Pub Date : 2022-03-30DOI: 10.17588/2076-9210.2022.1.055-066
Y. Volkov
Following the example of Dante’s apocalyptic images in the “Divine Comedy” and Vladimir Solovyov’s “A Short Story of Antichrist”, this article takes into consideration the ideological and artistic elements of the counterpoint – the latter being meant as a simultaneous confrontation and combination of styles from different historical epochs. For this purpose, a given stylistic version of the cross-cultural method is adopted. As a result of it, the author demonstrates that the “Divine Comedy” belongs to the Italian proto-Renaissance style, in which, along with the traditions of medieval culture, the stylistic features of Renaissance and Modern times are forming. The conclusion is that the authorial style of Dante’s eschatology is the style of the prophet and judge of humanity who proclaims the continuation of its eternal life. In the same way, the authorial strategy of Solovyov’s last work may be also attributed to a stylization of the prophetic genre that was typical of the Russian culture of the late 19th and early 20th century. Despite all this, Solovyov’s apocalyptic images do not have a clearly formulated idea concerning the coming salvation – which should be mandatory for the Christian eschatology, – but they only formulate in a new way a prediction regarding the inevitable continuation of great wars, coups and civil strives on the path leading to the end of history. In this transitional stage full of malice, lies and deceit, only the traditional Christian ideal of unselfish love and spiritual unity, which Solovyov employs within the framework of a new artistic style, is endowed with the ability to preserve its timeless value. The overall result of the comparison of the historical style of John’s Revelation with the two subsequent stylizations of apocalyptic images is a confirmation of the existence of a cultural self-development that manifests itself in the iconic works of the era of change.
{"title":"Dante’s and Solovyov’s Apocalyptic Images as Stylistic Counterpoints in the Era of Change","authors":"Y. Volkov","doi":"10.17588/2076-9210.2022.1.055-066","DOIUrl":"https://doi.org/10.17588/2076-9210.2022.1.055-066","url":null,"abstract":"Following the example of Dante’s apocalyptic images in the “Divine Comedy” and Vladimir Solovyov’s “A Short Story of Antichrist”, this article takes into consideration the ideological and artistic elements of the counterpoint – the latter being meant as a simultaneous confrontation and combination of styles from different historical epochs. For this purpose, a given stylistic version of the cross-cultural method is adopted. As a result of it, the author demonstrates that the “Divine Comedy” belongs to the Italian proto-Renaissance style, in which, along with the traditions of medieval culture, the stylistic features of Renaissance and Modern times are forming. The conclusion is that the authorial style of Dante’s eschatology is the style of the prophet and judge of humanity who proclaims the continuation of its eternal life. In the same way, the authorial strategy of Solovyov’s last work may be also attributed to a stylization of the prophetic genre that was typical of the Russian culture of the late 19th and early 20th century. Despite all this, Solovyov’s apocalyptic images do not have a clearly formulated idea concerning the coming salvation – which should be mandatory for the Christian eschatology, – but they only formulate in a new way a prediction regarding the inevitable continuation of great wars, coups and civil strives on the path leading to the end of history. In this transitional stage full of malice, lies and deceit, only the traditional Christian ideal of unselfish love and spiritual unity, which Solovyov employs within the framework of a new artistic style, is endowed with the ability to preserve its timeless value. The overall result of the comparison of the historical style of John’s Revelation with the two subsequent stylizations of apocalyptic images is a confirmation of the existence of a cultural self-development that manifests itself in the iconic works of the era of change.","PeriodicalId":445879,"journal":{"name":"Solov’evskie issledovaniya","volume":"37 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-03-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130265844","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 : 2021-12-15DOI: 10.17588/2076-9210.2021.4.070-081
K. Zenkin
Dante’s impact on music has been studied completely enough, but so far mainly in an empirical and descriptive way. The article examines the works of romantic composers of the 19th - early 20th centuries, based on the plot of Dante’s “Divine Comedy”: Liszt’s fantasy-sonata “After reading Dante” and the “Dante-Symphony”, the “Francesca da Rimini” by Tchaikovsky (symphonic fantasy) and Rachmaninoff (opera). The author analyses compositional and stylistic models of the romantic music inspired by Dante’s poetry as a system, which is relevant for modern musicology, in particular, for the theories of musical language, style, and musical meaning. Along with the traditional musicological methods of analysis of form and intonational dramaturgy, an interdisciplinary methodology is applied, associated with the coverage of the entire system of musical compositional prototypes as a structuring of meaning. This has a pronounced narrative poetic nature in romantic music. The results of the study demonstrate a system of structural and semantic invariants (secondary, musical models) conditioned by Dante’s figurative world and manifested in melody, harmony, fret organization, composition. The conclusions of the article reveal the roles of Dante’s models of the world in the works considered in the following aspects: in the process of extreme intensification of the contrasts of romantic music in the semantic coordinates of “Hell – Paradise”; “Love – Death”; in the approval of the concept of Liebestod; in the creation of new, extreme expressive possibilities for the given style, which significantly expanded the idea of the boundaries of beauty and caused transformations in musical sound (harmony, texture, melody); in the formation of stable idioms of romantic music from Liszt to Rachmaninov; in the modification of the structures of a one-part sonata, of the cyclic symphony, and of opera, which have received the quality of a vectorial dramaturgical process and open dramaturgy.
