Suchergebnisse

The article deals with the reception of Arnold Böcklin's pictorial
heritage in the Russian culture and literature of the Silver Age. It has gone through
all the stages from a violent passion to cooling and almost complete oblivion. Th e
focus is on the lyrics of Ivan Bunin and Andrey Bely of the 1900s. The author reveals
the ways of acquaintance of the Russian public with the paintings of the Swiss painter
(foreign travels, reproductions) and the peculiarities of their perception. By means
of comparative analysis, the author reveals the similarities in the plots and images
of some of the poems of two contemporary poets with the most famous paintings of
the artist: The Island of the Dead and Th e Battle of the Centaurs. It is concluded that
the culture of Russian modernism as a whole was characterized by a metaphysical
interpretation of Böcklin. Bunin valued more symbolic lyrical landscapes that convey
a sense of the mystical enigma of being and human life, or allegorical canvases
(Oceanids), impressive because of the beauty of the plastic scene. Bely sought in the
artist's work support for the assertion of the existence of another, otherworldly reality,
the realm of myth and ancient legends, and this was refl ected in his poetry. And in
the symphonies, allusions to Böcklin create a satirical effect. Nevertheless, both in
Bunin's poem and in Bely's works, we fi nd interesting examples of a modernist artistic
synthesis that combines painting and literature and is aimed at spiritualizing reality,
overcoming positivism and materialism. We see how the images of the Swiss artist
become the language for someone else's creative thought, fi t into a different national
culture.

Author's presentation copy to Arnold Auerbach. ; At head of title: B. L. Ėlʹi︠a︡shev. ; Bibliography: p. [210]-214. ; Mode of access: Internet.

Considering the question of the reaction of the value complexes of the modern Russian legal consciousness to the challenges and threats that modern Russian society has already encountered or will face in the foreseeable and not too distant future, the author starts from Arnold Toynbee's Challenges and Answers theory. Further, analyzing the Russian legal conscience itself, he is concluded that its structure can be objectively distinguished as the traditional (pre-revolutionary) component, Soviet and post-Soviet components too. They correspond to specific value complexes. With their domination in the minds of an individual, group or stratum, they determine their perception of major legal phenomena, the assessment of socio-legal processes and, naturally, one or another type of lawful or illegal behavior. Based on this, it is they who, obviously, will determine the social and legal perception of the challenges and threats that modern Russian society will have to face in the near future, and, naturally, the reaction to them. The article can be used to improve the state social and legal policy of the Russian Federation. Also, the materials presented can provide the interest of students, graduate students, teachers, researchers and other people who are interested in the current social, political and legal development of Russia.

The paper deals with the semantic and structural specificity of political extravaganza as a genre of dramaturgy. The history of this literary and dramatic kind and also its scantily explored genetic connection with the dramatic pamphlet, which arose in the 18th-century English theatre, are briefly retraced. Its artistic peculiarity is investigated by using material from several plays of Bernard Shaw, which were written from the 1920s–1930s (The Apple Cart, Too True to be Good, Geneva, On the Rocks). The genre definition was used by the playwright for the first time as a subtitle to the play The Apple Cart, the first performance of it took place in Warsaw in 1929; the extravaganza was staged by Arnold Szyfman at the "Teatr Polski". Special attention is paid in the article to such features of political extravaganza, as paradox, the grotesque and eccentricity, which become apparent at some levels of dramatic text: in the linguo-stylistic originality of the tirades and dialogues, as well as in the extensive stage directions and sometimes in the titles, in the characters of personages, in construction of the plots and in the composition of the plays. Of primary interest is also the eccentric treatment of the artistic time in the plays based on the historical personalities or episodes, and in the introduction of fantastical elements to the dramatic action. The essential role of the concentrated eccentricity in the sharpening and the emphasized topicalization of political satire is also discussed in the paper.

The Article is devoted to the interdisciplinary field of knowledge – philosophy of technology as an independent direction of the modern approach of knowledge. In the modern world technology becomes the subject of study of a variety of disciplines, both technical, natural and social. The author emphasizes that the number of special technical disciplines is increasing, however, technology in general is not the subject of consideration of these disciplines. It is the task of philosophical consideration. The author considers the history of technology analysis as a phenomenon, the stage of technical optimism and technical pessimism, marks about more constructive approach of the discussion of issues of technique, function, technology. The author considers the technique as a means of resolving a certain human need. The author observes that the science investigates the cause, and the technique feasibility. Social philosopher Arnold Gelen, the author notes, was the first to consider the emergence of symbiosis of technology, industry and politics. And the main essence of the modern stage is the widespread introduction of information technologies – informatization of society. The author concludes that humanity is on the threshold of a new civilization, which will be fundamentally different from all the social formations that have existed so far. ; Статья посвящена междисциплинарной области знания – философии техники как самостоятельному направлению современного подхода к знанию. В современном мире техника становится предметом изучения самых различных дисциплин, как технических, так естественных и общественных, как общих, так и частных. Авторы подчеркивают, что количество специальных технических дисциплин возрастает, однако техника в целом не является предметом рассмотрения этих дисциплин. Это остается задачей философского исследования. Авторы рассматривают историю анализа техники как феномена, стадии технического оптимизма и технического пессимизма, говорят о более конструктивном подходе к обсуждению проблем техники, функций техники. Техника рассматривается как средство, удовлетворяющее определенную человеческую потребность. Авторы замечают, что наука исследует причину, а техника – целесообразность. Социальный философ Арнольд Гелен, отмечают авторы, был первым, кто рассмотрел возникновение симбиоза техники, промышленности и политики. А основной сущностью современного этапа развития техники является повсеместное внедрение информационных технологий – информатизация общества. Авторы делают вывод, что человечество стоит на пороге новой цивилизации, которая будет принципиально отличаться от всех общественных формаций, которые существовали до сих пор.