The Permanence of Ephemeral: Tsoi Wall 23 years after
Tsoi Wall or thousands inscriptions and drawings on the city wall appeared in Moscow in 1990 as a spontaneous reaction of the city dwellers on a tragic death of Victor Tsoy, a founder and frontman of rock group “Kino”. Today the Wall exists in multiple modes and due to the contribution of many: unnoticed in a daily routine authors and the “keepers” of the Wall, curious passers by and tourists that purposely include the Wall into their city exploration routes. Multiplicity and openness of the Wall allow to include it into different contexts and time series, to reveal it in front of completely different audience and make it attractive for actual and virtual visitors, and, for sure, for curious passing-by theoreticians, like we are. Paper examines why Tsoi became the cultural hero and who are the other ones remembered by the various audiences? what is the role of urban public space in this long-term commemoration? how this place is used now?
This article consists of a publication of one of the most important graffiti-inscriptions on fragments of fresco plaster found in the course of excavations in 2014 in St. George’s Cathedral in Novgorod’s Yuriev Monastery. The graffito was a note recording the death of Prince Yaroslav Vladimirovich’s sons, Izyaslav and Rostislav, who according to evidence in the chronicle died in the early summer of 1198 and were buried in the monastery’s cathedral. The precise dates included in the text (the burial of Izyaslav on June 15th and the death of Rostislav on June 20th) shed light on the circumstances, in which on June 8, 1198 the foundations were laid for the Church of the Transfiguration on Nereditsa Hill, which is thought to have been founded in connection with the death of the Prince’s sons.
The review highlights the significance of the anthropological perspective to the contemporary Russian city developed by the authors of the book. Describing the city through the lenses of the groups whose role in shaping the cityscape changed dramatically in last two decades, the book attracts attention to the new agents such as migrants, queer coomunities, youth subcultures contributing to the formation of new conventions and new practices of urban life. This perspective is important for understanding the urban life in Russia as shaped by everyday practices and interactions.
A particular case which has been chosen for this paper deals with a unique personal project by Hamburg graffiti writer Oz, one of the oldest and prolific participants of Hamburg graffiti and street art scene. His personal project, successful in terms of public recognition (and public hate), includes 30 years of painting simple but incalculable symbols on nearly every surface in Hamburg. Oz presents a viewer with a different image of the city, creating an open and fluid urban “community of vision” as well as the conditions for “street art” to develop itself in the city in a very innovative way. The paper brings together several methodological fields: visual studies, which are comparatively less presented in the existing field of debates on street art, with more traditional sociology and social anthropology
Urban public space continues to be the focus of debate regarding its conceptualization and how it is designed, (re)produced and managed. Nowadays public spaces are facing new challenges conceptually and practically. This book focuses on two of them: mobility and aestheticization. Mobility and flows are considered to be key characteristics of the post-modern era. While for some scholars it means the «end of place», others are trying to re-conceptualize it by bringing together notions of space, place, mobility and identity. Still surprisingly few authors address the concept of public space in this respect. Principles of aesthetic and diverse forms of aestheticization seem to have affected urban space and culture throughout Modernity, forming a dimension where power and conflict around urban space are performed. In this book nine authors with social science and arts backgrounds from six countries discuss how these processes shape the life of modern cities, and where the social sciences should move for a better understanding of them.
