The Rainbow Motif in Christian Art
Makarova Nina
DOI: 10.17212/2075-0862-2019-11.2.2-410-419
Annotation:

The article considers the iconography of Christian art associated with the rainbow motif. A rainbow is a beautiful optical phenomenon in the atmosphere that occurs when light is scattered on water droplets; it has the form of a multicolored arc or two arcs. The shining rainbow in Scripture is closely related to God's acts of communication with the chosen people such as Noah and the prophets. In such iconographic schemes as the Last judgment, the All saints’ Day and the Ascension of the Lord, the rainbow motif, based on the prophetic visions of Ezekiel and John the Apostle, is a symbol of the radiance of the Divine Glory and Majesty of God in His appearance to the prophets. In these iconographies, the rainbow is depicted with different degree of conventionality. Thus, it can be represented in one or two colors, but can also be made with expressive brightness in several colors of the spectrum. In these iconographies, the rainbow often represents the throne of the Lord within the mandorla - an oval or round frame around the figure of Christ or the Virgin, which has a complex symbolism associated with the image of a cloud, with the Divine Glory, as well as with the special nature of the image of Christ or the Virgin, which is outside the physical time and space. In a number of other iconographic schemes, the rainbow motif has the meaning of God's mercy. These are compositions associated with God’s Covenant with Noah, as well as with the Lord Covenant with the chosen people – the Church, which is reflected, in particular, in the compositions of Noah's Ark and the iconography of Our Lady of Mount Nerukosechnaya.

Studying a Museum as a Category of Thinking: Experience of Application of the Dynamic Information Systems Theory
Kildyusheva Alina
DOI: 10.17212/2075-0862-2019-11.2.2-420-438
Annotation:

First appeared in the ancient world as the temple of the Muses, the museum became an expression of the idea to preserve the unique objects of the natural and artificial world necessary to satisfy the spiritual needs of a man. Historically, the reality of the museum has been repeatedly changing; it has been able to easily adapt to changing conditions. We find different ideas about the museum in antiquity, the Middle Ages, the Renaissance, the new and modern times. At the moment there are various approaches to understanding the museum as a phenomenon. The museum is presented as a symbol, sign, core, instrument, mechanism, intermediary, reflection, translator, generator, potential, center, project, producer, field, space, keeper, part, element, result, clipboard, value, category of culture. At the same time, the museum acts as a social institution, a social object of management, a form of social memory, social information, a mechanism for fixing social experience, achievements of the epoch. The museum has close relations with culture and society and it is considered to be their product and reflection, allowing to travel through centuries and territories. The author considers the museum as a category of thinking, basing on P. Findlen’s thought about a museum as a mental category (intellectual experience of collecting and preserving “the past in the mirror of the present”), the thought close to understanding of the museum by Z. Stránský as one of the forms of a person’s specific relationship to reality, and the author also applies categories of the system methodology and the theory of dynamic information systems of V. Razumov and V. Sizikov. The author considers the museum as a category of thinking; using the triadic method. The system of interrelated concepts has been formed, reflecting the basis for the creation and existence of the museum. The paper creates the foundation for further discussions on the essence of this socio-cultural phenomenon.

Candle in the Ice House
Shtuden Lev
DOI: 10.17212/2075-0862-2019-11.2.2-439-451
Annotation:

The article explores such a kind of musical genre – a Soviet lyric song, its place in the Soviet everyday life, aesthetic task, and its fate during the 70-year period of life. The author substantiates the reasons why this genre in the Soviet era turned out to be so popular that it became a part of folk culture. The author also studies the phenomenon of some songs of that period, heavily propagated, but not popular among people. The author highlights the idea that even pseudo-folk songs, such as V.G. Zakharov’s songs for the Pyatnitsky Choir, although actively propagandized and often performed from the stage and on the radio, did not really become popular. The article attempts to explain the reasons for this spontaneous mass ostracism by “popular censorship”. Thieves' lyrics as such are not explored, with the exception of the “anthem of prisoners” - the song “I remember that Vanino port.” The author analyzes the reasons for the sudden end of the “golden age” of the Soviet lyric song, which nature ceased to correspond to the commercial interests of post-perestroika Russian song variety.

