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The paper is devoted to the late lyrics of E. A. Boratynsky (1800-1844), namely his final book of verses Twilight (1842). The question of how the motif of emptiness functions in this work is considered. The study of this issue uses the philological method of motifs analysis, as well as the possibility of hermeneutic and structural-semantic methods of research. It is shown that one of the functions of the motif of emptiness is that it appears as a property of objects of the immaterial world: emptiness is understood as the absence of value and cognitive meanings. The author considers the question of how these types of values are interrelated. The article demonstrates that the motif of emptiness is involved in the structuring of the artistic space of Boratynsky's book, and analyzes the idea of emptiness as a property of spatial images embodied in the book. It is shown that the image of the desert is one of the most significant in the book, in the article it is considered in relation to the image of the desert. In addition, in "Twilight" the idea of emptiness is embodied as a property of time, emptiness appears as characteristic of the individual-personal being of the sub-ject in the book of poems by Boratynsky, the motif of emptiness is ontological, since emptiness is correlated with the category of non-existence. The author shows that the analysis of the motif of emptiness allows us to better understand the essence of the romantic conflicts reflected in the book: the opposition of the poet and society, and at the same time, the internal conflict of the lyrical hero of Twilight. As a result of the analysis, the author concludes that one of the foundations of the artistic philosophy reflected in the work is the search for ways to overcome the emptiness- meaninglessness of being.

The article analyzes the concept of the "Moscow School of Metaphysics," an expression proposed by S.L. Frank in 1932 referring to the institutionalization of the initial advancement of Russian thought in the form of a "scientific metaphysics." S.L. Frank held the rationalism of L.M. Lopatin and the transcendentalism of S.N. Trubetskoy to be the chief methodologies of this movement. S.L. Frank's institutional identification is judged to be one episode in the search for a general developmental pattern within Russian thought – a movement toward a scientific and systematic philosophy. In his book Russian Philosophy around S.L. Frank. Selected articles (2020) the contemporary investigator of Russian philosophy, G.E. Alyaev turned his attention to the "Moscow School of Metaphysics" as a historical and philosophical concept. Agreeing with Frank, G.E. Alyaev names the alleged participants in the school, excluding V.S. Solovyov considering him a "religious thinker." Referring to the material in the journal Problems of Philosophy and Psychology and to the speeches of N.Ya. Grot and V.S. Solovyov, the author shows that the philosophical education of Russian society, and in particular of professional philosophers, was not at a level that allowed for the emergence of the school as a scientometric unit. With the final two decades of the nineteenth century in mind, the author prefers to speak not about the school, but about the direction of the philosophical sympathies of Russian educated society toward either positivism or metaphysics. Within the bounds of the latter, there took place a selection of methodological techniques that allowed Russian thought to move toward a scientific metaphysics. The author mentions V.S. Solovyov, with his final articles, as among those who persistently sought the principles of theoretical philosophy. The author also shows that S.L. Frank, who proposed the concept of the "Moscow Metaphysical School," is far from precise in its application

A comparative analysis of the philosophical foundations of the teachings on love by Maximus the Confessor and Vladimir Solovyov is presented utilizing the principles of source analysis, comparative philosophical study, and the historico-genetic method. The case is made for the relevance of this research topic, due to the lack of special studies on the reception of Maximus the Confessor's doctrine of the love in the works of Vladimir Solovyov. An analysis is given of the extent to which V.V. Vysheslavtseva, K.V. Mochulsky, G.V. Florovsky, A.F. Loseva, S.S. Averintseva, V.M. Lurie, I.B. Benevich, A.I. Sidorova knew of the the problem. The focus is also on the works of foreign authors – H.U. von Balthazar, M.-J. Guillau, D.D. Kornblatt, R.F. Gustafson, E.V. Borisova, J.-K. Larcher, Ts. Angelova, J. Sutton, J. Krasicki, O. Smith – which show a genetic affinity between the teachings of Maximus the Confessor and Vladimir Solovyov. This article also takes up the main sources that reveal the content of the concepts of love in Maximus the Confessor and Vladimir Solovyov. Also taken up here is the extent of the Russian philosopher's acquaintance with the works and heritage of St. Maximus and Solovyov's assessment of his place and role in the patristic heritage. We find the focus of attention of modern scholars to be on the epistemological and ethical aspects of love as found in the works of the Byzantine thinker. This article also notes the particular importance of studying the ontological foundations of the concepts of love that are found in Maximus the Confessor and Vladimir Solovyov.

