DOI: 10.7256/2454-0625.2015.3.14488

Abstract: In the previous article a hypothesis was proposed that the United States is a subcivilizacional community, which is different from Europe by the specific form of American individualism. In this article we consider, first, the specific forms of collectivism, existing on two levels: at the micro level in the various communities and clubs as an American "bourgeois community" and American democratic institutions at the macro level of the country. Secondly, the three forms of American individuality, specify the national specifics of the United States and compare them with a form of individualism with European counterparts to clarify the subcivilizacional specifics of the United States. Thirdly, a comparison of American and Russian forms of individualism and collectivism.There is used the comparative-historical analysis using previously developed system concepts, in the heart of the concept are notions of civilization, subcivilizacion and national communities, emerging around the "cultural core". There is introduced the concept of "bourgeois community" contrasting with the characteristic for the Russian “narodnik” discourse the notion of "community", a prototype of which was "peasant community". A concentrated presentation of the development of American democratic institutions at the macro level is done. There is identified and discussed three types of American identity, reflecting the specificity of the three regions of the United States: New England, the South and the West. The comparison of types of collectivity and identity in the United States and Russia, as well as the focus of their cultures (degree of pragmatism and idealism) is done.

Keywords: bourgeois community, nation, subcivilizacion, individualism, ethnic, Russia, Europe, USA, individuality, frontier

DOI: 10.7256/2454-0625.2015.3.66369

Abstract: In the previous article a hypothesis was proposed that the United States is a subcivilizacional community, which is different from Europe by the specific form of American individualism. In this article we consider, first, the specific forms of collectivism, existing on two levels: at the micro level in the various communities and clubs as an American "bourgeois community" and American democratic institutions at the macro level of the country. Secondly, the three forms of American individuality, specify the national specifics of the United States and compare them with a form of individualism with European counterparts to clarify the subcivilizacional specifics of the United States. Thirdly, a comparison of American and Russian forms of individualism and collectivism.There is used the comparative-historical analysis using previously developed system concepts, in the heart of the concept are notions of civilization, subcivilizacion and national communities, emerging around the "cultural core". There is introduced the concept of "bourgeois community" contrasting with the characteristic for the Russian “narodnik” discourse the notion of "community", a prototype of which was "peasant community". A concentrated presentation of the development of American democratic institutions at the macro level is done. There is identified and discussed three types of American identity, reflecting the specificity of the three regions of the United States: New England, the South and the West. The comparison of types of collectivity and identity in the United States and Russia, as well as the focus of their cultures (degree of pragmatism and idealism) is done.

Keywords: bourgeois community, nation, subcivilizacion, individualism, ethnic, Russia, Europe, USA, individuality, frontier

DOI: 10.7256/2454-0625.2015.3.14390

Abstract: Summary.A creative personality as a public figure is the topic of this article. The said personality can express itself in different forms. In this particular case among all possible forms the author is emphasizing and considering the one where the protest is coming to the fore. Such forms of the contemporary art as performance and happening, and most of all those pieces of art which are laying a special emphasize on the protest, are appearing as a concrete expression of this form. Radicalism appearing in these art forms aids detecting aspects of artist’s creativeness which are promoting transformation of any creative person to a public figure. Pertain of performance and happening to art it is not obvious. These art forms are perceived as marginal one and are exclusive of the conventional art system. More often than not their radical protest is liable to prosecution. However legal evaluation does not facilitate but complicate esthetic evaluating. In order to overcome the doubtful status of these forms, it is necessary to consider them as cultural phenomenon with past precedents. “Yurodstvo” (idiotic action) of the times of Ancient Rus is their immediate predecessor. This is the first attempt to analyze the creative personality at such culturological angel. Based on researches of A. van Gennep and W. Turner, the author is revealing a latent character in creative person’s activity, which is known as liminality, in other words, a necessity and ability to express protest which is not only a protest against the power, but as protest against the society stagnating in conformism. In pre-industrial societies any bearer of liminality, i.e. a wacky, was a sacred person, who should not suffer persecution of authorities. In secularized societies the artist and images of his/her heroes are bearers of liminality. And happenings and performances are the contemporary forms for expressing the spirit of liminality.

