Nikolai Berdyaev – from Will to Culture Towards Will to Live

Diogenes ◽  
2021 ◽  
Vol 29 (2) ◽  
Author(s):  
Rosen Rachev
Keyword(s):  
Creative Work ◽  
Religious Transformation ◽  
Russian People ◽  
Will To Live

Nikolai Berdyaev was a philosopher who treated the “objectivity of creative work” with disparagement. This article focuses on his attitude to culture as a “mediocre”, “intermediary” affair, and as something unworthy of particular attention respectively. Berdyaev describes the Russian people as always discontented with culture exactly because of its “mediocrity”. The author points out the duality between lived reality and culture as inalienably inherent to Russian spirituality informing great creative works, which, however, are not culture, insofar as they are aiming at the religious transformation of life.

Solzhenitsyn as the Yurodivy of Russia

2019 ◽  
Vol 66 ◽  
pp. 46-51
Author(s):  
Boris G. Dvernitsky
Keyword(s):  
20Th Century ◽  
Creative Work ◽  
Russian People ◽  
In Christ

The dominant idea that permeated Solzhenitsyn’s life, destiny and creative work was the idea of adherence to the truth and aiming to find the truth. In this regard the writer succeeded in the ancient Orthodox tradition of Russian holy men, but during the Godless Soviet epoch, and according to the writer due to this feature Russia and Russian people managed to survive in the most terrible period of their history – the 20th century. And as the obedience of A.I. Solzhenitsyn as the righteous man was «to tell the truth, truth about everything», the author of this article compares him to «yurodivy» (fool in Christ), as behaving like a jurodivy is a specific from of prophetic ministration paired with extreme askesis.

scholarly journals CHURCH CALENDAR, GOSPEL AND LITURGICAL TEXT IN THE NOVEL THE RAW YOUTH AND A WRITER'S DIARY (1876) BY FYODOR DOSTOEVSKY

2021 ◽  
Vol 19 (1) ◽  
pp. 258-282
Author(s):  
Elena Fedorova
Keyword(s):  
Christmas Tree ◽  
The Novel ◽  
Book Of Job ◽  
Prodigal Son ◽  
Religious Transformation ◽  
Fyodor Dostoevsky ◽  
Russian People ◽  
Worship Service ◽  
The Church

F. M. Dostoevsky's novel The Raw Youth (1874-1875) and A Writer's Diary (1876) were created in the tradition of Christian calendar prose, which is aligned with sacred time. The two works are united by the idea of the religious transformation of personality, the salvation of the soul and unification around the Gospel Truth, the search for ideal foundations in the Russian people, and reflections on their purpose. Dostoevsky introduces Easter narratives into the novel and into A Writer's Diary in 1876: the story of Makar Dolgoruky about the merchant Skotoboinikov, the opera by Trishatov, the story The Peasant Marey. The plot and storyline motives of these works and the novel go back to the parable of the Prodigal Son and the Book of Job. They share the motives of suffering, redemption and resurrection. A Writer's Diary of 1876, which utilizes a system of references to the novel, starts from January and contains a reference to the celebration of the Nativity (the Christmas story The Beggar Boy at Christ's Christmas Tree, quotes from a Christmas worship service), and ends in December, at the beginning of advent. A Writer's Diary contains an appeal to Christmas and Easter as the most significant dates of the church calendar and the writer's personal biographical time. In the chapter More on a simple but tricky case (December), Dostoevsky recalls how he survived the December 22 execution on the Semyonovsky parade ground and a revival on Christmas Eve; in the Easter story The Peasant Marey (February), he tells the story of how he acquired faith in the Russian people in penal servitude during Easter. The author's position in the novel The Raw Youth and A Writer's Diary of 1876 can’t be comprehended without referring to the gospel and liturgical text. The Gospel parable of the Prodigal Son and the Book of Job, which are referenced in the novel and A Writer's Diary, are read in church before and during Great Lent.

