or Nostalgic architecture, through using historical elements belonging to previous civilizations. This attitude exists clearly in residential architecture. Therefore, there is a close relationship between Nostalgia and architectural reality. The research problem studies the current relationship between Nostalgia and the local architectural expression of residential architecture, which is directly expresses the community's morals, culture and desires. The research puts forward three questions: (A) What is the shape of Nostalgic architecture which prevalent in the expression of residential architecture? and to what style does this expression follow? (B) What are the reasons that led to the rise of nostalgia expression in the local residential architecture? (C) What is the responsibility of the architect towards this phenomenon?The research importance is to determine the Egyptian architectural identity, which began to change, especially with the current steady architectural movement in Egypt. The methodology relied on the descriptive method based on the incomplete induction, by selecting a deliberate quota sample that meet the selection criteria, Also, the research followed the case study method based on the criticism to discuss results. The research discussed the concept and aspects of nostalgia, the concept of nostalgic architecture, the societal transformations accompanying the emergence of nostalgia architecture in Egypt. The research results were that all the studied examples belong to the classical style, which are based on Greek and Roman elements. The formation of the facades depended on a discordant mixture of classical elements, without considering the styles and proportions of these elements.

The article is devoted to a comprehensive examination of the religious and moral origins of M. Yu. Lermontov’s creative work. The poetic movement of the great artist can be imagined as the realization and expression of a unique spiritual experience associated with the only in Russian literature in terms of its intensity experience of the Christian thought about the lost heavenly bliss, the ways to find it or the eternal loss in a person’s earthly life. Within this framework the poem “Angel” becomes a kind of “program” that covers the work of Lermontov in all his spiritual range. The article analyzes the ways of returning to the lost harmony with the Creator sung by Lermontov — the heroic service of Heavenly truth (“Borodino,” “Song about Tsar Ivan Vasilyevich…”), the feat of maternal love (“Cossack lullaby”), as well as the poet’s catastrophic experiences of human Godforsakenness (“Meditation,” “Both boring and sad,” “Gratitude”). The novel “A Hero of Our Time” is studied in terms of of the conceptual opposition “boring — fun.” Much attention is given to an attempt to determine the true hierarchy of light and darkness, delight and obscurity in Lermontov’s work, where the height of the spiritual ideal and the perfection of poetic speech ultimately transform the “Pechorinsky” meanings and moods.

The reception of structuralism by Italian linguists can be divided into three periods. In the first of them (roughly, from the 1930s to the end of the 1950s), structural linguistics, while by no means ignored, is essentially rejected (with some exceptions, such as G. Contini or L. Heilmann). The second period roughly coincides with the 1960s, when structural linguistics reaches the height of its success, thanks, primarily, to the work of scholars such as T. De Mauro, G. Lepschy and L. Rosiello. The success of structural linguistics in Italy began to decline from the 1970s onwards: various linguists turned to other conceptual frameworks, such as generative grammar. Some possible reasons for this decline are investigated here.

The relevance of the topic is due to the need to study the functional and semantic characteristics of proverbs and sayings characterized by an anthropocentric orientation, which correlates with the modern regulatory-activity paradigm of studying objects of language and speech. The purpose of the study is a multi-aspect study of paremias with obligatory archaic lexemes reflecting the ethno-cultural realities of the Karachay-Balkarian ethnos. To achieve this goal, the article solves the tasks that are focused on determining the register of paremias with archaisms and historicisms, identifying and describing their functional and semantic features, as well as ethno-cultural significance. The material of the study was the paroemias selected by continuous sampling from the available collections of Karachay-Balkarian proverbs and sayings. The choice of methods of linguistic analysis is determined by the specifics of the material under study. In the work, along with the descriptive method, elements of conceptual, cognitive analyses are used in the context of the problems of ethnolinguistics and linguofolcloristics. Of the particular methods of semantic analysis, taxonomy and linguoculturological interpretation are used. The analysis of the available factual material allows us to come to the conclusion that, according to the lexico-semantic status, archaic words are divided into lexical and semantic archaisms. From the point of view of partial origin, obsolete words are mostly represented by nouns, adjectives and verbs, among which there are both regionalisms and dialectisms belonging to various lexical and thematic groups. Archaic lexemes, due to their ethno-cultural significance, contribute to the reflection of important segments of the Karachay-Balkar linguistic picture of the world encoded in the paroemias.of the Karachay-Balkar linguistic picture of the world encoded in the paroemias.

