Keyword: «being»

Religion remains important in the modern world, despite the process of secularization. In the last 15-20 years there has been massivization attraction to religious rites and rituals. There is a need to analyze the phenomena of sacred being, which are always present in the world of everyday life, and most importantly - are one of the major types of motivation of social behavior. Religion is the main, the main factor influencing the design of the tender, the creation and preservation of certain expectations, orders assigned to men and women (ie. E. Gender stereotypes). Regulations and enforcement of appropriate masculinity and femininity can be different for different generations, different ethnic, cultural and religious groups, different backgrounds. This approach is important for Russia - a multi-religious, multi-ethnic country in which coexist sometimes diametrically opposed cultures. Until the middle of the XIX century the vast majority of scientific and theological studies conducted with dofeministskih positions based on the contention that the female experience is not related to the intellectual and spiritual spheres, which are a man's world, "closed" for women. The Bible, the Koran, the Vedas, the Torah and other sacred text, create innovators, men in the patriarchal attitudes reflected patriarchal views and attitudes canonized them as quotations, revelations, views, helped perpetuate patriarchy culture and justify it with the position of spiritual authority. Word of Scripture justify existing inequality of women, regardless of what the women in question - black, white, Muslim, Jewish or Christian. Traditional religions of different countries have played an important role in the formation of gender stereotypes that discriminate against Women in the background Male.

The article explores the category of dialogical nothingness as a tool for analysing the chronotopic potential of contemporary song poetry. The specificity of Em Kalinin’s lyrical hero is comprehended in the context of the semiotic vacuum of nothingness and communicative decentration. In the context of comparativism the dialogical potential of the chronotopic zone of nothingness in the lyrics of the XIX–XXI centuries is investigated. It is demonstrated how dialogic nothingness – subject-subject interaction about death – becomes the basis for rethinking traditional communicative strategies. Special attention is paid to the phenomenon of ethical and aesthetic masochism revealed through carnivalisation and images of madness. It is established that in the song poetry of Em Kalinin, the dialogical nothingness constructs the lyrical hero as an image of an intersubjective character who realises the dualism of self-presentation and self-destruction.