Иконостас: Происхождение – Развитие – Символика
This work is analyzing the Icon of the Last Judgment, which is most probably painted in the Yaroslavl region. Many striking and evocative images in the Last Judgment icon present a clear, interesting, representative and comprehensive catalog of the complex theological concepts connected to the Last Judgment theme as they evolved during the 17th century. Its iconography exemplifies all the teachings of Russian Orthodox tradition and includes additional Bible-based subjects not found in standard Christian doctrine; for example, the representation of “Outcast Nations” argues that different peoples enjoy different degrees of access to salvation, and that some peoples, to the mind of 17th-century Russian society, are beyond salvation. There is also attention to the Russian social context, and some depictions show that the artist or artists who created the icon grappled with social questions, attempting to categorize sinners who were condemned by Russian society at that time. An example of such itemization is the group who sinned by excessive drinking, which, unusually, is depicted separately from other groups of sinners and, it is implied, are to be treated with more than the traditional level of mercy.
Iconography of Creation of the World of so-called “roman type” in 11th –13 th cent. Italy and in Northern Europe in many ways goes to lost frescoes of San Paolo Fuori le Mura (middle of 5th cent) and to several early-Christian traditions, including traditions of Genesis of Lord Cotton and Pentateuch of Ashburnham. By the example of iconographical changings of one detail of that pattern - personification of Light in the First day of Creation - the author outlines possible ways for restoring an appearance of the missing specimen and following iconographical borrowings from the earlier traditions. The article considers a question of sustainability for every part of “roman-type” composition – presence of glory radiance, its form and color, variations of attributes. The result of comparison of several images results in a conclusion about the mutual impact and replacement of two pairs of second-line elements in composition – the Light and Darkness and the Sun and Moon, being simultaneously being present in the so-called “roman-type” compositions.
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.