This article describes such an unprecedented phenomenon of Russian icon painting in the 19th and early 20th centuries like mass forgery of ancient icons with the aim of their subsequent sale to believers or collectors. This craft has been developing in different villages of the Vladimir province since the 18th century and initially implies the presence of a well-established system of old-style icon painters (“starinshchiki”) and wandering icon dealers (“ofenees”). The author reveals the underlying causes of this phenomenon, describes the main ways of forging ancient icons and analyses the artistic means that were used by icon painters to stylize “antique”. A connection is established between the Old Believer type of piety and the fashion for antiquity and the increase in demand for “ancient” icons, and thereby the development of the craft of “starinshchiki”.

Recent research has played a pivotal role in advancing our understanding of cloisonné enamel production in China during the 19th and 20th centuries. However, Christian workshops, whether operating under missionary subcontracting or owned by the Catholic Church, have yet to be accurately identified and contextualized. This article delves into three significant contexts. Firstly, it identifies and contextualizes the Christian connections and interactions of the Decheng private cloisonné workshop, involving the French Lazarist Bishop Alphonse Favier, in Beijing. Secondly, it identifies the cloisonné workshop stablished by the Lazarists in the Beitang complex in Beijing and elucidates the role it played. Finally, this paper presents new evidence concerning cloisonné Christian objects crafted by the Tushanwan Jesuit workshop in Shanghai. Some of the primary works of these three workshops are identified for the first time. Additionally, this paper shows that certain cloisonné crosses, some of them thought to be originally Japanese, including those referred to as Namban, were, in fact, crafted in Beijing during the 1920s. These preliminary results will contribute to placing Chinese Christian cloisonné within the history of Chinese Art and its interactions at a global level in the context of evangelization in China, the production of the so-called export art, and the processes of indigenization carried out by the Lazarists and the Jesuits.

Soft power' is a term often used to explain how states seek to be appealing and attractive to others to increase their geopolitical influence instead of using military force or economic threats. As part of a soft power agenda, sport events showcase the values, culture and imagery of a host nation, and through that, ideally, attract investors, tourists and attention. But there are problems with the concept, especially when it is adopted by sport events where it is used as a metaphor, as a heuristic device, and a descriptor of current affairs, to name a few. In particular, the concept does not necessarily capture the accumulation of tit-for-tat strategies and bargaining in geopolitics where sport events are involved. In contrast, by using the FIFA World Cup Qatar 2022™ as key example and drawing upon Norbert Elias' figurational sociology as source of theoretical refinement, this article discusses how soft power can become more precise as an analytical category in a context of sport and geopolitics.

This article contributes to recovering the history of women’s contributions to aesthetics by examining Emilia Dilke’s writings on aesthetics from the mid-1860s to the early 1870s. Initially, Dilke took the historicist view that artworks are inescapably the products and expressions of their social and historical circumstances and that art is better, as art, the more it distils its time. Dilke also thought that in the modern world art had separated inexorably from morality and religion. On that basis she came to endorse aestheticism, arguing that art should be made for beauty’s sake and not subordinated to moral purposes. However, this ultimately led to some tensions between her aestheticism and historicism. In the end she resolved these tensions by distinguishing between various kinds of value, or uses, that artworks can have. The best artworks have properly aesthetic value and transcend history, whereas the majority of artworks have only historical value as expressions of their eras. Overall, Dilke put forward a forceful defence of aestheticism and negotiated between aestheticism and historicism in a unique way. She deserves recognition as a significant female figure in the history of aesthetics.

Sınıf teorilerinin ortaya çıkışının, Sanayi Devrimi’nin gelişimi ve kapitalist üretim ilişkilerinin kurulmasıyla paralel bir tarihçesi olduğu söylenebilir. Bu gelişim serüveni, sınıfların olgusal açıdan kapitalizm öncesi varlığını yadsımaz, onları kapitalizmin yerleşik düzenine sabitlemez. Marksist sınıf kuramının özü, tarihsel sürecin dinamiğinin sınıf mücadeleleri olduğu düşüncesidir. Bu çalışmada, öncelikle Marksist geleneğin erken dönem Marksizm’den Neo-Marksizm’e ve emeğin sosyal tarihçiliğine uzanan sınıf tanımları genel bir çerçevede tartışılmıştır. Geleneksel Marksizm ve izini süren literatürdeki yönelimler incelenmiştir. Ardından, özellikle “Siyasal İktidar ve Toplumsal Sınıflar” kitabıyla erken dönem Poulantzas’a özel başlık açılmış, devlet, toplumsal formasyon ve sınıflara dair yaklaşımı aktarılmıştır. Poulantzas’ın erken dönem metinlerinde ortaya koyduğu sınıf analizinde üretken emek/üretken olmayan emek nosyonlarının kapsayıcılığı tartışılmış, işçi sınıfı, geleneksel ve yeni küçük burjuvazi sınıflandırmaları incelenmiştir. Bu araştırmanın temel argümanı, yapısalcı-işlevselcilikten ilişkisel devlet kuramına uzanan geç dönemi hariç tutulmak kaydıyla erken dönemi boyunca Poulantzas’ın sınıf analizinin, değersizleşme ve sermayenin organik bileşimi gibi iktisadi nosyonlara cevap veremediği iddiasını öne sürmektedir.

