The legacy of Rudolf Nieuwenhuys in perspective.

Relevance of the study. The evolution and the very phenomenon of the Salzburg Festival go hand in hand with the history of music and theatre, the philosophy of art, and the global musical infrastructure of the 20th and early 21st centuries. On the one hand, it is their fair reflection; while on the other hand, it is an integral part of their development. That is why studying and understanding the role and place of the Salzburg Festival is essential for understanding contemporary musical culture in a current historical perspective.Relevance of the study is attributable to the fact that, for the first time in Ukrainian historical musicology, the development and implementation of the idea of holding the Salzburg Festival are considered, indirect relations between the festival ideologists and the Ukrainian cultural space at the turn of the 19th and 20th centuries are discovered, and the century-old history of the main European music and theatre forum is systematized.Main objective of the study is to introduce the phenomenon of the Salzburg Festival as a historical and cultural integrity in the space of the Ukrainian musicological discourse, as well as to outline and systematize a one hundred-year path of the main music and theatre forum in Europe.Methodology of the study includes the use of historical, culturological, and systemic approaches.Results and conclusions. The study revealed that at the stage of shaping the idea of the festival in Salzburg at the beginning of the twentieth century, there were two fundamental visions of its implementation, namely, “Mozart-oriented” and “general theatrical”. They both entered the gene code of the Salzburg Music and Theatre Forum with varying interpretations of its concept and repertoire policy at each phase of its existence. The change of priorities in its fundamental triad, that is, drama — opera — concert, during forum varying periods is also traced.The hundred-year journey of the Salzburg Festival may be divided into three main stages: 1) the development and search of self-identity (1920–1954); 2) “stabilization” and formation of international prestige (1955–1990); and 3) “modernization” and expansion of cultural horizons (from 1991 until today). Each of them is well integrated into history of Western European music and culture of the 20th and early 21st centuries.

The purpose of the research is to determine the sources of inspiration and artistic features of balamuts in Ukrainian folk costumes of the 19th – early 21st centuries. Research methods are ontological, hermeneutic, axiological, historical-genetic, historical-chronological, comparative, socio-cultural, iconographic, and art analysis. The research toolkit is designed to help understand the sources of inspiration and artistic features of balamuts in Ukrainian folk costumes. The scientific novelty is based on the introduction into scientific circulation of the essence of the concept of “balamut” in Ukrainian jewelry of the 19th – early 21st centuries, in particular, wedding jewelry. Conclusions. Since ancient times, it has been customary to wear pearls in the territory of modern Ukraine, and following the Hellenic-Scythian and Byzantine fashion, it was first among men. Pearls were part of the initiation jewelry of representatives of the elites of Sassanid Iran from the time of Shapur I, who ruled in the 3rd century. AD, and Shapur II (ruled in the 4th century), and gradually became part of the culture of the Greek colonies of the Crimea and the Black Sea. Pearls from the time of antiquity were a sign of initiation stems (at first, ribbons decorated with round and teardrop-shaped pearls, and later on hoops – crown-like diadems). After the first centuries after the birth of Christ, these accessories, which replaced the laurel wreaths of pagan times, became part of the complete image of the Roman emperor. Thus, as early as the 4th century, the son of Constantine the Great, Emperor Constantius II (337–361), wore a diadem with a pearl base, modeled after the Sassanid coronation ornaments. Justinian the Great, an Illyrian by origin, in 548 was depicted wearing a crown with prependulis and a fibula with pearls, later pearls firmly became part of the coronation accessories of the following dynasties of Byzantine rulers, who had both eastern (primarily Persian and Armenian) and western (Balkan) roots. Taking into account that in several centuries the heiresses of Byzantine emperors began to marry Kievan Russian princes, this tradition of using pearls gradually became part of local customs. So, already in the 10th century Svyatoslav, the son of Igor and Olga, wore a colt with pearls and a red garnet in his ear. Later pearls, including fossilized, fossil, made from a thick layer of mother-of-pearl of ancient shells (balamuts) from the 19th century gradually became part of Ukrainian wedding outfits.