scholarly journals The peasant theme in the creative work of Philipp Malyavin

2019 ◽  
Author(s):  
Ольга Николаевна Филиппова
Keyword(s):  
Main Theme ◽  
Creative Work ◽  
Russian Art ◽  
Russian People ◽  
History Of ◽  
Images Of Women

Русское искусство конца XIX начала XX века было богато яркими талантами. Филипп Андреевич Малявин (18691940) являлся одним из самых оригинальных художников этого периода. Главной в его творчестве была крестьянская тема, которая издавна привлекала русских художников. Над этой темой работали и многие современники Ф.А. Малявина, известные художники А.Е. Архипов, С.В. Иванов, С.А.Коровин, А.П. Рябушкин, З.Е. Серебрякова. Они обращались к различным сторонам быта и жизни русской деревни, но всех их объединяло стремление раскрыть самобытность и душевную красоту русского народа. Ф.А. Малявин сказал свое новое слово, создал выразительные крестьянские образы баб и мужиков, нашел для них новые живописнопластические средства. Статья дает представление о периоде расцвета творчества мастера, когда им были написаны лучшие произведения, занявшие большое место в истории русского искусства. Russian art of the late XIX of the early XX century was rich in bright talents. Philipp Andreevich Malyavin (18691940) was one of the most original artists of this period. The main theme in his work was the peasant theme, which has long attracted Russian artists. Many contemporaries of P.A. Malyavin, famous artists A.E. Arkhipov, S.V. Ivanov, S.A. Korovin, A.P. Ryabushkin, Z.E. Serebryakova worked on this topic. They turned to various aspects of life and life of the Russian village, but all of them were United by the desire to reveal the identity and spiritual beauty of the Russian people. P.A. Malyavin said his new word, created expressive peasant images of women and men, found new pictorial and plastic means for them. Thepurpose of this publication is to give the reader an idea of the heyday of the master, when hewrote the best works that have taken a great place in the history of Russian art.

scholarly journals The beauty of a man of Russian and foreign

2019 ◽  
Vol 6 (1) ◽  
pp. 45-52 ◽  
Author(s):  
I.I. Burlakova
Keyword(s):  
Human Life ◽  
Human Condition ◽  
Moral Evaluation ◽  
Creative Work ◽  
Social Conflicts ◽  
Moral Value ◽  
Moral Beliefs ◽  
Russian People ◽  
The Future ◽  
Physical Beauty

The highest spiritual and moral value of man is the harmonious unity of his physical perfection, moral beliefs, motivation, purposeful will and creative intelligence. These qualities of a person are interrelated. The beauty in a person is revealed in the deep connection of spiritual and physical beauty of the person by F. M. Dostoevsky. As a national artist, he talked not so much about the physical beauty of man in general, but about the Russian man. The artist understands the beauty as a certain dignity of man, in this case, the representative of the Russian people. The writer in many of his works presented a humane view of the spiritual side of human life. On the pages of his works, he speaks about the inevitability of suffering as a test of personality for vitality, and at the same time he does not reject the future joys that can lead to the decomposition of personality. In this sense, suffering can be given a positive moral assessment, as it contributes to a certain extent to the formation of a whole personality. Huge value Dostoevsky gave more important to the human condition, which makes it look solid and pretty - creative work. The fact of high moral evaluation of this quality in man in the era of acute social conflicts is of great progressive importance, as evidence of the humanism of the writer's ideals.

scholarly journals Ivan Aksakov as a literary critic

2019 ◽  
pp. 88-94
Author(s):  
Vladimir V. Tikhomirov
Keyword(s):  
Literary Criticism ◽  
Russian Literature ◽  
Creative Work ◽  
Russian History ◽  
Literary Critic ◽  
Nikolai Gogol ◽  
Russian People