Introduction. The article proposed to the reader aims at fixing universal historicity in the reconstruction of history by one of the most sought-after and well-known American futurists, Alvin Toffler. An analysis of his concept from such a perspective allows us to identify in modern concepts and, accordingly, in postmodernity (post-industrial era) genetic links with the previous tradition associated with the industrial era, which allows us to explore modern cultural trends, which seems to be an extremely urgent task for humanitarian knowledge. Such an approach to the study of modern futurological concepts in general, and E. Toffler's futurology in particular, has not been applied, and therefore the author's approach has both extreme relevance and theoretical novelty.Methodology and sources. The obtained research results were based on a comparative and textual analysis of the texts of the American thinker (Toffler E. “The Third Wave”, “Shock of the Future”), as well as texts of authors who thematized the universal historical model of understanding the historical process (G. Hegel). In carrying out the genetic and comparative analysis of E. Toffler, the author uses the results of his own research on the genesis of the historical consciousness of the New European culture. The analysis of the texts of E. Toffler and post-industrial society was carried out using modern critical studies (E.I. Furs, K. Ratti, M. Claudel).Results and discussion. The model of universal history, which has its origin in the Sacred History of Christianity, has the following basic essential characteristics: 1) the presence of the figure of the so-called transcendental signified, i.e. the mental topos that controls the historical process (in Christian history, God is such, in Hegel's system – the dialectical unfolding of the concept, in Marxist philosophy – the struggle of productive forces and production relations; 2) the understanding of the historical process as totality; 3) the presence of a common telos of historical development; 4) a special status of a real actor of a historical event (disenfranchised, “puppet”); 5) a universal homogeneous environment for the unfolding of the historical process; 6) the stages of the historical process.The comparative analysis of the reconstruction of Alvin Toffler's views and the main characteristics of universal history, as well as the use of critical sources on the subject of the article, shows that for all the essential points listed above, history, as it is built by the American futurist, is undoubtedly a universal history.Conclusion. The use of such an outdated point of view of modern mentality, the vision of the historical process actually fulfills two important tasks, which the author of the article focuses on. 1. The opportunity to see and evaluate rapid changes from the point of view of the future (as stated by Toffler himself). 2. Infection of the future with the models and approaches of the previous industrial society, which clarifies the processes of building the modern cultural situation, allowing you to understand current development trends.

In the compendium on the Vienna Ringstrasse, edited by Renate Wagner-Rieger, little mention is made of the sculptor Caspar Zumbusch and his Vienna School of Sculpture. The author outlines the emergence of the Viennese school of sculpture and the students of Caspar Zumbusch who came to Vienna from different parts of the monarchy. After the return to their own regions, they authored a number of monuments to Habsburg rulers. While many of these monuments were destroyed during various crises, especially after the collapse of the Monarchy, in the 20th and 21st centuries numerous examples were re-erected. Recently, several monuments to Habsburg rulers have even been reconceived and today again shape cityscapes in some of the former countries of the Habsburg Monarchy.

Renate Wagner-Rieger’s pioneering achievement in the area of historicism had a great impact on Hungarian research, not least because of the close historical and cultural ties between Budapest and Vienna. A handful of researchers actively propagated Wagner-Rieger’s work, especially the volumes of the Wiener Ringstrasse series, and thus were instrumental in clarifying the significance and terminology of historicist architecture in Hungary.

The work of Renate Wagner-Rieger was crucial in reviving interest in 19th-century architecture and in its inclusion in Croatia’s national history of art. The use of stylistic terms, periodization of 19th-century architecture, particularly historicism, and Renate Wagner-Rieger’s method of organizing the text within monographs on the history of architecture of cities or areas according to building types have had a remarkable influence on how similar topics are treated in Croatian art history.

The article examines the relationship between Renate Wagner-Rieger’s important research project „Wiener Ringstrasse“ and her commitment to preserving 19th-century architecture in the context of evaluating historicism.

Renate Wagner-Rieger’s contribution to the definition, dating, and periodization of the term “historicism” as a designation for the epochal style of the 19th century, as well as its research and propagation, is treated, whereby her dedicated style and form-historical working method emphasizes the public representation of the facade image and the eloquence of architectural systems of order comes to the fore.

