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Emergence refers to the spontaneous formation of higher level (macro) structures or patterns incomplex systems. Attempts to formalize the notion of emergence via algorithmic complexity theoryruns into the problem that the Kolmogorov complexity function is not computable. The reason for thismotivates a closer examination of the link between emergence and universal computation. FollowingWolfram’s pioneering work in the classification of cellular automata behavior, the research programsof Langton and Crutchfield, while incomplete, provide important insights to economists seeking tounderstand the relevance of emergence and universal computation to their discipline. They lead toquestions on the emergence of institutions and the concomitant changes in rule-based behavior on thepart of economic agents. 1. INTRODUCTION The twentieth century is replete with scientific and mathematical discoveriesthat have profoundly changed our world view. In physics, within a merecentury, our view of the cosmos changed from a classical (Newtonian) to arelativistic one following Einstein’s relativity theory in the early 1900s. Inmathematics, Hilbert’s faith in the closure of formal axiom systems fell apartwith Godel’s incompleteness theorem in the 1930s.Out of these ashes of lost deterministic foundations arose the sciences ofcomplex systems, first in the study of non-equilibrium thermodynamics(under the intellectual leadership of Ilya Prigogine in Brussels) and later, inbroader interdisciplinary terms, in New Mexico with the establishment of theSanta Fe Institute. Interestingly, a core element of this new paradigm—thenotion of emergence—reflects the passage of the sciences and mathematics

The purpose of the research is to consider the history of words representing the concept LAZINESS, to analyze their inner form and modern meanings, and also to compare the obtained data with the semantics of Chinese characters. The object of the research is the semantics of words representing the concept LAZINESS. The subject is the inner form of words лень, ленивый, etc. The work uses the methods of semantic, etymological, comparative analysis. The comparative study of the internal form of Russian words and Chinese characters resulted in detecting their key cognitive features for both languages — ‘to lie’, ‘to sleep’, ‘to eat’ — to reconstruct the original archetypal concept. The inner form of the words reflects the results of the cognition process, which can be reflected in the cognitive scenario: ‘a lazy person is always in their bed, sleeps for a long time, never moves a lot nor fast, eats a lot, and therefore expects to live off the fruits of the work the other people do’. The specificity of the inner form of Chinese characters was revealed to be associated with the understanding of laziness as a property inherent in women. The radical ‘woman’ disappeared from the structure of the modern Chinese character. The original archetypal concept is realized in the conceptual meanings of the Russian words лень ‘laziness’, ленивый ‘lazy’, лентяй ‘lazy person’, etc.; in the protagonists of Russian fairy tales (the epic Ilya Muromets and the fabulous of Emelya the Fool); the literary protagonist Ilya Oblomov, which got a symbolic meaning. In contrast to the Russian linguoculture, the Chinese widely use the comparison ‘lazy as a pig’, and have the half-man halfpig Zhu Baze to symbolize laziness, gluttony, cowardice, and inactivity. The research results can be practically applied to translating Russian fiction, philosophical or religious literature into Chinese

This review is a deep study of the Bray’s 1921 paper that reported the observation of the first periodic reaction in homogeneous phase. The paper obtained a general indifference by other chemists and some opposition due to the fact that it seemed to contradict the second Principle of Thermodynamics. Only after the work by Ilya Prigogine and coworkers in the mid-1960s, oscillating chemical reactions in the homogeneous phase have been studied intensively, but Bray died in 1946.

Há um número expressivo e qualificado de trabalhos acadêmicos que tratam das complexidades relacionadas com temas ambientais a partir de discussões que envolvem as áreas da educação ambiental e da educação em ciências. Nesse contexto, investigamos, a partir de teses e dissertações da área da educação ambiental, compreensões sobre a ideia de complexidades relacionada aos discursos que envolvem educação ambiental e educação em ciências. Do ponto de vista metodológico, esse é um trabalho que se articula com pesquisas denominadas de estado da arte. Para a construção do corpus documental utilizamos o banco de teses e dissertações do EArte (Estado da Arte em Educação Ambiental). Selecionamos vinte teses e dissertações para compor o corpus documental dessa investigação. Para a análise desse material utilizamos o procedimento da Análise de Conteúdo. Construímos quatro categorias: “Pensamento Complexo”, “Sistemas Complexos”, “Complexificação” e “Complexidades e Práticas Pedagógicas”. Podemos apontar que a ideia de complexidade é frequentemente sustentada nesses trabalhos a partir das considerações de Enrique Leff, Edgar Morin e Ilya Prigogine. Todavia, as considerações teóricas de Morin predominam nesses trabalhos, indicando uma perspectiva de discutir a complexidade mais pela via da complexificação da realidade e do pensamento do que pela consideração da complexidade inerente aos fenômenos naturais e sociais.

