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Abstract: The article contains an analysis of Alexander Blok’s views on philosophy, esthetics, politics and morals as well as his attitude to Russian and European traditions in culture and poetics. The author of the article also analyzes the innovation nature of Alexander Blok’s perception of the world and his poetic work.

Keywords: philology, poetics, esthetics, mythology, myth making, semantics, revolution, politics, symbol.

Abstract: The article is devoted to peculiarities of Alexander Blok’s poetical mysticism. The author of the article describes the stages of changes in the central Image of his poetics and analyzes specifics of Alexander Blok’s attitude to artwork.

Keywords: philology, myth, logos, Blok, Soloviev, mysticism, Andreev, chronotopus, philological, symbolism.

Abstract: The article is devoted to a quite interesting phenomenon of Lenin’s appearance as a hero of a Russian folk fairy tale during the first years after the Revolution of 1917. First of all the author addresses to the plots related to immortality and revival of the ruler. The author assumes that this phenomenon, in all appearance, is in many ways related to a national myth and a belief rather than a form of folklore and literature. On the other hand, it is underlined that even though there is a certain folklore basis for the ‘fairy tale about Lenin’, certain literary and obvious ideological insights are also involved.

Keywords: philology, folklore, fairy tae, myth, rumor, Lenin, life, death, power, body.

DOI: 10.7256/2454-0749.2015.1.14071

Abstract: The article is devoted to the research of the reality of socio-cultural illusions undestood by the author as the 'reality of the virtual world'. The given analysis of the eality of the socio-cultural virtual world is based on the differentiation between a gnoseological definition of socio-cultural illusions viewed as usual misconceptions and their ontological status, i.e. the status of the human reality. Thus, the research subject is the illusions existing at the level of society and culture which the author distinguishes from individual psychological illusions that haven't become socially or culturall important. The methodological basis of research can be outlined as the synthesis of different achievements in the field of philosophical research of social and cultural illusions. The novelty of the article is caused by the fact that the author provides a clear definition of socio-cultural illusions in terms of their ontological status and tries to offer a substantiated classification of socio-cultural illusions.  The conclusions of research involve performance conditions and stage-by-stage destruction of the reality of socio-cultural illusions, in other words, in fact, the conditions for socio-cultural illusions losing their ontological status. 

Keywords: socio-cultural illusions, individual psychological illusions, reality of the virtual world, modified form, utopia, ideology, classification of socio-cultural illusions, ontological status, gnoseological status, rationalisation

DOI: 10.7256/2454-0749.2015.1.66424

Abstract: The article is devoted to the research of the reality of socio-cultural illusions undestood by the author as the 'reality of the virtual world'. The given analysis of the eality of the socio-cultural virtual world is based on the differentiation between a gnoseological definition of socio-cultural illusions viewed as usual misconceptions and their ontological status, i.e. the status of the human reality. Thus, the research subject is the illusions existing at the level of society and culture which the author distinguishes from individual psychological illusions that haven't become socially or culturall important. The methodological basis of research can be outlined as the synthesis of different achievements in the field of philosophical research of social and cultural illusions. The novelty of the article is caused by the fact that the author provides a clear definition of socio-cultural illusions in terms of their ontological status and tries to offer a substantiated classification of socio-cultural illusions.  The conclusions of research involve performance conditions and stage-by-stage destruction of the reality of socio-cultural illusions, in other words, in fact, the conditions for socio-cultural illusions losing their ontological status. 

