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The article presents the interpretation of the Seventh Poem by A. Vvedensky in the lexical-grammatical and genrestyle aspects. It is shown that the plot of the posthumous journey of the soul unfolds in Vvedensky's text. It has been established that each stage of this plot unity is associated with the metamorphosis of the subject, which is marked by anomalies of subject and pronominal deixis. Deictic shifts indicate different stages of the dissolution of the soul in the world, thus, the splitting of the pronominal deixis performs a compositional function, marking the turning points of the plot of the posthumous journey.It is revealed that the posthumous path of the hero is interpreted by Vvedensky as a 'double' regression. Thus, posthumous existence is understood as a return to a childish state and as a movement to the primary plant-animal forms of being (unstable subjectivity, disintegrating, takes on different existential forms: a man - a woman - a child - an animal - a plant). The stages of the path to the origins are indicated by comparative constructions, which vary from the dividing 'like' to the identifying instrumental case of metamorphosis.The topic of the posthumous journey 'manifests' in the Seventh Poem the genre of a two-peak eschatological vision. It is shown that the conjugation of Vvedensky's poetic text with the eschatological genre is realized both at the structural-plot level (the composition of the plot of the vision in its main points corresponds to the composition of the plot of the poem), and at the level of the pragmatic context (the genesis of visions is associated with oneiric modes of consciousness, which, as a source of texts, are important both for a medieval visionary and for Vvedensky). It has been established that the dream in Vvedensky's text is not only a 'supplier' of themes and motives, but also the principle of organizing the subject space of the poem: the splitting of the subject into many hypostases and the deictic shifts that accompany it can be explained through the classical motive of personality regression in a dream.

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.

The article is dedicated to the usage of the concept of prisutstvie (presence) in the texts by Alexander Radishchev. As the analysis shows, this concept is the meeting ground of three semantic fields: first of all, it signifies God's presence in the Holy Gifts, secondly, it means 'being together at one place', as well as 'court hearing', and, finally, it is associated with the presence of an object in the mind (for example, in the work of Descartes, Hume, Locke). Thanks to Radishchev's philosophical interests, his dependence on the language of European philosophers, and the circumstances of his biography, Radishchev's works provide abundant material for analyzing the topoi of presence and absence in their different meanings. In spite of the fact that this concept is not essentially reflected by Radishchev, its usage has a systematic character: 'presence' emerges in special contexts. The article discusses three aspects of its usage. The first one is philosophical, linked with the idea of 'personal identity'. The second aspect is intersubjective, connected with the presence-absence of a friend. The last one is political, where the utopian vision of the future is formulated. The conclusion of the article is that the concept of presence denotes a special regime of relations with another person, which is then correlated with the particular perception of the political society. DOI:10.31168/2305-6754.2021.10.2.7 ; Статья посвящена использованию понятия присутствие в текстах А. Н. Радищева. Как показывает анализ, в этом понятии сходятся три семантических поля: во-первых, оно обозначает «присутствие» Бога в Святых дарах, во-вторых, «совместное нахождение в одном месте» и «судебное заседание» («присутствие») и, в-третьих, в философских текстах указывает на присутствие объекта в сознании (например, у Декарта, Юма, Локка). Творчество А. Н. Радищева, благодаря философской ориентированности, зависимости от языка европейской философии, а также в силу биографических обстоятельств, дает богатый материал для анализа топики присутствия-отсутствия в разных смысловых оттенках. Несмотря на то что у Радищева это понятие по сути не отрефлексировано, его использование носит системный характер и возникает в особых контекстах. В статье речь пойдет о трех аспектах его употребления: философском, связанном с идеей «персонального тождества», интерсубъективном, связанном с сюжетом присутствующего-отсутствующего друга, и политическом, где формулируется утопическое видение будущего. Можно сказать, что понятием присутствие кодируется особый режим отношений с другим человеком, соотнесенный в конечном счете с определенным видением политического сообщества. DOI:10.31168/2305-6754.2021.10.2.7