In 1970–1971, Academician of the Russian Academy of Arts, People’s Artist of the USSR Ilya Trofimovich Bogdesko (1923—2010) created a linocut series for the socio-psychological novel “Crime and Punishment” by F.M. Dostoyevsky. The illustrations were made specifically for the Leipzig Book Fair in 1971. The artist’s idea had been limited to the competition task: he created only three illustrations in the linocut technique, and their artistic solution was based on the conditional-decorative principle of composition organization. The main characters are depicted almost two-dimensionally, “purified” of everyday details, environment, entourage. Using a minimum of visual means, I.T. Bogdesko achieved a sensation of stunning drama in the illustrations. For this work, the artist was awarded a gold medal in Leipzig. At the end of 1971, “Kartya Moldovanyaske” published the book “Crime shi pedyapse” (“Crime and Punishment”) in the Moldovan language. In the design of that book, his illustrations were used — “Raskolnikov” (on the dust cover) and “The Old Pawnbroker” (on the title page). A different vision of Sonya’s image appeared on the dust cover. The preserved sketches, a number of which are presented in this article, allow recognizing the artist’s work hidden from prying eyes. In 1995, Bogdesko applied to Dostoevsky again. He created the writer’s portrait against the background of the characteristic St. Petersburg landscape. In those years, the artist was working on “Don Quixote”, inspired by Dostoevsky’s expressing about the novel by Cervantes: “There is nothing in the whole world deeper and stronger than this composition”. Bogdesko upheld this assertion with 36 illustrations (by chisel engraving) for the famous novel: a titanic work that lasted more than two decades. The artist executed the portrait of the Russian writer in the same unique technique of classical engraving as the illustrations for “Don Quixote”. Changes in graphic techniques dramatically alter the plasticity of images of the characters of “Crime and Punishment”: a quarter of a century later, the tragically flat vision of linocuts turned into a sharp, nervous, frequent movement of the chisel. Bogdesko created three illustrations for Dostoevsky’s novel in the technique of chisel engraving.

In Fortress Russia, Ilya Yablokov explores the Kremlin’s use of conspiracy theories to keep Vladimir Putin in power. Conspiracy theories in Russia have a long and distinguished history stretching b...

It is not known about Dmitry Mendeleev's acquaintance with Ilya Mechnikov, but fate wanted to save Dmitry Ivanovich from a serious illness and help Ilya Ilyich continue his studies in Europe. This third genius was the great anatomist, surgeon and teacher Nikolai Ivanovich Pirogov. Briefly about the brief meetings of the two geniuses with Nikolai Pirogov, this article.

The legacy of J.-B. J. Fourier, a pioneer Egyptologist and premier mathematician and physicist of his time, in crystallography and many other scientific fields is reviewed in the context of nearly two centuries having passed since his landmark publication on The Analytical Theory of Heat (1822). The legacy of Fourier’s work in crystallography and many other scientific fields is reviewed with an emphasis on current developments in the study of nonequilibrium thermodynamics., The importance of the Fourier transform as a fundamental tool for crystallo­graphy is well known in the field. However, the complete legacy of Jean-Baptiste Joseph Fourier (1768–1830) as a pioneer Egyptologist and premier mathematician and physicist of his time, and the implications of his work in other scientific fields, is less well known. Significantly, his theoretical and experimental work on phenomena related to the transmission of heat founded the mathematical study of irreversible phenomena and introduced the flow of time in physico-chemical processes and geology, with its implications for biological evolution. Fourier’s insights are discussed in contrast to the prevalent notion of reversible dynamic time in the early 20th century, which was dominated by Albert Einstein’s (1875–1953) theory of general relativity versus the philosophical notion of durée proposed by the French philosopher Henri-Louis Bergson (1859–1941). The current status of the mathematical description of irreversible processes by Ilya Romanovich Prigogine (1917–2003) is briefly discussed as part of the enduring legacy of the pioneering work of J.-B. J. Fourier, first established nearly two centuries ago, in numerous scientific endeavors.

