Pub Date : 2023-12-28DOI: 10.17588/2076-9210.2023.4.106-112
A.V. Malinov
{"title":"V.I. Lamansky. Historical letters on the attitude of Russian people to their tribesmen. The letter VI","authors":"A.V. Malinov","doi":"10.17588/2076-9210.2023.4.106-112","DOIUrl":"https://doi.org/10.17588/2076-9210.2023.4.106-112","url":null,"abstract":"","PeriodicalId":445879,"journal":{"name":"Solov’evskie issledovaniya","volume":"15 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139150101","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-12-28DOI: 10.17588/2076-9210.2023.4.161-178
N. V. Loshchinskaya
The article examines the circumstances associated with the use of “cryptonyms” in the publication of A.A. Blok's resolutions on poets, carried out by P.N. Medvedev in 1923.The surname of the paleontologist and writer A.N. Ryabinin, one of the applicants for joining the Petrograd branch of the All–Russian Union of Poets, is revealed. For the first time, the full handwritten text of the collective document stored in the RO IRLI with the resolutions of the members of the Admissions Committee (A.A. Blok, M.L. Lozinsky, N.S. Gumilev, M.A. Kuzmin) about his book of poems “After the Thunderstorm” (1918) is introduced into scientific circulation. The emphasis is placed on the aesthetic principles of Blok's evaluation of the reviewed poems. The characteristics of scientific, literary and social activities of A.N. Ryabinin are compared with Block's ideas about the creative potential of the Russian scientific and technical intelligentsia and its role in the transformation of Russia. The positive reaction of A.M. Remizov to the work by A.N. Ryabinin is analyzed, aspects of their possible creative contacts are outlined.
{"title":"Who is “R-n”: about one of the addressees of A.A. Blok's reviews of poets (one hundred years after their first publication by P.N. Medvedev)","authors":"N. V. Loshchinskaya","doi":"10.17588/2076-9210.2023.4.161-178","DOIUrl":"https://doi.org/10.17588/2076-9210.2023.4.161-178","url":null,"abstract":"The article examines the circumstances associated with the use of “cryptonyms” in the publication of A.A. Blok's resolutions on poets, carried out by P.N. Medvedev in 1923.The surname of the paleontologist and writer A.N. Ryabinin, one of the applicants for joining the Petrograd branch of the All–Russian Union of Poets, is revealed. For the first time, the full handwritten text of the collective document stored in the RO IRLI with the resolutions of the members of the Admissions Committee (A.A. Blok, M.L. Lozinsky, N.S. Gumilev, M.A. Kuzmin) about his book of poems “After the Thunderstorm” (1918) is introduced into scientific circulation. The emphasis is placed on the aesthetic principles of Blok's evaluation of the reviewed poems. The characteristics of scientific, literary and social activities of A.N. Ryabinin are compared with Block's ideas about the creative potential of the Russian scientific and technical intelligentsia and its role in the transformation of Russia. The positive reaction of A.M. Remizov to the work by A.N. Ryabinin is analyzed, aspects of their possible creative contacts are outlined.","PeriodicalId":445879,"journal":{"name":"Solov’evskie issledovaniya","volume":"86 4","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139151847","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-12-28DOI: 10.17588/2076-9210.2023.4.097-105
A.V. Malinov
The article introduces the publication of the fragments of the sixth “Historical Letter on the Attitude of the Russian People to their Tribesmen” and the conclusion prepared by Vladimir Ivanovich Lamansky, a Slavophile and professor at St. Petersburg University. It is noted that other works of the scientist, on which he worked in the following years, remained unfinished. The facts allowing to indicate the date of writing the “Historical Letters” are given: 1859–1862, work interrupted by Lamansky's trip abroad (1862–1864). It is suggested that the “Historical Letters” were a continuation of the research direction outlined by Lamansky in his master's thesis “On the Slavs in Asia Minor, Africa and Spain” (1859), i.e. they were the result of his archival and desk work. The trip to the Slavic lands enriched the scholar with real knowledge of the Slavic peoples, their history and current situation, which made many of the arguments in the “Historical Letters” irrelevant. There are two subjects that Lamansky touched upon in his “last” letters, and which were further developed in his research and work. Firstly, these are the works in the field of national ethnography: his long-term leadership of the ethnographic department of the Russian Geographical Society, the organisation of the Slavic Congress and the Ethnographic Exhibition in 1867, the publication of the ethnographic journal “Zhivaya starina” (1890), the project of the of the ethnographic department of the Russian Museum (1899). Lamansky's statements on ethnography as fatherland studies or ethnology are presented, revealing his understanding of ethnographic science. Secondly, this is a historiosophical interpretation of the Oriental Question, considering it as an episode of interaction between two civilisations: the Greco-Slavic and the Romano-Germanic. The incompleteness of the “Historical Letters” is pointed out, which is reflected in the gaps in their publication.
