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The article continues the systematic review and analysis of newspaper and magazine responses to the first edition of the main work of V. Solovyov on moral philosophy "Justification of Good" (1897). The fourth part of this series of articles examines critical attacks on this book by representatives of the left, presumably Populist camp of the Russian press and public thought. It describes in detail critical responses of such authors as the regular columnist of the newspaper "Novosti", literary critic Evgeny A. Solovyov, an anonymous review published in the journal "Russian Thought", the reviews by the positivist philosopher Pavel V. Mokievsky in "Russkoe bogatstvo" and by the religious idealist Akim L. Volynsky in the "Severnyi vestnik". It is noted that the main tone of criticism from the left was the assertion that the philosopher took the position of a conformist acceptance of the state and the church in their existing forms. Based on the consideration of all the above responses, the article concludes that none of the aforementioned critics tried to understand the essence of V. Solovyov's views. For most of the left-wing critics, any correlation of philosophy with religion, at least in its traditional forms, was unacceptable. It is argued that certain objections of V. Solovyov's critics on the left against his concept of moral philosophy were not without persuasiveness, which the philosopher had to take into account in the second edition of his work.

The paper deals with 221 burnt stones from the Scythian graves found on the left bank of the Lower Dniester dated to the 5th—2nd centuries BC. All of them, if it was fixed, come from wooden or handmade ritual vessels. Stones of approximately the same size and without traces of processing were used as heating elements. In all cases, traces of burning were recorded — soot spots and characteristic fracturing. Petrological thin sections showed the mineral composition of the rocks and their structural and textural features. These are, as a rule, sandstones and, much less often, other rocks (carbonate, igneous and metamorphic). The vast majority of stones are of local origin, and only a few are imported. At present, it is obvious that the tradition of fumigating graves among the Scythians of the North-West Black Sea region appeared no later than the 5th century BC. Initially, wooden vessels served as containers for red-hot pebbles and organic balms. Starting from the 3rd century BC as vessels for the same pebbles, handmade incense cups began to be used, widely known not only in the cemeteries of the 3rd—2nd centuries BC near the Glinoe Village and in other sites of the Dniester region, but also in a number of other Scythian sites, situated westwards (Dobruja, Lower Danube region) and eastwards (Bug, Dnieper, Crimea, Azov and Don regions). Keywords: Scythians, graves, 5th—2nd centuries BC, left bank of the Lower Dniester, wooden and handmade ritual vessels, petrography, rocks

Unbroken and fragmented black-glazed vessels were one of the most informative categories of pottery found during underwater excavations by the expedition of the Institute of Archeology of the Russian Academy of Sciences in the area of the port of Panticapaeum near Ak-Burun cape (about 480 in total). Items decorated with stamped and incised ornaments, brought to the Bosporus from Attica, Asia Minor and Corinth, accounted for a significant percentage. They date back from the last quarter of the 5th — the second half of the 2nd century BC. The set of shapes and combinations of decorative elements are, generally, quite standard, somewhat inferior in diversity to the pottery finds from the urban layers of Panticapaeum. New impressions that have not been seen before can be identified, as well as identical stamps, which made it possible to cautiously assume the possibility of manufacturing several pairs of vessels in the same workshop. Fragment of a Stemless cup of the first quarter of the 4th century BC with a unique decoration on the inner surface is of particular interest: Silenic masks surrounded by stylized pine cones. There are no analogies to such images, but stylistically, the closest examples come from Southern Italy.

We provide here the review of the 6th International Conference of Young Scientists "Space and Time in Russian Literature and Philosophy", held on November 14–16, 2023 at "A.F. Losev House – Research Library and Memorial Museum" in Moscow and dedicated to the 170th anniversary of V.S. Solovyov and the 130th anniversary of A.F. Losev. The Conference ended with the summing up of the All-Russian competition of works by young scientists "Daring of the spirit". We note that since the existence of the conference and for six years now, "Solovyov Studies" journal has been its permanent organizer, along with "A.F. Losev House", the Gorky Institute of World Literature of the Russian Academy of Sciences and the A.F. Losev Center for Russian Language and Culture, Institute of Philology, Moscow Pedagogical State University. We provide the information on the course of the conference over three days and the work of 11 meetings, at which the results of 80 research by young scientists and specialists from various scientific and educational organizations in Russia, China, Hungary and Israel were presented. We give a detailed analysis of the topics of the reports read at the conference, the main thematic areas, philosophical and literary problems related to the understanding of space and time as ontological and artistic categories, as well as those that aroused the greatest interest among its participants.

The article is devoted to Vl. Solovyov's aesthetic evaluation of K.M. Fofanov's works, well-known poet of the 1880s–1900s. The reconstruction of V. Solovyov's perception of the poet's lyrics was carried out, due to the philosopher's lack of a separate work on K.M. Fofanov. It allowed to establish Fofanov's place in Solovyov's hierarchy of the leading lyricists of the second half of the XIX century (A.A. Golenishchev-Kutuzov, A.N. Maykov, Ya.P. Polonsky, A.K. Tolstoy, A.A. Fet) and reveal the connection between the aesthetic evaluation of Fofanov's creative work and the general attitude of the thinker to the decadent trends in the literary process of the 1890s. These trends distort the "eternal truth" and "universal meaning"and cause Solovyov's rejection of other authors of this period (V.Ya. Bryusov, A.L. Volynsky, D.S. Merezhkovsky, N.M. Minsky, V.V. Rozanov, etc) as well as to identify the coincidences or discrepancies of Solovyov's position with contemporary literary criticism (N.M. Sokolov, N.N. Strakhov). For a holistic presentation of V. Solovyov's aesthetic assessments of K.F. Fofanov's lyrics it is necessary to take into account his views in such areas as ethics and historiosophy. It is shown that the rejection of Fofanov-the lyricist is also connected with his categorical protest against ethical and historical "decadence", which, among other things, includes the newest "patriots" who, in their national, ethical and religious blindness, reached the apotheosis of the reign of Ivan the Terrible. This allows us to hypothesize that the aesthetic denial of Fofanov-the lyricist is associated in Solovyov's mind with the general process of diagnosing the "spiritual disease" of modern society, which makes itself felt in various forms (literary or social). This disease makes itself known also in a specific ideological division into "parties" in Russian society in the 1880s–1890s (apotheosis of Ivan the Terrible in the poems by A.N. Maykov in Katkov's "Russkij Vestnik", as well as the patronage of Fofanov by A.S. Suvorin's "Novoe Vremia"). It is shown that Fofanov's lyrics seem to Solovyov to be one of the examples of substitution of concepts (a phenomenon characteristic of the epoch): Christ – superman, the idea of monarchy – tyranny, the Russian idea – Byzantinism, self –consciousness – narcissism, the higher sense – pretentious nonsense. It is no coincidence that Fofanov becomes the cult-figure of the ego-futurist Igor Severyanin, who, partly recognizing Fofanov's involvement in decadence, makes a step further from the "formulaic" and "banal" in Fofanov's poetry to the avant-garde cult of "the trivial", blurring the distinction between "true" and "false".