В данной статье авторы исследуют онтологические стратегии метафизики МайстераЭкхарта, восходившей к неоплатонизму и ареопагитическому корпусу, и двух школ индийской философской традиции: адвайта-веданты, восходящей к текстам Упанишад,и раннего буддизма (канон «Типитака» и учение Нагарджуны). Эта задача сложна, поскольку легко поддаться искушению некоей внешней схожести, что и делалось, начиная с теософов, уже много раз, Экхарта пытались представить то как индийского йога, то как дзен-буддиста, то как тайного антропософа или каббалиста и т.д. Авторы далеки от подобных сюжетов. В статье показано, что, наряду с различиями в антропологии, гносеологии и сотериологии христианской и индийской традиций, а также различиями между ведической традицией и буддизмом, мы можем обнаружить схожие стратегии онтологической негативности и мистического опыта: отрешенность от мира образов и форм как высшее благо; отказ ассоциировать себя с телесностью, чувствами, познавательными способностями и разумом; интериоризация интенциональности сознания и прекращение его репрезентативной функции. Практически все системы индийской философии были проектами освобождения, превращения человека из существа несвободного и страдающего в существо свободное и блаженное. Идея освобождения духа лежит и в основе христианского учения о спасении как оставлении грехов и страданий, как блаженном единении с Богом. Учение христианских мистиков-неоплатоников о сокрытости, непознаваемости и  невыразимости Бога как Единого и Ничто, а также идея постижения Бога посредством предельного отрешения от тварного мира и собственного эго дает нам основания для таких сопоставлений.

В данной статье рассматриваются особенности уличного протеста в современной российской провинции. Автора интересует символический контекст уличного протеста. Создание символов протеста и их тиражирование создают новую протестную реальность. Заметное увеличение практик скрытого протеста также позволяет говорить об актуальности символического языка, на котором пишется протестное письмо. Вместе с тем, в статье говорится и о тех символах, что задействуются самой властью с целью предупреждения делегитимации.

Presentation of a taxonomy for analyzing objects in films and application to the work of Canadian filmmaker, Denys Arcand, aiming to identify and analyze how the most representative daily objects are used in films. The following three films are analyzed for the purposes of this paper: Le déclin de l’empire américain (The Decline of the American Empire, 1986), Les invasions barbares (The Barbarian Invasions, 2003) and L’âge des ténèbres (Days of Darkness, 2007).

The problem of time in Gregory of Nyssa has been reopened in several recent studies. After a review of these new solutions, the author proposes a more formalised approach taking into account our present knowledge of the logical properties of the infinite sets.

This paper approaches the problem of cultural exchange in cinema by considering the work of a prominent Japanese documentary filmmaker Kamei Fumio (1908-1987). Prior to becoming a film director, Kamei spent two and a half years living in the Soviet Union (1929-1931) and later continued to play an important role as a cultural mediator between the two countries. While it is widely acknowledged that Kamei’s interest in editing was prompted by his visit to the USSR, it has never been entirely determined just how his study abroad experience influenced his future filmmaking.This paper aims to identify the points of contiguity between Kamei’s films and his supposed Soviet “inspirers” by conducting a close textual analysis of Kamei’s wartime documentaries: Shanghai (1938), Peking (1938), Fighting Soldiers (1939) and Kobayashi Issa (1941) – and comparing them to influential Soviet films to which Kamei was exposed in 1929-1931.

When applied to education, Heidegger’s analysis of Da-sein suggests that in his ontology the epistemological problem of clarifying cognition is replaced by the existential problem of the cognition of the understanding individual. Thus, Heidegger treats “education” ontologically as the ability to achieve Da-sein as one’s own true and integral being whose Da-sein always takes precedence in understanding. On this basis, we can say that Heidegger treats education as a transcendental ontological structure that he, like Scheler, calls “disclosedness.” And although Heidegger almost never uses the term “education” in his analytic system, preferring instead to use expressions such as “authentic being,” “projection of the self,” etc., all of this content that he invests in this term closely follows Scheler’s interpretation, because it also characterizes human existence as “open” and “not foreordained.” For Scheler, the same “open” existence is an expression of existential human freedom, since it serves to manifest the spirit as the ontological principle. Considered in epistemological and value terms, this freedom, according to Scheler, is what he refers to as “education,” a transcending state of being that is manifested for another thing in existence as something that is “known” by loving participation in it with a view to achieving “one’s authentic self.”

В статье исследуются архивные материалы, хранящихся в Государственном музее истории религии ранее не публиковавшихся документальных и вещевых коллекций видного российского кавказоведа Евгения Михайловича Шиллинга (1892–1953).

The article discusses the corpus of Dmtri Prigov's manifestoes, articles, and programmatic interviews as a manifestation of a coherent theoretical concept. The author of the article argues that Prigov's theoretical ideas are structured in accordance with his own central artistic category-for which, oddly enough, he did not have a common name. The author refers to this category as performativity, although Prigov himself did not use this word, preferring to discuss the behavioral level, operational modes, characters, images (imidzhi), and so on. Performativity, in this interpretation, permeates the totality of an artistic practice, without exception. Texts, paintings, installations, actual performances, and any public utterance-interviews, for example-become "traces" of performative behavior. It is along these lines that one can speak about the performative life of the contemporary author, about the "behavior that is to be found within a non-playful art form, in which the typical type of conventional professional language does not imply (or rather, until the relevant time period, did not imply) the appearance of the creator, who by his presence relativizes the very value, durability, uniqueness, and self-sufficiency of the language of the objects he made." It is from this perspective that the author discusses the overarching meaning of Prigov's oeuvre as the grandiose mockery of societal cultural practices rather than a collection of self-sufficient works. This approach also elucidates Prigov's programmatic self-modeling as the trickster who can only fulfill the performative as the central category of contemporary culture. © 2016 The Russian Review.