Abstract

The author claims that recent publications on the theory of music and literature show some new trends in constructivist philosophy of culture. One of them is the idea of subconscious roots of cultural artifacts that has been applied in music studies. It was at this point it becomes clear that in order to identify variants of constructivism as indicators you can use some very simple assumptions, for example, the assumption of the possibility of the ontological significance of the “artistry" of the text. Such an assumption implicitly contains epistemological realism. So it becomes clear that realism is not something completely dead, including those for constructivism. Where constructivism allows the existence of good (“classic") texts, that is, of “high culture", he is tolerant to realism. On the other side, rejection of the classics is a sign of the radical versions of constructivism. There is possibility of fixing the difference between ontologies, which differ among themselves as a state of loss and forgetting the reality.