The two witnesses of Revelation baffled interpreters for a long time and kept frustrating them for reasons related either to the book’s approach or to prioritizing, in interpretation, external sources over Revelation itself. The article dialogues with expositors of historicist tradition and shows that, if there must be progress in understanding, the structure and interconnectivity of Revelation must be prioritized. The claim substantiated throughout the paper is that the narrative of the two witnesses has two parts: historical (Rev 11:3–6) and eschatological (vv. 7–12), the latter of which receives new meaning when interpreted from an end-time perspective and as a replica of Jesus’s own destiny, which the two witnesses closely follow.

The two witnesses of Revelation baffled interpreters for a long time and kept frustrating them for reasons related either to the book’s approach or to prioritizing, in interpretation, external sources over Revelation itself. The article dialogues with expositors of historicist tradition and shows that, if there must be progress in understanding, the structure and interconnectivity of Revelation must be prioritized. The claim substantiated throughout the paper is that the narrative of the two witnesses has two parts: historical (Rev 11:3–6) and eschatological (vv. 7–12), the latter of which receives new meaning when interpreted from an end-time perspective and as a replica of Jesus’s own destiny, which the two witnesses closely follow.

The article presents the study of national symbols of Catalonia: their emergence and visual representation in the art of the 19th century. National symbolic system of Catalonia date back to the Renaixença movement in literature that initiated the formation of the Catalan language and literature. The scope and purpose of the article included an investigation of the works of the most prominent representatives of the Catalan national renaissance in order to identify the origins of the symbols they deploy. Consideration of symbols serves the purpose of defining the way national aspects get their visual representation. The method of historical typology was used to systematize the sources. Memoirs and publications in the press were analyzed with the textual method, and visual materials – with stylistic and iconic methods. Detailed research of the works of Renaixença has shown that Catalan cultural code initially emerged in poetry. In the second half of the 19th century, the symbols acquired visuality in fine art, namely paintings and visual design of the front pages of Catalan newspapers and magazines. The article provides a detailed account of selected examples of such visuals. At that time, Catalan intellectuals created works devoted to the history of Catalan-speaking lands, seeking to find roots that would picture the ancient nature of their motherland. They searched the archives and looked into medieval literature and folklore to prove the continuity of prosperous medieval Catalonia, part of the Kingdom of Aragon, and nineteenth-century Catalonia. Thinking over national history gave birth to national identity. At the same time history acquired a visual dimension. Churches, monasteries, memorable dates, leaders and thinkers that bore distinct national identity were visualized. Medieval plots penetrated art that tapped into heroic deeds of the past for inspiration. The spread of visual images helped bridge the gap between past and present. The newly acquired continuity of tradition strengthened the national narrative. The process enabled the national unity of the Catalan people with the central idea of an imaginary community of a nation-state.

Fake News as propaganda is not a novel creation by the former President of the United States (POTUS) and the use of architecture as propaganda to propel populist agendas is no different. This article will observe two case studies, Skopje 2014 implemented by the nationalist conservative party VMRO-DPMNE of Macedonia and the Promoting Beautiful Federal Civic Architecture Executive Order no. 13967 by Donald Trump, former POTUS. These Two case studies will be discussed in how architecture feeds the populist agendas through two different types of political administration. The term fake will be associated with misinformation, mistruth and through a historical sweep and comparisons. This article argues how the use of neoclassicism as an architectural style outside of its historical context coupled with the political agendas would be considered propaganda and in turn fake.

The purpose of this investigation is to ascertain whether Machiavelli’s political thought communicates with classical and modern natural right. This task is not so easy, because the basis of Machiavellian thought is in common with the fundamental beginning of the classical political philosophy: the knowledge of human nature. From this point of view Machiavelli starts from the same starting point as classical natural right and uses the same methodological tools as it. On the contrary, the outcome of his theoretical course is different. While for classical natural right the human purpose derives from human nature and any aim of political philosophy must serve this inviolable relationship, for Machiavelli the purpose is not completely disconnected from human nature but partially. When we talk about political domination we cannot ignore the human nature, there is no politics without the human essence. On the other hand, the fact that we start from human nature does not mean that we necessarily act for the benefit, for the betterment of human. By knowing the human essence we can benefit or destroy human. But even this is indifferent; the purpose of the political thought is not the improvement or the destruction of human, but the unimpeded exercise of domination or control over human by going into historicist or individualistic paths.

American architect Henry Killam Murphy (1877-1954) dedicated his career to a “Chinese Renaissance” that adapted traditional Chinese architecture to meet technological and programmatic needs. Although previous scholarship has surveyed Murphy’s work, it deserves a closer analysis in order to measure Murphy’s design outcomes against the goals he described. This paper examines archive drawings by Murphy’s office so as to show the architect’s design intent, identifying creative design solutions provided by Murphy and his team that balance traditional architectural principles with modern requirements.

