Suchergebnisse

The article is devoted to the study of the philosophical, theological and religious significance of the Wandering in Russian Orthodox culture, primarily as a unique image of folk religiosity. The author considers the concept of 'Wanderer' as one of the fundamental concepts in Russian culture. Its multiple meanings and semantic heterogeneity are revealed and analyzed both in European and domestic cultures; for this, in particular, the author refers to the experience of European and especially Russian literature of the 19th–20th centuries, in which a polysemantic image of a wanderer appears. The author is indicated value of visual image of Wanderer is studied in more detail in Russian painting of the 19th century. The valuable material on the cultural characteristics of Russian Wandering was collected by S.V.Maksimov in the second half of the 19th century. The main attention is directed to the image of Wanderer in the religious and philosophical perspective of Russian Orthodoxy. The author refers to the Christian origins of the image of Wanderer. The specificity of Wanderer's attitude to the world, his existence, other people, God is specified, as well as the connection of the concept of Wandering with the principles of Hesychasm. The author draws a special attention to the importance of good looks and tenderness as important characteristics of the image of Wanderer. Through an appeal to the traditions of Christology and patristic Orthodoxy, Hesychasm and eldership, the writings Russian literature, the anonymous author of 'Frank Stories of a Wanderer to His Spiritual Father', Russian painting of the 19th century, and modern Orthodox religious and philosophical thought, the author of the article is to reveal the unique meaning of the image of Wanderer and emphasize its special meaning-forming role for Russian Orthodox culture.

The article is dedicated to the anniversary of Boris Vasilyevich Markov, the famous philosopher of Saint Petersburg, Russia. The author of the article, basing on many years of personal experience and professional communication with the hero of the day, presents an expressive and holistic image of Markov as a person and as a philosopher according to his biography and creativity. An attempt is made to consider the complex philosophical evolution of Markov, which took place in key periods for Russian philosophy when Russian thought actively absorbed the key philosophical texts of the 20th century that had become available. Markov is distinguished by a unique ability to creatively rethink a variety of philosophical trends — classical philosophical schools, phenomenology, existentialism, hermeneutics, analytical philosophy, structuralism — actualizing their significance for modern philosophy and synthesizing their experience in their original understanding. The specificity of Markov's oral and written language is distinguished by its expressiveness, brightness and aphorism. It is no coincidence that the philosophy of language had a great influence on his philosophical development, remaining as one of the main research topics throughout all his works. Touching upon some of the key books of Professor Markov, written by him at different times, the author strives to briefly mention and analyze the main features of his philosophical style, thinking, and worldview. Special attention is paid to philosophical anthropology, which is directly related to the philosophical activity of the hero of the day over the past few decades. In this regard, emphasis is given to Markov's book "Mind and Heart", which marked the beginning of the most productive period of his philosophical work, which is currently associated with the problems of visual anthropology of communication.

An article dedicated to the 80th anniversary of Joseph Brodsky examines the meta­physical and religious aspects of the poet's understanding of the language. The au­thor explores the problem of the evolution of Brodsky's attitude to religion through the material of his numerous interviews and essays, showing that his particular po­etic religiosity, the underlying metaphysics of the language and the assessment of religious denominations were shaped under the direct influence of the ethos of the English language and its specific incarnations in the works of J. Donn and es­pecially W. Auden. The order of the English language (ordo lingua), which entered into a dialogue with the structural forms characteristic of the Russian poetic tradi­tion (metrics, rhythmics, caesura, etc.), determined the original warehouse of poet­ics, aesthetics, world view, religious metaphysics and even the external image of J. Brodsky, making for him, Calvinism and Judaism are closest to him in the mat­ter of understanding God, the world and man. Of particular importance in this context was for Brodsky the creativity and creativity of Marina Tsvetaeva and the philosophers S. Kierkegaard and L. Shestov, which was highly valued by him. For the author of the article, it was important to emphasize that both religious-metaphysical and, on the whole, the values and ideological views of J. Brodsky were determined precisely by the aesthetics of the language, to which the poet de­voted himself to unquestioning service to himself.

The article is devoted to anthropological problems of the human image in the history of culture and philosophy of the twentieth century and in processes of visualization of political communication in the postmodern era. In the first part of the article, it is proposed to consider the transition from the modern era to the postmodern era in the context of the main stages in the history of the relationship between word and image, language and visuality in European culture of the XX century. The understanding of the visual image as defined by discursive practitioners and understood as a text in the semiotic paradigm of the mid-twentieth century, primarily in the works of R. Barth, is analyzed in detail. The liberation of the visual image from language discourse, which begins at the end of the last century, leads to the active development of visual anthropology, and radical changes in the reproduction technology to a change in the ways of perceiving the world. The article examines the features of the functioning of human images existing in the public space, problems of perception and modern visual communication. The second part of the article examines the tendencies of the development of political ideologies in the postmodern era. The authors describe three coordinates of system of postmodern political ideologies: the disappearance of traditional political ideologies, the revolution of technology, the political changes of the 1980s and formation of "monotonous politics". It is shown that in the postmodern era political ideologies are forced to minimize the theoretical justification of their fundamental principles, turning instead to new visual and virtual forms of promoting their ideas. The main tendencies are change of the form of political practices, rejection of traditional methods of formulating political ideas, visualization and virtualization of the theoretical and practical components of political activity. The specific features of theatricalization of political and art activism are revealed in the article. In addition, the main aspects of modern political communication are highlighted: functionality, superficiality, and network character.