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Кто мыслит абстрактно: миметизмы и тропизмы постсоветского знания о культуре в бастионах исследовательских программ
Abstract: The late Soviet and post-Soviet body of disciplines that shapes knowledge about culture underwent and overcame its own stages of generalization and dissimilation in an asynchronous, forced, and special regime, sometimes turning into a bastion of the sublime, protecting against the invasions of dogmatism of dialectical and historical materialism, then turning its agents into epistemological semionauts, choosing from the mosaic of established Studies instrumental ways of articulating collective and individual traumas. At the institutional level, this freedom of choice strengthened that part of specific areas of cultural research that can be designated as “studia”: practicing the use of ready-made and template interdisciplinary moves, participants in the field closely monitored changes and rearrangements in this field. In order to identify the mimetic mechanisms of reproducing knowledge about culture, it is important for us to place special emphasis on periods when it becomes a political obstacle and begins to be appropriated by various political forces, demonstrating diverse modes of resistance. One example here is the rapidly changing balance of power in the arts against the backdrop of the Cold War, which ultimately led to the preservation of Marxist discourse on the beautiful and the sublime, and in the post-Soviet era made it easy to abandon Marxist attitudes in favor of a peculiar understanding of phenomenological-hermeneutic concepts, in which the residual logic of suspicion retained and maintained its power. Keywords: cultural studies, culturology, studies, interdisciplinarity fetishism, cultural practices, Marxist-Leninist aesthetics, late Soviet imagination, institutional history of Soviet aesthetics