Марксизм и интерпретация культуры
The author examines the delicate relationship between such phenomena as philosophy and popular culture. After formulating three attitudes of philosophers working with popular culture (left-critical, right-critical and left-objectivistic), the author proposes the term «crossroad» to show at what point of evolution of philosophy of culture and social theory during the XXth century converged popular culture and philosophy. This «crossroad» turned out to be post-modernism in such representation in which the American Marxist philosopher Fredric Jame-son began to talk about. Postmodernism before Jameson was understood as a trend in art, and only Jameson came up with the idea to extend it to the entire culture that dissolved in during the 1970s in the economy. It was Jameson who first stated the thesis that nowadays high and popular culture represent a single space. Briefly describing Jameson's approach, the author shows what this synthesis of postmodern philosophy and popular culture has led to. Recog-nizing popular culture as legitimate, and its then state as «postmodern», social philosophers began to develop the idea of expansion of culture into the social sphere, however, not in everything agreeing with Jameson. The author emphasizes the idea that the beginning of the XXI century was marked by a surge of philosophical interest in popular culture.
The aim of this article is to examine the features of the relationship of conservatism and postmodernism. The article identified as similar and antagonistic points of views of postmodernists and conservatives, analyzed the causes of these complex relationships. The author concludes, at the moment a complete synthesis of postmodernism and conservatism is unlikely, because obvious theoretical similarity blocked no less obvious political differences between conservative traditionalism and post-modern innovation.
The paper is dedicated to the notion of the Victorian epoch and linguistic means of its representation in J. Fowles’ novel “The French Lieutenant’s Woman” in comparison to that of the Victorian authors (Ch. Dickens, T. Hardy, G. Eliot, W. Thackeray etc.).
The Victorian epoch is considered to be a precedent phenomenon for the English native speakers, sharing the nation’s system of values. However the notion and the perception of the Victorian epoch in the novels of the representatives of the Victorian society and contemporary writers differ considerably. J. Fowles’ novel is a striking example of how a vision of the Victorian England is introduced into the picture of the world of the XX century writer.
In the article the author looks into the theoretical prospects of socialist utopia rebirth as the so called horizon line that is impossible to cross, but easy to see as if it were reachable. The author shows that post-Fordism capitalizing and alienating nonmaterial labor has become a real problem for the radical negation in the framework of neo-Marxist utopia since under such conditions any social alternative is in danger of becoming a part of the capitalist reality. Such disciplinary power of the modern capitalist logic generates rejection of the political action as it is rather than a protest. In this situation radical Marxist utopia comes down to the affective negation that cannot become a subject to reflection. Its creators and proponents do not want to find themselves in the capitalist present, aspiring in their expectations into the future that will not grow out of the modern capitalism and will never be capitalism in principle.
Abstract: Author suggests that V. Pelevin builds his novels on the principle of esoteric palimpsest in which various esoteric teachings are the layers of the meaning of the text. Pelevin expects that in the readers mind there is an “encyclopedia of competencies” (U. Eco) with large block of esoteric knowledge.