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In the article we can read about the interpretation of Hegel’s philosophical system in the philosophy of the XXth century. Author states that modern social reality can be considered as a consequence of philosophical reflection concerning questions, which were self-evident in pre-Modern times and didn’t need any reflection. At the same time examples of modern reflection became a canon that needed its own interpretation. Considering this fact, it has been show how relations between subject and object were comprehended (designed) in different interpretive traditions of Hegel’s philosophy and how it influenced the legitimization of a new form of social reality, which is called Modernity. There are three ways of interpreting (designing) Hegel’s philosophy depending on the fact what is understood as a subject, which should coincide with a substance: anthropologic, in which a person is understood as a subject, ontological, in the case of which subject is understood as an objective reality, and theological, in which subject is a God. Basing on such classification, author proves that by expounding the system in Hegel’s philosophy understanding of a subject as a substance and at the same time as self-consciousness is legitimized. Subject (self-consciousness) becomes a reason and world’s logic and its history is a Spirit’s self-detection. After that an imanentization of reality and its transformation into one-dimensional one takes place, in which any other dimension is impossible in principle (logically) and the main sense of this subject is a maximum “realization” of itself in the earthly world with the greatest mastery of objectivity.

Artistic practices of postmodern art do not only express the principles of the conceptions of the world of modern culture but on the whole they prepare the anthropological "project" of a cosmopolit. But the danger of leveling and even ruining the system of the Ukrainian world outlook traditions exists in the framework of this project. In this article the author investigates the peculiarities of Yu. Andrukhovych' creative work in the context of the Ukrainian postmodern art. Thanks to the ironic form and extreme spontaneity in the choice of dedication and epigraph, postulates the model in which the contextual neo-mythological features are traced and the features reveal the essential peculiarities of the anthropological project of a "post-totalitarian" person. The author's tragic world-outlook and apocalyptical mood are hidden behind the humor and eclectic glare. It doesn't look like "banquet during the plague", but like the comprehension of the problem of one's existence under the totally new historic-cultural conditions. The neo-mythological axis is grounded on the Christian-mythological model-antithesis. The neo-mythological peculiarities analyzed by the author interact with each other in the dialectical unity and make the organic entirety of the artistic work, they are actual for a contemporary person finding himself under the conditions of a transitional period when culture is looking for stable landmarks in its development. It is proved that the neomyth by Yu. Andrukhovych was being built on the synthesis of Christianity and folk culture, ascertaining the European character of the Ukrainian culture and surge for its legitimacy, uniting together the Dianetical and Apologian features. It gave the author the chance to model the modern culture in the coordinates "Bu - bo - bu" (Burlesque - Booth - Buffoonery) and build the anthropological project in the direction of a Cosmopolitan pole.

The article actualizes the problem of the anthropological dimensions of music art on the basis of the influence of aesthetic emotions. The basis adopted three main provisions. First, the essence of the Genesis sound and emotional complexes appears in their emotional interpretation. We investigated the emotional influence of music on people in the history of aesthetic thought. Provided that the original essence of music is the history of human consciousness and subconsciousness. The leading concept in the anthropology of music, there are phenomena that are inherent as a deep structure in the development of European culture. Music expresses the consciousness on the physical, mental and spiritual levels. Culture as one of the highest forms of social organization of human consciousness is forced to structure his consciousness through the external form, including through art. This avoids a state of isolation, an inability to develop. Music, unlike other arts, and develops a person's ability to holistic perception. This ability is generated by music, is then in all kinds of human activities and exacerbate the perception of aesthetic values. Acting on the moral qualities of students, music is a means of formation of Outlook of the person. Using the associative and musical means, the composer directs the thoughts and emotions of the listener at a certain object, turning a pointless sentiment in the higher feelings and aspirations of targeted. The analysis of influence of musical art on human, proven antropolog music. Musical art models using the intonation of the question of value wealth, the logic and the dynamics of human mirootnosheniya, organizes spiritual communication between people and generations. Acting on the identity of his socotroco, the music evokes a very specific set of associations that is the basis of the understanding of man's musical content in all its facets. The latter is national, temporary, individual-psychological, which is addressed to the outside world, or reflects the inner condition. This complex constitutes the core of knowledge about the person formed a specific historical period, specific social conditions that carries music. Music art summarizes, updates and enriches the experience of mankind, is a means of formation of a spiritualized relationship to the world, which are based on abilities and needs of human aesthetic experiences. The music establishes the experience of age, generally expressed in philosophical thinking.

The thesis represents the analysis of strategies in contemporary philosophy as for synthesis with irrational mystical doctrines in general and Buddhism in particular. The definition is given to the historical philosophical sense of mysticism as a phenomenon. The logic of development which determines European and Ukrainian traditions of Buddhology is being revealed.

The article addresses a row of questions, connected with analysis of problem of baroque man. The research focuses on identification and self-identification of baroque ma, i.e. the structure of his personality, his peculiarities and sense of his being. The author of this article considered the question of axiology of baroque man. The conclusion is made that saint Dimithriy Rostovskiy exploited such baroque gnosiological methods as comparisons, modeling, extrapolation and also symbolical-allegorical analogies between baroque man and earlybysantic man to reveal the dualism of those anthropologies, antinomic and paradoxical structure of their semantics. The author of the article also analyzes the axiology of baroque man, which is rooted in paradoxical ethics of the Gospel and earlybysantic aesthetics. Dimithriy Rostovsky convincingly proved that the phenomenon of miracle is real and actual, when sustained with firm faith. It is claimed that Dimithriy Rostovsky thought that the most important values are spiritual values: purity, innocence, love for the God and the hope for the mercy of Lady Madonna.