The aesthetically beautiful promotes the generation and development of morals, which is demonstrated by the art of embroidery. Dating back into the ancient times, the traditions and practice of embroidery have been consistently developed and passed from master to apprentice. The author regards elements of embroidery as symbols created as a result of the philosophical and aesthetic interpretation of the world. According to the author, towel embroidery has reflected folk world outlook, thoughts and customs connected with fertility and filial piety. Beauty as a symbol originating from the spiritual reveals itself in the embroidery ornaments, which identify human life and art with eternity. Embroidery resembles nature, as neither tolerates vacuum and is always rich in aesthetics and sense. Embroidery does not only reflect the historical and cultural development of people but is its active and direct participant.

In today's world, the basic human wants are already satisfied. Though there are a few ways to attract potential customers to a certain product. One of them is the satisfaction of secondary aesthetic needs. In this regard the aesthetic preference is an important criterion in the consumer purchase decision. When corporate identity is developed properly, the company is guaranteed to attract its regular customers, and therefore, occupies a certain market niche. Thus, it is very important for the company to develop its corporate identity and maintain it, inspiring potential customers to buy, and holding them about the company. Consumer awareness about a particular brand, as well as their emotional and intellectual associations are achieved through corporate identity, or corporate style. Style is the hallmark of goods and services helping the consumer to classify a certain product to a specific category. It also allows consumer to classify the product within a product line and brings the elements of the marketing mix to the needs of the target market.The article proves that the basis of the commercial chain "formproduct-company" is repeatability. It is through the repeatability that the form becomes an attribute of corporate identity. Therefore, this aesthetic element should always be used and improved through the corporate communications system. As practice shows, sometimes even small functional form of a certain object can be invaluable in terms of aesthetics, becoming part of the brand image.

The article deals with introductory parts of olonkhos in the northern regional tradition of the Yakuts. The authors of the article divide the introduction into two segments as follows: a narrative part comes fi rst and is followed by a descriptive one. Narrative parts of olonkhos within this tradition are classifi ed into three groups. Compositions of the fi rst group describe single heroes who have neither father, nor mother, nor sister, nor brother. The second group comprises plots according to which the main character has sisters and brothers but they live all alone without parents. And the third group consists of plots that begin with fairy-tale motifs. The most common plot of introductory parts of olonkhos within the northern regional tradition presented in seven texts describes the main character as a full orphan. The hero is reported never to have seen his revered parents and, thus, lives in the Middle World alone, unaware of his origin: he wonders whether he fell from the sky or appeared from under the ground. Still, in some olonkho texts of the tradition the main character has brothers and sisters. The distinct feature of northern olonkhos is that their introductory parts contain fairytale motifs. Such olonkho texts begin with descriptions of the lives of an old man and an old woman, or an old man with three sons. The descriptive part is divided in two, and it is the house of heroes that is described fi rst: there are detailed descriptions of the building, its interior decoration, household utensils and facilities. The second section describes the Middle World with its mountains, ponds and rivers, plants, trees and grass. The fi nal episode of the narrative includes a description of the Sacred Tree the main character runs across on his way of adventures. And there are different names used to denote the Sacred Tree. The paper concludes that introductory parts of olonkhos of this tradition differ from those of the central and Vilyuisky epic traditions. Narrative parts of olonkhos within the studied tradition are usually incomplete due to the lack of descriptions of the universe.

Russian Orthodox Church (ROC) takes an active part in cultural and social life of Russian society. This is possible thanks to renew relationship between the state and the Church and significant changes in the country. The sociology of religion pays great attention to the study of the social functions performed by religion in the population. Every religion defines the behavior of the adherents in society. It’s usually achieved by a set of moral precepts, prohibitions and norms that are implemented at social and individual levels of behavior and confession. The Church generates content of interest to the media, takes the initiative in developing contacts with the journalistic community, opening up as much as possible to different categories of population on any issue, but society hasn’t been ready for self-perception in such a positive activity yet.

The relevance of the study is due to the fact that it attempts to analyze the artistic features, genre identity and the issues addressed in one of the most significant and monumental works of Clive Staples Lewis The Chronicles of Narnia written in the late period of the writer’s work (1950–1956). In this regard, the purpose of this article is to consider the fantasy world of C. S. Lewis and the traditions of the English literary fairy tale, the genre of fantasy as a semantics-forming genre, as well as the moral issues through the prism of the Gospel values, which are fundamental in understanding the characters of the heroes. The leading approaches to the study of this problem are the comparative method, the method of philological and philosophical analysis, the dialectical and deduction method, which allow to analyze in detail The Chronicles of Narnia as a work of art in all its genre, ideological and philosophical diversity. The article presents a detailed analysis of Clive Staples Lewis’ The Chronicles of Narnia. It is revealed that this work represents a special synthesis of a number of genre structures, such as a parable, a fairy tale, and the genre of fantasy. It is substantiated in the paper that fantasy acts as the main genre structure, since it ‘generalizes’ the parable and the fairy tale, the reality and the fantasy world. The article shows that it is fantasy, as a synthesis of various genre elements, that ensures the unity of the ‘world’s dual nature’: the writer’s world, the country where he and his characters live, and the fictional country. The spiritual evolution of Lewis’ characters is accomplished through overcoming temptations, fear, indifference, and betrayal. The humaneness of Lewis’ moral position is manifested in the fact that he believes that God and his life-giving power is present in the life of every person, and the Joy of man is to meet with God. The materials of the article are of practical value for philologists, philosophers and theologists, and can also be used in lecture courses of “History of Foreign Literature of the XX Century” as well as “History of English Literature of the XX Century”, in lecture courses in cultural studies, history of philosophy of science, history of philosophy of religion, and in the teaching of theology.