{"title":"Dante’s Models in Romantic Music","authors":"K. Zenkin","doi":"10.17588/2076-9210.2021.4.070-081","DOIUrl":"https://doi.org/10.17588/2076-9210.2021.4.070-081","url":null,"abstract":"Dante’s impact on music has been studied completely enough, but so far mainly in an empirical and descriptive way. The article examines the works of romantic composers of the 19th - early 20th centuries, based on the plot of Dante’s “Divine Comedy”: Liszt’s fantasy-sonata “After reading Dante” and the “Dante-Symphony”, the “Francesca da Rimini” by Tchaikovsky (symphonic fantasy) and Rachmaninoff (opera). The author analyses compositional and stylistic models of the romantic music inspired by Dante’s poetry as a system, which is relevant for modern musicology, in particular, for the theories of musical language, style, and musical meaning. Along with the traditional musicological methods of analysis of form and intonational dramaturgy, an interdisciplinary methodology is applied, associated with the coverage of the entire system of musical compositional prototypes as a structuring of meaning. This has a pronounced narrative poetic nature in romantic music. The results of the study demonstrate a system of structural and semantic invariants (secondary, musical models) conditioned by Dante’s figurative world and manifested in melody, harmony, fret organization, composition. The conclusions of the article reveal the roles of Dante’s models of the world in the works considered in the following aspects: in the process of extreme intensification of the contrasts of romantic music in the semantic coordinates of “Hell – Paradise”; “Love – Death”; in the approval of the concept of Liebestod; in the creation of new, extreme expressive possibilities for the given style, which significantly expanded the idea of the boundaries of beauty and caused transformations in musical sound (harmony, texture, melody); in the formation of stable idioms of romantic music from Liszt to Rachmaninov; in the modification of the structures of a one-part sonata, of the cyclic symphony, and of opera, which have received the quality of a vectorial dramaturgical process and open dramaturgy.","PeriodicalId":445879,"journal":{"name":"Solov’evskie issledovaniya","volume":"360 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114842601","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 : 2021-12-15DOI: 10.17588/2076-9210.2021.4.183-194
A.V. Malinov A.V.
This article provides an overview of the Seventh International Readings on the History of Russian Philosophy, entitled “Intercultural Philosophy: A Polylogue of Traditions”, which were held at the Sociological Institute of the Russian Academy of Sciences – a branch of the Federal Research Sociological Center of the Russian Academy of Sciences. The path of the intercultural philosophy began around the 1980ies and 1990ies in Germany and Austria as a criticism of Western-centrism in philosophy and as an ideological alternative to the Western style of thinking. In this conference, an attempt was made to transfer the principles and methods of intercultural philosophy (philosophy of polylogue) to the history of Russian philosophy. This article also offers a summary of the structure of the conference, the content of its plenary lectures as well as the reports on the intercultural subjects and polylogue methodology, including their applied aspects. The main parts of the plenary sessions, roundtables and seminars that were held within the conference are also analyzed. It is pointed out that the process of formation of intercultural philosophy has not been completed yet; its terminology has not been established; and, eventually, the methods and results have not received wide recognition. However, the period of declarations and of manifestos is coming to an end. The conference contributed to the popularization of intercultural philosophy and the philosophy of polylogue in Russia. Relying on the experience and traditions of non-Western thinking, it offers a solution to the problems facing modern humanity, it indicates a number of possible ways to overcome the crisis situations in culture and society, and it also provides some answers to the “eternal” philosophical questions.
