Предтекст Паскалевского стиля: "Беседа с господином Де Саси об Эпиктете и Монтене"
The book deals with the history of “Pascal’s text” and the main principals of his poetics. The development of Pascal’s poetics is described through the history of his pseudonyms, the importance of the music and the polemics of the “Letters to provincail”. The main attention is payed on the “Pensées”: its architectonic, the fragment “About three orders” as the thematical and compositional center of the apology, wich creates the topical oppositions of the “Pensées”.
This article attempts to compare philosophy of Blaise Pascal and the works of Lewis Carroll. Pascalean critique of culture is contrasted with Carroll’s absurd and joyful human world. In Pascal’s “Pensées” as well as in Carroll’s fairytales the culture appears to be a number of nonsenses, pretentious and comic, based on pure arbitrariness. Habit and groundless fantasy rule this world. The culture needs unconditional value guidelines, eternal ideals, the Ideas to gain the reasonable sense but the eternal ideals are disproportionate to a finite human. And the human is torn between an absurd given and the inaccessible ideals, between nothing and the endlessness. In this regard Pascal and Carroll are remarkably similar and one could trace this similarity in details.
The New time philosophy, the philosophy of culture, tries to slay the Pascal’s arguments but in fact it rather avoids a direct fight with him. While in Carroll’s books Pascal is opposed not by the Idea of the culture but by the image of Alice, of a loving and trusting child who can make even the most absurd world the warm and home one. Fragile love of a little child is stronger, more significant than eternal nonsense of the enormous world – the Pascal’s arguments find an equal rival in this love.
The article deals with the architectonic of Blaise Pascal's "Pensees". "Pensees" is the text combined with fragments. Its plot may be found in poetics of "order". The thematical and compositional center is the genre of apology.
The article analyses Montaigne’s «Les Essais» from the point of view of emblematics and tries to show how emblematic meaning is being constructed in the text. Philological analysis demonstrates how key emblematic features are emphasized within the unique texture of the essays, specifically in chapters of the third book. Based on linguistic and semiotic analysis, the article shows Montaigne’s commitment to emblematic mode of expression. Studying author’s use of exempla, the article establishes its link with Montaigne’s understanding of the word «emblème», as it is uniquely presented in the 9th chapter of the book III. Also, article compares the use of commentaries in the emblem book of Montaigne’s contemporary, Dionysus Lebei-Batilly with Montaigne’s essays, thus showing many common features and differences between the two. Also the use of sententia is being thoroughly analysed in order to show how many of «Essays»’ titles are being explicated as emblematic inscriptiones. Jt js argued that all the typological and functional convergences with emblematics should enable us to speak of the «Essays» as a specimen of emblematic or paraemblematic literature. In the concluding part of the article a unique texture of Montaigne’s narrative is being analysed as an emblematic mode of expression: a number of book’s fragments is presented as a particular «discursive emblem», inevitably deprived of visual means, but demonstrating an emblematic effect nevertheless. With the help of linguistic analysis it is shown that Montaigne intended his work as a specimen of a «mosaic» or an incrustation, whose details form an assembly building up as author’s «emblematic face». Conclusion states that seemingly chaotic text of the «Essays» actually implies existence of the structure, composed thanks to the joints and convergences of special discursive units of emblematic nature.