DOI: 10.25136/2409-8728.2022.3.37549

Abstract: The logical-historical subtext of Kant's definition of space and time as pure forms of sensory knowledge is investigated. The author analyzes the thinker's revision of the concept of a priori, his assertion of the existence of a priori synthetic judgments that serve as the basis for the formulation of the problem of the possibility of a priori forms of sensuality. In the center of the consideration is Kant's correlation of the categories of substance and form, matter and form, spatial incongruence as justifications of transcendental aesthetics. Special emphasis is placed on the differentiation, even the opposition of the categories of matter and form, substance and form by the thinker. The main method is hermeneutical reinterpretation of Kant's legacy from the standpoint of achievements and problems of modern cosmology. The main conclusions of this study are: 1) The formulation of the problem of the human dimension of our Universe in Kant's philosophy, which echoes the anthropic principle widely discussed in physics and testifies to the enduring projective significance of the philosopher's creativity.2) In this regard, it is permissible to attribute a priori forms of sensuality to the innate features of the human body. The three-dimensionality of the form of human sensory perception in the models of eleven-dimensional space-time discussed in modern science determines the very fact of the possibility of its existence. 3) In Kantian philosophy, the question is not raised how the form is attached to the essence. The development of modern elementary particle physics and cosmology in geometrodynamic content has come close to this priority issue.

DOI: 10.25136/2409-8728.2022.3.37717

Abstract: The subject of the study is the social and technological aspects of the European utopia of Modern times. The European utopia was influenced by the most iconic images and plots of the ancient and Renaissance utopia. It embodied and reinterpreted the images and plot elements of the famous "State" of Plato, the utopias of T. More and T. Campanella, the model of the ideal Christian state presented in the treatise "Description of the Christianopolitan Republic" by I.V. Andre (1586-1654). The article gives a general description of the New European Utopianism based on the concepts of F. Bacon, S. de Bergerac, S. Fourier. If in the Middle Ages social inequality and injustice were considered an expression of the natural order of things or a consequence of the imperfection of human nature, then in later periods of history people begin to try to improve the life of society through changes in the political, economic and social structure. The scientific novelty of the research topic is due to the correlation of European Utopianism with the most pronounced socio-cultural characteristics of the era. In the Renaissance, the social utopia was considered by the authors in an inextricable relationship with the architectural and urban aspects of the formation of the human habitat. In the Modern era, social utopianism correlates with technological utopianism. The conclusions of the article include the characteristics of the utopia of the XVIII century, when the utopians' attention is most focused on the legislative and political organization of society, as well as the XIX century, when the optimal economic structure is considered the key to social well-being.

DOI: 10.25136/2409-8728.2022.3.36913

Abstract: The subject of the research is the experience of building a non-religious and pseudo-religious faith as a new Christian anti-tradition. The object of research is post–secularism as a phenomenon of modernity. Comparative, descriptive and content analysis served as the methodological basis of the study. The idea of F.Nietzsche's "death of God" gave rise to a natural backlash from the bearers of religiosity, those for whom the existence of God is a reality. However, this answer was twofold. On the one hand, traditional apologetic polemics. But on the other hand, an attempt to rethink Christianity itself in the conditions of a "grown-up" world, the beginning of which, in many ways, was laid by Dietrich Bonhoeffer. But how justified is such an answer and will an attempt to "revise" Christian values lead to their reduction and then oblivion?      The following main conclusions were made. Protestant theological thought in the middle of the last century made a number of attempts to "adapt" Christianity to the realities of modernity. Dietrich Bonhoeffer put forward the idea of an adult world that has outgrown religion, and Thomas Altitzer laid the foundation for the "theology of the death of God", which makes Christianity irreligious at all. Such ideas desacralize the very idea of the Transcendent. The appearance of openly parodic pseudo-religious constructs and their partial recognition by modern society finally opens up the prospect of the ultimate profanation of the Transcendent due to the loss of interest in Its search, the reason for which was largely the attempts of confessional thought to solve the problem of the "death of God" through the secularization of faith, which, first of all, means the rejection of Tradition and God as incomprehensible The absolute. Such a denial of Tradition and with it the Transcendent, in fact, speaks not about overcoming the "barriers" of religiosity, but on the contrary, about building a new isolation. We can talk not only about the beginning of the "death" of the tradition, which is reborn into an anti-tradition, but also about the futility of "irreligious faith" and "atheistic Christianity" in general.

DOI: 10.25136/2409-8728.2022.3.37150

Abstract: The research aims to fill the gap that arose in the study of the history of the category of irony in the gallant era and to show how its formation and understanding took place in the XVII century. Understanding the formation of one of the most important aesthetic categories at the beginning of Modern times helps to understand the development of aesthetic thought and art of this period. In irony, the gallant aesthetic is opposed to the Baroque one. The gaiety and irony of gallantry are the antithesis of baroque bombast and grandiloquence. Without this period of time, it is impossible to understand modern irony, since it goes back not to antiquity, but to the art of Modern times. This is the relevance of this study. In order for this particular aesthetic category to come to the fore in art, a certain confluence of historical conditions and circumstances was necessary. The first half of the XVII century is the time of the formation of a new gallant ethos, the change of the heroic aesthetic ideal to the gallant, the transformation of the knightly estate into a courtier, the emergence of a new socio-cultural space - salons, gender revolution and active penetration into the ruling elites of the third estate. All these factors together and individually influenced the widespread use of the category of irony. This article discusses various aspects of this process.

DOI: 10.25136/2409-8728.2022.3.37001

Abstract: This article explores a critical tool of modern philosophy, called "prismology" ("chontology") in the works of Jacques Derrida and Mark Fischer. The aim is not just to consider the origin of this approach, but also to reveal its philosophical foundations in the historical and problematic context of modernity. For this purpose , an intertextual analysis of the works of Zh . Derrida, M. Fischer and several of the main authors on whom they are based (K. Marx, Z. Freud, F. Jamison, etc.). Hermeneutical explication of semantic connotations is also performed, which are not deployed by the authors themselves, but contribute to a better understanding of the desired approach. The result of the study is the definition of "prisracology" ("chontology") as a transdiscipline tool for searching for "another modernity" in the absence of a historical alternative, a tool for restarting the interrupted cultural revolution. This restart is carried out through work with forms of obsessive absence ("ghosts") in the cultural experience of modernity, manifested in the pandemic of depression, the nostalgia industry, etc., that is, through critical work with a common feeling. The relevance of this approach lies in the possibility of a completely new look at the research of many cultural and political processes of our time, in the possibility of discovering determinants inaccessible to classical approaches. Ultimately, honology is a tool for liberating the imagination.