In the article "Context is king": John Pocock, historian of political languages" Mikhail Velizhev and Timur Atnashev interpret the basic premises of the Cambridge methodology as applied to the history of political philosophy, and discuss the interdisciplinary approach of one of its founders, John Pocock, introducing his works to the Russian intellectual context for the first time. The article covers Pocock's biography as a scholar and his methodological program, the reception of the Cambridge School in Russia and, in particular, the limits to applying this methodology in analyzing Russian political languages.
This article examines the historical creation of the Blaise Pascal's "Provincial Letters, and their use of comic devices. Judging by their content, characters, and general pathos, the "Provincial Letters"are closest of all to the tradition of "Menippean satire". The two are united by the presence of the Jesuits as target, the aim to influence the doubting reader, the devices of burlesque, pun, comic scenarios and speech, and the combinations of genres and languages. In the architectonics of the "Provincial Letters", a special position is occupied by the 11th letter, the primary theme of which is the justification of the moking and ironic relationship toward delusion. Pascal points at the important position that irony and laughter occupy in the tradition of the Church. In addition, "wicked laughter" - the antidote for moral depravity - becomes the exception in the Christian " laughing world" of Pascal, which "banishes" wicked irony, exchanging it for the smile of the wiseman in the "Thoughts".
Analytic survey of the papers presented at the conference concentrated on the scholarly legacy of the prominent Russian scholar a correspondent of Boris Pastermak and an author of the Memoirs encompassing first half of the XXth century. The place of her ideas in nowadays scholarship and new researches inspired by her theoretical works.
Boris Eikhenbaum wrote the novel The Route to Immortality between 1932—1933, both marking and concluding the crisis of his Formalist biography, which had begun in the latter half of the 1920s. Were it not for the complete and utter failure of this book, Eikhenbaum’s rebranding of himself as a post-Formalist might have sent him down other paths besides those of editorial work and further absorption in his “Tolstoy project”. Tynianov managed to become an author of popular historical fiction and a screenwriter; Eikhenbaum did not. Nevertheless, an unsuccessful attempt is still an attempt, although most of what is written about Eikhenbaum avoids discussing this novel or focuses on its mechanically philological nature. Levchenko suggests that the book is also interesting in its reflection of Eikhenbaum’s unrealized ambitions as a screenwriter. His peculiar ideas about film are curious to no small degree because of their dilettantism, and can be traced back to his 1920s work in film theory; in the novel, they change in accordance with his ideas about how a screenplay should look, or visualizations of literature.
What if being human is separated from humanity? How some of the most common ideas of Western democracy (equality, political power, humanism) are ex-posed and staged by non-humans? These are my questions for recent Hollywood monies like Transformers or X-man.
This article investigates the semiotic and general-teoretical aspects of Nikonova's poetic system in the context of avant-garde and neo- (post-)avanf-garde practices.