The article analyzes Repin’s art. Two conclusions are drawn on the basis of this analysis. First, the difference between contemporary and classical art is exaggerated. In the author’s opinion, any art, both realistic and abstract, makes the invisible visible. Secondly, Repin’s paintings depict the premonition of the catastrophe of Russian peasantry. Ruining of peasantry leads to what can be called the collapse of Russian soul. In essence, this idea is evident when comparing portraits by Repin. In the article the author compares portraits of Andreev, Gorky and Musorgsky painted by Repin and, examines the contrast between Russian “muzhik” (peasant) and intelligentsia in his paintings «The Unexpected Visitor» and «The Arrest of the Propagandist». The author also compares the portraits of the peasants by Perov and Kramskoy with the paintings of Repin.

The author explores diverse artistic trends and styles in works by Nonconformist artists Vyacheslav Koleychuk, Francisco Infante, Eduard Steinberg, Dmitri Plavinsky, Petr Belenok, Ilya Kabakov, Vitaly Komar and Alexander Melamid, and Konstantin Khudyakov, and their relationship to the ideas of the Russian cosmism movement. She traces historical and cultural contexts for Soviet Nonconformist art from the mid-1950s to the early 1980s and the artists’ interest in early twentieth-century Russian avant-garde practices. Elaborating on a long interdisciplinary tradition while balancing scientific and metaphysical views of art, their works allude to the multidimensional reality of our cosmos. Cosmism may offer an escape into one's own cosmos, fantasy and dreams.

“Voprosy filosofii” publishes one of the last interviews of the Dean of the faculty of philosophy of Lomonosov Moscow State University, associate member of the Russian Academy of Sciences, DSc in Philosophy V.V. Mironov, which he gave to his student, lecturer of The Ilya Glazunov Russian Academy of Painting, Sculpture and Architecture N.A. Shchipkov. The conversation focuses on the post-Soviet ideological reform of the faculty of philosophy and the creation of a new social science – cultural studies – the emergence of which has affected the methodological landscape of Russian Humanities. Thirty years ago, thanks to the initiative of the rector of Moscow State University V.A. Sadovnichy, orga­nizational efforts of A.V. Panin, V.V. Mironov, V.Y. Savrei and other political and cultural figures such as R.M. Gorbacheva and D.S. Likhachev, the department of History and Theory of World culture appeared at the faculty of philosophy of Moscow University. Its field of study has always been extremely close to Vladimir Vasilyevich’s own scientific interests and it is no accident that he con­sidered “Philosophy and metamorphoses of culture” to be one of his most impor­tant works; a work devoted not only to the problem of culture itself, but also to the place of the Humanities in modern philosophical studies and education.

The paper explores the fulfillment of the trickster trope in Soviet culture based on four works (The Heart of a Dog by M. Bulgakov, Envy by Yu. Olesha, Julio Jurenito by I. Ehrenburg and The Odessa Tales by I. Babel). The author defines the features of the Soviet trickster: the "integral" character, roguery are an illustration of its cynical philosophy, which is devoid of the pragmatism inherent in cynicism and tends to P. Sloterdijk’s estimation of cynicism — the selfless and shameless performative relegation and ragging of all reputable discourses and symbols. The author has also highlighted three features of the Soviet trickster as a character (Sharikov, Ivan Babichev, Julio Jurenito, Benya Crick): ambivalent, transgressive, and liminal states, thanks to which the trickster embodies dangerous freedom from social norms and boundaries and functions, at the same time, as a mediator; performativity, which turns any gesture and any utterance into a performance; a special bonds with the sacred. Notably, in the prose of the 1920s, the plot portraying the confrontation between fathers-children, students — teachers, puts forward the figure of the trickster as an essential component — as one of the central participants in the debate about a new man and a new world. There is evidence that all variations of the Soviet tricksters have a close linkage with the reception of Nietzscheanism. The analysis of each of the central characters of the works centers around the answer to the question: What does each of the trickster’s role say about the emerging Soviet modernity? The author interprets the two types of the trickster as evidence of the Soviet modernity’ splitting, that emerged in the 1920s. Julio Jurenito and Ivan Babichev represent the type of trickster teachers via whom the modernist concept of personality was adopted. The author offers the treatment of Sharikov and Benya Creek as a type of" plebeian modernity " (Ilya Gerasimov). All the analyzed texts indicate that trickster cynicism is becoming a social norm of the new world, and it is on this basis that the conflict between trickster fathers/teachers and their followers in the next generation breaks out.