Falsafah is a unique trend in Muslim classical philosophy. In Falsafah there was for the fi rst time in the history of thought was performedthe synthesis of world significance, namely, of Abrahamic,judeo-christian-islamic, revelationism with ancient intellectualism.This viable synthesis was perceived in Jewish and Christian cultures.Even its name, falsafah, derived from the Greek, refl ects its synthetic nature. The article displays the universalisticintention of Falsafa characteristic to diff erent fi elds of knowledge: metaphysics, epistemology, politics, eschatology. The author tries to investigate the transformations of universalistic idea elaborated by the eminent fi gures of Falsafah — Al-Farabi, Ibn-Sina and Ibn-Rushd. The ideas, presented in the frames of this approach, are of special signifi cance for the contemporary studies in Western medieval philosophical thought as well as in accordance of the historical background of modern political and philosophicaluniversalistic theories ; В статье освещается характерная для фальсафы, эллинизирующей философии ислама,универсалистская направленность, широко проявившаяся в разных областях знания — метафизике, эпистемологии, политике, эсхатологии. Автор исследует ее развитие в творчестве крупнейших файлясуфов — прежде всего ал-Фараби, Ибн Сины и Ибн Рушда. Изложенные в рамках этой универсалистской направленности их идеи представляют большое значение как исторический фундамент современных политических и философских универсалистских теорий, а также в плане сравнительного анализа с философской мыслью западного Средневековья

Поступила в редакцию: 25.12.2020. Принята к печати: 24.01.2021. ; Submitted: 25.12.2020. Accepted: 24.01.2021. ; Рецензия на книгу: Crouzet D. Les enfants bourreaux au temps des guerres de Religion. — Paris : Albin Michel, 2020. — 336 p. Данное эссе представляет собой размышления над новой книгой известного французского историка Дени Крузе, посвященной теме детского насилия, и шире — образу детей во время Религиозных войн во Франции. Новизна и ценность рассматриваемой книги заключается в выделении образов «невинных младенцев» в отдельный сюжет. Новыми представляются и размышления автора об «истоках вдохновения» юных французских гонителей гугенотов. Д. Крузе указывает на антропологические соответствия, присущие культуре как итальянских, так и французских городов. Здесь и карнавальная инверсия «мира наизнанку», и социальная функция объединений молодежи, участвующих в обрядах шаривари. Исследователь обращается к новым источникам: песнопениям, исполняемым детьми на Рождество, к мистериям и мираклям. Играя как невинных младенцев, страдающих от Ирода, так и ангелов, карающих злодея, городские дети учились тому, что и как делать в условиях карнавального вызова. Интерес представляет процесс выхода из эсхатологического активизма. После 1572 г. банды детей-палачей сходят со сцены. Лишь убийство Гизов на Рождество 1588 г. выплеснуло на улицы Парижа толпы детей. Но теперь они описывались иначе — как дисциплинированная масса, занятая не погромами, но молитвами. Крузе говорит о «католическом сознании», но это был уже иной католицизм, реформированный, все далее отходящий от старого «корпоративного католицизма». Религиозная политическая активность детей уйдет в прошлое. Вновь образ невинного ребенка будет востребован уже после Революции, когда в десакрализованном контексте дети станут воплощением французской нации. ; Review of: Crouzet, D. (2020). Les enfants bourreaux au temps des guerres de Religion. Paris: Albin Michel. 336 p. This essay contains reflections on a new book by renowned historian Denis Crouzet on children's violence, and, more broadly, on the image of children during the French Wars of Religion. In the book under review, the novelty lies in the fact that the images of 'innocent infants' make part of a separate plot. Just as novel are Denis Crouzet's reflections on the 'sources of inspiration' of the young French persecutors of heretics. The author indicates the anthropological correspondences inherent in the culture of both Italian and French cities, such as the carnivalesque inversion of the 'world inside out' and the social function of youth associations taking part in the 'charivari' rites. Denis Crouzet pays attention to sources that are novel to him, like children's Christmas chants, mystery plays, and 'miracles'. While impersonating the Innocents persecuted by Herod but also angels carrying retaliation to this villain, urban children learnt what and how to do in the face of a carnival challenge. The ways to leave the eschatological activism are of particular interest. After 1572, the gangs of executioners-children left the scene. Only the murder of the Guises on Christmas Day, 1588, threw crowds of children into the streets of Paris. Now they were described differently, however, — as a disciplined mass, occupied not with outrages but with prayers. The author speaks of 'Catholic consciousness', but that was already a different reformed Catholicism, departing further and further from the old 'corporate Catholicism'. The religious political activity of children would become a thing of the past, however. The image of an innocent child would once more be in demand only after the Revolution, when, this time in a desacralised context, children became the embodiment of the French nation.