Keywords: liminality, avan-garde, yurodstvo (idiotic action), rublic figure, happening, performance, creative personality, anti - behavior, sacral, secularity

DOI: 10.7256/2454-0625.2015.3.66370

Abstract: Summary.A creative personality as a public figure is the topic of this article. The said personality can express itself in different forms. In this particular case among all possible forms the author is emphasizing and considering the one where the protest is coming to the fore. Such forms of the contemporary art as performance and happening, and most of all those pieces of art which are laying a special emphasize on the protest, are appearing as a concrete expression of this form. Radicalism appearing in these art forms aids detecting aspects of artist’s creativeness which are promoting transformation of any creative person to a public figure. Pertain of performance and happening to art it is not obvious. These art forms are perceived as marginal one and are exclusive of the conventional art system. More often than not their radical protest is liable to prosecution. However legal evaluation does not facilitate but complicate esthetic evaluating. In order to overcome the doubtful status of these forms, it is necessary to consider them as cultural phenomenon with past precedents. “Yurodstvo” (idiotic action) of the times of Ancient Rus is their immediate predecessor. This is the first attempt to analyze the creative personality at such culturological angel. Based on researches of A. van Gennep and W. Turner, the author is revealing a latent character in creative person’s activity, which is known as liminality, in other words, a necessity and ability to express protest which is not only a protest against the power, but as protest against the society stagnating in conformism. In pre-industrial societies any bearer of liminality, i.e. a wacky, was a sacred person, who should not suffer persecution of authorities. In secularized societies the artist and images of his/her heroes are bearers of liminality. And happenings and performances are the contemporary forms for expressing the spirit of liminality.

Keywords: liminality, avan-garde, yurodstvo (idiotic action), rublic figure, happening, performance, creative personality, anti - behavior, sacral, secularity

DOI: 10.7256/2454-0625.2015.3.14538

Abstract: Interpretations of the myth, at all variety, are based rather narrow circle of anthropological ideas among which the model of "homo sapiens" predominates. The understanding of the myth is connected with it directly (rationalistic interpretation) or indirectly (the models based on structuralist and semantic approaches). In this article the treatment of the myth caused by the real circumstances of its origin and primary functions connected first of all not with a rational exposition of reality, but with initiation of the certain instance representing collective spirit is planned. The method of research is caused by criticism of widespread mythological concepts; in its course their bias and the apriorizm caused by the prevailing positivistic position is established. In article is shown that the dawn of human history is marked not by gradual accumulation of an intellectual resource, but as explosive refusal of a support on schemes and algorithms of action, the refusal which demanded absolutely specific providing, one of which elements the myth acts. In the substantial relation the myth inherits to the following functions of cultural formation: a) deduction of pathos and to its transfer to the vital world in the sounding word; b) initiations of readiness for collective and spontaneous reaction "suddenly" (to ecstatic experience), c) to rooting as a part of mentality of the instance of involvement reacting to an environment as a being (whole, the world) the certain typicalness subordinating the shown.

Keywords: genesis, myth, the shared motivation, the transcendental esthetics, spontaneous reactions, Logical and a-logical, ritual, sacrifice, transfer, glorification

DOI: 10.7256/2454-0625.2015.3.66371

Abstract: Interpretations of the myth, at all variety, are based rather narrow circle of anthropological ideas among which the model of "homo sapiens" predominates. The understanding of the myth is connected with it directly (rationalistic interpretation) or indirectly (the models based on structuralist and semantic approaches). In this article the treatment of the myth caused by the real circumstances of its origin and primary functions connected first of all not with a rational exposition of reality, but with initiation of the certain instance representing collective spirit is planned. The method of research is caused by criticism of widespread mythological concepts; in its course their bias and the apriorizm caused by the prevailing positivistic position is established. In article is shown that the dawn of human history is marked not by gradual accumulation of an intellectual resource, but as explosive refusal of a support on schemes and algorithms of action, the refusal which demanded absolutely specific providing, one of which elements the myth acts. In the substantial relation the myth inherits to the following functions of cultural formation: a) deduction of pathos and to its transfer to the vital world in the sounding word; b) initiations of readiness for collective and spontaneous reaction "suddenly" (to ecstatic experience), c) to rooting as a part of mentality of the instance of involvement reacting to an environment as a being (whole, the world) the certain typicalness subordinating the shown.