In 1921, on the 600th anniversary of Dante Alighieri, the Silver Age philosopher and priest Pavel Florensky finished writing his book "Imaginaries in Geometry", in which he demonstrated how the medieval picture of cosmos unfolded in "Divine Comedy" was confirmed in the light of modern science. The book was published in 1922 and has since been commented from various points of view. This article raises a question that has hardly been touched upon in the Florenskian scholarship: i.e. in what aspects does Florensky's view of Dante fit into the "Danteana" ("Dante's text") of the Silver Age? In this respect, other approaches to Dante's work in the context in which Florensky's position was developed are considered, with a special focus on the views of Russian religious thinkers. One of the main hypotheses of this article is that such a way of posing this question is useful to explain the phenomenon of "Russian Dante", whose originality is mentioned in a number of relevant studies. This article also reveals the way in which the perception of Dante by Russian thought is connected with the assessment of the historical and cultural position that his work occupies. In this regard, particular attention is paid to the re-evaluation of the consolidated vision of the Middle Ages and the Renaissance undertaken by Russian thought. In conclusion, the reason for the increased interest in the phenomenon of Dante within the Silver Age religious and philosophical thought is the recognition of proximity to their own ideological attitudes of the symbolic worldview as is presented in the "Divine Comedy". In Pavel Florensky's thought this type of worldview receives not only a philosophical, but also a scientific justification, and is defined by the concept of "concrete metaphysics".

There are analyzes the relation of the dialectic and deconstruction, examined various version of their relationship. There are make next conclusions. Every system of philosophy is dialectic (develops itself) and deconstruction (it is finding the weakness of previous systems and "mistakes" in them). Postmodern philosophy doubles metaphysics, dialectics, deconstruction: they become "classic" and "postmodern". "Postmodern" is a double of the deconstruction of the "classical" dialectics. "Deconstruction" tries to replace the dialectic on its "metaphysical" double. Deconstruction is a reformatting of the object (the disappearance of previous and appearance of a new which based on it) and dialectic which has come to its end, the edge, the absurd.

The article explores the influence of Vl. Solovyov's philosophy of love on A. Kuprin's and M. Prishvin's creativity. It is noted that the theme of love is one of the main themes in the culture of the Silver Age. It was widely reflected not only in Russian literature, but also in philosophy, theology. It is indicated that the problems of love and sex, family and marriage, the emancipation of women have become the subject of attention of philosophers of the turn of the XIX – XXth centuries: V.S. Solovyov, N.F. Fedorov, V.V. Rozanov, N.A. Berdyaev, P.A. Florensky, S.L. Frank. It is emphasized that in coverage of these problems the absolute priority belongs to Vl. Solovyov, since the main provisions of his philosophy of love influenced the work of both modernists and neorealists. Attention is drawn to the fact that the problem of the influence of Vl. Solovyov's "metaphysics of love" on the work of neorealist writers is not fully explored. The author of the article reveals presence of the basic ideas of Vl. Solovyov's "metaphysics of love" in Kuprin's works and Prishvin's diaries. It is emphasized that the ideas of Vl. Solovyov about the transforming power of love, about the restoration in man of the image of God are turned out to be the most significant for writers. It is noted that in Kuprin's works the main emphasis is laid on the following provisions of Vl. Solovyov's "metaphysics of love": the power of love that can withstand death, and its "uniqueness". From this point of view, the novels "Garnet Bracelet" and "Loneliness" are analyzed. Special attention is paid to Prishvin's diaries, in which the problem of love, sex, marriage is interpreted in line with the philosophical ideas of Vl. Solovyov. The similarity of views of Vl. Solovyov and M. Prishvin on the essence of love as a bodily-spiritual unity, "the embodiment of true ideal humanity" are revealed. It is concluded that, in understanding the ontological essence of love, views of A. Kuprin and M. Prishvin are close to the philosophy of love by Vl. Solovyov.

This contribution has a historiographical nature and is devoted to the interpretations of the esoteric content of Dante's works made by British and Russian scholars from the middle of the nineteenth to the second half of the twentieth century. In particular, the meaning of the British tradition of interpreting Dante's esotericism – from George MacDonald to C.S. Lewis, with a special focus on Charles Williams – is here explored. The neo-Romantic theology of Williams is analyzed along with its rigid connection between the metaphysics of love and the doctrine of Empire. This connection, in fact, makes it possible to compare Williams' achievements with the later works of Guido de Giorgio and Romano Guardini. In this regard, Williams' interpretation of Beatrice image appears to be close to Sophiology. The main achievements of Western European studies of Dante's esoteric heritage are then compared with the contributions of the Russian specialists. The role of Rev. Georgy Florovsky, who was interested in Dante's metaphysics of the Empire and was the first to introduce Williams' works among Russian authors, is highlighted. Particular attention is paid to Rev. Pavel Florensky's "Imaginary Numbers in Geometry" – a work that was ahead of its times both in approaching the "Divine Comedy" from a cosmological point of view and in making a unique attempt of interpreting its physical and mathematical structure. Finally, this article considers the works of the late Soviet (1960s – 80s) and post-Soviet academic scholars, who reexamined a number of esoteric issues in Dante's output. The author concludes that – unlike what happened in Italy and in France – both in Great Britain and in Russia it is not possible to speak of a historiographical continuity within the studies on Dante's esotericism. However, this fact does not prevent from emphasizing the outstanding achievements of some individual Russian, English, and Scottish scholars.

