Проблема вероисповедания бурят в трудах Ц. Ж. Жамцарано (1900-е гг.)

The article aims to analyze the issue of Buryat religious views as discussed in the works of Ts. Zhamtsarano in the 1900s. The purpose of the study is to identify the specifics of Zhamtsarano’s approach in the formulation of the research issue. In particular, the article analyzes the impact of his scientific and social activities on the course of his creative thought, as well as compares his interpretation of Buryat religious movement with that of M. N. Bogdanov, one of outstanding researchers of Buryat history. To analyze the impact of his cultural-historical environment on Zhamtsarano’s views, it was necessary to examine the scholar’s diaries he kept at the time of his ethnographic expeditions in Buryatia in 1903–1906 in comparison with his published works of the same period. As a result, it was possible to identify his key positions on the issue of the Buryat religious movement in the early twentieth century. Conclusions. The analysis of Zhamtsarano’s works shows that the Buryat religious movement had a long history, with its ethnoterritorial features gradually being formed. The reason for its acceleration in the 1900s was that many Buryats at the time were largely dissatisfied with their dominant religion, hence their search for new forms of spirituality. According to Zhamtsarano, the general direction of this movement was towards cultural pan-mongolism; this conclusion was based on his own active involvement in the activities for the Buryat cultural renaissance. Also, the scholar saw the religious movement of the Buryats in the 1900s as part of the global trend for secularization of the enlightenment.

The Life of Marpa Lotsawa Chökyi Lodrö

Marpa Lotsawa Chökyi Lodrö (Mar pa chos kyi blo gros, 1000?–1085?) is one of the most famous intrepid translators of the 11th century, who traveled from Tibet to India and brought back to his homeland many of the Buddhist teachings that would decline in India over the following centuries. Marpa is the Tibetan founder of the Kagyü school, one of the main religious orders of Tibetan Buddhism. He was the disciple of some of the greatest luminaries of India such as Nāropa (d. 1040) and Maitrīpa (986–1063), and the master of the yogin and poet Milarepa (1028?–1111?). Marpa lived during the period of the second spread of Buddhism in Tibet, a period of cultural renaissance that followed the collapse of the Tibetan Empire in the 9th and 10th centuries. At that time, many Tibetans traveled south to Nepal and India in order to receive, practice, and translate the various Buddhist traditions, sutra and tantra, that were blossoming in India. Marpa specialized in Highest Yoga tantras (Sanskrit niruttaratantras) and transmitted in Tibet cycles associated with the tantras of Hevajra, Guhyasamāja, Cakrasaṃvara, Mahāmāyā, and Catuṣpīṭha. He is well known for the potency of his key instructions related to the perfection phase of these tantras, known as the Six Doctrines of Nāropa (nā ro chos drug). With the success of his disciples’ practice, the Six Doctrines of Nāropa and Mahāmudrā became central teachings in all subdivisions of the Kagyü lineage. Marpa’s life is mostly known through a long biography composed in the early 16th century by Tsangnyön Heruka (Gtsang smyon he ru ka, 1452–1507), but there are many other biographies written before and after that date. Despite basic inconsistencies in the narratives, it can be concluded that Marpa first left home at twelve. He went to study with Drokmi Lotsawa (’Brog mi lo tsā ba, 992–1074) in Tibet, and then continued on toward Nepal and India, where he spent about twenty years in total, making several journeys in Tibet, Nepal, and India. In India, he mostly traveled off the beaten track and lived the life of an Indian yogin, far from the main institutions of the time. Although he met famous masters such as Nāropa and Maitrīpa, he attended on them in jungles, mountains, and charnel grounds, and mostly traveled alone, sometimes accompanied by his friends, the Tibetan Nyö (gnyos) Lotsawa or the Newari Paiṇḍapa. During his first journey to India (in the 1020s and early 1030s), he received all the transmissions for which he became famous in Tibet, and he deepened his understanding during a second journey in the late 1040s. At that time, he is said to have visited most of his teachers again, and to have had visions of Nāropa, who was then either dead or considered to be engaged in tantric practice. In Tibet, he settled in the southern region of Lhodrak, where he became an important landowner and tantric master. Although he often traveled elsewhere in Tibet in the earlier part of his life in order to accumulate gold and disciples, in the later part he mostly stayed in his estate of Drowolung, where his disciples came to meet him. As a lay practitioner, he had children, but his family lineage did not continue after his death. His religious lineage continued with Milarepa, who transmitted the “lineage of practice” (Tibetan sgrub brgyud), which further flowed through Gampopa and all the Kagyü sub-lineages. Ngok Chödor (Rngog chos rdor) and Tsurtön Wangngé (Mtshur ston dbang nge) were other important disciples who held Marpa’s “lineage of exegesis” (bshad brgyud), especially with regard to the Hevajra and Guhyasamāja traditions, respectively.

Parallels of cultural renaissance and dynamics of ethnic cultures of Russia in the era of cultural globalization

The objective of paper is to assess the time-compressed dynamics of the culture of the ethno-national region of Russia, to identify its regularities and to draw parallels with the stages of European and Russian cultural processes. The article identifies the quality and modernization potential of the current state of ethnic culture, which is under the pressure of assimilation of cultural globalism. The methodology is revealed by the definition of the Renaissance culture as the ability to operate with symbolic forms and the consistent transfer of the well-known properties of the European and Russian Renaissance to the modern ethnic culture of the Russian region as isomorphic processes. The paper identifies the state of regional culture as result of a double reflection of the cultural renaissance, called as the "Yakut Silver Age". The criteria for that is the presence of a creative paradigm of ethnomodernism, manifested in the field of art.

