The Paranormal in Jane Jensen’s “Gray Matter”
The main research issue of this article is to determine the extent to which Western esotericism influences the formation of computer game plots. The methodological framework is the occultural bricolage theory (C. Partridge). This article looks at how the paranormal is represented in the game “Gray Matter”, created by J. Jensen. Jensen has always used occult bricolage as the main method for creating her games, but in “Gray Matter” this method is perfected. Although the game plot is built around paranormal events, they are not given any unambiguous interpretation; their status is the main question of the game. There are three answers to this question. The first answer is the beliefs of Sam Everett, a girl magician who does not believe in the supernatural. The second answer is the research of Dr. Styles, a neurobiologist convinced that the mind is an energy that can be objectified after death. The third answer is the theory of Dr. Ramusskin, a psi-phenomena specialist, who believes that super-abilities are real, and that spirits and the afterlife exist. It is the last answer that Jensen promotes in creating the game. The basis of “Gray matter” is a bricolage of Stephen King, the works of the Society for Psychical Research, works on parapsychology and the debates around psi-phenomena in neuropsychology.
The paper focuses on the concept of leading European researcher of the history of Western esotericism Wouter Hanegraaff which was presented in the monograph «Esotericism and the Academy». This concept is briefly formulated as follows: Division by Alchemy and chemistry occurs through two types of scientific research. The first type is focused on the opening of the wisdom of the ancients in the interpretation of texts of earlier eras. The second type now known as chemistry is based on the language of experimental science. Hanegraaff’s approach, therefore, is opposed at the same time to the theories of positivists, Jung and Eliade, as well as the "new historiography" of Newman and Principe.
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 book «The personal diary of Dr. John Dee» deserves the closest attention of all those who work in the field of history and philosophy of science, history of ideas, cultural studies, as well as the history and theory of esotericism. The central material of the book is personal notes of the famous British mathematician, astrologer, alchemist and philosopher John Dee (1527–1609), in the field of whose scientific interests there was a wide range of different branches of knowledge. The text in Russian is published for the first time and has nothing to do with John Dee’s Enochian diaries, edited by M. Casaubon. In addition, the book includes fragments of the texts by various authors — J. Lysons, B. Stoker, W. Lilly, G. Heppel and others, as well as a lengthy article about John Dee, written by a translator of the diary and applications — Yu. F. Rodichenkov, PhD. It seems that the attention of a reader interested in this topic will also be attracted by a detailed chronology of the life of John Dee.
Meaningful life is emotionally marked off. That’s the general point that Johansen (IPBS: Integrative Psychological & Behavioral Science 44, 2010) makes which is of great importance. Fictional abstractions use to make the point even more salient. As an example I’ve examined Borges’ famous fiction story. Along with the examples of Johansen it provides an informative case of exploring symbolic mechanisms which bind meaning with emotions. This particular mode of analysis draws forth poetry and literature in general to be treated as a “meaningful life laboratory”. Ways of explanation of emotional effect the art exercises on people, which had been disclosed within this laboratory, however, constitute a significant distinction in terms that I have designated as “referential” and “substantive”. The former appeals to something that has already been charged with emotional power, whereas the latter comes to effect by means of special symbolic mechanisms creating the emotional experience within the situation. Johansen, who tends to explain emotions exerted by the art without leaving the semiotic perspective, is drawn towards the “referential” type of explanation. Based upon discussions in theory of metaphor and Robert Witkin’s sociological theory of arts it is demonstrated an insufficient of “referential” explanation. To overcome a monopoly of “referential” explanation of emotional engagement, in particular, in literature, means to break away from the way of reasoning, stating endless references to “something else”, presupposing the existence of something already significant and therefore sharing its effects.
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.