Диски-Посредники: Неакадемические наблюдения о феномене грампластинок производства социалистических стран в позднем СССР
The article examines the history of Soviet and early post-Soviet film between the late 1980s and early 1990s with attention to the assimilation of codes of sexuality, methods for showing the naked body and the motivations behind this. The concept of the “pornographic imagination,” which brings together the approaches of Susan Sontag and Jacques Lacan, enables Levchenko to trace a change in attitudes toward representations of the body in film, which had been liberated from the need to adhere to the norms of both “high art” and “societal morals.” Between the perestroika period and the mid-1990s, sex in (post-)Soviet film was transformed from a set of stigmatized and taboo practices into a universal resource of interpretation, and subsequently into a commodity that spurred the growth of self-sufficient consumption
All artistic groups of non-propagandist writers (so called poputchiks) were forcedly dissolved in USSR in the early 1930s. First Soviet Writers’ Congress held in Moscow in 1934proclaimed the socialist realism as an only permissible method for the Soviet Literature. It is commonly accepted among the historians that this ideological directivewas more or less carried into effect and Soviet literature in the mid30s became rather uniform — with the exception of only the uncensored and unpublished writers such as Daniil Kharms, Alexander Vvedenskii or Jan Satunovskii. However, discussing the history of loyal — and censored — poetry, we could see that its picture was also much more complicated: soviet poetry was consisting of a few polemizing movements. This paper is a part of a handbook chapter presenting the sketch of these movements: “sentimental populism”, post-Constructivism (group of “usual” Constructivists was dissolved in 1930), “neo-Romanticism” and historical poetry. Here the descriptions of “sentimental populism” and historical poetry are presented.
The paper examines a rare explored phenomenon of Soviet cover design –a number of official releases produced by the only recording concern Melodija on the one hand, and so-called “tape-albums” became widespread among underground people in the late Soviet Union, on another.
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.