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Pub Date : 2023-12-28DOI: 10.17588/2076-9210.2023.4.179-193
A.B. Bocharov
The article presents a review of the book “Comparative Philosophy: from comparative to intercultural philosophy”, published in the series “Comparative Philosophy”. The thesis about the value of intercultural philosophy in the context of conceptology is presented. The hypothesis formulated states that intercultural philosophy expands the methodological and theoretical framework of philosophical research and can be evaluated as a frontier phenomenon. It is noted that the main thesis of intercultural philosophy consists in the rejection of West-centrism, in the criticism of the traditional historical and philosophical narrative. It is proposed to consider intercultural philsophy as an alternative to West-centrism, as it rejects the monologism inherent in western philosophy and insists on the polylogicity of philosophy. Intercultural philosophy insists on the rootedness of thinking in culture. He believes that intellectual influences and conceptual borrowings are a natural, normal situation in philosophy. However, borrowing can lead both to the fruitful development of the philosophical tradition, and to the loss of the integrity of culture, a decrease in its creative potential, and the ability to reproduce. Intercultural philosophy is aimed at explication of positive forms of intercultural interaction. It suggests a new model of the historical and philosophical process, the main method of which is a polylogue, although the followers of intercultural philosophy are still debating whether intercultural philosophy is a new direction or a new methodology. Russian philosophy can also be revised and reinterpreted. N.Y. Danilevsky, V.S. Solovyov, Slavophiles, etc. can be considered intercultural thinkers. The methodological basis of the study was the comparative and hermeneutic methods.
{"title":"From Dialogue to Polylogue (review of the book: Comparative Philosophy: From Comparative to Intercultural Philosophy / co-edited by M.T. Stepanyants. Moscow: Nauka; Vost. lit., 2022. 399 p.)","authors":"A.B. Bocharov","doi":"10.17588/2076-9210.2023.4.179-193","DOIUrl":"https://doi.org/10.17588/2076-9210.2023.4.179-193","url":null,"abstract":"The article presents a review of the book “Comparative Philosophy: from comparative to intercultural philosophy”, published in the series “Comparative Philosophy”. The thesis about the value of intercultural philosophy in the context of conceptology is presented. The hypothesis formulated states that intercultural philosophy expands the methodological and theoretical framework of philosophical research and can be evaluated as a frontier phenomenon. It is noted that the main thesis of intercultural philosophy consists in the rejection of West-centrism, in the criticism of the traditional historical and philosophical narrative. It is proposed to consider intercultural philsophy as an alternative to West-centrism, as it rejects the monologism inherent in western philosophy and insists on the polylogicity of philosophy. Intercultural philosophy insists on the rootedness of thinking in culture. He believes that intellectual influences and conceptual borrowings are a natural, normal situation in philosophy. However, borrowing can lead both to the fruitful development of the philosophical tradition, and to the loss of the integrity of culture, a decrease in its creative potential, and the ability to reproduce. Intercultural philosophy is aimed at explication of positive forms of intercultural interaction. It suggests a new model of the historical and philosophical process, the main method of which is a polylogue, although the followers of intercultural philosophy are still debating whether intercultural philosophy is a new direction or a new methodology. Russian philosophy can also be revised and reinterpreted. N.Y. Danilevsky, V.S. Solovyov, Slavophiles, etc. can be considered intercultural thinkers. The methodological basis of the study was the comparative and hermeneutic methods.","PeriodicalId":445879,"journal":{"name":"Solov’evskie issledovaniya","volume":"6 3","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139151991","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-12-28DOI: 10.17588/2076-9210.2023.4.113-131
