PRECEDENTIAL INTERTEXT IN THE POEM “THE GRAND INQUISITOR”

The poem "The Grand Inquisitor" is part of the novel "The Brothers Karamazov," written by Ivan Karamazov about Christian freedom of will and told by him to his brother Alyosha, who rightly perceived it as an Orthodox theodicy. The article presents an intertextual analysis of the precedent texts used by F. M. Dostoevsky in the poem "The Grand Inquisitor". In particular, the meanings of direct quotations from the New Testament, especially its last book, the Revelation of John the Theologian, and the translated apocrypha "The Walking of the Virgin in Torment" are interpreted; medieval Western European mysteries in the paraphrase of V. Hugo; poetic quotations from the works of A. S. Pushkin, V. A. Zhukovsky, F. I. Tyutchev, which linked together the axiological concepts of the narrative text. Appeals to the precedent texts of world literature contribute to the disclosure of the multifaceted symbolism of the poem, which glorifies the spiritual freedom of humanity as an act of faith, and help to generalize and deepen its axiological discourse. The author analyzes the speech and behavioral tactics of the Grand Inquisitor, based on the substitution of concepts characteristic of the techniques of "black rhetoric". In contrast to the Grand Inquisitor's distortion of cause-and-effect relations and the concepts of good and evil, and his denial of the idea of Christian freedom, direct and indirect quoting of texts that have become part of the heritage of world culture creates a text rich in axiological meanings, designed to influence the spiritual space of the reader, enriching it and orienting it to the correct understanding of eternal truths.

Descartes et la généalogie de la théodicée moderne chez Leibniz et Malebranche

Résumé: Cet article vise à analyser la réception de la théorie cartésienne des vérités éternelles dans les œuvres de Leibniz et Malebranche. Les deux auteurs ont critiqué et refusé ses prémisses pour éviter les conséquences dont ils pensaient qu’elles découlaient de la doctrine de Descartes. L’objectif est celui de démontrer qu’on ne peut pas comprendre pleinement leurs réflexions sans les interpréter à la lumière de la théorie cartésienne, dans la mesure où elle représente la condition critique de possibilité de leur approche philosophique. Mots-clés: Théodicée Moderne. Vérités Éternelles. Descartes. Leibniz. Malebranche. Descartes and the genealogy of modern theodicy in Leibniz and Malebranche Abstract: This article aims to analyze the reception of the Cartesian theory of the eternal truths in the works of Leibniz and Malebranche. Both authors criticized and refused the premises of Descartes’ doctrine in order to avoid the consequences they believed derived from it. The main goal is to demonstrate that we cannot fully understand their reflections without interpreting them in the light of the Cartesian theory, as it represents the critical condition of possibility of their philosophical approach. Key-words: Modern Theodicy. Eternal Truths. Descartes. Leibniz. Malebranche. Descartes e a genealogia da teodiceia moderna em Leibniz e Malebranche Resumo: Este artigo propõe-se a analisar a recepção da teoria de Descartes das verdades eternas nas obras de Leibniz e Malebranche. Os dois autores criticaram e recusaram as premissas cartesianas para evitar as consequências que eles pensavam dependentes da doutrina. O objetivo é demonstrar que não podemos compreender plenamente as reflexões de Leibniz e Malebranche sem interpretá-las à luz da teoria cartesiana, como se essa doutrina representasse a condição crítica de possibilidade da sua abordagem filosófica. Palavras-chave: Teodiceia Moderna. Verdades Eternas. Descartes. Leibniz. Malebranche

Philosophie et théologie dans le cartésianisme : la théorie cartésienne de la création des vérités éternelles et sa postérité

This article examines Descartes’ theory of the free creation of eternal truths, showing the theological implications of its underlying philosophical principles. The author ponders the way in which Descartes treats certain topics that pertain to natural theology (God’s dignity and power, the equivocity between the finite and the infinite), as well as the Christological tension that runs through his theory. The theological echoes of this theory are then assessed, looking at thinkers after Descartes as well as the minores, with a focus on two theological themes: the recovery of univocity, and some of the contours of the kind of Christology Descartes’ theory authorizes. The aim of the article, by showing the fruitfulness of an approach that places modern philosophy and theology in conversation, is to ask how a theological reading of Descartes and Cartesian thought may help renew its study.

Substance et essence, entre Aristote et Thomas d’Aquin

The article shows that Thomas Aquinas in many of his works (De ente et essentia, Summa theologiae, Sententia in Aristotelis Metaphysicam) interprets the passage Aristot. Metaph. II 1, 993 19‑31, as expounding a theory of degrees of truth and of being, which is not the true Aristotelian doctrine. This is due to the fact that he interprets ≪the eternal things≫, mentioned by Aristotle in that passage, as the heavenly bodies, and their principles as the unmoved movers, while Aristotle is speaking of the eternal truths, i.e. the truths of scientific knowledge, and of their principles, which are the axioms. The origin of Thomas’ interpretation is the commentary by Alexander of Aphrodisias, which Thomas knew via Averroes.

THE ORIGINS OF OLEKSII DOVHIY’S POETIC SPACE

The article analyzes the nature of linguistic explication of the ideas of Oleksii Dovhiy’s lyrical hero about the features of the universe and the organization of the universe. The author deals with such issues of general theoretical significance as the concept and linguistic worldview. During the research it was found out that Oleksii Dovhiy’s poetry combines the revelation of a son who prides himself on the glory of generations, paternal and grandfather’s moral principles, confession of a fighter for the Fatherland, a manuscript of the medium, to whom all the secrets of the universe are revealed. The language of his poetry reflects the representation of his lyric hero about the three-component world, which consists of the upper, middle and lower tiers. His lyric hero is aware of the HIGHER WORLD as a world of the divine, a world of eternal truths and laws, a world of angels and pure poetry. The main images that fill this world are the images of sun, sky, bird and wind. One of the central concepts that actualize the locus of the MIDDLE WORLD (or world of the earth) in Oleksii Dovhiy’s poetic universe is the image-concept of the LAND. This image is an expression of such lexical and semantic variants of the land tokens as ‘the native land (Ukraine)ʼ and ‘the upper layer of the earth’s crust; soil that is cultivated and used for growing plantsʼ. THE UNDERGROUND WORLD is updated by entering the words «field» and «shadow» in the text. As research has shown, the image of the road in Oleksii Dovhiy’s poetic space is one of the central ones, since, firstly, the verbalizers of this image often act as components that make up the macro-image of the MIDDLE WORLD, and secondly, the image is combined different time shades in the horizontal spatial plane of the author’s world plane. THE UNDERGROUND WORLD is represented in most cases by tokens that are associated with other spatial tiers. However, by entering into the text, such units as «shadow» and «field» acquire contextually predetermined semantic nuances that associatively associate with the lower tier.