{"title":"Intercultural Philosophy: A Polylogue of Traditions","authors":"A.V. Malinov A.V.","doi":"10.17588/2076-9210.2021.4.183-194","DOIUrl":"https://doi.org/10.17588/2076-9210.2021.4.183-194","url":null,"abstract":"This article provides an overview of the Seventh International Readings on the History of Russian Philosophy, entitled “Intercultural Philosophy: A Polylogue of Traditions”, which were held at the Sociological Institute of the Russian Academy of Sciences – a branch of the Federal Research Sociological Center of the Russian Academy of Sciences. The path of the intercultural philosophy began around the 1980ies and 1990ies in Germany and Austria as a criticism of Western-centrism in philosophy and as an ideological alternative to the Western style of thinking. In this conference, an attempt was made to transfer the principles and methods of intercultural philosophy (philosophy of polylogue) to the history of Russian philosophy. This article also offers a summary of the structure of the conference, the content of its plenary lectures as well as the reports on the intercultural subjects and polylogue methodology, including their applied aspects. The main parts of the plenary sessions, roundtables and seminars that were held within the conference are also analyzed. It is pointed out that the process of formation of intercultural philosophy has not been completed yet; its terminology has not been established; and, eventually, the methods and results have not received wide recognition. However, the period of declarations and of manifestos is coming to an end. The conference contributed to the popularization of intercultural philosophy and the philosophy of polylogue in Russia. Relying on the experience and traditions of non-Western thinking, it offers a solution to the problems facing modern humanity, it indicates a number of possible ways to overcome the crisis situations in culture and society, and it also provides some answers to the “eternal” philosophical questions.","PeriodicalId":445879,"journal":{"name":"Solov’evskie issledovaniya","volume":"32 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122055745","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 : 2021-12-15DOI: 10.17588/2076-9210.2021.4.054-069
A. Pigalev
The paper deals with the continuity of ideas concerning the Eternal Feminine and Sophia as the Wisdom of God from the point of view of Dante Alighieri and Vl.S. Solovyov. The analysis focuses not so much on the very notion of Sophia as on the meaning, origins, and contexts of their conception of Sophianic unity. The latter, being an ideal form of reducing a multitude to a unity, is considered as either an alternative or a supplement to the model of totality that reproduces the binary and hierarchical structure which at the social and political level is considered to be the pattern of imperial centralism. The study proceeds from the consequences of Dante’s negation of the difference between the spiritual sense of the Holy Scriptures and the literary sense of secular poetry. It is shown that for Dante it was necessary, first of all, to understand under whose inspiration and guidance he composed his verses, which gave particular importance to the image of a guide in his magnum opus. I show that in this context Dante turned to the intuitive representation of the feminine idea as a guiding principle that was personified by Beatrice, although Dante did not use the term “Sophia” and could not use the term “the Eternal Feminine,” which did not yet exist at the time. The disputes in Dante’s time on the essence of monarchy are considered in connection with his understanding of femininity as the guiding principle of such a unity of humanity that could reject a rigid hierarchy and, thus, free itself from imperial centralism. It is pointed out that the social and political aspects of the all-encompassing Sophia, which also resolves contradictions as a supplement to the intrinsically contradictory Logos, were given great importance in Solovyov’s philosophy. The paper concludes that it was Solovyov, who, having identified Sophia with humanity as a whole, created the presuppositions for a detailed study of the structure of Sophia’s unity. This study ends with a discussion of the validity of the convergence of a non-hierarchical Sophianic unity with the deconstructive strategies of modern philosophy, the aim of which is the elimination of binary oppositions and hierarchies from the gender context.
{"title":"The Wisdom of God as the Eternal Feminine: Dante and V.S. Solovyov on Sophianic Unity","authors":"A. Pigalev","doi":"10.17588/2076-9210.2021.4.054-069","DOIUrl":"https://doi.org/10.17588/2076-9210.2021.4.054-069","url":null,"abstract":"The paper deals with the continuity of ideas concerning the Eternal Feminine and Sophia as the Wisdom of God from the point of view of Dante Alighieri and Vl.S. Solovyov. The analysis focuses not so much on the very notion of Sophia as on the meaning, origins, and contexts of their conception of Sophianic unity. The latter, being an ideal form of reducing a multitude to a unity, is considered as either an alternative or a supplement to the model of totality that reproduces the binary and hierarchical structure which at the social and political level is considered to be the pattern of imperial centralism. The study proceeds from the consequences of Dante’s negation of the difference between the spiritual sense of the Holy Scriptures and the literary sense of secular poetry. It is shown that for Dante it was necessary, first of all, to understand under whose inspiration and guidance he composed his verses, which gave particular importance to the image of a guide in his magnum opus. I show that in this context Dante turned to the intuitive representation of the feminine idea as a guiding principle that was personified by Beatrice, although Dante did not use the term “Sophia” and could not use the term “the Eternal Feminine,” which did not yet exist at the time. The disputes in Dante’s time on the essence of monarchy are considered in connection with his