American architect Henry Killam Murphy (1877-1954) dedicated his career to a “Chinese Renaissance” that adapted traditional Chinese architecture to meet technological and programmatic needs. Although previous scholarship has surveyed Murphy’s work, it deserves a closer analysis in order to measure Murphy’s design outcomes against the goals he described. This paper examines archive drawings by Murphy’s office so as to show the architect’s design intent, identifying creative design solutions provided by Murphy and his team that balance traditional architectural principles with modern requirements.

American architect Henry Killam Murphy (1877-1954) dedicated his career to a “Chinese Renaissance” that adapted traditional Chinese architecture to meet technological and programmatic needs. Although previous scholarship has surveyed Murphy’s work, it deserves a closer analysis in order to measure Murphy’s design outcomes against the goals he described. This paper examines archive drawings by Murphy’s office so as to show the architect’s design intent, identifying creative design solutions provided by Murphy and his team that balance traditional architectural principles with modern requirements.

This paper analyses the agrarian *hacienda* as the chief defining political-economic institution that shaped class composition and state formation of colonial and early postcolonial Mexico. Following the insightful theoretical framework of political Marxism, this article reviews the evolution of Mexican social property relations from the colonization (in the 16th century) to independence (in the 19th century) employing a novel methodology. Due to the highly historicist-oriented perspective of this neo-Marxist wisdom –and its concrete notion of capitalism as a property regime politically constructed– this paper argues that the agrarian hacienda was substantially precapitalist. This reexamination, in turn, challenges structural and pancapitalist accounts within neo-Marxist thought such as Wallerstein’s world-system theory that argues conversely: that European colonialism in the Americas was capitalist. This work aims to expand the application of political Marxism literature to the Latin American context.

This paper reflects on the modern historiographical situation of perceiving comprehensive historical theories as an obstacle to highly specialized research. On the philosophical level, priority has been given to structuralism and language philosophy, thereby resulting in almost unlimited supremacy of the hermeneutic approach in culture, i.e., in the prevalence of textocentrism. The Dutch philosopher Rudolf Frank Ankersmit argues that postmodernism is both a theory of history and a “theory for history.” According to him, historicism is a theory of “historical forms”. Thus, the morphology of culture is directly related to historicism. The transformation of historical forms occurs in conditions when the distinction between the text and reality (represented in the text) is erased, and the reality becomes “superfluous” in the context of the overproduction of meanings and interpretations. Therefore, representation ousts the reality. The New Historicism movement emerged in the United States during the second half of the 1980s as a response of literary criticism to the “challenges” of cultural materialism, feminism, or social history. The historical context is considered by the representatives of the New Historiography project as a system of culture, i.e., social institutions and practices (including political ones) are interpreted as functions of this system, and not vice versa.

The author associates the return of interest in the historical past and conflicts over its interpretation with significant changes in the historical culture and in the regime of historical temporality. Public representations of history in the context of modern transformations appeal mainly not to reason and authenticity, but to imagination, affects, entertainment and a sense of belonging. These changes are associated with globalization, digitalization and the reorientation of modern society from production to consumption. In historical culture, the consequences of these transformations are plurality, virtualization and presentism. This provokes a blurring of the sense of historical duration and images of the future. The images of the past obey the retroactive logic of extrapolation of current ideas. The appeal to historical grand-narratives in these conditions does not allow, as it was before, to achieve social integration, but on the contrary, provokes conflicts. The new wars of memory are characterized by the hybrid historicism, which is seen as a product of the transformation of fragments of the old grand narratives that now function in a fundamentally changed society. Along with the signs indicating the crisis of the previous model of representation of history, new tendencies are observed. They are manifested, in particular, in the reassembly of history in the multiple perspectives of transhistoricism, a revolutionary view of history unlike the traditional one, the approach which contributes to the coexistence of antinomianism and conformism, the acceptance of differences and the establishment of the boundaries of one’s own identity, playfulness and the desire for authenticity. Thus, transhistorism serves as a vehicle to promote coexistence of multiple stories that work together and through their interconnectedness help to overcome contradictions that once were deemed impossible to handle and to add to a shared sense of unity. The new regime of temporality is considered in the context of removing the contradiction between the progressive spirit of modernism and the deconstruction of historicism in the postmodern idea of post-history. The temporality of transhistoricism is determined by the nonlinearity of the time of culture, in which complex interactions of the constructed, deconstructed and reconstructed, lost, acquired and restored take place.

