Абстракция и икона: метафизический реализм в русском искусстве
The article is an attempt to provide fundamental semiotic definition of the notion of the image of state. General semiotic model of image is proposed and then developed into the politically saturated version, aimed at the study of representations of states. The proposed models are based on Peirce’s notions of iconic sign and metaphor. Image is defined as a complex two-level sign with a first level sign ( primary sign ) playing the role of a sign vehicle and with all fragments of actuality ( facts ), similar to that primary sig n, playing the role of an object. This complex semiotic entity functions iconically, as the secondary interpretant emerges from the similarity between the primary sign and the facts that it refers to. Working this way, the image is capable of accumulation of acts of semiosis. Thus, image of a state is able to accumulate specific discourses about that state.
The annotated list of abbreviations and acronyms used in Russian and Soviet Avant-garde art and art institutions in the first third of the 20th century.
Boris Orekhov and Pavel Uspensky in the article «A Galvanization of an Author or an Experiment with Neuron Poetry» write about experimental computer poetry texts generating and how a person distinguishes between computer-written and human being’s texts.
A series of Russian and Ruthenian polemical texts of the late XVIth – first half of the XVIIth century, dealing with icons, has been analyzed; is has been established that two sets of notions and meanings were conveying icons cult in Russia and Ruthenia: some were treating icons, like in the Latin West, as images of saints and sacred history; some other texts, unlike the Latin West, were claiming that icons as hypostases of saints as their prototypes and are possible because of God’s incarnation in Jesus Christ.
"The Millennial Kingdom" is an outline of medieval christian culture, from the time of Fathers up to its apogee around 1300, the age of Dante. The author does not pretend to have described and analyzed all facets of spiritual life during this long period, he focuses on that ones, in which intellectuals, writers and painters left especially deep imprints. The reader will find here, together with great authors and masterpieces, little known and studied monuments in author's photographs, as well as texts translated from latin, old french and other late medieval vernacular languages. These quotations from the primary sources are allways accompanied by polemical reflections on several opinions and clichés, methodological positions and estimations about the Middle Ages, current among historians and in human sciences in XXth and XXIth centuries.