About the iconography of the Potnia theron in the northern Black Sea region
The article is devoted to one of the variants of the Rankenfrau image with the Satyr mask, known from the images on the plates found in Tauric Chersonesos, in the burial complex of the Kul-Oba mound, as well as in the mound near st. Ivanovskaya (Fig. 1-3). Consideration of the context of each of the finds, as well as their comparison, allows us to assume that they all served as an ornament for the clothes - the headdress of the priestess. The image of the goddess depicted on the plates goes back to the iconographic type Potnia Theron. The combination in one set of images of a winged goddess and a mask of Silenus was probably associated with the cult of Artemis Orthia.
This paper deals with the problem of the subject — the crucial task here consists in making compatible the idea of an ineffable, transcendental I with the fact of the empirical subject (in its embodiment, character, etc.). In order to retain the transcendental I, it always had to sacrifice its inseparable connection with the empirical I. Another strategy would be to sacrifice the I — but in that case, the philosophical subject ends up a combination of psychophysical mechanisms. An attempt to overcome these extremes by way of revising the methodological assumptions was undertaken in the 20th century within the framework of narrative ontologies. Swiss writer Max Frisch is close to this tradition. Remarkably, his novels (“Homo Faber”, “A Wilderness of Mirrors” and “I'm Not Stiller”) may offer a key to resolving this central philosophical mystery. It would not, however, be a properly philosophical reading or philosophical interpretation if one were simply to re-read the trilogy. I will approach it through the concept of the “Mask,” grasped as the way of being of the philosophical subject. The mask hides the ineffable I underneath it — but its form also allows to account for the empirical subject, without thereby falling into contradiction: the internal I shapes the external relief of the mask, whereas this external side, in its immediate contact with the world, in turn affects the I. In other words, the mask retains the transcendental I, but also leaves intact the “living” subject, with all the intricacies of its internal, spiritual life.
We consider the control of vibrations of membranes and plates with a constraint imposed on the absolute value of the control function. The goal of the control is to drive a given mechanical system to the equilibrium point (or the ε-neighborhood of an equilibrium point) in a finite time.
The chapter deals with comic meanings in Pushkin’s texts, which appear due to the real trifles of everyday life XVIII.