In Plato’s Laches an apparently insignificant remark appears: “the law places the soothsayer under the general, and not the general under the soothsayer” (199a). However, Socrates pronounces this phrase in conversation with the military commander Nicias, and it was known in Athens that Nicias had followed, in a critical situation, the suggestion of the soothsayers, which resulted in a military disaster and the death of Nicias himself (he was sentenced to death by the victors). Nicias made an incorrect decision in nontrivial circumstances on account of not having a correct understanding of the situation, and Plato hints at this event in order to show that philosophy, which nourishes the ability of a correct understanding of any question, is not an idle exercise. In essence, he constructs an apology for philosophy–and first of all an apology for the philosophy of Socrates. At the same time, Plato enters into an unannounced polemic with Thucydides, who held Nicias’ virtue in an exceptionally high estimation (VII, 86, 5): from Plato’s point of view, it is Socrates rather than Nicias who deserves such an evaluation.
The article examines the history of Soviet and early post-Soviet film between the late 1980s and early 1990s with attention to the assimilation of codes of sexuality, methods for showing the naked body and the motivations behind this. The concept of the “pornographic imagination,” which brings together the approaches of Susan Sontag and Jacques Lacan, enables Levchenko to trace a change in attitudes toward representations of the body in film, which had been liberated from the need to adhere to the norms of both “high art” and “societal morals.” Between the perestroika period and the mid-1990s, sex in (post-)Soviet film was transformed from a set of stigmatized and taboo practices into a universal resource of interpretation, and subsequently into a commodity that spurred the growth of self-sufficient consumption
The review essay is devoted to the book by A. Kelly "The Discovery of Chance: The Life and Thought of Alexander Herzen" (Cambridge, 2016).
The research targets the issue of Russian imperial representative space of the Moscow Kremlin (Grand Kremlin Palace, Faceted Chamber, Armory, etc.) functionality during Brezhnev’s period. The primary sources are archival documentary films depicting diplomats and various and foreign representatives’ visits to the Moscow Kremlin in 1950s – 1970s. The author makes a comparative evaluation of the data and demonstrates how throughout the second part of the 20th century there occurred a shift from practical usage of the palace halls towards the restoration of their original function — symbolic representation of supreme power.
This article is dedicated to an analysis of the transmission of memories of the pre-revolutionary past among the Soviet musical and artistic elite in the second half of the 1930s. Some of the memoirs and autobiographical writings from that period were initially created only for handwritten circulation or to be read aloud to friends and guests at home. In this case, the microsocial environment in which these memoirs were to function had a large influence on the thematic repertoire, hierarchy of values, and type of subjects written about and depicted, as did family memoir traditions and family archives. The author uses the concept of the episteme of memory, introduced by psychologist Jens Brockmeier, as the analytical framework for discussing this set of issues. The memoirs of the opera singer Maria Dulova, written from 1934—1935, serve as the case study.
Using frameworks derived from discourse analysis Natalia Zvereva analyses texts from Russian newspapers. She describes two discourses about immigrants: xenophobic discourse and neoliberal discourse. She examines two different models of discursive construction of «migrant» and immigration in the Russian press 2010-2012.