Despite the fact that Ilya Mechnikov was a zoologist, his contribution to the development of medicine is invaluable. The article reveals the details of the biography of this scientist, indicating the fact that his path to medicine was not accidental and began even earlier than his passion for zoology. Also, the article concerns the problem of the role of the Kharkiv University in the formation of Mechnikov as a scientist. Despite the wellknown assertion that this great scientist was self-taught and paved his own way to success in science, for he did not have sufficient resources to show his talents at a provincial university, the authors come to the conclusion that the biographies of Mechnikov’s contemporaries in Kharkiv demonstrate the opposite. Namely, that there were enough resources for young scientists at the Kharkiv University to fulfill their scientific ambitions, however, a series of certain circumstances did not allow the young Mechnikov to take full advantage of all opportunities he could have had in Kharkiv.

Today there are various methods of teaching a foreign language. All teaching methods are designed at different times to provide the need for a wide range of people to master a foreign language. Progress and fundamental changes in language learning methods are associated with innovations in the field of psychology of an individual and a group. The psychological factor of learning foreign languages is moving forward. Among the many methods of learning languages, one of the most popular was developed by Ilya Frank. The Frank reading method helps passively master a non-native language in a short period of time. This particular article deals with new method of teaching reading English based on Ilya Frank’s methodology.

The article is devoted to the study of the system of proper names in the texts of animated films with a folklore precedent basis. The relevance of the research is due to the need to study media texts that translate folklore imagery in linguocognitive and linguostylistic aspects. The material for the research is character and voice-over texts of animated films about Russian heroes: “Alyosha Popovich i Tugarin Zmey” (2004), “Dobrynya Nikitich i The Zmey Gorynych” (2006), “Ilya Muromets I Solovey Razboynik” (2007). The complex of names of geographical objects, the naming system of anthropo- and zoomorphic characters is considered, the precedent base for the formation of the onomastic space of animated films is determined, and the ways of introducing new components to the proper names system of this content are characterized. Special attention is paid to the description of intertextual links of the polycode content under study with works of epic genres of Russian folklore and with other sources. The scientific novelty of the work is seen in the fact that the verbal component of the studied animated films is currently insufficiently studied, and their proper names system becomes the subject of linguistic analysis for the first time.

The aim of the research was to actualize the interdisciplinary connections of the Russian native language, Russian native literature and Russian native history studies. The article discusses various types of obsolete words, as well as provides recommendations to a literature teacher, in which areas the study of obsolete vocabulary can be organized in school. The authors use the methods of educational and scientific literature analysis. On the basis of practical experience, techniques of working on the linguistic archaic during lessons are proposed. These techniques take interdisciplinary links of the Russian language and Russian literature subjects into account. The article concludes that classroom work on obsolete words or expressions and the stylistic functions performed by them should be carried out gradually, i.e., by taking a traditional step-by-step and from-simple-to-complex approach.

Drama is defined as the main phenomenon of Ilya Surguchev's creative biography. ON this basis, the main chronology of his life and work during the period of emigration is presented. Biographical and historical-functional methods of literary research are used. The plays of the 1910s and 1940s, their themes and problems are characterized. An overview of the main premiere performances based on Surguchev's plays in theaters in Russia and Europe is presented. Questions of I.D. Surguchev's poetics of drama are raised; the prevailing genres, plots, themes, and stylistic dominants are highlighted. The role of Surguchev in the history of the theater of the Russian abroad is determined.