Keywords: genesis, myth, the shared motivation, the transcendental esthetics, spontaneous reactions, Logical and a-logical, ritual, sacrifice, transfer, glorification

DOI: 10.7256/2454-0625.2015.3.66372

Abstract: The reason for writing this article was read by the author C. M. Rosina "Logic and methodology: From "Analyst" of Aristotle to the "Logical-philosophical treatise" L. Wittgenstein". The article is written as a detailed analytical review to this book. The main theme of the last - methodology coming from the Moscow methodological circle. Rozin involved in the expression and justification of "methodological position" as "thinking about thinking". To do this, he examines in detail the contexts of European traditions (and their characters), which finds significant for understanding the methodology of the moments of occurrence of "thinking about thinking". One of these contexts is modern European culture - modern. Framework Rozin has the place of birth of methodology in modern dance. But Rosina is no theory of modernity, such a theory which would link the logic of modernity and the logic of the methodology. This affects the content of his conversation with a different kind of "amethodology": "ones", "scientists", "phanomenologie", "worldly esoteric". Methodology in this conversation can't go with the lines of the opposition itself, as a philosophical position, other positions. My suggestion is to get to talk about the relationship of philosophical positions with the socio-cultural systems. In this case, we must construct a theory of modernity as development and implementation in the form of socio-cultural systems of a certain ideological strategy. The modern appears strategic adversaries and allies. The methodology will have to take a place among the allies and will be able to speak in the name of modernity. So we will be able to develop a specific theory of modernity, and certain communication methodology with modern. An important point in this development should be a "dialectics of modernity" as its accentuation on different (and opposite) principles. Because the methodology can be seen dialectical scheme endless open world, then this scheme should be seen as a basic circuit of the modernism at a certain phase of its deployment. The development of these and other important topics related to bollywood and methodology, is the content of the article.

Keywords: objective reality, technique, liberalism, science, secular spirituality, modern, dialectics, methodology, logic, phenomenology

DOI: 10.7256/2454-0625.2015.3.14284

Abstract: The reason for writing this article was read by the author C. M. Rosina "Logic and methodology: From "Analyst" of Aristotle to the "Logical-philosophical treatise" L. Wittgenstein". The article is written as a detailed analytical review to this book. The main theme of the last - methodology coming from the Moscow methodological circle. Rozin involved in the expression and justification of "methodological position" as "thinking about thinking". To do this, he examines in detail the contexts of European traditions (and their characters), which finds significant for understanding the methodology of the moments of occurrence of "thinking about thinking". One of these contexts is modern European culture - modern. Framework Rozin has the place of birth of methodology in modern dance. But Rosina is no theory of modernity, such a theory which would link the logic of modernity and the logic of the methodology. This affects the content of his conversation with a different kind of "amethodology": "ones", "scientists", "phanomenologie", "worldly esoteric". Methodology in this conversation can't go with the lines of the opposition itself, as a philosophical position, other positions. My suggestion is to get to talk about the relationship of philosophical positions with the socio-cultural systems. In this case, we must construct a theory of modernity as development and implementation in the form of socio-cultural systems of a certain ideological strategy. The modern appears strategic adversaries and allies. The methodology will have to take a place among the allies and will be able to speak in the name of modernity. So we will be able to develop a specific theory of modernity, and certain communication methodology with modern. An important point in this development should be a "dialectics of modernity" as its accentuation on different (and opposite) principles. Because the methodology can be seen dialectical scheme endless open world, then this scheme should be seen as a basic circuit of the modernism at a certain phase of its deployment. The development of these and other important topics related to bollywood and methodology, is the content of the article.

Keywords: objective reality, technique, liberalism, science, secular spirituality, modern, dialectics, methodology, logic, phenomenology

DOI: 10.7256/2454-0625.2015.3.14661

Abstract: Cultural heritage in the field of audiovisual culture phonographic subsystem regarded by the author as an open system of socio-cultural communications in Eastern Europe, which is the object of study. The subject of this publication is the history of East German rock as sociodynamic factor in the development of communications in the field of music sound recording in the German Democratic Republic. The author is justified in the use of modern cultural knowledge of the term «Ost Rock». Particular attention is paid to the characterization of the record of the GDR. Problems of studying the history of rock music in the GDR record artifacts are considered in relation to varying interpretations. The methodological basis of the article is a systematic method, because the study is based on a synthesis of different views on the phenomenon of musical recordings. The author conducts scientific research, based on the most significant ideas belonging to different areas of modern humanities, where the priorities are the comparative-historical methodology and philosophical-anthropological analysis. The author concludes that actually rock music became the unofficial center of the special social and communication system, around which in the conditions of socialism in the GDR (as well as in other countries «Eastern Bloc») formed heterogeneous youth subcultures. The novelty of the research is to establish a communication system elements GDR record based on the state company «Deutsche Schallplatten Berlin» with several trademarks, including the special place occupied «Amiga», which has now acquired a special nostalgic cultural status.