Statement of the problem. The instrumental concerto remains one of the most important genre spheres of composer’s interest at the turn of the 20th–beginning of the 21stcentury, which is confirmed by the wide palette of works written by artists of various national schools and directions. Among them are Philip Glass, Calevi Aho, Tan Dun, John Adams, Esa-Pekka Salonen, Einojuhani Rautavaara, Unsuk Chin, Dai Fujikura, Avner Dorman, Errollyn Wallen, Missy Mazzoli, Kaija Saariaho, Sampo Haapamäki, Ney Rosauro, Peter Mahajdik, Jukka Tiensuu, Li-Ying Wu and others. Different in their style, aesthetic level, compositional principles and performance techniques, the latest works in different ways reflect the modern stage of the development of the instrumental concert, and raise the natural question of what exactly unites them. Objectives, methods, and novelty of the research. Recent research and publications has shown that current studies of the concerto of the late 20th and early 21st centuries mainly focus on the work of one artist, a national school – Ukrainian (N. Zymohliad, K. Slipchenko), Spanish (F. J. T. Ruiz), Polish (A. Nowak), on a specific instrument, such as the oboe (V. Martynova), the piano (N. Zymohliad, A. Nowak), the bayan and the accordion (O. Vasylenko), the domra (K. Slipchenko), or on the concerto for orchestra (Ruiz, 2023). In spite of some important observations about the soloist’s “modern virtuosity” (A. Nowak), “genre interaction” (K. Slipchenko), compositional “reduction” (N. Zymohliad), attempts to identify the general trends in the development of the foreign concert at the turn of the 20th – early 21st century have not yet been carried out, which determines the novelty of the chosen research topic. Its purpose is to identify common features of foreign instrumental concerts of the late 20th and the first quarter of the 21st centuries, on the basis of which the key trends in its development at the current stage will be highlighted. In accordance with the objective, the following research methods were chosen: historical; structural and functional; comparative one. Research results and conclusion. The analysis showed that in the field of instrumental concert the trends declared in the 20th century continue to develop, in particular, the mixing of stylistic elements, interaction with distant genre models, the weakening of the principle of sonata and the role of the sonata form or its displacement by other structures. At the same time, a number of recent phenomena that arose in the 20th century, but mostly did not before spread to the instrumental concert genre, are observed, in particular: the expansion of the range of instruments that can be used as soloists (turning to ethnic instruments, involving species or several representatives of the group within the framework of one work, invention of instruments, and its structural modification); diversification of the timbre-expressive and virtuosic palette of the soloist due to the arsenal of extended performance techniques; and hence the new virtuosity of the soloist.

The area of this study includes the south-east of the Republic of Bashkortostan (Abzelilovo, Burzyan, Baimak, Beloretsk districts) predominantly inhabited by the Bashkir people. The chronological framework of the research spans the 20th and early 21st centuries, i.e. the time when horse wedding decoration was still used by the Bashkirs in some locations, attesting to preser-vation of long-standing ethnic traditions. The aim of this study is to analyse decoration elements of horse in the wedding cere-mony among the south-eastern Bashkirs in the 20th and early 21st centuries, including caparisons, saddle blankets, breastplates, bellybands, and cruppers. The source basis includes author’s fieldwork materials collected during in 2010, 2017–2019 and 2023, as well as archival materials, museum collections in the city of Ufa and rural school museums preserving rare exhibits. Standard scientific methods, such as comparative historical research, scientific description and analysis, have been used. Du-ring the collection of field materials, traditional ethnographic research approach was also used, including observation, photofixa-tion and in-depth interviewing conducted in the Bashkir language, which allowed us recording local names of the wedding horse decoration. Analyzed were ornamented caparisons, saddle blankets, breastplates, bellybands and cruppers as attributes of the Bashkir wedding ceremony in the south-east of the Republic of Bashkortostan. The festive horse decoration was part of a bridal dowry; the bride herself participated in its making. The bridal horse decoration in the wedding ceremony performed social, sac-ral and aesthetic functions. It was enriched with sacral signs and symbols to protect from bewitching and evil spirits. A young wife moved to husband’s house on her horse decorated for wedding accompanied by her husband, girlfriends and close rela-tives. Until the 19th century, the bride would have ridden astride, but already at the turn of the 20th century that would be quite a rare phenomenon. However, in some villages there were single cases of the observance of this rite even in the mid-20th century. It has been found that in the 20th century in the south-east of the Republic of Bashkortostan several types of wedding capari-sons, different in their ornaments, materials and techniques, were used. There were several types of appliqué and kuskar em-broidery. The altered form of the wedding horse decoration has been preserved until the early 21st century.