Resumen En esta nota me propongo mostrar la articulación del "universo poético" del poeta peruano Enrique Verástegui, desde su propia reflexión. Para ello, trazo una relación entre la búsqueda de estructuras poéticas de Verástegui y las estructuras disipativas del físicoquímico llya Prigogine, utilizando conceptos que ambos comparten, a saber: inestabilidad, posibilidad, no equilibrio, azar, autoorganización y creatividad. Para Verástegui la poesía es un acontecimiento que genera acciones y teorías desde dónde pensar y sentir el mundo. Un poema es una estructura dinámica, una forma abierta y flexible, y también es una matriz que permite el nacimiento de otros poemas. Verástegui se aleja de lo predeterminado, de la norma y el equilibrio que cosifican la vida y la escritura. El peruano, en su obra poética, abre una serie de posibilidades, bifurcaciones, inestabilidades, experimentaciones, investigaciones, innovaciones, dando lugar a una "escritura continua" que será, en definitiva, la marca distintiva de su universo poético. Abstract In this article, my proposal is to show the articulation of Peruvian poet Enrique Verástegui's "poetic universe". For this, I will trace a relation between Verastegui's search of poetic structures, and physical chemist Ilya Prigogine's "dissipative structures". For this I will use concepts shared by both, such as: "instability", "possibility", "non-balance" (in equilibrium), "chance", "auto organization", and "creativity". For Verástegui, poetry should be thought from a practical theory, or a theoretical practice. A poem implies action therefore it assumes a dynamic structure that generates other dynamic structures, always apart from the dangerous balance (equilibrium) where everything is reified. In his poetic work, Verástegui opens a series of possibilities, bifurcations, instabilities, experimentations, investigations, innovations, giving place to a "continuous writing" that will definitely be the hallmark of his "poetic universe". Resumo Nesta nota eu pretendo mostrar a articulação do "universo poético" do poeta peruano Enrique Verástegui desde a sua própria reflexão. Para isso, traçarei uma relação entre a pesquisa de Verástegui por estruturas poéticas e as "estruturas dissipativas" do físico-químico llya Prigogine, razão pela qual utilizo conceitos que ambos compartilham, como: instabilidade, possibilidade, não equilíbrio, aleatório, auto-organização e criatividade. Para o poeta peruano, a poesia deve ser pensada a partir de uma teoria prática ou de uma prática teórica. Um poema implica ação e, portanto, supõe uma estrutura dinâmica que gera outras estruturas dinâmicas sempre longe do equilíbrio perigoso que reifica tudo. Verástegui na sua obra poética abre uma série de possibilidades, bifurcações, instabilidades, experimentações, investigações, inovações, dando origem a uma "escrita contínua" que será, em suma, a marca distintiva de seu universo poético.

Deaf Republic, de 2019, é uma obra que desafia gêneros; os poemas sobre os moradores da cidade de Vasenka e sua resistência silenciosa à repressão tecem um épico moderno, teatral e distópico. Através deste trabalho, são traduzidos pela primeira vez poemas do autor Ilya Kaminsky para o português. Buscando representar o caráter completo da narrativa, mas trazer também trechos que se sustentam por si só, foram escolhidos os poemas de abertura e fechamento, além de poemas sobre os principais personagens de Vasenka. Além disso, foram selecionados tanto os temas de horror, estupor e culpa diante da brutalidade, quanto da estranha e contínua beleza das relações humanas, um difícil balanço alcançado com maestria no trabalho de Kaminsky.

The article is devoted to the study of the verbal component of animated films with a folk precedent basis. The relevance of the research is due to the need to study the conceptosphere of modern media texts conveying folklore imagery. The results of a comparative analysis of female images in animated films about Russian heroes are presented (Alyosha Popovich and Tugarin Zmey (2004), Dobrynya Nikitich and Zmey Gorynych (2006), Ilya Muromets and Nightingale the Robber (2007) in comparison with their folk prototypes. The issues of speech representation of the images of the mother and the bride / wife of a hero, traditional for the epic genre, as well as other female images, the appearance of which is due to the influence of other precedent sources, are considered. The conceptual proximity of the narrative-story line basis and the composition of the characters of the texts under study to the Russian fairy tale is proved. Particular attention is paid to the implementation of the stylistic technique of burlesque travesty, it is proved that this technique is the main means of creating a comic effect and performs a text-forming function in the studied polycode content. The scientific novelty of the work is seen in the fact that the verbal component of the animated films studied was not previously the subject of linguistic analysis.