Keywords: Socialist Bloc, Amiga, Record Company, Label, Gramophone Record, Phonographic Culture, Ost Rock, Beat Music, East Europe, German Democratic Republic

DOI: 10.7256/2454-0625.2015.3.66373

Abstract: Cultural heritage in the field of audiovisual culture phonographic subsystem regarded by the author as an open system of socio-cultural communications in Eastern Europe, which is the object of study. The subject of this publication is the history of East German rock as sociodynamic factor in the development of communications in the field of music sound recording in the German Democratic Republic. The author is justified in the use of modern cultural knowledge of the term «Ost Rock». Particular attention is paid to the characterization of the record of the GDR. Problems of studying the history of rock music in the GDR record artifacts are considered in relation to varying interpretations. The methodological basis of the article is a systematic method, because the study is based on a synthesis of different views on the phenomenon of musical recordings. The author conducts scientific research, based on the most significant ideas belonging to different areas of modern humanities, where the priorities are the comparative-historical methodology and philosophical-anthropological analysis. The author concludes that actually rock music became the unofficial center of the special social and communication system, around which in the conditions of socialism in the GDR (as well as in other countries «Eastern Bloc») formed heterogeneous youth subcultures. The novelty of the research is to establish a communication system elements GDR record based on the state company «Deutsche Schallplatten Berlin» with several trademarks, including the special place occupied «Amiga», which has now acquired a special nostalgic cultural status.

Keywords: Socialist Bloc, Amiga, Record Company, Label, Gramophone Record, Phonographic Culture, Ost Rock, Beat Music, East Europe, German Democratic Republic

DOI: 10.7256/2454-0625.2015.3.14635

Abstract: Problem of authorship in art is a modern problem which had not existed in traditional culture. An author often hides behind own characters. This happens due to the motivation reasons of creativity (which can be understood on a psychological level of analysis) when an emotional move or event in the author's fate becomes the turning point for revealing own Self or some internal divine spirit. Therefore, this problem can be regarded on the metaphysical level as well. Metaphysical perspective on the works by Alexander Pushkin, Nikolai Gogol, William Shakespeare takes us to some new meanings of art and authorship. The examples from other fields of art: cinema, music – provide additional arguments in the article. The suggested method of research – quasi artistic construction of the study itself. In this case an interconnection between semantic turning points occurs in the course of the text.The main conclusions of the paper are: that the authorship of a work of art has a complex structure, which creates a certain amount, which requires constant change of view, referring to topics indirectly related to the main topic of research. This particular aspect of the consideration of authorship is a new philosophy and aesthetics. The problem of authorship is a specifically modern problem of culture

Keywords: a work of art, duality, factuality, genius, public space, stage, characters,, Author, Russian culture, language passion

DOI: 10.7256/2454-0625.2015.3.66374

Abstract: Problem of authorship in art is a modern problem which had not existed in traditional culture. An author often hides behind own characters. This happens due to the motivation reasons of creativity (which can be understood on a psychological level of analysis) when an emotional move or event in the author's fate becomes the turning point for revealing own Self or some internal divine spirit. Therefore, this problem can be regarded on the metaphysical level as well. Metaphysical perspective on the works by Alexander Pushkin, Nikolai Gogol, William Shakespeare takes us to some new meanings of art and authorship. The examples from other fields of art: cinema, music – provide additional arguments in the article. The suggested method of research – quasi artistic construction of the study itself. In this case an interconnection between semantic turning points occurs in the course of the text.The main conclusions of the paper are: that the authorship of a work of art has a complex structure, which creates a certain amount, which requires constant change of view, referring to topics indirectly related to the main topic of research. This particular aspect of the consideration of authorship is a new philosophy and aesthetics. The problem of authorship is a specifically modern problem of culture

Keywords: a work of art, duality, factuality, genius, public space, stage, characters, , Author, Russian culture, language passion