A. G. Gacheva
The article is the first part of the study of the problem of spiritual and creative dialogue between the founder of Russian symbolism V.Y. Bryusov and the philosopher of common cause N.F. Fedorov. In the works of Russian and foreign researchers, this dialogue was studied by V.Y. Bryusov, in terms of the poet's interest in cosmic themes, in the context of his theory of scientific poetry. In this study, the focus is on the question of the meaning and purpose of art. For the first time, with the involvement of new, including archival sources, the reaction of N.F. Fedorov to the meeting with V.Ya. Bryusov, held on April 20, 1900 in the house of Yu.P. Bartenev, is considered, it is shown how the ideological dispute that arose during this meeting was reflected in the late work of the philosopher. The content of the dispute and the interrelation of its two themes – the possibility/impossibility of overcoming death and the attitude to the ideas of F. Nietzsche are revealed. Fragments of articles and notes written by N.F. Fedorov, in which his dispute with V.Y. Bryusov is mentioned, are analyzed. N.F. Fedorov's perception of decadence is reconstructed, the philosophical complex of which, as well as the ideas of the new religious consciousness, the philosopher associated with the spiritual crisis of the fin de siècle era, contrasting them with the idea of active Christianity, man's cooperation with God in history. It is shown how N.F. Fedorov's liturgical aesthetics is formed in the polemic with Nietzschean aesthetics and decadence aesthetics, in the center of which is the image of art as an extra-temple liturgy. The relation of N.F. Fedorov to the current of symbolism, to which he opposed the religious understanding of the symbol, is considered.
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Pub Date : 2023-12-28DOI: 10.17588/2076-9210.2023.4.006-022
B.V. Mezhuev
The article continues the systematic review and analysis of newspaper and magazine responses to the first edition of the main work of V. Solovyov on moral philosophy “Justification of Good” (1897). The fourth part of this series of articles examines critical attacks on this book by representatives of the left, presumably Populist camp of the Russian press and public thought. It describes in detail critical responses of such authors as the regular columnist of the newspaper “Novosti”, literary critic Evgeny A. Solovyov, an anonymous review published in the journal “Russian Thought”, the reviews by the positivist philosopher Pavel V. Mokievsky in “Russkoe bogatstvo” and by the religious idealist Akim L. Volynsky in the “Severnyi vestnik”. It is noted that the main tone of criticism from the left was the assertion that the philosopher took the position of a conformist acceptance of the state and the church in their existing forms. Based on the consideration of all the above responses, the article concludes that none of the aforementioned critics tried to understand the essence of V. Solovyov's views. For most of the left-wing critics, any correlation of philosophy with religion, at least in its traditional forms, was unacceptable. It is argued that certain objections of V. Solovyov's critics on the left against his concept of moral philosophy were not without persuasiveness, which the philosopher had to take into account in the second edition of his work.