The article is a review of the textbook in two parts under the title “Russian literature of the 19th century” by the well-known literary scholar Doctor of Philology Yuri Vladimirovich Lebedev. A brief description of the publication, its structure, some of the problems raised by the author, and the basic concept of the textbook continuing the whole line of the author's books published for schoolchildren and students are given. Yu. V. Lebedev emphasizes the uniqueness of the path of Russian literature, a special mission that has always been with our writers — to be spiritual authorities, especially in the most difficult times of our country. In this textbook presents not only the personalities of poets and writers. The author of the textbook also shows the integral literary process of the 19th century closely connected with philosophical thought in Russia and the life of society. In his textbooks Yu. V. Lebedev for the first time in the post-reform period in Russia speaks so vividly and accurately about the reviving and transforming power of Russian classical literature.

An overview of epochs and directions is not the history of literature, because history cannot be reduced to summary representations of periods and directions. The greatest writers, the creators of history, are above and beyond the directions and schools. Directions and schools appear and disappear legally, so they are imposed as a subject of literary-historical and theoretical study. The periodization system establishes a certain scientific orientation in a multitude of literary facts, past and present. The paper highlights the theoretical problem of periodization of literature, as a central problem of theoretical examinations of literary phenomena.

Focusing particularly on Provincializing Europe (PE), this essay is cast as a close and critical engagement with the work of Dipesh Chakrabarty over almost three decades. To begin with, I trace how Chakrabarty’s provocations have pointed toward post-coloniality and modernity as necessarily contradictory, contended, and contingent procedures and perspectives. Second, the essay tracks pathways that PE haltingly intimates and partially illuminate but mostly routes that the work chiefly shies of treading, in order to open up instead the different registers of historicism, the hermeneutical, and the analytical, including their mutual interplay and formidable entanglements, as formative of modern knowledges. Finally, these steps help foreground my own explorations of modernity. Braiding together analytical impulses and hermeneutic sensibilities, theory and narrative, these efforts have distinguished between historically located subjects of modernity as bearers of heterogeneous reasons/understandings, on the one hand, and routine representations of the modern subject as insinuating a singular rationality, on the other, which together carry wide implications.

El Alcázar de los Reyes Cristianos es, con el permiso de la Mezquita-Catedral, el monumento más emblemático de cuantos componen el Patrimonio Arquitectónico de Córdoba. Su interés radica en la dilatada historia que ha ido conformando su imagen sobre el río Guadalquivir, así como en los orígenes edilicios del lugar donde se emplaza, con estructuras que remontan a época romana, pasando por el periodo andalusí, hasta llegar a la conquista cristiana. Sin embargo, el verdadero valor de este monumento para nuestros intereses, radica en que se trata de un formidable ejemplo para analizar la evolución de la restauración patrimonial española, así como atestiguar la mejora metodológica que supuso la aplicación de la arqueología, al estudio y a la restauración de edificios históricos. En la actualidad es aún objeto de debate, pues continúan sucediéndose intervenciones encaminadas a su completa recuperación, surgiendo nuevas oportunidades para reflexionar acerca de la disciplina restauradora. Abstract The Alcázar of the Christian Kings is, with the permission of the Mosque-Cathedral, the most emblematic monument of the Architectural Heritage of Cordoba. Its interest lies in the long history that has shaped its image on the river Guadalquivir, as well as in the constructive origins,where they are located,with extructures that dating back to Roman times, going through the Andalusian period, until we reach the Christian conquest. However, the real value of this monument for our interests lies in the fact that it is a formidable example to analyze the evolution of the spanish heritage restoration, as well as witnessing the methodological improvement that resulted from the application of archaeology to the study and restoration of historic buildings. Nowadays is still under debate, since they continue happening interventions aimed to its complete recovery, and emerging new opportunities to reflect on restorative discipline.

This article is intended to answer the question of the possible coherence of the principles of historicism developed by the Neo-Kantian tradition (V. Windelband, G. Rickert) in their refl ection in philosophical theology of E. Trelch and in the conception of absoluteness of Christianity. The article studies the metamorphoses of historical thinking in the post-Hegel philosophy of history of the 19th century in their determining infl uence on the liberal theology of Trelch. The article also discusses the possibility of building a non-metaphysical philosophy of history and its relationship with Christian theology. The metaphysical substantiation of historicism in the context of the concept of absoluteness of Christianity uses the example of the projects of G. Hegel and F. Schleiermacher. A characteristic feature of the metaphysical form of historicism is its inextricable connection with dialectics. According to Hegel, historical life has a logical structure; substance (spirit) realises itself in history. According to Schleiermacher, the absolute reveals itself in historical forms of religious consciousness. Comparative historical religious studies allow Trelch to give a new answer to the question of the absoluteness of Christianity. Absoluteness loses its metaphysical nature and is determined by the uniqueness and specifi city of any historical event. Trelch preserves the transcendent in history not in form of a metaphysical absolute, but in form of religious values. Developing the concept of Rickert’s historicism, Trelch highlights three aspects of a historical setting. This is a method of historical criticism, correlation and analogy. Trelch, following Rickert, actualises the meaning of a historical event through feeling. Thus, for Trelch, the religious feeling combines the possibility of cognition of the transcendental with the help of the religious a priori and the ability to empirically explicate this knowledge. Trelch adopts the personality-oriented concept of Windelband’s history and extrapolates it to Christianity as the bearer of the values of personalism. A comparative and historical study of religion reveals, according to Trelch, the absoluteness (uniqueness) of Christianity in ethical personalism. Trelch sees the historical uniqueness of Christianity in the humanism of the Sermon on the Mount. This implies sacrifi cial love for one’s fellow men, including love for enemies. Relativism of the principles of historicism presupposes various forms of non-historical substantiation of historicism. Thus, it acts as a source of various concepts of the absoluteness of Christianity.