understanding of femininity as the guiding principle of such a unity of humanity that could reject a rigid hierarchy and, thus, free itself from imperial centralism. It is pointed out that the social and political aspects of the all-encompassing Sophia, which also resolves contradictions as a supplement to the intrinsically contradictory Logos, were given great importance in Solovyov’s philosophy. The paper concludes that it was Solovyov, who, having identified Sophia with humanity as a whole, created the presuppositions for a detailed study of the structure of Sophia’s unity. This study ends with a discussion of the validity of the convergence of a non-hierarchical Sophianic unity with the deconstructive strategies of modern philosophy, the aim of which is the elimination of binary oppositions and hierarchies from the gender context.","PeriodicalId":445879,"journal":{"name":"Solov’evskie issledovaniya","volume":"2013 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127368325","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 : 2021-12-15DOI: 10.17588/2076-9210.2021.4.135-146
L. Kayanidi
This review presents an analysis of the new edition of the classic book on Dostoevsky written by the Russian modernist poet and thinker Vyacheslav Ivanov, who was the last representative of an entire era of Dostoevsky’s interpreters. At first, a brief description of each of the three sections of Ivanov’s book is offered. In these sections, Dostoevsky is interpreted as a tragic poet, a myth-maker, and a religious thinker. Along with it, some features concerning M.Yu. Koreneva’s new translation from German are also analyzed. Special attention is then paid to a number of extensive comments on Ivanov’s book, which often become separate studies concerning Ivanov’s most significant ideas, symbols and mythologies (for example, Ahriman, Lucifer, Psyche, transcensus, “You are”). Furthermore, an overview of the appendices included in the publication is given. Among these, the most significant are: the transcript of a text that S.N. Bulgakov discussed in the Moscow Religious and Philosophical Society “Russian tragedy”; some notes concerning the lectures on Dostoevsky Ivanov gave at the Baku University in 1921–1923; the text on Dostoevsky and Nietzsche which A. Kruchenykh discussed at the Baku University in 1921; some reviews in German on Ivanov’s book; the chronicle “Dostoevsky in the Life and Thoughts of V.I. Ivanov (1883–1949)” compiled by A.B. Shishkin and A.L. Sobolev. In conclusion, a review of a number of articles written by modern Ivanov scholars (A. B. Shishkin, M.B. Plyukhanova), which are also included in the appendices to the book, is presented.
{"title":"Dostoevsky’s Three Hypostases [Review of:] Ivanov V.I. Dostoevsky. Tragedy-Myth-Mysticism. Ed. by A. B. Shishkin and O.L. Fetisenko. Saint Petersburg: Pushkin House Publisher, 2020. 476 p.","authors":"L. Kayanidi","doi":"10.17588/2076-9210.2021.4.135-146","DOIUrl":"https://doi.org/10.17588/2076-9210.2021.4.135-146","url":null,"abstract":"This review presents an analysis of the new edition of the classic book on Dostoevsky written by the Russian modernist poet and thinker Vyacheslav Ivanov, who was the last representative of an entire era of Dostoevsky’s interpreters. At first, a brief description of each of the three sections of Ivanov’s book is offered. In these sections, Dostoevsky is interpreted as a tragic poet, a myth-maker, and a religious thinker. Along with it, some features concerning M.Yu. Koreneva’s new translation from German are also analyzed. Special attention is then paid to a number of extensive comments on Ivanov’s book, which often become separate studies concerning Ivanov’s most significant ideas, symbols and mythologies (for example, Ahriman, Lucifer, Psyche, transcensus, “You are”). Furthermore, an overview of the appendices included in the publication is given. Among these, the most significant are: the transcript of a text that S.N. Bulgakov discussed in the Moscow Religious and Philosophical Society “Russian tragedy”; some notes concerning the lectures on Dostoevsky Ivanov gave at the Baku University in 1921–1923; the text on Dostoevsky and Nietzsche which A. Kruchenykh discussed at the Baku University in 1921; some reviews in German on Ivanov’s book; the chronicle “Dostoevsky in the Life and Thoughts of V.I. Ivanov (1883–1949)” compiled by A.B. Shishkin and A.L. Sobolev. In conclusion, a review of a number of articles written by modern Ivanov scholars (A. B. Shishkin, M.B. Plyukhanova), which are also included in the appendices to the book, is presented.","PeriodicalId":445879,"journal":{"name":"Solov’evskie issledovaniya","volume":"75 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130461627","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 : 2021-12-15DOI: 10.17588/2076-9210.2021.4.147-162
Kibalnik S.A. Kibalnik
Andrei Bely’s “Petersburg” has been analyzed primarily with respect to its intertextual connections with Dostoevsky’s novel “The Brothers Karamazov”. This essay offers a comparative analysis of Nikolai Apollonovich Ableukhov, the main character in A. Bely’s novel, and Nikolai Vsevolodovich Stavrogin, the main character of Dostoevsky's novel “Demons”. We see that, in reality, the “Stavrogin genealogy” of the younger Ableukhov begins already with his name and appearance and continues with extravagant acts committed or only conceived by him. In the context of intertextual connections, other character in Bely’s novel are also considered: Alexander Ivanovich Dudkin – as a kind of hybrid of Ivan Karamazov with Stavrogin, and Nikolai Stepanovich Lippanchenko – as the reincarnation of Pyotr Stepanovich Verkhovensky or his hybrid with Nikolai Stavrogin. We conclude that, on the whole, Bely’s novel is a hybrid hypertext of Dostoevsky’s, in which “Demons” serves in the role of the main hypotext, and “The Brothers Karamazov” plays the role of a secondary hypotext. Thus, the hypertextuality of Bely’s novel in relation to Dostoevsky’s works is its constructive feature, outside of which it cannot be adequately perceived and interpreted.
