The “Symbolic Worldview” of V. Solovyov and the Issue of the Development of the Historical Process: An Interpretation by F.A. Stepun (1884–1965)

This article presents F.A. Stepun’s interpretation of the views of the outstanding Russian philosopher Vladimir Solovyov (1853–1900) concerning the issue of the direction of historical development, as an integral part of Solovyov’s philosophy of unitotality. It must be observed that this part of Stepun’s creative output has not yet been sufficiently studied. In fact, Stepun’s interpretation of Solovyov’s views in the context of religious symbolism facilitates a deeper understanding of Solovyov’s conception as well as the comprehension of the theoretical sources of the historical and religious constructions of Stepun himself. This study emphasizes the importance of Solovyov’s work and personality for Russia’s Silver Age culture, including his religious and philosophical trajectory, to which Stepun himself belonged. The interest of scholars in Solovyov’s work is also documented, with a particular focus on the contribution the Russian émigré community gave to its study: these authors, in fact, managed to preserve during emigration the best traditions of Russian culture, in general, and of Russian religious and philosophical thought, in particular. The core of a number of theoretical statements of Solovyov’s historiosophy will be also provided, along with Stepun’s interpretation of them. Moreover, the special nature of the “methodological pluralism”, which is peculiar to Stepun’s approach to research, will be analyzed as well as the importance for him of religious symbolism’s method in the study of Solovyov’s views on the historical process. Finally, the great meaning of Solovyov’s doctrine of God-manhood for Stepun’s work will be explored. The main theoretical statements of this doctrine turned out to be compatible with his ideas on the ontology of history, on its structure, and on its anthropological nature. It will be also emphasized the perception of the historicity and “singularity” of Christ, which is peculiar for Solovyov, and subsequently for Stepun, being it the key for Christianity, in general, and for Christian historicism, in particular. The conclusion deals with the significant influence of Solovyov’s ideas on Stepun’s historical and philosophical studies, as well as with the importance of the problems that concern the study of the intellectual history of Russia.

ARCHITECTURE OF NEW MOSQUE- A DESIGN PROPOSAL OF MOSQUE IN CONTEMPORARY INDIA

Thisstudy examines the parameters to analyze the form of local mosques in 21st century India. Since the advent of Mughals in India, mosque architecture has been immensely celebrated due to the fact that many inventions happened in building techniques and styles. Till today it has continued, though implicitly, and has been absorbed in the architecture of mosques which are mostly locally built. This is evident from their forms, especially, replicating those arches, minarets and domes. So, in this scenario, the question is what should be the form of local mosques in contemporary India when Islamic countries like Bangladesh, despite regarded as a developing country, is building creatively innovative and modern mosques? To respond to the question, local mosques built after the 1970s in India and Bangladesh are selected based upon their funding, year of construction, number of occupants, and built-up area. They are analyzed according to parameters of the form of mosques deduced from the literature study. According to results after analysis, it is found that there is a high grade of religious symbolism that is still prevalent in India unlike in Bangladesh. Besides, there is no participation of local people in mosque construction as well as in design with no interaction with the architects and clients who are involved in the process. The idea of Postmodernism and its features seems to have no role when local mosques in India are analyzed.

Monument to Taras Shevchenko in Galicia: analysis of architectonics and meaning

The purpose of the article is to describe and characterize the unknown monument to Taras Shevchenko, built in the village of Budylo near Sniatyn in honor of the 100th anniversary of the great Ukrainian poet birth and has not yet been included to the history of national memorials. The methodology. The author used the method of frontal examination and analysis of the rural memorial in the historical aspect, synthesizing its architectural elements and religious symbolism. The results. The monument to Taras Shevchenko in Galicia is a typical memorial phenomenon of the early XX century as a synthesis of civil and sacred styles. It is made purely by architectural means without sculptural decoration and focuses on the importance of the historical date. That’s we can see the balanced rhythm of the entire composition. The harmony of the lines of the monument embodies a deep philosophical meaning as the ratio of genius and eternity. The memorial reminds of the connection between history and modernity, inspires to enlighten united, free and independent Ukraine. The article expands the understanding of the geography and architectural forms of the Shevchenko memorials of the XX century. The scientific topicality. The memorial in Galicia, dedicated to the memory of Kobzar, deserves to be studied as a rare combination of architectural and decorative elements of different cultures — Orthodox and Catholic. The practical significance. Monument to Taras Shevchenko, opened in the village of Budylo, will certainly attract cultural historians by its memorial obelisks, columns as an example of Western Ukraine memorial architecture, which has its own features and differences.

“To Live Together in Holy Matrimony”

This chapter explores the question of religion in the royal wedding ceremony by examining the few times when there was a mixed marriage: an orthodox dynast marrying a heterodox foreigner. The chapter notes that these instances were very rare and required such modification to the usual rubrics that we can more clearly apprehend what the Muscovites themselves saw as essential (or dispensable) elements of wedding rites. The chapter also presents an expanded view of the goings on inside the churches where these mixed marriages were solemnized. It then analyses how the Muscovites viewed the symbols and rituals they employed in their weddings, and how both pagan and Christian elements were unproblematic to them until Tsar Aleksei Mikhailovich decided he had a problem with them at his own weddings. Ultimately, the chapter takes up the question of religious symbolism in royal weddings, comparing in detail three interfaith dynastic marriages: Elena Ivanovna, daughter of Grand Prince Ivan III, and Alexander of Lithuania (1495); Mariia Staritskaia, a cousin of Tsar Ivan IV, and Magnus of Denmark (1573); and the First False Dmitrii and Marina Mniszech (1605 and 1606). The three case studies reveal how religious attitudes were evolving, and how those attitudes produced liturgical and ritual adjustments to wedding rites over time.

