scholarly journals “The Concreteness of Metaphysics”: F.M. Dostoevsky in the Philosophy of N.A. Berdyaev and S.L. Frank

2021 ◽  
Vol 26 (1) ◽  
pp. 122-138
Author(s):  
Kirill A. Martemianov ◽  
Keyword(s):  
20Th Century ◽  
Religious Belief ◽  
Russian Translation ◽  
Russian Philosophy

The article considers the influence of Dostoevsky’s thought to the philosophy of N.A. Berdyaev and S.L. Frank. The crucial concept and experience of “living knowledge” and its anticipation in Dostoevsky’s heritage are discussed. Given that the problem of “living knowledge” overpasses the boundaries of pure gnoseology, we examines themes of ethical ideal, the meaning of religious belief and its existential significance. Besides that, in the article are presented three interrelated projects of theodicy in the Russian philosophy of 20th century (by N.A. Berdyaev, B.P. Vysheslavtsev and S.L. Frank). All of these projects are grounded in Dostoevsky’s thought. The supplement to the article consists of the first Russian translation of N.A. Arsenyev’s lecture “The central inspiration of Dostoevsky”.

scholarly journals Korney Ivanovich Chukovsky about the Russian translation reception of Shakespeare (article two)

2021 ◽  
Vol 7 (2) ◽  
pp. 217-224
Author(s):  
Svetlana N. Morozova ◽  
Dmitry N. Zhatkin
Keyword(s):  
20Th Century ◽  
Russian Translation ◽  
Original Text ◽  
Richard Ii ◽  
Love's Labor's Lost ◽  
Sharp Rejection ◽  
Artistic Manner

The first half of the 20th century in the Russian translation reception of Shakespeare was marked by the emerging of translations by B.L. Pasternak, S. Ya. Marshak, A.D. Radlova, W.V. Levik, I.B. Mandelstam. Characterizing their transcriptions, K.I. Chukovsky not only substantiated the artistic manner and creative position of the translators, but also presented his understanding of individual shortcomings and, conversely, successful findings. The articles «The Crippled Shakespeare», «Asthma in Desdemona» (1940) reflect his sharp rejection of the approach of A.D. Radlova to the interpretation of Shakespeare’s plays, he notes the mistakes made by the translator when working with the original texts. K.I. Chukovsky positively spoke about «Richard II» by I.B. Mandelstam; he considered its undoubted merit to be his free style and the absence of a formalist approach in observing certain parameters of the original text. The most complete features of the translation concept of K.I. Chukovsky are disclosed on the example of his translation of Shakespeare’s comedy «Love’s Labor’s Lost» (1945), which has been repeatedly staged in the theater.

Modernistskiy ekfrasis v esse Mariny Tsvetayevoy „Natal'ya Goncharova. Zhizn' i tvorchestvo”

2021 ◽  
pp. 196-223
Author(s):  
Alexander Medvedev
Keyword(s):  
Martin Heidegger ◽  
20Th Century ◽  
Rainer Maria Rilke ◽  
Russian Philosophy ◽  
Avant Garde ◽  
European Context ◽  
Paul Gauguin ◽  
Ontological Turn ◽  
Friedrich Hölderlin ◽  
Stylistic Diversity

This article examines Marina Tsvetaeva’s modernist perception of the personality and paintings of the greatest representative of the Russian avant-garde of the 20th century in the essay “Natalia Goncharova. Life and Work” (“Наталья Гончарова. Жизнь и творчество”, 1929). Goncharova’s paintings that Tsvetaeva describes in her essay are indicated. The principles of modernist poetics and ekphrasis are revealed (lyrical subjectivism, ontology, consonance, anagrammatic disclosure of the inner form of a word, mythologization, reader co-creation, dialogism). The similarity between Tsvetaeva’s understanding of painting and poetry is compared to the ontological understanding of art by Martin Heidegger. This can be explained by the tradition of ontological poetry (Friedrich Hölderlin and Rainer Maria Rilke), which is important for both. The ontology of Goncharova’s painting is also considered in the context of the ontology of animals in Russian philosophy at the beginning of the 20th century (Vasily Rozanov) and in the Tahitian Painting of Paul Gauguin. Special attention is paid to ekphrastic poetics (style, tropes, consonance), with the help of which Tsvetaeva authentically transfers the ontologism of Goncharov’s painting in its stylistic diversity (cubism, neo-primitivism, rayonism) to the verbal level. Tsvetaeva and Goncharova in the respective Russian and European context (Gauguin, Rozanov, Heidegger, Rilke) appear as exponents of the ontological turn in the culture of the first half of the 20th century.