The article makes an attempt to analyze some selected plays of Mikhail Ugarov, the founder of the documentary Teatr.doc and the New Drama movement (“The Newspaper ‘Russian Invalid’ Dated July 18” and “The Death of Ilya Ilyich”). Although these plays were written in the so called «pre-doc» period and seem to be entirely different with respect to style and content from verbatim and New Drama aesthetics, they express Ugarov’s most important views on dramatic and theatre art formulated later. In these texts one can find philosophical ideas which subsequently formed the basis of documentary and modern dramatic theory. The author concludes that Ugarov’s early plays have mainly a metaliterary character and can be analyzed as an artistic manifesto in which the playwright elaborates the following ideas: negation of classical drama features (composition, action, character); the horizontal structure of the literary work; “zero-position”; cancellation of an event; rejection of grand narratives; rejection of the author’s will and self-expression; negating art as an entertainment; the documentary approach (attention to the details of everyday life). The author indicates that there is a certain contradiction in Ugarov’s doctrine – on the one hand, he admitted the primacy of the dramatic text over the director, on the other hand, - along with his work as a director and a teacher in the Teatr. doc, he ceased to write plays (after “The Death of Ilya Ilyich” Ugarov wrote only a remake-play, “The Masquerade”, in 2013). During this period he created mostly scenarios based on verbatim material. Therefore, the principle of a traditional dramatic work serving as basis for the theatre performance was being deconstructed, which makes it reasonable to relate the theatre aesthetics of Mikhail Ugarov to the postdramatic paradigm.

The article, based on an extensive literary and artistic material, is devoted to the study of the personaland group exhibitions of the first Georgian modernists. This research helps to understand new processes that took place in the visual art of Georgia in the 1910–1920s. It demonstrates that exhibitions, cultural and artistic activities had a huge impact on the visual culture of Georgia in the 1910s, the period of Independence (1918–1921) and the decades to come. Particular attention is paid to the first public exhibitions of Georgian modernists in multicultural Tiflis. In the early 1910s Tiflis turned into a zone of creative experiment, where new aesthetic ideas of the most radical kind were born. The article outlines the role and significance of Russian and Georgian futurists, who “discovered” the art of Niko Pirosmani in 1912 and organized his firs texhibitions. Leaders of the “left art” in Georgia were brothers Kirill and Ilya Zdanevich. The very first public exhibitions of Georgian modernists were in private apartments, halls or spontaneously assembled shows inartistic cafes. These exhibitions reflected two issues that were of major importance for the young Georgian artists — they wished to become a part of the European culture and to preserve their national identity.

The purpose of the article is to identify the “author’s prints” of Ilya Ilf and Evgeny Petrov in the novels “Dvenadtsat’ stul’ev” (“The twelve chairs”) and “Zolotoy telenok” (“Golden calf”) through highlighting the both writers’ contribution to the fusion of inspiration and jokes. A detailed comparison of Petrov’s “pre-Ilf” and Ilf’s “pre-Petrov” works with their co-written texts demonstrates that the co-authors definitely used accumulated literary material in creating the novels: the “common cauldron” contained their previous plots and images. The article is based on a textual analysis of Ilf’s and Petrov’s stories and feuilletons published in the Moscow press before they started writing together, as well as the texts written in the process of creating the dilogy. In previous research on the Ilf and Petrov’s work, the links between their early texts and the co-written dilogy were either unsystematically presented, or tried to track the path of the “literary evolution” of Ilf and Pertov, who had been gradually honing their idiostyle and writing technique. It was often done without following rigid structure and not representing proper arguments. The article offers a classification of identified borrowings and references from Ilf and Petrov’s early texts. It contains systematized examples of various types and scales – from a single detail to a large fragment of the narrative. The catalog of “auto-references” confirms the regular character of borrowings: during the creation of “Dvenadtsat’ stul’ev” (“The twelve chairs”) and “Zolotoy telenok” (“Golden calf”), coauthors often used “previously formulated” phrase and motifs from works, which had been written separately. However, passages from feuilletons, as a rule, were transferred by writers to new novels not mechanically: in the novels “old” images were selected and developed by both authors.

The published article by the late Israeli scientist is dedicated to the legacy of Ilya Sherbetovich Anisimov (1862 - 1928), the first researcher of the Mountain Jews community.