The paper presents several remarks on the theoretical-philosophical context on which the research of democracy is based in post-positivits science. It deals with democracy as a phenomenon formed by cognitive processes through language that becomes the subject of scientific research for the purpose of knowledge systematization. The linguistic turn helps us to grasp the knowledge of democracy as historically limited and trapped in the discourses of the time. It is therefore crucial to understand that we can only approach democracy through the ideas that people have created in a given historical period. At the same time, we will look at theories of democracy as part of social science theories. The paper elaborates on Karl Popper’s critique of methodological naturalism and historicism which is applied to theories of democracy, and shows how this perspective can be useful for democracy research.

The article examines the reflection and consistent confirmation of the religious and patriotic ideals of the Russian people in the work of Apollon Maykov. The poet’s view of the Russian statehood as a national value is analysed. The deep historicism, topicality and enduring significance of Apollon Maykov’s spiritual heritage are emphasised. The author of the article proves that the image of the Russian state, which was inherent in the spiritual image of the Orthodox people, was originally expected in Apollon Maykov’s poetry, correlated with the organic ability of unconditional personal sacrifice in the name of love, in the name of common needs and interests, in the name of Russia. The fundamental principles of the state-forming concepts of family, fatherland, motherland, and statehood, embodied in Russian literature, are formulated. Special attention is paid to Apollon Maykov’s poems about statesmen (Alexander Nevsky, Ivan the Terrible), their difficult life and fate, inseparable from the history of Russia.

The article is devoted to the problem of historicism in the texts of the Leningrad unofficial poet and critic Viktor Krivulin. The novelty of the study is an attempt to consider the poetic historiosophy of Krivulin in the context of the “religious revival” of the 1970s in the USSR. This approach allows us not only to determine the specifics of the images of time in the works of Krivulin, but also to outline the contours of the intellectual history of Soviet unofficial culture. Special attention is paid to eschatological motives in Krivulin's works, as well as to the opposition of the “horizontal” and “vertical” types of time. Everyday reality, with its measured course of events subordinated to the chronological order, is overcome in Krivulin's texts by entering the sacred sphere of culture, where creative dialogue with literary predecessors is endowed with a special value status. It was cultural co-creation that allowed the unofficial poet to go beyond the static late Soviet experience and rediscover his identity. The images of time in Krivulin's texts are associated with Christian eschatology, which assumes the finality of historical existence. This was most clearly manifested in the transformation of the image of Leningrad, which appeared in the works of Krivulin as a “ghost town”, in which history stopped.

The present paper aims to analyze the function of the aforistical style in the Maxims and Reflections (Ricordi) of Guicciardini. The analysis focuses on the author's skepticism about the possibility of finding general rules in history and in human actions in general. It will be shown that this approach well harmonizes with the aphoristic style, producing what is considered today as the first modern book of moral and political aforisms.

Margaret Atwood’s short story collection Wilderness Tips contains ten stories that, among other topics, deal with the way the past and the present overlap in human life. In most of them, middle-aged characters look back at the events from their childhood or adolescence that shaped them as human beings, changed their destiny, and affected their present life. These characters, at a safe distance from their past and with the benefit of hindsight, are finally able to understand these crucial events and, as a result of this, they revise their personal histories and retell their stories. This paper will explore how stories from this collection tackle the relationship between the past, tradition, and history on the one hand and the present time on the other. In order to analyze this relationship, the paper will survey some of the discoveries that postmodern literary theories, such as new historicism, made regarding the study and representation of history, the truthfulness of fiction, the selection and interpretation of facts, and the possibility of different perspectives, etc. The focus of the paper will be the story “The Age of Lead” since it presents both the personal (hi)stories of its characters and a true historical event connected to their lives.