The art of visionaries and outsiders is a space of fantastic narratives, authorial mythologies, and hybrid identities. Their personal religious doctrines and pseudohistorical epics generate monstrous bodies and entities combined with characteristics of the divine, human, and machine. The article examines the representations of monstrosity in visionary and outsider art, art brut, and art of the insane of the 20th and early 21st centuries, investigating the representations of monsters in the artworks of Karl Brendel (Karl Genzel), Bernard Schatz (L-15), and Allen Christian. The general characteristics of monstrosity in visionary and outsider art of the 20th and early 21st centuries are the visionary nature of images, multiculturalism, hybridity, the combination of the scientific, pseudoscientific and religious narratives and popular culture. In the early 20th century, religion had a significant impact, manifested in the hybridization of religious images and pseudo-anthropomorphic distortion in art. In the second half of the 20th century, space narratives had a great influence and were embodied in images of aliens, the cosmos, etc. The turn of the 20th and 21st centuries was the time for rethinking technology, and the symbiosis of human and technology, the origin of species and alternative theories of evolution became popular themes.

The article deals with the problem of language neologization on the example of suffixal verbal neologisms that appeared in the late 20th – early 21st centuries. The process of neologization occurs in a language with varying degrees of intensity in different language periods. In the late 20th – early 21st centuries, the language is replenished with a large number of neologisms due to extralinguistic factors – significant changes taking place in society. Dictionaries of neologisms were taken as research material: “Explanatory dictionary of the Russian language in the late 20th century: language changes”, a three-volume dictionary-reference book on press and literature materials of the 1990s of the 20th century “New words and meanings”, dictionary materials “New in the Russian vocabulary” 2015–2022, “Dictionary of the internet language.ru”. The process of forming new verbs in the period under review is quite active. Neological suffixal verbal vocabulary is represented by word-forming neologisms, which are based on the Russian-language stems, on borrowings already assimilated by the Russian language, as well as on words that came directly from the English language. At the turn of the millennium, the vocabulary was most often replenished by verbs of the functional-semantic field of activity and behavior. A characteristic feature of the Russian language in the late 20th – early 21st centuries is the formation of suffixal verbal neologisms from proper names: both Russian and foreign ones. In addition, the article shows that new suffixal formations enter word-production relations, thereby becoming a productive base for prefixed verbs of various modifications, as well as relations of homonymy and word-formation variation.

The article is devoted to the analysis of the late 20th – early 21st centuries’ historiographical polemics around the origin and development of the Frankish armored cavalry in the Carolingian era. The discussion broke out around the theses about the military superiority of the Frankish armored cavalry (composed of people from the upper strata of society) of the Carolingian era and, as a consequence, about the rapid spread of the military technology cultivated among the Carolingian horsemen-aristocrats, accompanied by their inherent stereotypes and behavioral patterns of Latin Europe. These issues were raised in the early 1960s by the American scholar Lynn White (1907-1987). The main factor of the military, technological and political transformations that took place in the kingdom of the Franks during the 8th century, according to White, was the process of introducing a stirrup into the equipment of the Frankish cavalry. Since then, almost every work on the history of chivalry and medieval military affairs published in the Western world begins with discussing this. The main purpose of this article is to analyze the course of a dramatic historiographic controversy surrounding Lynn White's stance on the development of armored cavalry in the Carolingian world and the history of chivalry in general. These theses found both ardent supporters (Robert Bartlett, Alex Roland, Dominic Barthelemy) and uncompromising critics (Bernard Bachrach). There has been no academic consensus on the issues of the armored cavalry’s genesis and force level in the Carolingian era. However, the polemic clarified several important issues related to the history of chivalry and chivalric military technology. First, it is its evolutionary and lasting nature, not the revolutionary and sudden changes that took place in the society and the army of the Carolingian kingdom in the 8th – 9th centuries. Secondly, it is the direct dependence of socio-economic life in medieval Europe on military technology and, more narrowly, on the development of weapons and concepts and practices of its usage. And thirdly, the influence of the concepts of military and cultural determinism on Western medieval studies of the second half of the 20th – early 21stcenturies. However, a quietus to the argument about chivalry in Carolingian world has not been given yet.