This is a review of anthropologist Ilya Utekhin’s What Is Visual Anthropology: A Guidebook on the Classic of Ethnographic Cinema. On the example of classical ethnographic films of the 20th century, the monograph considers the phenomenon of ethnographic cinema as an important part of visual anthropology. The book’s main intent is to show how outstanding projects that shaped visual anthropology as a discipline posed key questions for anthropology as a whole. These include nonverbal communication, the socialization and association of personality types with the dominant ethos of culture, the form and function of ritualized aggression in tribal society, obsession and communication with other beings, psycho-pathology, boundaries of normality, arrangement of specialized social institutes, boundaries of human beings and human projections in relations between human beings and animals. The review focuses on the key problems of developing visual anthropology as a discipline and how they were reflected in films.

The question why natural processes tend to flow along a preferred direction has always been considered from within the perspective of the Second Law of Thermodynamics, especially its statistical formulation due to Maxwell and Boltzmann. In this article, we re-examine the subject from the perspective of a new historico-philosophical formulation based on the careful use of selected theoretical elements taken from three key modern thinkers: Hans Reichenbach, Ilya Prigogine, and Roger Penrose, who are seldom considered together in the literature. We emphasize in our analysis how the entropy concept was introduced in response to the desire to extend the applicability of the Second Law to the cosmos at large (Reichenbach and Penrose), and to examine whether intrinsic irreversibility is a fundamental universal characteristics of nature (Prigogine). While the three thinkers operate with vastly different technical proposals and belong to quite distinct intellectual backgrounds, some similarities are detected in their thinking. We philosophically examine these similarities but also bring into focus the uniqueness of each approach. Our purpose is not providing an exhaustive derivations of logical concepts identified in one thinker in terms of ideas found in the others. Instead, the main objective of this work is to stimulate historico-philosophical investigations and inquiries into the problem of the direction of time in nature by way of crossdisciplinary examinations of previous theories commonly treated in literature as disparate domains.

Статья посвящена работе колл-центра, обслуживающего справочную службу в одном из крупных городов России. Несмотря на обилие обращений к работе колл-центров в сфере критических исследований труда, их основной фокус традиционно направлен на менеджерские практики контроля и управления персоналом, тогда как «созидательная» часть — содержание работы и профессионализм операторов — часто остается за рамками анализа. В данной статье рассматривается один из ключевых аспектов работы операторов — производство ответов на вопросы. Используя конверс-анализ как основной методологический подход и анализируя транскрипты разговоров с операторами, мы показываем, что, хотя формально работа операторов сводится к зачитыванию текста из заранее подготовленной библиотеки ответов, она включает весомую аналитическую составляющую. Операторы играют роль переводчиков, ключевая задача которых состоит в установлении соответствия между абстрактной информацией нормативно-правовых актов и уникальными жизненными ситуациями граждан, звонящих в службу поддержки. Профессиональный оператор способен выполнять эту работу, маневрируя между нормами повседневной коммуникации и внутренними правилами колл-центра, которые зачастую противоречат друг другу. Хотя гибкий подход к правилам характерен для профессионалов многих сфер, особенность труда в колл-центре состоит в том, что профессионализм операторов подразумевает риск наказания за отход от инструкций и не может быть институционализирован из-за требований стандартизации в колл-центре. Благодарность. Я благодарна Артему Рейнюку, Борису Мельниченко, Илье Коновалову, Алисе Максимовой, Андрею Корбуту и Юлии Августис за комментарии и помощь в подготовке данного текста. Я также признательна всем участникам исследовательской группы EMCA_RU: Юлии Августис, Николаю Белову, Андрею Корбуту, Алисе Максимовой, Артему Рейнюку и Александру Широкову, чьи транскрипты я использовала в настоящей статье и с кем обсуждала представленные данные.

1. Photograph courtesy of Ilya Vinkovetsky.It is with great sorrow that we announce the death, on 24 August 2019, of Sonja Luehrmann, Associate Professor of Anthropology at Simon Fraser University....