DOI: 10.7256/2454-0625.2015.3.12216

Abstract: The subject of this study are temple paintings, drawn in neo-Byzantine style in the late XIX - early XX century by M.M. Vasiliev. Master's artistic original is unique among pictural samples presented to the Byzantine mode of execution. This work is supposed integral to shed light on biographical facts and stages of the creative path of the artist, as well by the examples of some works of art, to conduct analysis of the features brushwork by M.M. Vasilyev in comparison with samples of neo-Byzantine style in the works of V.M. Vasnetsov.Based on the undeniable Spirit-bearing samples temple painting Byzantine X-XII centuries and their social and artistic significance, research methodology of this study is a comparative analysis of the painting MM Vasilyev style neo-Byzantine style, generated by V.M. Vasnetsov. Critical appraisal of these artists works will contribute to the identification of essentially ideological importance and the effectiveness of their approaches of mode of execution wich are necessary for the upliftment of the society within the temple environment. The result of investigation of neo-Byzantine style of painting is supposed to separate M.M. Vasiliev creative approach from the conventional concept of "Vasnetsov school", as between them there are fundamental differences in the interpretation of images and compositions. Also, it seems appropriate to define a circle collaborated with M.M. Vasiliev, artists, which includes A.P. Blaznov, F.M. Vahrushev, F.R. Railean, L.A. Pyanovsky et al.Mural temples accomplished with Vasiliev, marked by deep penetration into the medieval image. Without departing from current trends, the master saves ideological Vasnetsov national direction, simultaneously breaking, subordinating and an introduction to the idea of communion with God Nouveau style. For contemporary art is genuine, what distinguishes painting Vasiliev and artists of his circle, can be a, figuratively speaking, the ragged ends of the thread, which stretched to the modern religious art, it will be possible to revive the friendly, lively, creative language of temple imagery, nwithout philosophize and not mindlessly copying but creating freely and truely.

Keywords: academic, Byzantine style of writing, Vasnetsov style, Temple painting, neo-Byzantine style, ideological searches, art history, Nouveau, iconographic convention, theological theory of image

DOI: 10.7256/2454-0625.2015.3.66375

Abstract: The subject of this study are temple paintings, drawn in neo-Byzantine style in the late XIX - early XX century by M.M. Vasiliev. Master's artistic original is unique among pictural samples presented to the Byzantine mode of execution. This work is supposed integral to shed light on biographical facts and stages of the creative path of the artist, as well by the examples of some works of art, to conduct analysis of the features brushwork by M.M. Vasilyev in comparison with samples of neo-Byzantine style in the works of V.M. Vasnetsov.Based on the undeniable Spirit-bearing samples temple painting Byzantine X-XII centuries and their social and artistic significance, research methodology of this study is a comparative analysis of the painting MM Vasilyev style neo-Byzantine style, generated by V.M. Vasnetsov. Critical appraisal of these artists works will contribute to the identification of essentially ideological importance and the effectiveness of their approaches of mode of execution wich are necessary for the upliftment of the society within the temple environment. The result of investigation of neo-Byzantine style of painting is supposed to separate M.M. Vasiliev creative approach from the conventional concept of "Vasnetsov school", as between them there are fundamental differences in the interpretation of images and compositions. Also, it seems appropriate to define a circle collaborated with M.M. Vasiliev, artists, which includes A.P. Blaznov, F.M. Vahrushev, F.R. Railean, L.A. Pyanovsky et al.Mural temples accomplished with Vasiliev, marked by deep penetration into the medieval image. Without departing from current trends, the master saves ideological Vasnetsov national direction, simultaneously breaking, subordinating and an introduction to the idea of communion with God Nouveau style. For contemporary art is genuine, what distinguishes painting Vasiliev and artists of his circle, can be a, figuratively speaking, the ragged ends of the thread, which stretched to the modern religious art, it will be possible to revive the friendly, lively, creative language of temple imagery, nwithout philosophize and not mindlessly copying but creating freely and truely.

Keywords: academic, Byzantine style of writing, Vasnetsov style, Temple painting, neo-Byzantine style, ideological searches, art history, Nouveau, iconographic convention, theological theory of image

DOI: 10.7256/2454-0625.2015.3.14597

Abstract: Part 1. The object of research.The object of the present research is the famous Parisian music theatre “Opera Comique” which has marked its 300 years anniversary this year. The author traces the history of the theatre, the main stages of its development and its role in the history of music and theatre art in France. Attention is paid to the repertoire policy of the theatre during its three centuries, as well as to the famous productions, important in opera history, the first nights of “Carmen” by Bizet, “Manon” by Massenet, “Pelleas and Melizande” by Debussy and others. Information is given about the works of Russian composers - Musorgsky, Borodin, Rimsky-Korsakov which were staged in the theatre, about Russian opera artists who performed on this stage.Part 2. Methods and methodology of research.While preparing the material work has been done on finding information, electronic archives of the theatre “Opera Comique” have been studied, as well as the first-hand sources, such as memoires of a number of musicians. The main methods of research were textual and semantic analysis of the sources and historic and cultural analysis of the context of the theatre’s activity. Part 3. The Novelty of Results.The innovativeness of the present research lies in the fact that in our country it is the first systematic rendering of the history of Parisian music theatre “Opera Comique” since its foundation till our days, fiving the full idea of all periods and important events in its history. This research is an innovative project of presenting empirical facts as an evidence of historic dynamics of culture and evolution of a cultural form in a combination of synchronic and diachronic analysis.