This article discusses the historical and philosophical forms of the existence of the fundamental onto-epistemological deception, in other words, archaeological exposition genealogy prospects fundamental onto-epistemological deception. The article related the "disintegration" of being and the "deconstruction" of metaphysics with the elimination of transcendentas something that is outside the subject-object relationship. Outside of the subject-object relationship was placed nothing, and being became nothing in next time. There are based on this think make conclusion about the dissolution of human in discourse and breakup of social role from a human. There are briefly shows the history of the relation of text and reality. There are tried to present postmodern philosophy in classical terms, near to the Hegelian. This explication helped define the concept of "simulacrum" through the concept of «thing (ens)" (ontic definition). Simulacrum is thing (ens) that cannot go out of possibility into reality due to the collapse of being, but differs by Difference like thing into unbeing. Such thing (ens) is false in nature, as there is no being (being is the truth). During the presentation there is a comparison of classical and post-modern philosophy.

This essay explores the writings of Georgij Chelpanov, who recognized the value of both psychology and philosophy, much to the displeasure of all. Chelpanov only very guardedly expressed his own philosophical views, which stand, I conclude, in stark contrast with the neo-Kantianisms of both the Marburg and the Baden Schools. We see that in his earliest writings on spatial perception, he not so much differs with Kant as saw the matter from a different perspective. Nonetheless, he shares Kant's affirmation that the universality and necessity associated with our representation of space affirms its apriority as a condition of cognition, particularly with respect to mathematics. Chelpanov departs from Kant in rejecting the exclusive subjectivity of space and time, arguing that there is something in noumenal reality that corresponds to our specific representations of an object's temporal and spatial position. Otherwise, there is no way to account for their specificity, for why a perceived object is here and not there. Chelpanov argues this from a psychological viewpoint, but he acknowledges that Kant argues from a logical viewpoint. Turning to the issue of free will, he, in short, argues for a soft determinism that is quite consistent with Kantianism, even though Chelpanov's argument is bereft of the metaphysics and the architectonic of Kant's system. In conclusion, although scholars dispute his allegiance to neo-Kantianism, his philosophical writings demonstrate his subdued advocacy of a neo-Kantianism, albeit one more akin to the transcendental realism of Riehl and Paulsen.

This article presents the first historiographical attempt to examine and analyze systematically all the newspaper and journal responses to the first edition of the basic treatise on the moral philosophy by Vl. Soloviev – The Justification of Good (1897). The first part of the article examines the positive reviews of the book that were submitted or published by the closest friends of the philosopher, supposedly, at his personal request. The analysis of the responses allows us to conclude that The Justification of Good was generally received by the Russian readership unfavorably. The reason for this was a problem of assigning the philosopher to one or another camp of Russian thought. Vl. Soloviev's moral metaphysics and especially his socio-political views did not satisfy either liberals or conservatives, much less representatives of the radical left movements in social thought. The article notes that among the closest friends of Vl. Soloviev who gave a positive review of this treatise only E.L. Radlov was ready to accept the philosophical conception contained in The Justification of Good and support Soloviev in his polemic with the ethical views of Leo Tolstoy. Additionally, an examination of the positive reviews of The Justification of the Good is also important, because their authors as Soloviev's friends could interpret some of the most difficult theses of the book based on the explanation given by the philosopher himself. It is possible to suppose that in preparing to publish his new philosophical work Vl. Soloviev expected that the first sympathetic reviews would contribute to a correct perception of his moral philosophy in Russian society.

The article is devoted to the problem of the attitude of the Italian traditionalist philosopher Julius Evola to Christianity and neo-spiritualism. This task is solved on the basis of the comparative historical method of studying the works of Evola of different years and their assessment by researchers. Priority attention is paid to the analysis of the work "The Mask and Face of Contemporary Spiritualism" that was first published in Russian in 2020. The present work is considered in the context of all Evola's work, especially the works published in Russia recently. The question is raised about personalism in Evola's metaphysics. The essence of his criticism of psychoanalysis, spiritualism, theosophy, anthroposophy, primitivism, Satanism, some magical organizations and other forms of "new religiosity" is revealed. In the paper the traditional scheme of opposing the early, middle and late periods of Evola's work according to the criterion of his attitude to Christianity is contested. It is shown that from the early 1930s to the early 1970s his assessment of Christianity was invariably ambivalent and contradictory, although the emphasis on the positive aspects had been gradually increased. The problem of dualism in Christianity and the differences between the early Church, medieval Catholicism and the Aggiornamento of the twentieth century are examined in detail. The main conclusion of our investigation is that Evola, in spite of his personal antipathies to the Christian doctrine, was constantly forced to admit the possibility of a full-fledged spiritual realization of a person within the Catholic and Orthodox Churches and to act as an ally of Catholicism against all forms of neo-spiritualism and neo-paganism.