{"title":"Andrey Bely’s novel Petersburg as Dostoevsky’s hybrid hypertext","authors":"Kibalnik S.A. Kibalnik","doi":"10.17588/2076-9210.2021.4.147-162","DOIUrl":"https://doi.org/10.17588/2076-9210.2021.4.147-162","url":null,"abstract":"Andrei Bely’s “Petersburg” has been analyzed primarily with respect to its intertextual connections with Dostoevsky’s novel “The Brothers Karamazov”. This essay offers a comparative analysis of Nikolai Apollonovich Ableukhov, the main character in A. Bely’s novel, and Nikolai Vsevolodovich Stavrogin, the main character of Dostoevsky's novel “Demons”. We see that, in reality, the “Stavrogin genealogy” of the younger Ableukhov begins already with his name and appearance and continues with extravagant acts committed or only conceived by him. In the context of intertextual connections, other character in Bely’s novel are also considered: Alexander Ivanovich Dudkin – as a kind of hybrid of Ivan Karamazov with Stavrogin, and Nikolai Stepanovich Lippanchenko – as the reincarnation of Pyotr Stepanovich Verkhovensky or his hybrid with Nikolai Stavrogin. We conclude that, on the whole, Bely’s novel is a hybrid hypertext of Dostoevsky’s, in which “Demons” serves in the role of the main hypotext, and “The Brothers Karamazov” plays the role of a secondary hypotext. Thus, the hypertextuality of Bely’s novel in relation to Dostoevsky’s works is its constructive feature, outside of which it cannot be adequately perceived and interpreted.","PeriodicalId":445879,"journal":{"name":"Solov’evskie issledovaniya","volume":"42 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127632881","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 : 2021-12-15DOI: 10.17588/2076-9210.2021.4.025-037
E. A. Cherkasova
This essay examines for the first time the three editions, from 1891, 1895, and 1900, of Solovyov’s collected poetry from the point of view of their internal organization and relationship. The task posed is the identification and description of the most important components of the poetry book, which are present in all three editions and contribute to an understanding of the author's conception as it was realized in the books under consideration. To fulfill this task the comparative and descriptive methods of analysis are used. The evolution of the author’s artistic consciousness is described on the basis of the collected editions of Solovyov's poetry, his epistolary heritage, and the research of contemporary scholars. The different levels of the author's dialogue with the reader, with critics, as well as with poets and writers are highlighted. The author outlines the ways of researching the examined theme. In particular, the chronological order of the development of Solovyov's lyrical books, as well as the definite recurrence of the separate lyrical components in each of the three books, is shown. We see that the content of the author's three prefaces determines their function in the structure of the poetry books. The special role of critical works, included by the author in the third edition, in shaping the structure of the book of poems, as well as their relation with the foreword, is emphasized. The author concludes with genre renewal of art forms to solve new aesthetic tasks. Solovyov's aspiration to realize the life-creative conception within the framework of work on three lifetime editions is affirmed. In conclusion, the author substantiates the idea that the presented editions in their unity are a transitional genre form, which corresponds to the poet’s individual artistic searching and which establishes the literary trends of the turn of XIX–XX centuries.
