Взаимовлияние рок-культуры и религиозного сознания отечественных рок-музыкантов. Атеизация отечественной рок-музыки в период с 1990 по 2010 годы.
The paper analyses Russian heavy metal music as a musical gen-re. As a key component of the genre, a fantastic theme stands out, which was presented in song lyrics, as well as in music, visual images and live performanc-es. Based on the material of several heavy metal bands of the 1980s and 1990s («Black Coffee», «Legion», «Aria», «Black Obelisk», «Master» and «Ep-idemia»), the paper discovers how the «fantastic world» was represented in Russian heavy metal music. The main images were the follows – history and military subjects, religion and mythology, fantasy, devastating disasters.
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 looks at Mauriacs essays, articles and speeches as a major part of his creative heritage, paying special attention to his unique gifting in the area of journalism. The author of the article observes Mauriacs position of a restless Christian, and his deliberate engagement in key political issues of the time, which then translate into the natural integrity of his writing style retained all through the rich diversity of genres he employs in his work.
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.