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Introduction. The global processes taking place in modern society require a high level of generalization, new methodological approaches, and the development of philosophical and cultural concepts that adequately reflect the rapidly changing economic reality. In the context of the transition to post-industrialism, the study of the essence and role of economic culture, its structure, and functions is now extremely relevant. Purpose and methods. The purpose of the article is to provide a philosophical and cultural conceptualization of the dynamic nature of society's economic life, which will allow deepening the understanding of the structure and functions of economic culture and the system of economic management. The methodological basis of the study is the dialectical principle of cognition, systemic, cultural, historical, and interdisciplinary approaches to the study of organizational phenomena and processes, as well as the activity approach which explains the motivation of human economic activity. Results. The main structural levels of culture in the economic life of society are identified and characterized. The main functions of economic culture in the socio-cultural system of society are determined. The regularities of cultural functions at different stages of the historical development of society are revealed, and their impact on the economic management system and regulation is analyzed. Conclusions. The scientific novelty of the research results lies in deepening the understanding of the essence of the economic culture of society, defining its structure and main functions. The significance of the study is manifested in the addition of cultural science with new theoretical provisions on the culture of society's economic life, as well as in the possibility of using them in the process of training managers and entrepreneurs of economic organizations.

The relevance of this study is conditioned by the dual standards of institutionalisation of artistic and educational practices, must meet the principles of creating cultural objects as material products of high culture and aesthetic level, but, at the same time, must meet the requirements of the time, standards and educational tendencies of its time. Thus, a conflict of artistic vision and the standards of accumulated artistic experience is formed, which must be resolved in a process of dialogue and permanent collaboration of the two practices: educational and artistic. The purpose of this article is to investigate the basic vectors of the institutionalisation of educational and artistic practices, identifying priority ways of institutionalising both practices and the space for their interaction in scientific research. The main scientific methods for researching the topic are the basic general scientific theoretical methods of analysis, synthesis, induction, deduction, comparative to deduce the main regularities and characteristic features in the processes of institutionalisation of artistic practices, as well as systematisation and classification methods to form the structure of the main educational artistic strategies based on common and unique features.

The methodological basis of the article is the main ideas systemic, systemic-thought-activity, competence-based and synergetic approaches, which allow considering the teacher's innovative competence as an integral professional and personal, a characteristic that determines the quality of activity, reflecting personal, theoretical and practical readiness to introduce innovations (i.e., to develop and implement fundamentally new images of content and learning technologies) and is expressed in the ability to successfully act in constantly updated professional environment.

The purpose of the article is to determine the main features and peculiarities of thetransformation of an actor on the stage of a creative act. The research methodology consists ofcomparative analytical approaches based on works of art history, new and already well-knownpsychotechnics for active transformation, which allows determining its common features andcharacteristics. Scientific Novelty. The main features and signs of the transformation of an actor onthe stage of a creative act are investigated and identified. The research results can be used forfurther scientific research of various aspects of acting and stage art. The main defining aspects anddirections of transformation can be applied by participants directly in creative work and byteachers in the process of preparing actors. Actual features and signs of transformation give aserious impetus to rethink the creative activity of the actor in his artistic action. Conclusions.Analysis of the features of the transformation of an actor in the stage creative process givesgrounds to assert that two signs are clearly reflected in the act of transformation. The actor, first ofall, experiences and feels that he plays the leading role. At the same time, this act also containsimitation or imitation of the external signs of the characters and his actions. The actor is clearlyaware of and controlling what happens to his inner state in the main role. However, until today theway of reincarnation remains controversial from external imitation to internal state, or vice versa.Key words: actor's transformation, imitation, actor, creative act, stage emotions.

Introduction. The topicality of the article’ topic is due to the growing need for methodological and technological development of systems analysis in the transition of mankind to the information age, the complexity of social relations and the predominance of unsystematic, fragmentary thinking of modern managers. Purpose and methods. The purpose of the article is to substantiate the theoretical and methodological principles and practical recommendations for the implementation of systematic analysis in socio-cultural management. The methodological basis of the study is the dialectical principle of cognition, systemic, historical, cultural, philosophical, organizational, cybernetic and synergetic approaches to the study of organizational phenomena and processes. Results. The basic theoretical concepts of system analysis have been analyzed. The essence, role, significance of systematics and system analysis in the modern man’s life and society have been revealed. The methodology of system analysis as a unique form of cognition in socio-cultural management has been substantiated. The types of system analysis have been determined, which allows forming a holistic view of the possible directions of its implementation in the management of socio-cultural activities. The technology of conducting a systematic analysis of objects and problem situations in socio-cultural management has been developed. Conclusions. The scientific novelty of the research results is the deepening of the theoretical and methodological foundations of systems analysis in socio-cultural management on the basis of modern philosophical, organizational, cybernetic and synergetic approaches. The practical significance of the obtained results is manifested in the possibility of their use in the management of objects and situations of the socio-cultural sphere, as well as in the supplementation of the general theory of systems and socio-cultural management with new scientific ideas.