The purpose of the article is to analyse the phenomenon of fear from the standpoint of phenomenology and existentialism, to examine the reflection of fear in European and Ukrainian art of the 20th and early 21st centuries. The research methodology includes the general scientific principles of systematisation and generalisation of the problem under study, which made it possible to identify and scientifically substantiate existing theories, conceptual approaches to understanding the phenomenon of fear, such as "metaphysical fear", "existential fear", "ontic fear", "spiritual fear", and "moral fear". The phenomenological method allowed us to study the internal nature of fear, in particular, different states of fear: anxiety, fear, horror. The historical and cultural approach has been used to examine the evolution of fear theories from ancient times to the present. A significant role in understanding the phenomenon of fear is played by an interdisciplinary approach, which allowed us to analyse this phenomenon with the wide involvement of the scientific achievements of a number of humanities, including cultural studies, philosophy, aesthetics, art history, and psychology. The scientific novelty lies in the cultural analysis of reflections in the fine arts of the 20th and early 21st centuries on the phenomenon of fear. Conclusions. The tragedy of human destiny is expressed in such philosophical terms as fear (Kierkegaard, Jaspers, Heidegger), nausea, anxiety (Sartre), longing, boredom (Camus). The ontological significance of such mental states lies in the collision of consciousness with nothingness, with the abyss of existence. Metaphysical fear is related to time. Temporality is the main characteristic of human existence. Fear always appears to us in two guises: as a useful warning and at the same time as an obstacle. In a state of fear, a person faces the abyss of Nothingness. Those who experience existential fear feel the emptiness between themselves and the world of everyday relationships. However, it is only by experiencing fear and a sense of abandonment in the world that one finds true freedom. The theme of fear has inspired and continues to inspire many artists of the 20th and early 21st centuries. Unlike artists of previous generations, they try to show fear in their works. The fine arts of this period can be called an encyclopaedia of symptoms of fear, pain, and horror. Fear motivates us to act, to create. Therefore, the role that fear plays in our lives depends on the role we allow it to play. We can try to resist the impulses that cause fear to manifest, and we can try to replace fear with hope. Hope is stronger than fear because it is active and free from any bondage. The charge of hope expands a person's capabilities, not limits them. The more opportunities and creative potential a person has, the less fear they experience.

Statement of the problem. Despite the considerable number of studies devoted to the history of the Mass, musicological works concerning the works of Polish artists of the late 20th and early 21st centuries in this genre are limited. Therefore, it is important to comprehend the innovative approaches of contemporary Polish composers to the interpretation of the Mass, to reveal the connection between tradition and innovation, and to explore the peculiarities of modifications of the genre canon. Polish religious choral music has been the subject of many studies, including the works by M. Tomaszewski, S. Dąbek, S. Szymanski, R. Borowiecka, K. Kiwała, M. Karwaszewska, T. Malecka, K. Kostrzewa, S. Godziemba-Trytek, and others. However, the newly composed works by Polish musicians in the genre of Mass have not yet been comprehended in the scientific works of both, Polish and Ukrainian musicologists, so they deserve special attention and comprehensive analysis. Objectives, methods, and novelty of the research. The purpose of the article is to identify the genre transformations of the Catholic Mass in the works by artists of the late 20th and early 21st centuries. The holistic analysis of the compositions basing on systemic, genre, stylistic, spiritual and semantic approaches are exploited in the study. The article is the first experience of researching little-known works by Polish composers in the genre of Mass or expands information about liturgical cycles that have already been under considering. Research results. Examples of the most original works of the late 20th and early 21st centuries demonstrate the continuing and enrichment of the canonic tradition of the liturgical cycles, transformation of the genre constants of the Catholic Mass, the expansion of its sound field and the horizons of composer thinking. As a result, the cycles, along with tradition and canon, vividly present: 1) the national orientation of creativity, represented by authorial dedications (P. Lukaszewski’s “Missa Sancti Papae Ioannis Pauli Secundi Magni”), quoting folklore themes and rhythms (the Maklakiewicz brothers), translating parts of the Mass into Polish (S. Szymanski’s “Missa spei”), adding excerpts from the Polish literary works; 2) the synthesis of the Mass and other musical genres (I. Zalewski’s “stage cantata” “Missa Sine Nomine”); 3) experiments with modern styles (M. Maliszczak’s jazz “Missa nova”, P. Janczak’s “film” Mass “Missa Film Stetinum”) and technological innovations (B. Schaeffer’s “Missa elettronica”). The analysis of the compositions allowed us to state the presence of two main lines of development of the genre of the Catholic Mass at the turn of the centuries: 1) the prevalence of the traditional approach, the confession of a sacred, reverent attitude to prayer, the preservation of the genre model, reliance on ‘cantus planus’; 2) an experimental view of the genre canon of the mass, its author’s vision: modernization of the presentation of musical material, the play by timbres, by manners of performance, synthesis of voice and electronic track, the prevalence of the author’s concept of the composition of the Mass. However, a clear separation of today’s compositions is an extremely difficult task, because despite the dominance of one approach or another, the contemporary Mass is constantly being modified due to the interpenetration of secular and religious components. Conclusion. We note that the Masses of the late 20th and early 21st centuries raise questions that concern humanity, being the musical meditations, reflections on the spiritual quest of a modern human. That is why the study of this genre turns out to be a complex and at the same time interesting current challenge.

