The article deals with the history of the most famous philosophical aphorism «Plato amicus sed magis amica veritas» («Plato is friend, but truth is more precious»). The author considers the circumstances of the emergence of this aphorism and its fate in the Late Antique period, connected with the commentary activity of Neoplatonist philosophers. The fact of a single mention of the priority of truth before man in the Nicomachean ethics already in Antiquity caused doubt about the involvement of Aristotle in this aphorism. Two versions of its origin are presented in the article: the traditional Aristotelian, which goes back to the treatise of Aristotle Nicomachean ethics, and the alternative, «Platonic», which goes back to a series of dialogues of Plato (Republic, Phaedo etc.) and initiated by the Neoplatonists. The article also provides an analysis of the Aristotelian and Platonic formulations of the aphorism and points out the difference between the research installations behind them.
The article compares two conceptual images of the “Invisible City” in the German and Russian aesthetics of modernity – “Secret Germany” and the city of Kitezh. From the point of view of phenomenology, the author focuses on a special type of sociality. The term “esoteric openness” or “including exclusivity” is introduced to define the collective experience of the symbolic reality of the “Invisible City”. “The Church of the Invisible City” (1914) by Sergei Durylin is taken as a basis for describing the community of the “Invisible City”. This idea has a heuristic potential in the context of “post-secular” models of the state and society.
There are contradictory estimations of M. Heidegger’s philosophy and ideology in different schools of his interpreters that include particular national traditions as well. The fact is that authentic national tradition of translation, studying and considering Heidegger’s ideas has occurred today in Russia. Heidegger belongs to the western thinkers who deeply influenced modern philosophical situation in Russia. Nevertheless there is no general picture of perception and critique of Heidegger’s philosophy in the Russian philosophical space. Last two years saw another flare-up in the ongoing controversy regarding the philosopher Martin Heidegger who was also implicated in National Socialism in 1932-34 but later tried to distance himself from its ideology and develop the critique of modernity. The latest revelations have emerged from his «Black Notebooks» which were a philosophical diary written between 1931 until the 1970s, whose publication was authorised by Heidegger only after the appearance of all his other works. The topic of the research proposal is the Russian reception of Heidegger’s critique of the technological revolution and National Socialism movement as a climax of modernity. It also covers its impact on later-Soviet and post-Soviet Russian thought, using as example Vladimir Bibikhin, Arseniy Gulyga, Nelli Motroshilova and the ongoing discussion about the “Black Notebooks” and the political dimension in Heidegger’s thought. The paper investigates how the astounding success of this alleged critique of modernity in Russia can be explained as an analysis of totalitarianism (National Socialism and Communism). At its core, the paper thus addresses the question how Heidegger’s account of totalitarianism as an expression of modernity has shaped the account of the “the political”. The project will also reassure the integrality of philosophy and socially and politically relevant beliefs that stem from philosopher’s own personal take on the world.
The article is concerned with the study of a number of illustrated books of World War I ("the Great War documents") which were edited by the right wing Weimar intellectual Ernst Junger. It is his concept of the Total Mobilization which allows me to demonstrate a genetic connection between photography and cinema as "modern mass-media" and the phaenomenon of a technical war. For Junger a technical war and technology in general are the art and way, in which the figure of The Worker is mobilizing the world and aims for a global dominance. Thus the illustrated books of the Great War appear as documents of a global transformation and indicate a new heroic experience of a modern technical reality comparable with films of Dziga Vertov, Leni Riefenstahl or Fritz Lang.