This scientific article deals with the problem of the use of the hermeneutic method of obtaining knowledge of legal phenomena. The purpose of the article is to show the potential of the hermeneutic method in the field of law. In the furtherance of this goal, the following objectives were set: 1) to justify the significance of the methodological basis of jurisprudence; 2) to consider the concept of hermeneutics in the historical aspect (views of Aristotle, Wilhelm Diltey, Friedrich Schleiermacher, Friedrich Nietzsche, Hans-Georg Gadamer, Max Weber and others); 3) to analyze the views of domestic scientists who justifying the necessity of using of the hermeneutic method by the study of legal phenomena (Djangir Abbasovich Kerimov, Mikhail Mikhailovich Rassolov, Petr Moiseyevich Rabinovich, Vitaly Andreevich Suslov, Ilya Lvovich Chestnov); 4) to show weak points of the hermeneutic method in jurisprudence, arguments of opponents of this approach (Vladimir Mikhailovich Syryh, Igor Yurevich Kozlikhin, Vyacheslav Nikolayevich Zhukov and others). The result of the conducted research were the following provisions: 1) without denying some fruitfulness of the metaphysics which is the basis of the analyzed method, we notice that the hermeneutics method is not applied practically in the law because there is no the corresponding technique and it is replaced with a historical method of interpretation of legal norms. In conclusion, it should be stressed that even those scientists who placed certain research hopes on the legal hermeneutics have now begun to doubt its potential, believing that this approach of the study of the law as an independent one has not yet taken place.

Book review of Oksana Maksymchuk and Max Rosochinsky, editors. Words for War: New Poems from Ukraine. Introduction by Ilya Kaminsky, afterword by Polina Barskova, Ukrainian Research Institute, Harvard University / Borderlines Foundation for Academic Studies / Academic Studies Press, 2017. Ukrainian Studies, edited by Vitaly Chernetsky. xxvi, 246 pp. Illustrations. Glossary. Geographical Locations and Places of Significance. Notes to Poems. Index. $37.00, cloth.

Cet ouvrage d’Ilya Gerasimov est issu d’une recherche de longue haleine sur l’histoire du postnationalisme moderne et sur l’histoire sociale de la Russie imperiale, menee par son auteur parallelement a son activite de codirecteur de la prestigieuse revue Ab Imperio. Il traite de l’histoire de groupes sociaux tres particuliers de quatre importantes villes russes (Vil´na, Odessa, Kazan´ et Nižnij‑Novgorod) de 1906 a 1916. Ces villes sont depeintes d’un point de vue demographique, economique et ...

The article tells about the life and the heritage of a significant person in Russian emigration, I.I. Fondaminsky. Being Jewish by birth, Fondaminsky became close to Slavophilism and Eurasianism. Shortly before his death, he was converted to Orthodoxy and was recognized as a saint of the Orthodox Church of Constantinople. Fondaminsky tried to reconcile leftist, Christian and monarchist ideas in his works. Another important aspect of his work was the expectation of an “awakening of the East” resulting then in the liberation of the East from spiritual and colonial oppression.

Thanks to Inquiry for hosting this symposium, and thanks to Ilya Somin, Robert Talisse, Gordon Allen, and Enzo Rossi for participating it. It’s an honor.I’m especially grateful for their contributi...

The article seeks to prove the hypothesis about intentional semantic references to Kierkegaard’s The Seducer’s Diary (part of his Either/Ortractate) in Ivan Goncharov’s Oblomov. In order to substantiate the suggestion, the author begins by analyzing the image of Cordelia, to whom Oblomov compares Olga, his own love interest. While not completely dismissing the traditional interpretation of this allusion (as Shakespeare’s Cordelia from King Lear), the author argues that the image might refer to the Cordelia from the Diary. Further comparing the two works, she discovers similarities in Goncharov’s and Kierkegaard’s philosophical agenda, which opens a new way for Oblomov’s interpretation. Just as Kierkegaard, the Russian novelist is exploring the relationship between the manipulative seducer (in a broad sense) and his prey. The seductive Stoltz is forcing his philosophy on Olga and Oblomov, claiming it to be the only truth. Finally, Olga gives in to it and ends up confused about her own feelings. Oblomov, by contrast, emerges as a victor rather than victim: he defies the alien influence and finds happiness, albeit too late in life. The covert allusions suggest the possibility for ambiguous interpretation of the novel: as a story of a man’s degradation and a philosophical statement about integrity and the right to choose one’s own destiny.

Our country has not yet gained recognition from a Nobel Committee, however, some Nobel Prize winners were born in the territory, which belongs to present-day Ukraine. Among them are the father of innate cellular immunity Ilya Mechnikov; the famous microbiologist and biochemist Selman Waksman, whose studies had led to the discovery of streptomycin; the outstanding chemist, poet and playwright Roald Hoffmann, and the prominent physicist Georges Charpak who invented and developed particle detectors, in particular, the multiwire proportional chamber. This paper aims to outline briefly the main stages of their scientific activity.