{"title":"The structure of Solovyov's three lifetime poetry books: toward a problem statement","authors":"E. A. Cherkasova","doi":"10.17588/2076-9210.2021.4.025-037","DOIUrl":"https://doi.org/10.17588/2076-9210.2021.4.025-037","url":null,"abstract":"This essay examines for the first time the three editions, from 1891, 1895, and 1900, of Solovyov’s collected poetry from the point of view of their internal organization and relationship. The task posed is the identification and description of the most important components of the poetry book, which are present in all three editions and contribute to an understanding of the author's conception as it was realized in the books under consideration. To fulfill this task the comparative and descriptive methods of analysis are used. The evolution of the author’s artistic consciousness is described on the basis of the collected editions of Solovyov's poetry, his epistolary heritage, and the research of contemporary scholars. The different levels of the author's dialogue with the reader, with critics, as well as with poets and writers are highlighted. The author outlines the ways of researching the examined theme. In particular, the chronological order of the development of Solovyov's lyrical books, as well as the definite recurrence of the separate lyrical components in each of the three books, is shown. We see that the content of the author's three prefaces determines their function in the structure of the poetry books. The special role of critical works, included by the author in the third edition, in shaping the structure of the book of poems, as well as their relation with the foreword, is emphasized. The author concludes with genre renewal of art forms to solve new aesthetic tasks. Solovyov's aspiration to realize the life-creative conception within the framework of work on three lifetime editions is affirmed. In conclusion, the author substantiates the idea that the presented editions in their unity are a transitional genre form, which corresponds to the poet’s individual artistic searching and which establishes the literary trends of the turn of XIX–XX centuries.","PeriodicalId":445879,"journal":{"name":"Solov’evskie issledovaniya","volume":"33 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126773753","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 : 2021-12-15DOI: 10.17588/2076-9210.2021.4.038-053
A. Morozova
The processes of the development of a market economy, entailing the commercialization in all spheres of social life, raise the question of the correlation between the role of human beings as economic subjects and our role as moral beings. In economics, this this issue is associated with the discussion about the way norms pervade economic theory, expressed in the dichotomy between holistic and individualistic methods. The scope of the influence of governmental bodies and large corporate structures on the socio-economic, cultural and natural environment highlights the philosophical problem of applying moral criteria to collective economic actors, which is reflected in the concept of corporate social responsibility (CSR). The author, in this paper, opines that the question of introducing ethical principles into economic practice cannot be entirely resolved within the framework of economic theory and requires an appeal to moral philosophy. The problem of the correlation between the economic and the moral spheres is considered on the basis of V.S. Solovyov’s work “The Justification of the Good”. The principal economic ideas stated in this work are discussed in the context of assessments by past and present researchers, of economic history, and of philosophical and economic-managerial conceptions. The author presents a comparative analysis of V.S. Solovyov’s ideas about the correlation between economics and morality and the principal ideas behind corporate social responsibility. The author reveals axiological and teleological differences between the two conceptions. Whereas V.S. Solovyov deals with moral and religious categories and notions of progress, the concept of corporate social responsibility is based on economic and legal priorities and is focused on sustainable development. At the same time, the similarities identified between the concepts (such as their complex nature, the acknowledgement of the role of moral principles of the economic participants, the importance of environmental issues and legal regulators) lead us to conclude about the possibility of their further convergence and the surmounting of the limitations of corporate social responsibility based on the teachings of V.S. Solovyov.
{"title":"V.S. Solovyov on the Correlation between Economy and Morality: Modern Aspects","authors":"A. Morozova","doi":"10.17588/2076-9210.2021.4.038-053","DOIUrl":"https://doi.org/10.17588/2076-9210.2021.4.038-053","url":null,"abstract":"The processes of the development of a market economy, entailing the commercialization in all spheres of social life, raise the question of the correlation between the role of human beings as economic subjects and our role as moral beings. In economics, this this issue is associated with the discussion about the way norms pervade economic theory, expressed in the dichotomy between holistic and individualistic methods. The scope of the influence of governmental bodies and large corporate structures on the socio-economic, cultural and natural environment highlights the philosophical problem of applying moral criteria to collective economic actors, which is reflected in the concept of corporate social responsibility (CSR). The author, in this paper, opines that the question of introducing ethical principles into economic practice cannot be entirely resolved within the framework of economic theory and requires an appeal to moral philosophy. The problem of the correlation between the economic