The question of the most adequate naming of the «philosophy of the common cause» of N.F. Fedorov in modern philosophical concepts is considered. The object of the analysis includes areas common today directly related to the problem of death / immortality, such as immortology and thanatology. A comparative analysis of Fedorov’s attitude towards death and those «death discourses» taking place in modern immortology and thanatology is carried out. The moral core of the relationship of N.F. Fedorov to death, which is significantly different from his teachings and the above areas, is revealed. N.F. Fedorov’s doctrine with his philosophy of death as a «moral challenge» is characterized as one of the most striking incarnations and manifestations of the ethical-centric essence of Russian philosophy.

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The article discusses the criteria for authentic humanity within the moral paradigm of Russian philosophy. In Russian philosophy, the disciplines of ethics and anthropology are intertwined, as the question of human nature is primarily addressed from a moral perspective. The article primarily focuses on the interplay between faith and conscience, a topic that is approached and resolved differently within the context of Russian philosophy compared to Western European philosophy. For instance, the concept of “elimination of the ethical,” a fundamental aspect of S. Kierkegaard’s existential philosophy, is discussed. The transcendence of ethical rationalism through a leap of faith, exemplified by Abraham’s act, forms the essence of authentic Christian ethics. It explores how faith is challenged by ethics, which requires not blind faith, but rational behavior in accordance with the widely accepted norms of social morality. The article highlights the conflict between existential faith and social ethics as the primary contradiction identified by S. Kierkegaard. The author revisits the ideas of F.M. Dostoevsky, N.A. Berdyaev, and others to illustrate that within the context of Russian philosophy, the critical situation is less about the anticipation of death and more about the moral anguish of conscience arising from the evil and falsehood prevalent in the world, a sentiment shared by diverse individuals like V.S. Solovyov and V.M. Shukshin. This perspective significantly redefines the concept of the existential in Russian philosophy, equating it with profound moral reflection. In discussing philosophical and anthropological issues under the “post-human threat,” the author introduces the concept of “conscientious faith.” This concept, serving as a fundamental anthropological unit, posits that it is the conscience, with its appeal to personal moral responsibility, that reveals the moral essence of an individual, thereby establishing human uniqueness.

The paper deals with the analysis of ethical and aesthetic aspects of Russian rock by the example of the work of one of its prominent representatives Konstantin Kinchev. The authors suggest that Russian rock poetry is an organic and distinctive element of the large text of Russian culture, reflecting its deep typological characteristics. This is primarily a synthesis of literature and philosophy with a prevalence of moral issues. The mutual transition between the ethical and the existential, which is characteristic of Russian philosophical culture finds its highest embodiment in the work of K. Kinchev. From this point of view, the paper addresses some important aspects of the rock poet’s creative career, which are characterized by very strong spiritual conflicts, manifested in such topics as a painful search for truth, rushing from darkness to light, immersion in infernal areas, etc. The paper shows that these states are necessary for generating of a full-fledged art world, which is unthinkable without such contradictions. Thus, the authors debunk traditionally reduced and openly negative image of the representative of rock culture as a carrier of aggressive and destructive principles. The feeling that a poetic gift of the creator makes him a part of the divine being, and, accordingly, morally responsible for each word spoken comes to be important for all the work of K. Kinchev. As the paper identifies this is an essentially religious concept of artistic creation, rooted in the ideas of N. V. Gogol.