The purpose of the article. The paper describes the contemporary vocal pedagogical repertoire from the standpoint of its representativeness in relation to musical trends of the 20th – early 21st century. The methodology is based on a combination of historical, cultural, systemic, analytical, predictive methods, which made it possible to demonstrate the limited educational repertoire of vocalists, respectively, with didactic tasks and potential openness to expand its genre and style palette in connection with the need to train a universal academic singer. The scientific novelty of the paper lies in the fact that in Ukrainian science for the first time the problematic issues of the content of the pedagogical repertoire of academic vocalists in the context of the genre and style diversity of vocal music of the 20th – early 21st centuries were revealed. Conclusions. The contemporary pedagogical repertoire used in the preparation of academic vocalists does not reflect the stylistic and genre diversity of the musical art of the 20th – early 21st centuries, in particular, it does not contain avant-garde compositions, which have long been a constant of contemporary musical culture. Practical acquaintance with avant-garde classics is possible as part of an elective for those vocalists who plan to specialize in this direction of academic music, however, the pedagogical repertoire of training an academic vocalist does not provide for the performance of works of an avant-garde character and the acquisition of appropriate skills. The reasons for the inexpediency of including avant-garde music of the 20th – early 21st century in the main educational repertoire is the absence of a temporal distance, not always a high artistic level of contemporary works, the impossibility of including contemporary vocal music of an avant-garde character in the anthology due to the peculiarities of its notation and forms of existence, as well as the priority for the educational process of the classical vocal repertoire as such that forms the vocalist’s executive apparatus. At the same time, Ukrainian variety classics of the 20th century is an integral part of the educational repertoire of a contemporary academic vocalist, as it serves as a bridge between elite and popular musical culture.

The evolution of the nation’s mentality is a complex interplay of historical events, societal transformations, and cultural assimilation. The 20th century brought about a series of changes that left an indelible mark on the collective psyche of its people. Navigating through the tumultuous historical landscape of the 20th and early 21st centuries becomes exceptionally important in studying the nuances of fractures in the mentality of Ukrainians. This scientific article aims to delve into the aspects of mental transformations that took place among Ukrainians during this period, shedding light on both historical and assimilation factors that contributed to the evolution and distortion of the Ukrainian worldview. The historical context encompasses a list of events, from the tumultuous first decades of the 20th century, marked by wars and revolutions, to the complex socio-political landscape of the post-Soviet era. Simultaneously, assimilation processes, whether globalization, external cultural influences, internal transformations, wars, or genocide, add impetus to the formation of the Ukrainian mentality. By carefully studying these two components, the goal is to uncover the nuances of changes, challenges, and resilience embedded in the mental profile of Ukrainians, offering a comprehensive understanding of the factors shaping their worldview. In the quest to unravel the complexities associated with the mental transformation of Ukrainians, this article seeks to provide a scientific investigation rooted in historical analysis and assimilation frameworks. Through a detailed examination of key events and cultural dynamics, it is important to contribute to a broader discourse on the evolution of national mentalities, fostering a deeper understanding of the Ukrainian experience in the 20th and early 21st centuries. In this context, it is crucial to consider individual stories and testimonies preserved in personal archives, such as the archive of O. S. Pohribniak. These sources provide an opportunity to trace significant sociocultural changes in the young generation of the 21st century.