The article applies the occulture theory by the British religion scientist C. Patridge to the realities of music culture. For this purpose, several forms of music occulture are defined; they exploit the sub/ jects of easternisation, nativism, and ecologism, as well as the types of musicians playing with its images: adept, commercial project, and bricoleur. An adept is a musician who represents a particular esoteric teaching; a commercial project is a musician or a group working in the genre or style that was aesthetically shaped by occulture, in this case their exploiting of occulture is of a purely commercial nature. A bricoleur is a musician who plays around with occulture themes, and puts their own creative vision in the first place, in other words, composes their piece of music with the occulture material at hand. This scheme is projected onto the modern Russian music culture, considering examples of all types of occulture influence in Russian music and demonstrates the heuristic nature of the occulture theory for its analysis. The adept type of musician is analysed drawing on the example of the Russian Rod/ novery movement, represented by groups like “Butterfly Temple”, “Svarga”, “Alkonost”, “Arkona”, and “Tverd”. This type also includes musicians who were strongly influenced by the Soviet esoteric underground (A. F. Sklyar, V. Shumov, S. Kuryokhin). The specifics of commercial projects is shown in the study by the groups “Aria”, “Knyazz” and festival culture. Bricoleurs’ music is analysed through B. Grebenshchikov, S. Kalugin, R. Anchevskaya and P. Korolenko. The author draws a conclusion that Russian musical culture largely follows the principles that were laid in the west and, similar to western culture, exploits occulture themes, but acquires its orig/ inal features in the music of bricoleurs.
Russian rock music of the 1980s - 2000s by the opinion of many scholars has become a phenomenon largely formed by the religious interests of its creators. For example, the fascination of one of the classics of Russian rock Boris Grebenshikov for Buddhism, Christianity and Hinduism is well known. But scholars rarely raise the question not about religious, but about esoteric influences in the works of Russian rockers. In the paper, we plan to review key influences of the esoteric teachings on the formation of Russian rock music of the turn of the century. This overview will examine in details the works of bands Va-Bank, Nautilus Pompilius, the Orgy of the righteous, Rada and Ternovnik, Civil defense and performers Sergei Kuryokhin, Vasily Shumov, Psoy Korolenko. It is possible to highlight several key questions that are important to the review: which of the representatives of Western esotericism inspired Russian musicians; what images, teachings, theories they used in their music and songs; how conscious was their appeal to esotericism; was it a tribute to fashion, artistic technique or an expression of personal opinion. The answers to these questions will help to reveal the specific nature of the influence of Western esotericism on the Russian rock and to show its originality or maybe even its uniqueness.
The article considers the Views of L. N. Tolstoy not only as a representative, but also as a accomplisher of the Enlightenment. A comparison of his philosophy with the ideas of Spinoza and Diderot made it possible to clarify some aspects of the transition to the unique Tolstoy’s religious and philosophical doctrine. The comparison of General and specific features of the three philosophers was subjected to a special analysis. Special attention is paid to the way of thinking, the relation to science and the specifics of the worldview by Tolstoy and Diderot. An important aspect is researched the contradiction between the way of thinking and the way of life of the three philosophers.
Tolstoy's transition from rational perception of life to its religious and existential bases is shown. Tolstoy gradually moves away from the idea of a natural man to the idea of a man, who living the commandments of Christ. Starting from the educational worldview, Tolstoy ended by creation of religious and philosophical doctrine, which were relevant for the 20th century.
This important new book offers the first full-length interpretation of the thought of Martin Heidegger with respect to irony. In a radical reading of Heidegger's major works (from Being and Time through the ‘Rector's Address' and the ‘Letter on Humanism' to ‘The Origin of the Work of Art' and the Spiegel interview), Andrew Haas does not claim that Heidegger is simply being ironic. Rather he argues that Heidegger's writings make such an interpretation possible - perhaps even necessary.
Heidegger begins Being and Time with a quote from Plato, a thinker famous for his insistence upon Socratic irony. The Irony of Heidegger takes seriously the apparently curious decision to introduce the threat of irony even as philosophy begins in earnest to raise the question of the meaning of being. Through a detailed and thorough reading of Heidegger's major texts and the fundamental questions they raise, Haas reveals that one of the most important philosophers of the 20th century can be read with as much irony as earnestness. The Irony of Heidegger attempts to show that the essence of this irony lies in uncertainty, and that the entire project of onto-heno-chrono-phenomenology, therefore needs to be called into question.
The article is concerned with the notions of technology in essays of Ernst and Friedrich Georg Jünger. The special problem of the connection between technology and freedom is discussed in the broader context of the criticism of culture and technocracy discussion in the German intellectual history of the first half of the 20th century.