The relevance of the study is determined by the overdue need for a generalizing study of the space-time continuum of the novel by Panas Mirny. The purpose of scientific research is to create generalizing work, chronologically and systemically, taking into account etymological and typological aspects that trace on a specific material the development of categories of space and time in the novelism of Panas Mirny. The scientific novelty of the presented work is that for the first time the features of artistic space and time in the novelism of Panas Mirny are analyzed, the main trends in their evolution are manifested and comprehended in such a large and wide material. The specificity of the topic is due to an integrated approach to the use of research methods, including: comparative-historical (to clarify the typical and distinctive features of the artist’s creative heritage in the context of the day), elements of structural analysis (to analyze works in terms of the interconnectedness of parts of the whole form and content). Conclusions. Space and time in the novel of Panas Mirny is a factor that forms the life goals of the heroes, determines their characters, mental inclinations, worldview. In this regard, it is possible to consider the artistic significance of time-space images in Panas Myrny’s novel “Do oxen low, when mangers are full?” interdependently with the problem of the interaction of the beautiful and the moral in the aesthetics of Panas Myrny. Artistic chronotope, as a set of temporal-spatial relations in an fictional text, is a means of realization of the narrative and combining the components of the work of art.

The research works of Pavel Annenkov of different years on the life and work of Alexander Pushkin, the characteristics of which this article is devoted to, are priority in many respects. The authoritative Alexander Pushkin scholar showed the formation and development of the literary position of the great Russian author. In the works of the former, there is a close connection between worldview and creative work, aesthetic and ethical principles, social and personal principles in the creative development of the latter, in the correlation of Pavel Annenkov’s artistic searches from late classicism through understanding the complexity of romanticism to the idea of reflecting reality in art. The close contacts of the Russian writer with European ones, the process of the formation of Russian creative principles and the search for positive ideals in Russian society are traced. Analysis of the movement of Alexander Pushkin's literary position in Pavel Annenkov’s works in different years shows the development and deepening of the research thought of the Pushkin-ist.

The present article studies Rorty’s pragmatic attitude to the mind-body problem. This project expresses itself along two axes: his critical attitude to the Cartesian conception of the mind as mirror of nature, and his pragmatic idea of the man named non-reductive physicalism. Based on historicism, he shows that there is an epistemic gap between philosophical paradigms, and each of them and the problems arising from them depend on the historical conditions and are optional. In addition, he makes it clear that the problem of mind is the result of presupposing the assumptions of historical origin, which have been chosen for non-epistemic causes in the same particular historic period. Therefore, the traditional conception of knowledge and mind may be replaced by a pragmatic conception of knowledge, which is a matter of conversation, of social practice, and a pragmatic idea of the man, that is, materialism without mind and body identity.

This article aims to shed light on the theoretical contributions of the historian Otto Hintze to the intellectual context experienced by German historical science in the late nineteenth and the first half of the twentieth century. To do so, I proceed from the assumption that Hintze’s positions were constituted as an attempt to answer the crisis of historicism: namely, the collapse of trust in the Western-centered concept of history in modern times. From that previous definition, I argue that his individual ethics derived from what I describe as his two main theoretical contributions, developed to overcome such a crisis: the desacralization of modern state politics and his scientific reconceptualization of historicism. Finally, I claim that both the crisis of historicism itself and the responses offered by Hintze to overcome it remain largely present to reflect on some of the challenges professional historiography still faces in the twenty-first century.

Based on the study of the design of the bell tower and the Church of the Assumption of the Blessed Virgin Mary in the State Archives in Rijeka, the paper provides new insights into the chronology of interventions on these buildings during the 19th and early 20th century, especially those on the front of the church and bell tower. The aim is to date and attribute projects, and interpret interventions in their context. Systematic data on the architectural history of the church in this period is presented, and at the same time the attribution proposals and connections with other projects potentially complement the previously known oeuvres of several Rijeka architects.

History functions and is defined depending on the historical context: in the modern era, it can be part of the national ideology; in Antiquity, it was perceived as a literary genre; in the Middle Ages, it was a religious worldview. In the post-capitalist era, theories about the “end of history” can also be explained as part of an ideologeme or a mythologeme. The paper aims to formulate the mechanisms of relations between the historical knowledge and the historical era. The functions of history in the contemporary world after the declared “end of history' were discussed. The concepts of attention economy and platform capitalism were considered as the basis for determining the specificity of contemporary society. The research focuses on the forms of re-actualization of the concept of history, which we can observe now, at the end of the second decade of the 21st century. How does the concept of history function? For what purpose is it reproduced after the “end of history” and the “death of the social” proclaimed in the late 20th century? Can such re-actualization be considered a “Renaissance” of the social? These are the main questions covered by this paper.