The research presented in the article aimed to diagnose the profound changes that have taken place in education as a result of the expansion of screen technologies and the introduction of distance interaction in pedagogy. The live-sounding speech of a teacher is the true historical form of paideia as such and the technique of maieutics in particular. Any intermediary, even a writing process, let alone the screen, reduces the effect of pedagogical dialog and produces significant and radical changes in the understanding of meaning. The article deals with the problems of understanding in the pressing context of two turns of educational philosophy: linguistic and medial. The empirical background of these turns is represented, on the one hand, by the increasing extent of the visualized (“printed,” “screened”) word in educational procedures vs. the sounding word, and by the irreversible introduction of screen technologies, digitalization, and distance learning, on the other hand. The consideration is made through the prism of the comprehension-based approach focusing on the values and meanings of professional-pedagogical activity, namely, the systemic approach, the principles of language sign ambivalence, the method of stylistic decoding, the method of analysis of vocabulary definitions, and intertextuality.

The article analyzes the image of a woman philosopher, created by modern culture, on the material of feature cinematography. Revealing a set of characteristics that belong to a woman-philosopher in the collective representations that are broadcast in motion pictures allows performing a double research vision: 1) analysis of the cultural era to which the heroine of the biopic belonged; a specific philosophical concept created by her; 2) diagnostics of the culture that created the cinematic portrait of a woman-philosopher. The authors of the article express a hypothesis of a proteistic nature of both philosophical concepts and personal characteristics of women-thinkers. Proteism (permanent changeability, fluidity, incompleteness, uncertainty, fundamental inexpressibility) is found by film artists as the main characteristic of a woman-philosopher. Proteism, coinciding with the features of postmodernity as such, makes a woman-philosopher an attractive type of a famous person, a hero of a biopic. The authors conclude that by choosing to portray women-philosophers, cinema reveals another of its functionsthe futurological one, and predicts the development of culture.

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Purpose. The purpose of this study is to identify and fix the nature of the changes associated with the emergence and subsequent change in the role of television within the sociocultural universe of modern man. An analysis of its features, characteristics and factors that are currently causing the most significant changes within this sphere, which actually creates its own “second reality”. Methodology. The study used the historical method, analysis of textual materials, as well as content analysis and cross-factor analysis of sources in terms of parameters that have content, the study of which was important to achieve the intended goal. To consider this problem, the author turns to the socio-philosophical and anthropological analysis of the role of the screen in modern culture. The article uses comparative analysis, historical-philosophical and anthropological methods. Results. This article explores the historical socio-cultural genesis of television as a mass media, from the moment the first television devices were created to the present. A number of modern views on the peculiarities of the influence of the fact of the appearance of television on the perception and consciousness of the viewer in the process of informing him through the television screen are consistently considered, and their comparison is made. Particular attention is paid to the analysis of the factors of influence of television on the foundations of modern mass culture formed by it. According to the results of the study, the origins and reasons for the gradual transformation of the main function of television from mass information to equally massive manipulation are identified and analyzed, within which the basic types of social impact and the formation of a different, television reality are identified. In conclusion, the processes of mediatization of the social existence of an individual, as well as the crisis of his cultural identity, are considered separately.