Keywords: culture of France, history, genre, comic Opera, Opera-Comique, music theatre, opera, music, Art, Paris

DOI: 10.7256/2454-0625.2015.3.66376

Abstract: Part 1. The object of research.The object of the present research is the famous Parisian music theatre “Opera Comique” which has marked its 300 years anniversary this year. The author traces the history of the theatre, the main stages of its development and its role in the history of music and theatre art in France. Attention is paid to the repertoire policy of the theatre during its three centuries, as well as to the famous productions, important in opera history, the first nights of “Carmen” by Bizet, “Manon” by Massenet, “Pelleas and Melizande” by Debussy and others. Information is given about the works of Russian composers - Musorgsky, Borodin, Rimsky-Korsakov which were staged in the theatre, about Russian opera artists who performed on this stage.Part 2. Methods and methodology of research.While preparing the material work has been done on finding information, electronic archives of the theatre “Opera Comique” have been studied, as well as the first-hand sources, such as memoires of a number of musicians. The main methods of research were textual and semantic analysis of the sources and historic and cultural analysis of the context of the theatre’s activity. Part 3. The Novelty of Results.The innovativeness of the present research lies in the fact that in our country it is the first systematic rendering of the history of Parisian music theatre “Opera Comique” since its foundation till our days, fiving the full idea of all periods and important events in its history. This research is an innovative project of presenting empirical facts as an evidence of historic dynamics of culture and evolution of a cultural form in a combination of synchronic and diachronic analysis.

Keywords: culture of France, history, genre, comic Opera, Opera-Comique, music theatre, opera, music, Art, Paris

DOI: 10.7256/2454-0625.2015.3.13848

Abstract: In his article Rozin examines peculiarities of the humanitarian, semiotic and schemological approaches (the latter is based on the theory of schemes). The first approach views cognition more than just a subject-and-object relation. According to this approach, a researcher and a phenomenon under analysis are the two subjects whose interaction create art texts. The semiotic approach analyzes the meanings of signs and symbols and interprets semiotics and its relations with other disciplines and concepts. Based on the reconstrution of schemes in Plato's 'Symposium' and generalization of other cases, Rozin offers his definition of 'scheme'. The results of the analysis of semiotics show that semiotics can be used to understand particular aspects of art. Schemology is quite promising but still needs to be proved in actual practice. The following methods have been used to carry out the research and obtain the results: problematisation, case study and comparison analysis, construction of concepts, generalization and discursive reasonings. The results of the research described in this article have allowed to differentiate between these three approaches, describe them, give a definition of 'scheme' and demonstrate that the implementation of the humanitarian, semiotic and schemological approaches involve methodological understanding and analysis. These results are quite new and therefore create the novelty of the research. 

Keywords: semiotics, schemology, humanitarian approach, text, sign, scheme, reconstruction, object, research, concept, definition

DOI: 10.7256/2454-0625.2015.3.66377

Abstract: In his article Rozin examines peculiarities of the humanitarian, semiotic and schemological approaches (the latter is based on the theory of schemes). The first approach views cognition more than just a subject-and-object relation. According to this approach, a researcher and a phenomenon under analysis are the two subjects whose interaction create art texts. The semiotic approach analyzes the meanings of signs and symbols and interprets semiotics and its relations with other disciplines and concepts. Based on the reconstrution of schemes in Plato's 'Symposium' and generalization of other cases, Rozin offers his definition of 'scheme'. The results of the analysis of semiotics show that semiotics can be used to understand particular aspects of art. Schemology is quite promising but still needs to be proved in actual practice. The following methods have been used to carry out the research and obtain the results: problematisation, case study and comparison analysis, construction of concepts, generalization and discursive reasonings. The results of the research described in this article have allowed to differentiate between these three approaches, describe them, give a definition of 'scheme' and demonstrate that the implementation of the humanitarian, semiotic and schemological approaches involve methodological understanding and analysis. These results are quite new and therefore create the novelty of the research. 

Keywords: semiotics, schemology, humanitarian approach, text, sign, scheme, reconstruction, object, research, concept, definition