文章继续系统回顾和分析了报纸和杂志对弗-索洛维约夫道德哲学主要著作《善的正当性》(1897 年)第一版的反应。本系列文章的第四部分探讨了俄罗斯新闻界和公众思想界左派(大概是民粹主义阵营)代表对该书的批判性攻击。文章详细描述了《新消息报》固定专栏作家、文学评论家叶夫根尼-索洛维约夫(Evgeny A. Solovyov)等作者的批评回应、发表在《俄罗斯思想》杂志上的匿名评论、实证主义哲学家帕维尔-V-莫基耶夫斯基(Pavel V. Mokievsky)在《Russkoe bogatstvo》上发表的评论以及宗教理想主义者阿基姆-L-沃林斯基(Akim L. Volynsky)在《Severnyi vestnik》上发表的评论。值得注意的是,左派批评的主要基调是断言哲学家的立场是顺从地接受现有形式的国家和教会。基于对上述所有回应的思考,文章得出结论,上述批评者都没有试图理解弗-索洛维约夫观点的实质。对大多数左翼批评家来说,哲学与宗教的任何关联,至少是传统形式的关联,都是不可接受的。本文认为,左翼批评家对弗-索洛维约夫道德哲学概念的某些反对意见并非没有说服力,哲学家在其著作的第二版中必须考虑到这些反对意见。
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Pub Date : 2023-12-28DOI: 10.17588/2076-9210.2023.4.081-096
M. V. Maksimov
The analysis of the book by the Swiss philosopher and theologian H.U. von Balthazar “Vladimir Solovyov”, dedicated to the reconstruction and interpretation of the aesthetic teachings of V.S. Solovyov, is presented. The main themes of Balthazar's work are considered, defining its structure in accordance with the author's vision of the main stages of Solovyov's work: “Visionary and textual form”, “Logic and Metaphysics”, “Ethics and Ecclesiology”, “Aesthetics and Apocalypticism”. The author notes the harmony and consistency of Balthazar's concept, the logic of interpretation of the most important provisions of Solovyov's aesthetics, based on the corpus of his writings, as well as on research Russian and foreign literature. The essential characteristics of Balthazar's consideration of the aesthetics of the Russian philosopher are revealed: the disclosure of its ontological, eschatological and theological aspects. The historical and philosophical origins of Solovyov's ideas, parallels and consonances of the conceptual positions of Solovyov's aesthetics and the largest representatives of domestic and foreign philosophy: Plato, Plotinus, Maxim the Confessor, Schelling, Hegel, Schopenhauer, E. von Hartmann are determined. Balthazar's position on Solovyov's teaching about Sophia in the context of сhristological and trinitarian theology is presented. The assessment of the comparison of Solovyov's method of unity with the methods of studying Dilthey's “forms of spirit” and Spengler's “forms of culture” is given. The researcher's attention is noted to the problems of Solovyov's creative dialogue with outstanding Russian thinkers F.M. Dostoevsky, L.N. Tolstoy, K.N. Leontiev. The conclusions about the significance of the philosophical and theological reconstruction of Solovyov's aesthetics, carried out by Balthazar, for foreign and Russian Solovyov studies are formulated.
瑞士哲学家和神学家巴尔塔扎尔(H.U. von Balthazar)的著作《弗拉基米尔-索洛维约夫》致力于重建和解释弗-索洛维约夫的美学教义,对该书进行了分析。书中探讨了巴尔塔扎尔作品的主要主题,并根据作者对索洛维约夫作品主要阶段的看法确定了其结构:"幻想和文本形式"、"逻辑学和形而上学"、"伦理学和教会学"、"美学和启示录"。作者根据索洛维约夫的著作以及俄罗斯和外国文学研究,指出了巴尔萨扎尔概念的和谐性和一致性,以及索洛维约夫美学最重要条款的解释逻辑。揭示了巴尔塔扎尔对俄罗斯哲学家美学思考的基本特征:揭示其本体论、末世论和神学方面。索洛维约夫思想的历史和哲学渊源,索洛维约夫美学概念立场与国内外哲学代表人物的相似性和一致性:柏拉图、普罗提诺、忏悔者马克西姆、谢林、黑格尔、叔本华、E. von Hartmann。介绍了巴尔塔扎尔在基督论和三位一体神学背景下对索洛维约夫关于索菲亚的教导所持的立场。对索洛维约夫的统一性方法与狄尔泰的 "精神形式 "和斯宾格勒的 "文化形式 "研究方法的比较进行了评估。研究者注意到索洛维约夫与俄罗斯杰出思想家 F.M.陀思妥耶夫斯基、L.N.托尔斯泰、K.N.列昂季耶夫进行创造性对话的问题。巴尔塔扎尔对索洛维约夫美学进行的哲学和神学重建对外国和俄罗斯的索洛维约夫研究具有重要意义。
{"title":"“Second after Aquinas ...”: Hans Urs von Balthazar on the Philosophical Aesthetics of V.S. Solovyov","authors":"M. V. Maksimov","doi":"10.17588/2076-9210.2023.4.081-096","DOIUrl":"https://doi.org/10.17588/2076-9210.2023.4.081-096","url":null,"abstract":"The analysis of the book by the Swiss philosopher and theologian H.U. von Balthazar “Vladimir Solovyov”, dedicated to the reconstruction and interpretation of the aesthetic teachings of V.S. Solovyov, is presented. The main themes of Balthazar's work are considered, defining its structure in accordance with the author's vision of the main