Keywords: socio-cultural illusions, individual psychological illusions, reality of the virtual world, modified form, utopia, ideology, classification of socio-cultural illusions, ontological status, gnoseological status, rationalisation

DOI: 10.7256/2454-0749.2017.1.21758

Abstract: The subject of the present research is Hermann Hesse's novel 'A Child's Soul' revealing the internal conflict of moral standards and natural desires of the main hero. The principle of textual arrangement is the Fall from Grace myth described in the third chapter of Genesis. Within the framework of the present research the myth is defined as a cognitive structure and interpretation of godly Logos using human language aimed at interpreting the surrounding realities in accordance with the mythological picture of the human world. The Biblical story about the Fall from Grace is viewed as a primary sacral text that was then desacralized in the course of its creative revision during creation of a literary work resembling the structure of the primary text. The method of the myth structure hermeneutics implies defining the in-depth meaning of a mythological event, explaining the process of desacralization of its initial content in the proces sof creative writing and discovering implicative connections between its elements, i.e. concepts. Implicative connections between concepts constituting the myth represent a mental reflection of a whole/part relationship, i.e. the relationship between metaphysical and earlthy correlates. The myth structure includes two levels, paradigmatic and syntagmatic, as well as the basic concepts presented as a triad. The two-level structure gives a form to the myth while traid provides contents of the myth confined to a hermeneutical circle allowing to understand one fragment of the myth through another. Such process of interpretation going from one peak to another will never be over, thus the truth of the myth will never come to the end. 

Keywords: concept of God, discourse, triada, myth structure, hermeneutics, logos, myth, mythology, concept of time, concept of human being

DOI: 10.7256/2454-0749.2017.3.23441

Abstract: The development and rethinking of one of the most striking mythological images is traced in the work. The image of Medea, most often interpreted in the literature of the twentieth century, is skipped through the prism of modern conflicts with author's creative "arbitrariness", demonstrating its timelessness and relevance. The subject of the study is the image of an ancient Greek sorceress Medea, who became the source of inspiration for many writers, from where they got ideas, symbols, images, motifs, plot lines. The object of the study is the process of mythmaking through which the role of the mythological plot about Medea and the degree of its rethinking in works of fiction is revealed.The author uses a complex approach to the study of literary phenomena, cultural-historical and comparative-typological methods of research. The main conclusion of the study is that the realities of a new time, such as the phenomenon of women's emancipation, the protection of human rights and freedoms, military themes, social conflicts, information wars are reinterpreted and embodied in the text through author's mythicizing. Taking as a basis the mythological plot of each of the authors demythologize it to a greater or lesser extent, imparting individual distinctive features, putting emphasis differently.

Keywords: mythological subject, German literature, woman's prose, gynocentrism, cultural identity, mythology, myth, author's myth, Medea, historicism

DOI: 10.7256/2454-0749.2015.2.15069

Abstract: Particular attention is paid to the author's attempts to find the key to explaining “dark places” in our knowledge about the personality and doctrine of the legendary Orpheus. Since the days of Aristotle, scientists began to express doubts about the historical reality of Orpheus. He was too heterogenous to the Greek world to be recognized as really lived among the Greeks. Many elements of the Orphic doctrine were so uncommon for the ancient Greek thought that since the time of Herodotus they were believed to be imported (from Egypt, Iran, Phoenicia, Asia Minor, Hittite Empire). Some researchers of the XXth century were inclined to seek the origins of Orphism even further, to the north of the Eurasian continent, in the territories of shamanism. Either way, the Orphic doctrine is likely to be of northern origin which can be indirectly proved by the non-Greek (north-Balkan) origin of the name of Orpheus. In his research the author has used the methods of drawing analogies, parallels and conducting a dialogue to describe the similarities and differences of philosophical cultures as well as the mechanism of their interaction. The novelty of the research is caused by the fact that the author has attempted to draw parallels between the figure of Orpheus and archetypal ancient Russian Grand Guslar embodied in the images of Sadko, Bojan and the hero of “The Book of Doves”, tsar David Evseevich. All these figures have the following features in common: their ability to influence nature and natural forces with their music, cosmological nature of their activity, magical nature of their instruments (lyre and gusli), traditionally recognized syncretism of the images of the sage and musician. The researcher also draws the parallels between the epics of Sadko, hymn of Varuna and Vasistha of the Rigveda and Argonautica by Apollonius of Rhodes. The proximity of plots, similarity of the figures of wizard singers may prove that they originate from the same source, in particular, the tradition of the times of the Indo-European community. The main conclusion of the study is that there are reasonable grounds to speak about the origin of the Indo-European image of Orpheus and his doctrine (if we cannot yet speak of him as a real historical figure) and put forward a hypothesis about their invasion into Greece in the second half of the 2d millennium BC.