This essay contains reflections on a new book by renowned historian Denis Crouzet on children's violence, and, more broadly, on the image of children during the French Wars of Religion. In the book under review, the novelty lies in the fact that the images of 'innocent infants' make part of a separate plot. Just as novel are Denis Crouzet's reflections on the 'sources of inspiration' of the young French persecutors of heretics. The author indicates the anthropological correspondences inherent in the culture of both Italian and French cities, such as the carnivalesque inversion of the 'world inside out' and the social function of youth associations taking part in the 'charivari' rites. Denis Crouzet pays attention to sources that are novel to him, like children's Christmas chants, mystery plays, and 'miracles'. While impersonating the Innocents persecuted by Herod but also angels carrying retaliation to this villain, urban children learnt what and how to do in the face of a carnival challenge.The ways to leave the eschatological activism are of particular interest. After 1572, the gangs of executioners-children left the scene. Only the murder of the Guises on Christmas Day, 1588, threw crowds of children into the streets of Paris. Now they were described differently, however, — as a disciplined mass, occupied not with outrages but with prayers. The author speaks of 'Catholic consciousness', but that was already a different reformed Catholicism, departing further and further from the old 'corporate Catholicism'. The religious political activity of children would become a thing of the past, however. The image of an innocent child would once more be in demand only after the Revolution, when, this time in a desacralised context, children became the embodiment of the French nation. ; Данное эссе представляет собой размышления над новой книгой известного французского историка Дени Крузе, посвященной теме детского насилия, и шире — образу детей во время Религиозных войн во Франции. Новизна и ценность рассматриваемой книги заключается в выделении образов «невинных младенцев» в отдельный сюжет. Новыми представляются и размышления автора об «истоках вдохновения» юных французских гонителей гугенотов. Д. Крузе указывает на антропологические соответствия, присущие культуре как итальянских, так и французских городов. Здесь и карнавальная инверсия «мира наизнанку», и социальная функция объединений молодежи, участвующих в обрядах шаривари. Исследователь обращается к новым источникам: песнопениям, исполняемым детьми на Рождество, к мистериям и мираклям. Играя как невинных младенцев, страдающих от Ирода, так и ангелов, карающих злодея, городские дети учились тому, что и как делать в условиях карнавального вызова.Интерес представляет процесс выхода из эсхатологического активизма. После 1572 г. банды детей-палачей сходят со сцены. Лишь убийство Гизов на Рождество 1588 г. выплеснуло на улицы Парижа толпы детей. Но теперь они описывались иначе — как дисциплинированная масса, занятая не погромами, но молитвами. Крузе говорит о «католическом сознании», но это был уже иной католицизм, реформированный, все далее отходящий от старого «корпоративного католицизма». Религиозная политическая активность детей уйдет в прошлое. Вновь образ невинного ребенка будет востребован уже после Революции, когда в десакрализованном контексте дети станут воплощением французской нации.

The article is dedicated to the insufficiently studied problem of N.F. Fyodorov's projective aesthetics research connected to his interpretation of Russian painting of the 19th century. The objects of the analysis are such works of the philosopher as "The Question of Restoration of Kinship among Mankind. The Means for the Restoration of Kinship (Sobor)" (1880s), "About the Kremlin Walls Paintings" (1893), "Kremlin Walls" (1893), "The brilliant robber. (About Ge's Painting "The Crucifixion")" (1894), "Moscow Rumyantsev's Museum by the Kremlin and the Monument to the Founder of this Museum in the Kremlin" (1898) and other works. The article considers N.F. Fyodorov's analysis of paintings by A.A. Ivanov, N.N. Ge, V.V. Vereschagin, and I.E. Repin. The comparative investigation of the aesthetic program and artistic ideas of Ivanov and Fyodorov is based on the analysis of the painting "The Apparition of Christ before the People" (1858). The article traces the influence of the artist's works on the conceptual and compositional creation of the "pictorial demonstration" of Fyodorov's aesthetic supramoralism. It uncovers the specificity of the philosopher's religious-philosophical discourse, defined by the iconographic traditions and imaginary system of Christian art. The analysis of Fyodorov's texts dedicated to the paintings by Ge and Repin, reveals that he does not accept the aesthetic program of realism. The article defines the meaning of projective ecphrasis in Fyodorov's critical account of Ge's "Biblical cycle" as a theurgical project. The reception of Vereschagin's painting is considered in the context of the historiosophical ideas of Fyodorov, based on the principles of Christian eschatology.