The Secularization Debate

2020 ◽  
pp. 37-45
Author(s):  
Ronald F. Inglehart
Keyword(s):  
20Th Century ◽  
Religious Belief ◽  
Religious Beliefs ◽  
Religious Pluralism ◽  
Church Attendance ◽  
Belief System ◽  
Religious Attendance ◽  
Traditional Religion ◽  
Religious Competition ◽  
The World

Well into the 20th century, leading social thinkers argued that religious beliefs reflected a prescientific worldview that would disappear as scientific rationality spread throughout the world. Though the creationism of traditional religion did give way to evolutionary worldviews, this failed to discredit religion among the general public. Religious markets theory argues that the key to flourishing religiosity is strong religious competition, but recent research found no relationship between religious pluralism and religious attendance. The individualization thesis claims that declining church attendance does not reflect declining religiosity; subjective forms of religion are simply replacing institutionalized ones. But empirical evidence indicates that individual religious belief is declining even more rapidly than church attendance. Secularization’s opponents hold that humans will always need religion. This claim seems true if it is broadened to hold that humans will always need a belief system. Norris and Inglehart argue that as survival becomes more secure, it reduces the demand for religion.

scholarly journals Neo-Kantian motifs in the works of A. Bely

2021 ◽  
Vol 2 (3) ◽  
pp. 0
Author(s):  
Valeria Belyaeva
Keyword(s):  
20Th Century ◽  
19Th Century ◽  
Integrated Approach ◽  
Russian Philosophy ◽  
Subjective Perception ◽  
Philosophy Of Art ◽  
Russian Culture ◽  
Russian Symbolism ◽  
The Difference ◽  
The 19Th Century

The article is devoted to the work of A. Bely in the development of Russian culture in the late 19th - early 20th centuries. Attention is paid to the motives of the creative path of the philosopher-poet, who created the basis of Russian symbolism. By analyzing the cultural and historical manifestations of the second half of the 19th century and the first half of the 20th century, reflection in the works of art and science workers, an assessment of the severity of symbolism for the development of Russian philosophy and the field of art in general. In the process of the formation of symbolism in Bely's work, neo-Kantian motives are clearly revealed in the formulation of the problem of the difference between subjective perception and the essence of the object of perception in itself, that is, distinguishing between the symbol and the signified. By comparing Bely's views with the concept of sophiology and anthroposophy, distinct Kantian positions of the philosopher-poet stand out. These include the schematism of space and time, an attempt to apply the categories of natural science to the field of philosophy of art, as well as the demarcation of the immanent and the transcendent. Despite the fact that the ideas of the philosopher-poet in their form have similar positions with the anthroposophy of R. Steiner and with the ideas of V. Solovyov, however, the key content is the neo-Kantian methodology of "critical deepening" of thought and its rationalization. The actualization of Bely's creativity and the issue of his neo-Kantian motives is carried out by attracting research from related branches of knowledge on the principles of interdisciplinary consideration and implementation of an integrated approach.

scholarly journals Баллада в калмыцкой поэзии ХХ в. в аспекте синтеза жанров

2021 ◽  
Vol 13 (1) ◽  
pp. 147-167
Author(s):  
Rimma M. Khaninova ◽  
Keyword(s):  
20Th Century ◽  
Russian Translation ◽  
Soviet Period ◽  
Original Text ◽  
Main Character ◽  
Late 20Th Century ◽  
Main Research ◽  
Civic Duty ◽  
Type Transformation ◽  
Russian Literary

Introduction. The ballad genre in Kalmyk poetry, having no national folklore analogues, is based on the Russian literary ballad of the Soviet period. The article examines ballads in 20th-century Kalmyk poetry in the aspect of genre synthesis — the ballad and the poem proper. The relevance of the work is determined by that the Kalmyk literary ballad remains understudied both in the genre paradigm and in the dialogue of cultures. Goals. The article aims to examine the Kalmyk literary ballad in its synthesis with the genre of the poem. Materials and Methods. The investigated materials are works by N. Tamarchenko, D. Magomedova and others. Works by Mikhail Khoninov, Aksen Suseev and Erdni Eldyshev in the original and literary translations serve as sources for the study. The main research methods comprise the historical-literary, comparative methods, and that of descriptive poetics. Chronologically, the study covers the mid-to-late 20th century. Results. The study reveals, firstly, a synthesis of ballad and poem traced through the example of Mikhail Khoninov’s ‘Салькнла бǝǝр бǝрлдснǝ туск баллад’ (‘The Ballad of the Battle against the Wind’) and its poem-type transformation in Russian translation, the latter being also evident in the second edition of the original text; secondly, the genre of the poem in Aksen Suseev’s ‘Semen Nimgirov’ (Russ. ‘The Ballad of Civic Duty’) and Erdni Eldyshev’s ‘Marinesko’ gets transformed into that of the ballad when in their Russian translations; thirdly, the work identifies the prototype of Suseev’s main character. Conclusions. The ballad proves a most constant genre in M. Khoninov’s poetry, and the innovative synthesis of ballad and poem in the original text can also be found in his other work — ‘Хальмг күүкнǝ туск баллад’ (‘The Ballad of the Kalmyk Woman’). The authors A. Suseev and E. Eldyshev wrote no ballads, and their intentions had been initially aimed at the genre of the poem. This reveals certain differing strategies of the author and the translator resulting in the genre differentiation of a selected work on the latter’s way to the reader.

Sign in / Sign up

Export Citation Format

Share Document