stages of Solovyov's work: “Visionary and textual form”, “Logic and Metaphysics”, “Ethics and Ecclesiology”, “Aesthetics and Apocalypticism”. The author notes the harmony and consistency of Balthazar's concept, the logic of interpretation of the most important provisions of Solovyov's aesthetics, based on the corpus of his writings, as well as on research Russian and foreign literature. The essential characteristics of Balthazar's consideration of the aesthetics of the Russian philosopher are revealed: the disclosure of its ontological, eschatological and theological aspects. The historical and philosophical origins of Solovyov's ideas, parallels and consonances of the conceptual positions of Solovyov's aesthetics and the largest representatives of domestic and foreign philosophy: Plato, Plotinus, Maxim the Confessor, Schelling, Hegel, Schopenhauer, E. von Hartmann are determined. Balthazar's position on Solovyov's teaching about Sophia in the context of сhristological and trinitarian theology is presented. The assessment of the comparison of Solovyov's method of unity with the methods of studying Dilthey's “forms of spirit” and Spengler's “forms of culture” is given. The researcher's attention is noted to the problems of Solovyov's creative dialogue with outstanding Russian thinkers F.M. Dostoevsky, L.N. Tolstoy, K.N. Leontiev. The conclusions about the significance of the philosophical and theological reconstruction of Solovyov's aesthetics, carried out by Balthazar, for foreign and Russian Solovyov studies are formulated.","PeriodicalId":445879,"journal":{"name":"Solov’evskie issledovaniya","volume":"336 6‐7","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139152511","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-12-28DOI: 10.17588/2076-9210.2023.4.132-146
E.M. Titarenko
The article is dedicated to the aesthetic views of an artist and philosopher V.N. Chekrygin (1897–1922). His ideas are compared to the philosophy of art of V.S. Solovyev and N.F. Fyodorov. Theoretical heritage of the artist is analyzed, it reflects understanding of the tasks of creativity, history and language of the visual art. The research is based on the texts of Chekrygin: “A Manifest of the Painters (1920)”, “The Program of One-year Course on Art Philosophy” (1920), “About Upcoming New Era of the All-European Art” (1921), “About Convocation of the Resurrecting Museum’ (1921), and his epistolary art. Little-known materials from the archive are considered. Studying aesthetic works of Fyodorov and Solovyev allows to make comparative-typological research of the artist and philosopher of art. The connection is shown between Chekrygin’s ideas and aesthetic tradition of the Russian religious philosophy. Signs of aesthetics of Christian universalism can be seen in his project of a new era of the art. The idea of the project of “living art” of Chekrygin is opposed to the research of avantgarde art and it was inspired by the ideas of conciliarity and theurgy. It is shown that philosophical-aesthetic ideas of the artist are close to the philosophy of art of V.S. Solovyov and even more to the doctrine of the aesthetic supramoralism of Fyodorov. The research discloses particularities of the aesthetic ideas of the artist, which are permeated with the spirit of eschatological anxiety. Chekrygin shows the way that modern art should follow referring to the topics of theophany, to the process of contemplation of the space evolvement and the creation of the church-museum of the universal resurrection. It is proved that the artist creates the image of the final ideal of art conceiving the philosophical ideas of Solovyov and Fyodorov. It is proved that the artist remains in line with modernism discourse at the same time creating the outlines of the art of the future.