It is noted in the article that Ivan Aksakov would continue the line of his Slavophile predecessors - Ivan Kireyevsky's, Aleksey Khomyakov's, Konstantin Aksakov's, Yuri Samarin's - literary criticism development and he would significantly change the principles and approaches to analysis of Russian literature. He was less categorical in terms of requirements for Russian writers' allegiance to Orthodox foundations; this is the writer 's interest in the Russian people, their traditions, in Russian history which is of greatest importance in his opinion. The author of the article states that Ivan Aksakov more objectively, compared to his Slavophile predecessors, assessed the creative work of Alexander Pushkin, Nikolai Gogol, Fyodor Tyutchev. In his critical assessments, Ivan Aksakov is partly closer to supporters of national loyalist criticism.

Creative Work Involvement Scale

2007 ◽  
Author(s):  
Abraham Carmeli ◽  
John Schaubroeck
Keyword(s):  
Creative Work ◽  
Work Involvement

The Necessity and Ways of Legitimation of Large-scale Private Property in Russia: Raising a Problem

2007 ◽  
pp. 4-26
Author(s):  
G. Yavlinsky
Keyword(s):  
Large Scale ◽  
Private Property ◽  
Negative Consequences ◽  
Specific Nature ◽  
Considerable Part ◽  
Russian People ◽  
National Importance ◽  
Historical Tradition ◽  
Special Rules ◽  
Economic Assets

Results of privatization campaign in 1990’s continue to meet strong opposition from a very considerable part of Russian people and authorities actually refuse to consider the rights of private owners legitimate and not subject to violation. One of the reasons for this, besides historical tradition, is a specific nature of Russian privatization of 1990’s. The article brings to discussion a set of measures aimed at overcoming its negative consequences. While insisting on the need to honor all previous government obligations and commitments, the paper proposes a one-time special tax (windfall tax) to be levied on those who benefited most from privatization deals that were not just and fair, and special rules to be set for the use and sale of economic assets of national importance. The author also considers possible ways to legitimize private property, as well as chances to achieve а broad public consensus on this issue in Russia.

Listening for the “Still Small Voice” of Mendelssohn’s Domestic Elijah

2015 ◽  
Vol 32 (1) ◽  
pp. 40-77
Author(s):  
Peter Mercer-Taylor
Keyword(s):  
Second Phase ◽  
Divine Presence ◽  
Final Phase ◽  
Public And Private ◽  
The Public ◽  
The Third ◽  
Interpretive Approach ◽  
Will To Live ◽  
Three Phases

The notion that there might be autobiographical, or personally confessional, registers at work in Mendelssohn’s 1846 Elijah has long been established, with three interpretive approaches prevailing: the first, famously advanced by Prince Albert, compares Mendelssohn’s own artistic achievements with Elijah’s prophetic ones; the second, in Eric Werner’s dramatic formulation, discerns in the aria “It is enough” a confession of Mendelssohn’s own “weakening will to live”; the third portrays Elijah as a testimonial on Mendelssohn’s relationship to the Judaism of his birth and/or to the Christianity of his youth and adulthood. This article explores a fourth, essentially untested, interpretive approach: the possibility that Mendelssohn crafts from Elijah’s story a heartfelt affirmation of domesticity, an expression of his growing fascination with retiring to a quiet existence in the bosom of his family. The argument unfolds in three phases. In the first, the focus is on that climactic passage in Elijah’s Second Part in which God is revealed to the prophet in the “still small voice.” The turn from divine absence to divine presence is articulated through two clear and powerful recollections of music that Elijah had sung in the oratorio’s First Part, a move that has the potential to reconfigure our evaluation of his role in the public and private spheres in those earlier passages. The second phase turns to Elijah’s own brief sojourn into the domestic realm, the widow’s scene, paying particular attention to the motivations that may have underlain the substantial revisions to the scene that took place between the Birmingham premiere and the London premiere the following year. The final phase explores the possibility that the widow and her son, the “surrogate family” in the oratorio, do not disappear after the widow’s scene, but linger on as “para-characters” with crucial roles in the unfolding drama.

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