Творчество и развитие общества в XXI веке: взгляд науки, философии и богословия

The article provides on the broad material an overview of existing scientific and religious views on the problems of creativity – dealing with its nature, sources, meaning, use, harmfulness, etc. Views of a number of foreign and indigenous representatives of the psychological approach are considered, including such authors as Z. Freud, C. Jung, V.F. Chyzh, D.N. Ovsyaniko-Kulikovskii, T.l. Rainov, P.K. Engelmeyer, I.D. Ermakov, F. Galton, G.V. Segalin, A.L. Boehm, L.V. Vygotsky and others. The philosophical approach to the study of creativity is represented by the names of Plato, Aristotle, S. Pufendorf, Jean-Jacques Rousseau, I. Kant, J.G. Herder, G.V.F. Hegel, J. Burchardt, E.B. Taylor, F. Nietzsche, O. Spengler and others. A special section presents the review of Russian philosophers that wrote on the subject (N.A. Berdyaev, Vyacheslav Ivanov, M.O. Gershenzon, priest Pavel Florensky, F.A. Stepun, A.F. Losev).

Keywords: genius, madness, psychiatry, sublimation, visionary, eugenics, genetics, evropathology, ellipsoid autobiography, objectification, sentiment experience, form, matter, beauty, sacred, profane, Creator, God, the artist, Christianity, cult, culture, art, atheism, godless, abandonment by God, Devil.

Kolin Konstantin K., The Challenges of the 21^st century and the Strategic Priorities of Use of Intellectual Potential of Russia

Discusses the main directions and goals of the new global strategy of the UN in the field of sustainable development for the period till 2030 adopted in September 2015 at the 70th session of the UN General Assembly. It is shown that to achieve these goals it is necessary to mobilize the entire intellectual potential of the world community. An important role plays the time factor, as the complex global threats to the development of civilization is rapidly growing. In these circumstances, the problem of using Russia’s intellectual potential for solution of global problems objectively comes to the fore.

Key words: global challenges and threats, global security, the new strategy.

Lebedev Arthur N., Personality Professional and Moral Qualities Evaluated by Methods of Neurobiology

The paper presents neurobiological methods of instrumental diagnostics of human potential: namely his intellectual, musical endowment, health condition, ability to study, professional, moral qualities and other personal qualities.

Key words: neuroscience, neurophysiology, brain bio-potentials, electroencephalogram (EEG) brain, Berger’s constant, constant Livanov, a psychological portrait of a man, psychological tests, Minnesota questionnaire (the MMPI), predictors, productive features, whether linear-regression analysis of multiple, expert system.

Martynov Vladimir I., Isichastic Foundations of Liturgical Singing: Creation of Sound and the “Inner Person”

Liturgical singing is regarded as an ascetic discipline, which existed in the Russian Church prior to the 16^th century that was reflected in the “znameny” chants and chant hook musical notation. It was expected that the singer had to attain the internal prayerful state of consciousness, that could surface as voice traffic, which in its turn contributes to the intensification and re-emergence of inner silent prayer state of consciousness. The purpose of liturgical singing – through an external melodic sign to add to the inner melodic silent prayer to those who have not yet been initiated into it. According to the Holy Fathers the man should be like a musical instrument that is configured for the hymns to God, and sounding under the blessing of the Holy Spirit. The singing starts with an appeal of the singer to the Holy Spirit and this is the beginning of the hook notation. Part singing and linear notation are deprived of these features.

Keywords: isihasm, Basil the Great, Gregory of Sinai, Theophan (Govorov), silence, inner prayer, “znameny” chants, hook notation, liturgical singing, emotion, passions, playing consciousness, part singing, linear notation.

Melik-Pashaev Alexander A., On “Vertical” and “Horizontal” in Artistry