Биосемиотика Я. фон Икскюля как методологическая основа конструирования рефлексивно-активных сред
This paper proposes a disjunctivist interpretation of the relation between Tractarian "symbols" and Tractarian "signs" and shows why, if such an interpretation is correct, the Tractarian conception of language is netiher realist nor constructivist.
The author investigates a phenomenon of development of ideologies in a historical context. So the transition of the academic historiography from positivistic methodology to methodology of the linguistic analysis is considered. Linguistic analysis is presented by the theory of speech asts and history of concepts. Accordingly, ideologies appear as cognitive mechanisms and simultaneously cognitive political outlook fi lters.
The phenomenon of communication as a manifestation of complexity of interacting creatures. Communication is considered not as a privilege of a human being; it is shown that it is rooted in the world of living nature, it has an evolutionary origins. Communicative complexity is exposed by such concepts as flexibility, constructing, intersubjectivity, participatory sense-making, empathy, synergy, mutual incorporation and co-emergence of creatures which enter the process of communication. Understanding of communication from the position of the conception of enactivism allows disclosing some substantial aspects of the constructivist character of communicative interaction.
The author represented Stalinism as a model of social constructivism, analyzed basic features of this type of dictatorship. New trends in Russian and international historiography of the problem are under consideration.
The chapter analyzes the current state of affairs in EU-Russia relations and looks into the peculiarities of the Constructivist methodology of analysis of political processes and international relations.
In the Soviet Union of the 1920s, the most prominent avant-garde artists were eager children's book illustrators. Reaching a mass audience of unformed, malleable young people appealed to their commitment to an art manifesto based on the creation of a new kind of person for the revolutionary age. At the same time, the opportunity to work for good pay along with a low risk of censorship were practical attractions. The Constructivist artists drew considerable attention in the West for their brilliant creativity in using geometric designs, machine-age forms, and an architectural sense of space in their approach to the visual arts. Rejecting easel painting as a passe bourgeois preoccupation, they turned to designing and mythologizing objects of everyday use. In a major reassessment of their work, Evgeny Steiner forcefully demonstrates that the Constructivists were as committed to implementing Utopia - regardless of the human cost - as their establishment counterparts. Basing his work almost completely on primary sources - Russian picture books from the Russian State Library, private collections, and publishers' archives - Evgeny Steiner tells his story in deft prose with a wry sense of humor. The solidness of his sources, the range of his interests, and the depth of his understanding of Russian life combine to make this an unusually perceptive book on a fascinating cultural issue that combines the visual arts, literature, and politics.
This comparative study shows how the revival of geopolitics came not despite, but because of, the end of the Cold War. Disoriented in their self-understandings and conception of external role by the events of 1989, many European foreign policy actors used the determinism of geopolitical thought to find their place in world politics quickly. The book develops a constructivist methodology to study causal mechanisms, and its comparative approach allows for a broad assessment of some of the fundamental dynamics of European security.