Coercion and Coerciveness in the Politics of Cold-War Ukraine and Taiwan

The present study is devoted to an examination of the prison memoirs by the Ukrainian writer, Mykhaylo Osadchy (1936–1994) and the Taiwanese writer Tsai Tehpen (b. 1925) from the perspective of coercion. Osadchy was a member of the Sixtiers, a group of young Ukrainian intellectuals who brought about cultural renaissance in post-Stalin Ukraine. Their writings marked a strong reaction against Moscow’s policy of great-power chauvinism at the onset of the regime change that marked the end of Khrushchev’s liberalizing campaign. Osadchy was one of the victims of the subsequent wave of arrests of dissidents in the Soviet Union, including Ukraine, in 1965. His memoir, Cataract (1971) is a powerfully evocative response to trumped-up charges of subversion, anti-Soviet agitation and bourgeois nationalism, and a riveting description of life in a Mordovian labor camp, a work that posed a strong attack on official Soviet culture.

Re-visiting the Arab Cultural Renaissance: Al-Nahda and the Reception of European Literature

Al-Nahda – the Renaissance corresponds to the advent of “modern civilization” (al-tamaddun al-ḥadîṯ) in Egypt and the East through contacts with the West. The Renaissance is opposed to the Middle Ages (al-qurûn al-wusṭâ), times of darkness. It is intended, more than a renewal of old models, a revolution of knowledge and thought. It is born of more or less violent contacts with the outside. Just as the Renaissance of the East is fertilized by the Western contributions so the European Renaissance which preceded it is largely attributed to the philosophical and scientific mediation of the Arabs of Andalusia. My research is a re-consideration of al-Nahda, highlighting the development of contemporary Arabic literature as a result of the late-19th – early 20th cultural rebirth of the Arab world, with a special stress on the French-Egyptian cultural transfer and the importance of translation.

‘The Wife Would Put on a Nice Suit, Hat, and Possibly Gloves’: The Misogynistic Identity Politics of Anders Behring Breivik

By analysing the anti-feminist and misogynistic narratives in Anders Behring Breivik’s compendium 2083: A European Declaration of Independence, this article argues that Breivik’s counterjihadist worldview can be located both as a permutation of ‘generic fascism’ and as a form of nonegalitarian ‘identity politics’. First, the article reframes and reformulates Nancy Fraser’s concept of identity politics, as it sets Breivik’s ideology in relation to her theory of a ‘politics of recognition’, arguing that her theories – originally developed to analyse left-wing politics – can be used to identify how questions of identity are at the centre of the dynamics of Breivik’s far-right ideology. The article then goes on to demonstrate how Breivik’s misogynist narratives are plotted into a broader fascist conception of history, where the alleged feminised and Islamised present is described as an estrangement from a glorious past dominated by white, European men. As a result, Breivik’s futural palingenetic vision of a ‘European cultural renaissance’ is not only going to resurrect a white, homogenous, ‘Christian’ society, but also restore patriarchy.

World’s End: Punk Films from London and New York, 1977–1984

This chapter discusses punk films set in London and New York from the late 1970s to the early 1980s. Their chief characteristics are considered in relation to two areas of discussion. First, it addresses an idea of an endemic alienation that, unlike the alienation understood to determine previous periods of filmmaking about youthful rebels, may seem without the possibility of exit or alleviation. Punk versions of “no future” are contrasted with the optimism detected in films allied with disco. Second, it looks at an idea of liminal spaces, arising from uses and repurposings of semi-abandoned inner-city areas. An essential divergence in the possibilities of the punk lifestyle is identified and explored: that New York punk cinema more typically suggests the beginnings of a regeneration and cultural renaissance, while London punk cinema seems uniformly downbeat.

Colonial Rupture and Native Continuity in Indigenous Cultural Representations: Through Hawaiian Ancient Dance Kahiko

This article discusses the role of colonial oppression in creating conflicting perspectives in the reproduction of dance as Indigenous cultural heritage. The debate on kahiko, the ancient Hawaiian dance, of which practice was severely controlled and then revived through the cultural renaissance, demonstrates that the radical deprivation of the practice has created multiple understandings of the dance among different practitioners. Of primary importance in these respects is the intergenerational divide within the dance community, manifest in the critical perspective of the post-renaissance variant of kahiko, which highlights the “continuity” of the practice through the colonial rupture.

The Contribution of the Griot Kulba Baaba Seebeeri to Cultural Renaissance in Niger

This paper is an analysis of the heroic songs of the griot Kulba Baaba from Niger. It aims at contributing to promote culture, especially the Songhay-Zarma one, through cultural Renaissance in Niger. It puts emphasis on the respect of the principles of the constitution by encouraging the Nigerien citizen to have certain moral values such as courage, dignity, and loyalty. Its core focus is to show that oral literature can be one of the means to sensitize the Nigerien citizen to a change of mentality for the well-being of the nation.