Морфология зла в книге Вяч. Иванова «Достоевский»
The text traces the rise of the intelligentsia, from the 18th century to the present day, at the same time problematizing its central ideas. Beginning with this historical background, the book proceeds to investigate the distinctive intellectual, spiritual and biographical opposition of Dostoevsky and Tolstoy in relation to the history, character and fate of the Russian intelligentsia.The present is indeterminate and, just as we did three hundred years ago, we Russians once again find ourselves searching for answers to the question of who we are, as we attempt to defend our own sense of distinctiveness in a multipolar world, and to produce a differentiated narrative of our own identity. The precariousness of the present geopolitical situation lends a particular urgency to these questions.
Temptation as a Paradigm of Christian Culture Is temptation at the center of Christian culture, as suggested by the temptations Christ had been exposed to by the Devil, according to the Gospels? This is what Dostoyevsky seems to believe, most notably in The Brothers Karamazov, in which he aims at showing that only innocent people are subject to these demonic maneuvers. This would also be, according to him, the situation of the Russian people, which he idealizes, contrasting it to the intelligentsia. In fact, recent history has shown that this alleged « innocence » of the Russian people was a fantasy of Dostoyevsky.
The article investigates the first review by N. Gumilev on the Vyach. Ivanov’s poetry (first chapter of the book of poems “Cor Ardens”) in context of another modernists reviews (by V. Bryusov, A. Bely, A. Blok and I. Annensky). The article identifies thematic dominants, which are common to all critics (including Gumilev), according to which was forming the representation of Vyach. Ivanov the literary sphere of the late 1900s and early 1910s.
The paper is a comparative studu of devil characters in Poe ("The Imp of the Perverse" and "The Devil on the Belfry"), Dostoevsky (The Brothers Karamazov), and Thomas Mann (Doktor Faustus).
Review of book by Deborah Martinsen "Surprised by Shame"
The author analyzes Dostoevsky's ideas about confession and theodicy and shows how they were influenced by Vladimir Solov'ev and St. Augustine
The paper explores the conceptual links between Vyacheslav Ivanov's poem "Fio, ergo non sum" and the cartesian cogito. Special attention is given to the way the concepts of "Being" and "becoming" function in Ivanov's text. The article conveys the poet's controversial combination of the description of the '"crisis of individualism" and the medieval Christian perception of Being.
The political process is a constant interaction between the power and opposition. The political process is a constant clash between the formal and informal, between direct speech and metaphors. Power always makes sense only if there is resistance. The power resistance is balanced in favor of its dialectical opposition. Practice protests are taking place at all political regimes, but not always the possibility of resistance are similar. In some political systems interlocutor on government and realization of the right to revolt are an essential political and moral principle. In other cases, in dictatorships, the right to revolt conquered by a hard struggle, not always being efficient and not always getting massive. The author shows how, depending on the cultural traditions of the images may vary resistance. Indeed, the figure of the rebellious person differently perceived in the political landscape. The discourse of resistance can be filled by individual practitioners of dissent, as well as robust tradition of protest. Relations between the power and rebellious man shows and interpreted by the author in a variety of subjects belonging to different cultures. From the point of view of the author, in the practices of rebellious man in his quest for freedom and demonstrate their own position, you can find both special and general, is equally emphasizes the integrity of the political process.
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.