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Abstract:

The article raises the issue of the need to update the conceptual apparatus of the humanities. One of the productive directions may be an appeal to the concept of the boundary, which has already been developed in a broad cultural field. But operating with the concept of the boundary requires an adequate methodology, which the modern scientific paradigm does not yet have. Therefore, the problem posed requires theoretical understanding from the point of view of phenomenology. The phenomenological approach here is understood as a focus on the anthropological, in the broad sense — the cultural reality of human existence. In this case, the phenomenology of a work of art assumes to reveal a much larger semantic volume than traditional historical and cultural analysis. In other words, it is supposed not to study the relationship of forms, styles and trends, but to try to discover the hidden meanings of the era of the boundary as a special cultural landscape, since any boundary is by definition a chronotope of change and renewal; it implies the emergence of a new quality of being, a new worldview. The phenomenology of borderline reveals the multidimensionality of cultural identity, in which, depending on the circumstances, different semantic vectors are actualized.