and the moral spheres is considered on the basis of V.S. Solovyov’s work “The Justification of the Good”. The principal economic ideas stated in this work are discussed in the context of assessments by past and present researchers, of economic history, and of philosophical and economic-managerial conceptions. The author presents a comparative analysis of V.S. Solovyov’s ideas about the correlation between economics and morality and the principal ideas behind corporate social responsibility. The author reveals axiological and teleological differences between the two conceptions. Whereas V.S. Solovyov deals with moral and religious categories and notions of progress, the concept of corporate social responsibility is based on economic and legal priorities and is focused on sustainable development. At the same time, the similarities identified between the concepts (such as their complex nature, the acknowledgement of the role of moral principles of the economic participants, the importance of environmental issues and legal regulators) lead us to conclude about the possibility of their further convergence and the surmounting of the limitations of corporate social responsibility based on the teachings of V.S. Solovyov.","PeriodicalId":445879,"journal":{"name":"Solov’evskie issledovaniya","volume":"13 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127853874","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 : 2021-12-15DOI: 10.17588/2076-9210.2021.4.082-105
Medovarov M.V. Medovarov
This article has a historiographic and methodological nature and is devoted to the problematic interpretations of the esoteric content of Dante’s ideas and works by French and Italian scholars from the middle of the nineteenth century to the second half of the twentieth century. Various definitions of Western esotericism are discussed in the light of contemporary approaches. The current interest in the study of Dante’s esotericism and the relevance of this topic are substantiated. The tradition in the interpretation of Dante's esotericism in Italy and France can be traced back to the occultists of the 19th century, who referred to each other's works: G. Rossetti, E. Arou, F. Boissard, J. Péladant, G. Pascoli and others. It has been demonstrated that the studies of Dante's esotericism during 1920s reached a new level of quality, which was adequate to the contemporary scientific requirements for Dante studies: in Italy, this happened in the person of Luigi Valli and his students, Arturo Reghini and then Julius Evola; and in France, at the same time, in the person of René Guénon. The criticism of Valli in the works by Guénon is analyzed in detail. The context of Dante's interpretation by Guénon is revealed in connection with the issue of Templar, Rosicrucian and Islamic influences (Sufism, Arab Neoplatonism). In this respect, a significant difference of tones was observed in the perception of Dante's esotericism within the general paradigm of integral traditionalism between Guénon and his Italian colleagues Julius Evola and especially Guido de Giorgio, whose fundamental work is still unknown to Russian scholars. An intense politicization of the perception of Dante's heritage by Evola and de Giorgio is also remarked in this article. Special attention is then paid to the study of Dante's esotericism by one of the leading Roman Catholic theologian of the twentieth century, Romano Guardini, who engaged a polemic correspondence with the integral traditionalists. Based on the results of our study, it was concluded that the research of Dante's esotericism by French and Italian authors for more than a hundred years can be characterized as a continuous chain of dialogue and polemics of various authors who knew about each other's works and used the appropriate links.
这篇文章具有史学和方法论的性质，致力于法国和意大利学者从19世纪中叶到20世纪下半叶对但丁思想和作品的深奥内容的有问题的解释。本文结合当代的研究方法，讨论了西方神秘主义的各种定义。目前对但丁神秘主义研究的兴趣和这个话题的相关性得到了证实。意大利和法国解读但丁神秘主义的传统可以追溯到19世纪的神秘主义者，他们互相引用对方的作品:G. Rossetti, E. Arou, F. Boissard, J. psamadant, G. Pascoli等。有证据表明，20世纪20年代对但丁神秘主义的研究达到了一个新的质量水平，这足以满足当代对但丁研究的科学要求:在意大利，这发生在路易吉·瓦利和他的学生阿图罗·雷吉尼和朱利叶斯·埃沃拉身上;与此同时，在法国，有一个叫ren gusamnon的人。详细分析了古萨农作品中对瓦利的批评。但丁对古姆萨农的解释与圣殿骑士团、玫瑰十字会和伊斯兰教的影响(苏菲主义、阿拉伯新柏拉图主义)有关。在这方面，古姆萨农和他的意大利同事朱利叶斯·埃沃拉，尤其是基多·德·乔治，在整体传统主义的一般范式中，对但丁的神秘主义的看法有显著的不同，基多·德·乔治的基本工作对俄罗斯学者来说仍然是未知的。埃沃拉和德·乔治对但丁遗产的强烈政治化看法也在本文中得到了评论。接下来，我们特别关注了二十世纪罗马天主教神学家之一的罗马诺·瓜迪尼对但丁的神秘主义的研究，他与整体传统主义者进行了一场论战。根据我们的研究结果，可以得出结论，法国和意大利作家一百多年来对但丁神秘主义的研究可以被描述为一个连续的对话和辩论链，这些作者相互了解对方的作品并使用适当的链接。
{"title":"Interpretations of Dante’s Esotericism in the Italian and French Studies in the Middle of the Nineteenth and the Second Half of the Twentieth Century","authors":"Medovarov M.V. Medovarov","doi":"10.17588/2076-9210.2021.4.082-105","DOIUrl":"https://doi.org/10.17588/2076-9210.2021.4.082-105","url":null,"abstract":"This article has a historiographic and methodological nature and is devoted to the problematic interpretations of the esoteric content of Dante’s ideas and works by French and Italian scholars from the middle of the nineteenth century to the second half of the twentieth century. Various definitions of Western esotericism are discussed in the light of contemporary approaches. The current interest in the study of Dante’s esotericism and the relevance of this topic are substantiated. The tradition in the interpretation of Dante's esotericism in Italy and France can be traced back to the occultists of the 19th century, who referred to each other's works: G. Rossetti, E. Arou, F. Boissard, J. Péladant, G. Pascoli and others. It has been demonstrated that the studies of Dante's esotericism during 1920s reached a new level of quality, which was adequate to the contemporary scientific requirements for Dante studies: in Italy, this happened in the person of Luigi Valli and his students, Arturo Reghini and then Julius Evola; and in France, at the same time, in the person