{"title":"“Real Deed of an Artist” and Philosophy of Art: Solovyev – Fyodorov – Chekrygin","authors":"E.M. Titarenko","doi":"10.17588/2076-9210.2023.4.132-146","DOIUrl":"https://doi.org/10.17588/2076-9210.2023.4.132-146","url":null,"abstract":"The article is dedicated to the aesthetic views of an artist and philosopher V.N. Chekrygin (1897–1922). His ideas are compared to the philosophy of art of V.S. Solovyev and N.F. Fyodorov. Theoretical heritage of the artist is analyzed, it reflects understanding of the tasks of creativity, history and language of the visual art. The research is based on the texts of Chekrygin: “A Manifest of the Painters (1920)”, “The Program of One-year Course on Art Philosophy” (1920), “About Upcoming New Era of the All-European Art” (1921), “About Convocation of the Resurrecting Museum’ (1921), and his epistolary art. Little-known materials from the archive are considered. Studying aesthetic works of Fyodorov and Solovyev allows to make comparative-typological research of the artist and philosopher of art. The connection is shown between Chekrygin’s ideas and aesthetic tradition of the Russian religious philosophy. Signs of aesthetics of Christian universalism can be seen in his project of a new era of the art. The idea of the project of “living art” of Chekrygin is opposed to the research of avantgarde art and it was inspired by the ideas of conciliarity and theurgy. It is shown that philosophical-aesthetic ideas of the artist are close to the philosophy of art of V.S. Solovyov and even more to the doctrine of the aesthetic supramoralism of Fyodorov. The research discloses particularities of the aesthetic ideas of the artist, which are permeated with the spirit of eschatological anxiety. Chekrygin shows the way that modern art should follow referring to the topics of theophany, to the process of contemplation of the space evolvement and the creation of the church-museum of the universal resurrection. It is proved that the artist creates the image of the final ideal of art conceiving the philosophical ideas of Solovyov and Fyodorov. It is proved that the artist remains in line with modernism discourse at the same time creating the outlines of the art of the future.","PeriodicalId":445879,"journal":{"name":"Solov’evskie issledovaniya","volume":"1 1‐6","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139149241","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-12-28DOI: 10.17588/2076-9210.2023.4.040-055
A. S. Balabaeva
The article provides a comparative analysis of the aesthetic views of G.W.F. Hegel (based on the material of “Lectures on Aesthetics” prepared for publication by H.-G. Goto) and V.S. Solovyov. The presented history of the question of the influence of Hegelian philosophy on Solovyov's work demonstrates the prospects and productivity of research related to the issues of aesthetics of Solovyov and Hegel. In this regard, there is a need to summarize the results of the investigations on this topic, making a number of important clarifications and revealing previously intended points of convergence and divergence of the two philosophers. Both general aesthetic problems (the meaning of beauty in nature, the connection between beauty and the absolute idea) and applied issues of an art and literary nature (justification of the hierarchy of arts, features of lyrical poetry) are considered. A direct and hidden polemic of Solovyov with Hegel's ideas is revealed: the objection to the subjectivity of the perception of beauty in nature, the emphasis on the need to spiritualize substance under the influence of beauty. Clarifying the understanding of the role of art in history by Hegel and Solovyov makes it possible to more clearly trace the grandiose prospects for the development of art in the Russian philosopher, whose concept of theurgic creativity will later be adopted by younger symbolists. Speaking not only as a philosopher, but also as a poet, Solovyov criticizes Hegel's position on lyrical poetry as an expression of the individual subjective consciousness of the artist. It is demonstrated how the Hegelian dialectical method is implemented by Solovyov in characterizing the stages of development of Russian poetry of the XIX century. It is suggested that the dialectic of freedom and necessity was interpreted by Solovyov when presenting the theory of fate as the Providence of God.
{"title":"Philosophical and aesthetic views of G.V.F. Hegel and V.S. Solovyov: on the question of influence","authors":"A. S. Balabaeva","doi":"10.17588/2076-9210.2023.4.040-055","DOIUrl":"https://doi.org/10.17588/2076-9210.2023.4.040-055","url":null,"abstract":"The article provides a comparative analysis of the aesthetic views of G.W.F. Hegel (based on the material of “Lectures on Aesthetics” prepared for publication by H.