The purpose of the article is to order the scientific terminology associated with the phenomenon of actor’s stage impersonation. The research methodology was based on the principles of consistency and unity of the theoretical and empirical within the phenomenological approach to the process of self-actualization of the individual. The filtering method was used to select categories for studying the process of actor’s stage impersonation. The scientific novelty of the work lies in the identification and systematization of categories and concepts regarding the study of the skill of actor’s impersonation of an artistic image. Conclusions. The main categories and concepts used in the study of the problem of actor’s stage impersonation were theatrical art, drama, actor, creativity, and dramaturgy as the fundamental categories concerning the process of the historical development of the theatre business in general. In the context of the characteristics of professional activity, specific and restricted professional were such concepts as role, image, psycho-technology of emotional experience, biomechanics, sub-/super-consciousness and intuition, memory, talent, imaginative thinking and perception, emotions, feelings, etc. These concepts formed a categorical system, within which the problem of actor’s stage impersonation was highlighted.

The article states that the actor’s mastering of the role is structurally divided into several stages, at each of which there is a certain accumulation of knowledge about the character of the play. The main theories of the structure of the creative process are illuminated in the theories of the three-act by P. Engelmayer, the three-stage model of A. Poincaré, and the four-stage model of creative thinking by G. Wallace, E. Getchinson. The imagination and creative activity of a person depend on the diversity of his previous experience, represented by the material from which the constructions of the presentation are created. It is noted that the most important feature of the imagination is its striving for embodiment. The actor designs the future physical embodiment of the character’s stage image. It is concluded that the imagination is constructed from the thoughts and visions of a person, simultaneously or alternately covering his mind. The actor profession is dominated by the emotional connection between the activity of the imagination and the act of reincarnation. The peculiarity of the actor’s imagination is the creative experience of the actor, and not his personal one. Imagination works in the preparatory analytical stage of the role as the accumulation of former emotional traces. In the process of implementing the role, these traces come to life, which leads to the act of reincarnation in the role.

Мета роботи. Дослідження пов’язане з питанням віри в перевтілення в міфології. Його основне спрямування – аналіз витоків міфічних уявлень як складової загальної віри людини. До аналізу залучені думки і бачення цієї проблематики відомими дослідниками, філософами, наявні писемні джерела та міфічні перекази. Методологія дослідження полягає в застосуванні історично-порівняльного, компаративного та логістичного методів. Їх застосування сприяє діахронно аналізувати явища первісної культури та міфічних вірувань. В окремих випадках застосовуються елементи структурного аналізу для виявлення сутності віри в перевтілення. Наукова новизна роботи полягає в розкритті загальної сутності віри в перевтілення в міфології та її місця в житті сучасної людини як духовного опертя; особливостей витоків міфічних мотивів; шляхів ствердження та поширення їх в культурі народів від давнини і до сьогодні; особливостей зв’язку вірувань в перевтілення з явищами природи та подіями в житті людей. Висновки полягають в тому, що розкриття загальної сутності віри в перевтілення в міфології створює можливість дати наукову оцінку значення її в сучасному житті народу, кожної окремої людини та розвитку культури загалом., The purpose of the research is related to the question of faith in reincarnation in mythology. Its main focus is the analysis of the origins of mythical representations as a component of the common belief of man. The analysis involves the thought and vision of this problem by well-known researchers, philosophers, available written sources and mythical retellings. The methodology of the research is to apply historical-comparative, comparative and logistic methods. Their application helps to diachronically analyze the phenomena of primitive culture and mythical beliefs. In some cases, elements of structural analysis are used to identify the essence of belief in reincarnation. The scientific novelty of the work is to reveal the general essence of faith in the reincarnation in mythology and its place in the life of a modern man as a spiritual support; features of the origins of mythical motives; ways of affirming and disseminating them in the culture of peoples from antiquity to the present; features of communication of beliefs in reincarnation with the phenomena of nature and events in people's lives. The conclusion is that the disclosure of the general essence of faith in the reincarnation in mythology makes it possible to give a scientific assessment of its significance in the modern life of the people, of each individual, and of the development of culture in general., Цель работы. Исследование связано с вопросом веры в перевоплощение в мифологии. Его основное направление – анализ истоков мифических представлений как составляющей общей веры человека. К анализу привлечены мысли и видение этой проблематики известными исследователями, философами, имеющиеся письменные источники и мифические предания. Методология исследования заключается в применении историко-сравнительного, сравнительного и логистического методов. Их применение способствует диахронно анализировать явления первобытной культуры и мифических верований. В отдельных случаях применяются элементы структурного анализа для выявления сущности веры в перевоплощение. Научная новизна работы заключается в раскрытии общей сущности веры в перевоплощение в мифологии и ее места в жизни современного человека как духовного опоры; особенностей истоков мифических мотивов; путей утверждения и распространения их в культуре народов от древности и до сих пор; особенностей связи верований в перевоплощение с явлениями природы и событиями в жизни людей. Выводы заключаются в том, что раскрытие общей сущности веры в перевоплощение в мифологии создает возможность дать научную оценку значения ее в современной жизни народа, каждого отдельного человека и развития культуры в целом.