of René Guénon. The criticism of Valli in the works by Guénon is analyzed in detail. The context of Dante's interpretation by Guénon is revealed in connection with the issue of Templar, Rosicrucian and Islamic influences (Sufism, Arab Neoplatonism). In this respect, a significant difference of tones was observed in the perception of Dante's esotericism within the general paradigm of integral traditionalism between Guénon and his Italian colleagues Julius Evola and especially Guido de Giorgio, whose fundamental work is still unknown to Russian scholars. An intense politicization of the perception of Dante's heritage by Evola and de Giorgio is also remarked in this article. Special attention is then paid to the study of Dante's esotericism by one of the leading Roman Catholic theologian of the twentieth century, Romano Guardini, who engaged a polemic correspondence with the integral traditionalists. Based on the results of our study, it was concluded that the research of Dante's esotericism by French and Italian authors for more than a hundred years can be characterized as a continuous chain of dialogue and polemics of various authors who knew about each other's works and used the appropriate links.","PeriodicalId":445879,"journal":{"name":"Solov’evskie issledovaniya","volume":"24 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116724655","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 : 2021-12-15DOI: 10.17588/2076-9210.2021.4.119-134
Liao Xiaoyu, I. Evlampiev
This article deals with the controversial issue of F.M. Dostoevsky’s concept of “Higher Individuals.” The latter are people who rise above other people and have a special influence on society and on history. The authors argue that this concept is most clearly expressed in “The Diary of a Writer” (1876) as well as in the story “The Sentence”, along with Dostoevsky’s commentaries on this story. By means of a detailed analysis of Raskolnikov’s “theory” within the novel “Crime and Punishment”, it is demonstrated that only a superficial version of the concept of “higher individuals” is refuted in the heroes’ argumentations; at the same time, the novel’s characters – Marmeladov, his wife Katerina Ivanovna, and Raskolnikov – can be viewed as examples of different degrees in the personal accomplishment of this “higher personality” state. In conclusion, it is observed how a person must go through three stages of development in order to become a “higher character”: firstly, the experience of an existential crisis and the understanding of the lack of meaning in one’s life; secondly, the “rebellion” against the Creator of the world and its laws along with the rejection of the traditional church faith, whose rejection leads this person on the edge of suicide; thirdly, the acquisition of a new faith, first of all, a faith in one’s immortality, which happens in an unusual, unorthodox form, as is well demonstrated by the character of Svidrigailov in Dostoevsky’s novel. According to Dostoevsky’s doctrine, the meaning ofimmortality lies in the continuation of a person’s existence in a new form in the earthly world or in a “parallel” world similar to the earthly one, and not in the ideal Kingdom of Heaven, as the church claims. Finally, the authors maintain that the process of a character’s transformation into a “higher individual” was consistently and fully described by Dostoevsky in the stories of Raskolnikov and Ivan Karamazov.
{"title":"The Problem of “Higher Individuals” in the Works of F.M. Dostoevsky","authors":"Liao Xiaoyu, I. Evlampiev","doi":"10.17588/2076-9210.2021.4.119-134","DOIUrl":"https://doi.org/10.17588/2076-9210.2021.4.119-134","url":null,"abstract":"This article deals with the controversial issue of F.M. Dostoevsky’s concept of “Higher Individuals.” The latter are people who rise above other people and have a special influence on society and on history. The authors argue that this concept is most clearly expressed in “The Diary of a Writer” (1876) as well as in the story “The Sentence”, along with Dostoevsky’s commentaries on this story. By means of a detailed analysis of Raskolnikov’s “theory” within the novel “Crime and Punishment”, it is demonstrated that only a superficial version of the concept of “higher individuals” is refuted in the heroes’ argumentations; at the same time, the novel’s characters – Marmeladov, his wife Katerina Ivanovna, and Raskolnikov – can be viewed as examples of different degrees in the personal accomplishment of this “higher personality” state. In conclusion, it is observed how a person must go through three stages of development in order to become a “higher character”: firstly, the experience of an existential crisis and the understanding of the lack of meaning in one’s life; secondly, the “rebellion” against the Creator of the world and its laws along with the rejection of the traditional church faith, whose rejection leads this person on the edge of suicide; thirdly, the acquisition of a new faith, first of all, a faith in one’s immortality, which happens in an unusual, unorthodox form, as is well demonstrated by the character of Svidrigailov in Dostoevsky’s novel. According to Dostoevsky’s doctrine, the meaning ofimmortality lies in the continuation of a person’s existence in a new form in the earthly world or in a “parallel” world similar to the earthly one, and not in the ideal Kingdom of Heaven, as the church claims. Finally, the authors maintain that the process of a character’s transformation into a “higher individual” was consistently and fully described by Dostoevsky in the stories of Raskolnikov and Ivan Karamazov.","PeriodicalId":445879,"journal":{"name":"Solov’evskie issledovaniya","volume":"30 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132531210","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}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：