Isaac Newton: Mathematico-Hermeneutic Methodology of Prophetic Exegesis
Sharov Konstantin
DOI: 10.17212/2075-0862-2019-11.1.2-254-273
Annotation:

In this paper, the main techniques as well as the heuristic and cognitive possibilities of the exegetical theology of Isaac Newton, are analysed. The Newtonian method of hermeneutic interpretation of the prophetic texts of the Old and New Testaments, is studied. The main constituents of this method are as follows: 1) in prophecy, a literal meaning of physical, historical, social and political reality, is hidden; 2) the interpretation of prophecy must be systematic, and not sketchy; 3) the interpretation must be complete and inclusive; 4) in the interpretation, a clear structure of events should be elaborated; 5) in prophecy there are no superfluous, unnecessary and just poetic details; 6) to determine the correct chronological sequence of historical events (sometimes specially confused in the original prophetic text), it is necessary to create a system of synchronisms - chronological reference points; 7) on reconstructing the full picture of encrypted events, one must use the whole range of available sources: biblical, near biblical, non-biblical (pagan, Sumerian, Arabic, etc.), textual and non-textual, historical, archaeological, geographical, anthropological, architectural sources; 8) it is necessary to establish the hierarchy (priority) of sources; 9) the basic logical method for interpreting prophecies is induction; in our conclusions, it is obligatory to have a necessary and sufficient condition for understanding the text – and this will be complete exegesis; 10) ultimately it is necessary to achieve both external and internal consistency of the hermeneutic interpretation of a prophetic text; 11) it is compulsory to have test points in historical chronology so that it should be possible to trace the correctness or incorrectness of any exegetical conclusion; 12) the constant self-control and discipline of the exegete, the Bible researcher is required; 13) exegesis should not be carried out on translations, if there is such an opportunity, but on original, native textual sources; 14) a system of deciphering images in the form of hieroglyphics is needed. It is shown that Newton developed a dictionary of historical, political and ecclesiastical equivalents for images and symbols in the prophetic literature. In the interpretation of prophecy, he applied the principle of constancy: throughout the prophecy, it is necessary to use the same hieroglyphic dictionary – this will ensure the consistency and continuity of exegesis. It is demonstrated that Newton was able to obtain a systematic picture of the Apocalyptic events on the basis of the interpretation of many prophetic books (Daniel, Isaiah, Jeremiah, Ezekiel, Hosea, Joel, Zechariah, Amos, Revelation of John the Theologian), the main of which are the Book of Daniel and the Apocalypse.

Historical and Social Memory: Paradoxes and Implications
Logunova Larisa
DOI: 10.17212/2075-0862-2019-11.1.2-227-253
Annotation:

This paper is written on the basis of many years of research. The author studied the specifics of social memory functioning. Historical memory is an element of social memory. In times of stability of social processes all elements of social memory operate in complementary mode. But historical memory contains latent paradoxes in its structure. In crisis situations, the historical memory begins to interfere with the social memory. Crises are times of a contradictory policy of memory. In times of crisis, historical memory attacks public consciousness with ambiguous interpretations of events. This generates pseudo patriotism, ideological excesses, distortion of traditions, prohibitions to remember “inconvenient” events. Social memory becomes a “field of stabilization” of the structures of social consciousness. The field and layers of social memory retain the experience of their ancestors in their structures, as well as the stock of knowledge, the necessary community for survival. Although the interpretation of information stored in memory structures is socially differentiated, it is cleared of politics and ideology. The methodology of investigating the interaction of contradictions between social and historical memory is interdisciplinary, sociocultural. It also applies cultural centrism, multilevel approaches, methods of qualitative analysis (narrative interviews with representatives of different ethnic groups, restoration of family histories, content analysis of memoirs, journalism). The result of the analysis is the systematization of the contradictions of social and historical memory in crisis conditions.