-G. Goto) and V.S. Solovyov. The presented history of the question of the influence of Hegelian philosophy on Solovyov's work demonstrates the prospects and productivity of research related to the issues of aesthetics of Solovyov and Hegel. In this regard, there is a need to summarize the results of the investigations on this topic, making a number of important clarifications and revealing previously intended points of convergence and divergence of the two philosophers. Both general aesthetic problems (the meaning of beauty in nature, the connection between beauty and the absolute idea) and applied issues of an art and literary nature (justification of the hierarchy of arts, features of lyrical poetry) are considered. A direct and hidden polemic of Solovyov with Hegel's ideas is revealed: the objection to the subjectivity of the perception of beauty in nature, the emphasis on the need to spiritualize substance under the influence of beauty. Clarifying the understanding of the role of art in history by Hegel and Solovyov makes it possible to more clearly trace the grandiose prospects for the development of art in the Russian philosopher, whose concept of theurgic creativity will later be adopted by younger symbolists. Speaking not only as a philosopher, but also as a poet, Solovyov criticizes Hegel's position on lyrical poetry as an expression of the individual subjective consciousness of the artist. It is demonstrated how the Hegelian dialectical method is implemented by Solovyov in characterizing the stages of development of Russian poetry of the XIX century. It is suggested that the dialectic of freedom and necessity was interpreted by Solovyov when presenting the theory of fate as the Providence of God.","PeriodicalId":445879,"journal":{"name":"Solov’evskie issledovaniya","volume":"41 7","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139150360","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-12-28DOI: 10.17588/2076-9210.2023.4.147-160
D.L. Shukurov
The article examines the image of the ancient rhetorician Flavius Philostratus (II–III centuries) in the works of the St. Petersburg and Leningrad poet and writer Konstantin Konstantinovich Vaginov (1899–1934). Flavius Philostratus is a figure symbolizing the complex and contradictory transition from ancient culture to the Christian era. In Vaginov’s work, Philostratus also appears as a symbol of the passing Silver Age and the collapse of the ideals of creative youth. The purpose of the study is to show the hidden interpretative possibilities of the works of K.K. Vaginov, which relate to the general cultural context of the Silver Age and the ideas of its largest representatives: N.A. Berdyaev, P.A. Florensky, Vyach. Ivanov, F.F. Zelinsky, and authors from the inner circle of the writer. Some interpretive codes, which are implicitly present in the texts of Vaginov, allow the possibility of their hermeneutic interpretation followed by the deconstruction of the paralogical model of artistic reality of Vaginov’s works, as well as the deconstruction of the nomadically moving semantic center and hermetic artifact of this model: the image of Philostratus as a hypostatic and other-named character. The experience of deconstructing the paralogical model of artistic reality of Vaginov’s works and the “displaced” center of this model, the image of Philostratus, is justified by the methodological principle of complementarity, in which a formally absent element becomes conceptually significant in the interpretation, because it complements the entire system of meanings. In the works of K.K. Vaginov, such formally absent elements in the structure of other-named-hypostatic images-doubles of Philostratus are unnamed Dionysus, Apollo of Hyperborean, and Pythagoras.
{"title":"The image of Philostratus in the works of K.K. Vaginov: experience of deconstruction","authors":"D.L. Shukurov","doi":"10.17588/2076-9210.2023.4.147-160","DOIUrl":"https://doi.org/10.17588/2076-9210.2023.4.147-160","url":null,"abstract":"The article examines the image of the ancient rhetorician Flavius Philostratus (II–III centuries) in the works of the St. Petersburg and Leningrad poet and writer Konstantin Konstantinovich Vaginov (1899–1934). Flavius Philostratus is a figure symbolizing the complex and contradictory transition from ancient culture to the Christian era. In Vaginov’s work, Philostratus also appears as a symbol of the passing Silver Age and the collapse of the ideals of creative youth. The purpose of the study is to show the hidden interpretative possibilities of the works of K.K. Vaginov, which relate to the general cultural context of the Silver Age and the ideas of its largest representatives: N.A. Berdyaev, P.A. Florensky, Vyach. Ivanov, F.F. Zelinsky, and authors from the inner circle of the writer. Some interpretive codes, which are implicitly present in the texts of Vaginov, allow the possibility of their hermeneutic interpretation followed by the deconstruction of the paralogical model of artistic reality of Vaginov’s works, as well as the deconstruction of the nomadically moving semantic center and hermetic artifact of this model: the image of Philostratus as a hypostatic and other-named character. The experience of deconstructing the paralogical model of artistic reality of Vaginov’s works and the “displaced” center of this model, the image of Philostratus, is justified by the methodological principle of complementarity, in which a formally absent element becomes conceptually significant in the interpretation, because it complements the entire system of meanings. In the works of K.K. Vaginov, such formally absent elements in the structure of other-named-hypostatic images-doubles of Philostratus are unnamed Dionysus, Apollo of Hyperborean, and Pythagoras.","PeriodicalId":445879,"journal":{"name":"Solov’evskie issledovaniya","volume":"2 11","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139148819","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}