Reconciliation in the Cathedral: Isaac's Religion in “Owen-Mass”

Статья представляет собой исследование религиозной символики и интерпретацию духовного смысла «Военного реквиема» Бриттена. Воспользовавшись Реквиемом Верди как моделью жанра, композитор отдал ключевую роль в драматургии сочинения эпизодам, созданным на основе военных стихов Оуэна; в результате произведение воспринимается подобно циклу песен в обрамлении частей заупокойной мессы. Военная реальность предстает у Бриттена амбивалентно. Совершая надругательство над древней верой и разбивая чаяния современных людей, война дает шанс возрождению религиозных чувств и символов. Опыт веры, порожденный войной, переживается остро, но при всей своей подлинности зыбок и эфемерен. Церковная традиция хранит веру прочно, однако эта вера в значительной мере утрачивает чистоту и непосредственность, которыми она обладает в момент своего возникновения. Бриттен целенаправленно выстраивает диалог между двумя пластами человеческого опыта (церковным и военным), находит те точки, в которых между ними можно установить контакт. Но это не отменяет их глубокого противоречия. Вера, рождаемая войной, представляет собой в произведении Бриттена «отредактированный» вариант традиционной христианской религии: в ее центре находится не триумфальная победа Христа над злом, а пассивная, добровольно отказавшаяся защищать себя перед лицом зла жертва - не Бог Сын, а «Исаак». Смысл этой жертвы - не в преображении мира, а в защите гуманности человека от присущего ему же стремления к агрессивному самоутверждению. The study of religious symbolism and the interpretation of the spiritual meaning of “War Requiem” by Britten have presentation in this article. Using Verdi's Requiem as a model of the genre, the composer gave a key role in the drama to the episodes based on the war poems by Wilfred Owen; as a result, the work is perceived as a song cycle framed by parts of the funeral mass. The military reality appears ambivalent. While committing a blasphemy against the ancient belief and shattering the aspirations of modern people, the war offers a chance to revive religious feelings and symbols. This experience of war-born faith is felt keenly, but for all its authenticity, it is shaky and ephemeral. The church tradition keeps faith firmly, but this faith largely loses the original purity and immediacy. Britten purposefully builds a dialogue between the two layers of human experience (church and military), finds those points where contact can be established between them. But this does not change their profound antagonism. In Britten's work, faith born of war is an “edited” version of the traditional Christian religion: in its center is not the triumphant victory of Christ over evil, but a passive sacrifice that voluntarily refused to defend itself in the face of evil-not God the Son, but “Isaac.” The meaning of this sacrifice is not in transforming the world, but in protecting the humanity of a person from his inherent desire for aggressive self-assertion.

Framing right-wing populist satire: The case-study of Ghisberto’s cartoons in Italy

Over the last few years, right-wing populism has increased its popularity and political weight, successfully merging with Euro-scepticism, nationalism, xenophobia, religious symbolism, and aggressive forms of conservatism (e.g., anti-feminism, homophobia, and, in general, patriarchal politics). Several studies have focused on the communication strategies of contemporary populism, examining the latter’s use of traditional and new media. So far, however, little attention has been paid to the role and language of right-wing populist satire. Our study draws on the ideational approach to populism to explore how right-wing populism is expressed in satirical cartoons. This approach perceives populism as a thin-centered ideology, based on a Manichean division between ‘good people’ and ‘evil elites,’ which regularly combines with other ideological components (e.g., nationalism, Euroscepticism, xenophobia). Our analysis focuses on the Italian cartoonist Ghisberto, known for his provocative and frequently controversial work. We examine a sample of Ghisberto’s vignettes using multimodal analysis tools and Greimas’s notion of isotopy. The aim is to investigate how right-wing populist satire constructs its different targets (the EU, left-wingers, migrants, NGOs, women, etc.) and how populist ideology exploits cartoons’ communicative resources and power.

Populism, Religion and Catholic Civil Society in Poland: The Case of Primary Education

This article analyses two cases of populist mobilisation – namely, one against a primary school entry-age reform and another against WHO sexuality education and the concept of gender – that took place in Poland between 2008 and 2019. Both campaigns had a populist character and were oriented towards restoring social justice taken away from ‘the people’ by a morally corrupted ‘elite’. There are differences between the cases that can be analytically delineated by assessing whether a religious mobilisation has an overt or a covert character. While the series of protests against the school-age reform represents a case of mobilisation with covert religious symbolism, the campaigns against sexuality education and the use of the concept of gender are characterised by overt religious populism. To characterise the dynamics of the two campaigns, the study uses the concept of a moral panic, emphasising the importance of moral entrepreneurs waging ideological war against the government and/or liberal experts conceived of as ‘folk devils’.