Keywords: mythology, cosmogony, music, Ancient Greece, Orpheus, Orphics, shamanism, philosophy, Indo-Europeans, ancient Slavs

DOI: 10.7256/2454-0749.2015.2.66777

Abstract: Particular attention is paid to the author's attempts to find the key to explaining “dark places” in our knowledge about the personality and doctrine of the legendary Orpheus. Since the days of Aristotle, scientists began to express doubts about the historical reality of Orpheus. He was too heterogenous to the Greek world to be recognized as really lived among the Greeks. Many elements of the Orphic doctrine were so uncommon for the ancient Greek thought that since the time of Herodotus they were believed to be imported (from Egypt, Iran, Phoenicia, Asia Minor, Hittite Empire). Some researchers of the XXth century were inclined to seek the origins of Orphism even further, to the north of the Eurasian continent, in the territories of shamanism. Either way, the Orphic doctrine is likely to be of northern origin which can be indirectly proved by the non-Greek (north-Balkan) origin of the name of Orpheus. In his research the author has used the methods of drawing analogies, parallels and conducting a dialogue to describe the similarities and differences of philosophical cultures as well as the mechanism of their interaction. The novelty of the research is caused by the fact that the author has attempted to draw parallels between the figure of Orpheus and archetypal ancient Russian Grand Guslar embodied in the images of Sadko, Bojan and the hero of “The Book of Doves”, tsar David Evseevich. All these figures have the following features in common: their ability to influence nature and natural forces with their music, cosmological nature of their activity, magical nature of their instruments (lyre and gusli), traditionally recognized syncretism of the images of the sage and musician. The researcher also draws the parallels between the epics of Sadko, hymn of Varuna and Vasistha of the Rigveda and Argonautica by Apollonius of Rhodes. The proximity of plots, similarity of the figures of wizard singers may prove that they originate from the same source, in particular, the tradition of the times of the Indo-European community. The main conclusion of the study is that there are reasonable grounds to speak about the origin of the Indo-European image of Orpheus and his doctrine (if we cannot yet speak of him as a real historical figure) and put forward a hypothesis about their invasion into Greece in the second half of the 2d millennium BC.

Keywords: mythology, cosmogony, music, Ancient Greece, Orpheus, Orphics, shamanism, philosophy, Indo-Europeans, ancient Slavs

DOI: 10.7256/2454-0749.2014.2.12082

Abstract:

DOI: 10.7256/2454-0749.2014.2.65039

Abstract: Dominating role of psychology made Russian philosophers and writers of the early 20th century become interest in existential topics. Rehabilitation of life was the main topic for Russian writers of the early 20th century. Certain efforts and super-super narrative are necessary in order to think about that life. The idea of life became the main topic for writers and the main metaphor of the creative act. Philosophizing turned into the ‘universal mission of the humankind’ and the style of life. However, that philosophizing acquired a rather tragic nature. The loss of the meaning of life created by Nietzsche’s statement about the death of God led to the growing interest towards occult sciences and myths. Not only psychiatrists studied different mental disorders and narcisstic neuroses. Catastrophic nature of being has resulted in people fragmenting their life, thinking and action. Moreover, fragmentation has encouraged a man to think about himself as the main person. Researchers share rather ambivalent attitudes to the definition of narcissism. For some researchers narcissism was inevitably connected with the fragmentation of culture and estrangement of the human. Researchers stated that the humanity had very unhealthy relations with their own ‘selves’. However, Christopher Lash had a completely different opinion on the matter. For him ‘narcissism’ was an essential tool of socialization. Researchers define intellectual, esthetic, erotic, political, legal and other forms of narcissism and describe narcissism as the element of poetics and etc. There are culturological, sociological, psychological and other interpretations of the myth. At each stage of the historical development researchers gave their own definition of the myth about Narcissuses. The beginning of the 20th century can be called the ‘epoch of narcissism’. In the Russian culture of the early 20th century narcissism was something more than just an artistic device. In some way narcissism was a response to the nihilism of the epoch. It was the symbol of instability, direction in thinking and a form of existence in the world. and it had antinomies of the Silver Age such as reality and illusion, integration and fragmentation, life and death, subject and object, superficies and depth, activity and passivity, feminine beginning and male beginning, spirituality and physicality, common sense and mental disorder and etc. Narcissism of the epoch had an impact and on the form of artwork, too. Modernism was characterized by narcisstic interest towards language, metaphors, epigrammatism, radical disturbances of the linear pattern of the narrative and the tendency towards subjective distortions. The main feature of the present research is that it is interdiscursive, i.e. open for interactions between philosophy and literature, psychoanalysis, history and art. The dialectic method used in the research is inseparable from the culturalhistorical, comparative-historical and historical-philosophical research methods. The historical-philosophical method is used to analyze artwork in order to reconstruct spiritual and social concepts. Therefore, in the Russian culture of the early 20th century narcissism was something more than just an artistic device. It was the symbol of instability, direction in thinking or a form of existence in the world. We can define intellectual, esthetic, erotic, political, legal and other forms of narcissism and describe narcissism as the element of poetics and etc.

Keywords: narcissus, narcissism, the God complex, Fyodor Sologub, beauty, Salome, Christopher Lash, Zinaida Gippius, Lev Tolstoy, Andreev.

DOI: 10.7256/2454-0749.2015.4.17502

Abstract: Today's realities require a new Concept on the Sacramental State of Historical Russia to bring Russia close not only to the rest of Europe but also Islamic East and Judaic Israel. This reasonably required approximation allows to both figure out 'the general course of nature' and make an assumption about the tremendous role of chance which forms the mystical experience of the 'body-soul-spirit' triad in the Russian context. The central symbol thereof is the 'absolute beginning of culture' creating the 'Keys to Russia'. The final hypothesis introduces the integral categories of 'keys' and 'keyness' into the science and points out that Russian philology is becoming the leading idea of turning the long-suffering nation into the world spiritual force. The author of the article tries to express the mystical feeling which he has conceived and which has turned out to be in tune with the Russian language arts. This is the reason why he is so sure that literature and interpretation of literature may turn out to be the Ariadne's thread in understanding the fate and destiny of Russia and analyzing its historical contradictions. Paying tribute to Christianity which created the revolution in the spiritual areal of the planet, the author of the present article tries to come close to understanding the sacral 'cornerstone' of the Russian House through a series of explanations. 

DOI: 10.7256/2454-0749.2015.4.67375

Abstract: Today's realities require a new Concept on the Sacramental State of Historical Russia to bring Russia close not only to the rest of Europe but also Islamic East and Judaic Israel. This reasonably required approximation allows to both figure out 'the general course of nature' and make an assumption about the tremendous role of chance which forms the mystical experience of the 'body-soul-spirit' triad in the Russian context. The central symbol thereof is the 'absolute beginning of culture' creating the 'Keys to Russia'. The final hypothesis introduces the integral categories of 'keys' and 'keyness' into the science and points out that Russian philology is becoming the leading idea of turning the long-suffering nation into the world spiritual force. The author of the article tries to express the mystical feeling which he has conceived and which has turned out to be in tune with the Russian language arts. This is the reason why he is so sure that literature and interpretation of literature may turn out to be the Ariadne's thread in understanding the fate and destiny of Russia and analyzing its historical contradictions. Paying tribute to Christianity which created the revolution in the spiritual areal of the planet, the author of the present article tries to come close to understanding the sacral 'cornerstone' of the Russian House through a series of explanations. 

Keywords: physicality, Absolute, pereformat, Biblical keys, national keys, Russian keyness, world culture, Russian culture, philology, warm-heartedness, spirituality