The aim of the present article is to trace the establishment of the Russian and Czech historical lexicography and conduct a comparative study of the features of historical dictionaries of these languages. Historical dictionaries of the Czech and Russian languages served as the subject matter of the study. The dictionaries are reviewed chronologically and analyzed according to several lexicographical criteria: time of creation, pool of sources, extent of vocabulary, entry structure, manner of representation of a word’s lexical meaning. Historical lexicography is distinguished by a certain terminological vagueness and ambiguity. Thus, the term “historical dictionary” can mean, on the one hand, a lexicographical study that represents the history of words in the course of a certain epoch in a language’s evolution. On the other hand, dictionaries that explain the meaning of words used in ancient writings can also be termed historical. Such ambiguity signifies that the subject of historical lexicography has not received sufficient attention, either in regards to individual languages, or the Slavic lexicography as a whole. This study has isolated the following stages in the development of the Czech and Russian historical lexicography: (1) 17th–18th centuries – scientific study of vocabulary gives rise to predecessors of historical dictionaries (wordlists, lexicons), (2) 19th century – descriptions of vocabulary stress diachronic changes, giving rise to the first historical dictionaries, (3) 20th century – historical lexicography joins linguistics as a distinct branch of scientific study. A methodology for the compilation of historical dictionaries is developed, many new historical dictionaries are compiled that encompass the entire span of a language’s history, as well as only certain formative stages of the Russian or Czech language. (4) Late 20th – early 21st centuries – conceptual changes to the editorial approach to the structure and compilation of historical dictionaries, the relevance of publishing the dictionaries in the printed form is debated. The introduction of IT into the linguistic science has enabled an expansion of the dictionary database. The practice of creating language corpora has given historical lexicography a new direction and made the material accessible to a wide circle of users. The following can be counted among the distinctive features of the Czech and Russian historical lexicography: a keen interest in the history of language on the part of Czech researchers at even the early stages of the linguistic science, adherence to Western European examples by Czech lexicographers, most historical dictionaries of the Czech language have never been published in full because the work on them has either been suspended or discontinued altogether. In the Russian historical lexicography, on the other hand, there is an intense ongoing effort to create new dictionaries.

We show the results of a study investigating the predominant role of external forcing in steering Atlantic and Pacific ocean variability during the latter half of the 20th (and early 21st) century. By employing the PCMCI+ causal discovery method, we analyze reanalysis data, pacemaker simulations, and a CMIP6 pre-industrial control run. The results reveal a gradual (multi)decadal change in the interactions between major modes of Atlantic and Pacific interannual climate variability from 1950 to 2014. A sliding window analysis identifies a diminishing El Niño-Southern Oscillation (ENSO) effect on the adjacent Atlantic basin through the tropical route, coinciding with the North Atlantic trending toward and maintaining an anomalously warm state after the mid-1980s. In reanalysis, this is accompanied by the prevalence of an extra-tropical pathway connecting ENSO to the tropical Atlantic. Meanwhile, causal networks from reanalysis and pacemaker simulations indicate that increased external forcing might have contributed to strengthening ENSO’s opposite sign response to tropical Atlantic variability during the 1990s and early 21st century, where warming tropical Atlantic sea surface temperatures induced La Niña-like easterly winds in the equatorial Pacific. The analysis of the pre-industrial control run underscores that modes of natural climate variability in the Atlantic and Pacific influence each other also without anthropogenic forcing. Modulation of these interactions by the long-term states of both basins is observed. This work demonstrates the potential of causal discovery for a deeper understanding of mechanisms driving changes in regional and global climate variability. Karmouche, S., Galytska, E., Meehl, G.A., Runge, J.,Weigel, K.,& Eyring,V. (2023b, in review). Changing effects of external forcing on Atlantic-Pacific interactions. EGUsphere, 2023, 1–36. https://doi.org/10.5194/egusphere-2023-18

Looking Backward 2143-1943: The Rise and Fall of the RCT

Did the Soviet period in the history of the national philosophy turn into a failure in the intellectual tradition, a time without serious research activity, when philosophy only catered for the needs of ideology without yielding any fundamental results in the humanities? The author of the article tries to answer this question; her thoughts are based on two books devoted to a landmark event in the history of Soviet philosophy, the so-called case of epistemologists. The discussion makes it possible to oppose the ideology-ridden pseudophilosophy for the development of the Marxist tradition by young philosophers who began their professional career in the early 1950s at the Faculty of Philosophy at Moscow State University and the Institute of Philosophy of the USSR Academy of Sciences. In her article, by considering the example of E.V. Ilyenkov’s creative work, the author shows that the Soviet reception of Marxism, which emerged in the second half of the 1950s and is referred to as the thaw in Soviet philosophy, gave rise to a number of concepts and ideas that followed the lead of the world’s philosophical endeavors of the second half of the 20th and early 21st centuries.