The spiritual geography of Russian cosmism. General characteristics ; Recent definitions of cosmism -- Forerunners of Russian cosmism. Vasily Nazarovich Karazin (1773-1842) ; Alexander Nikolaevich Radishchev (1749-1802) ; Poets: Mikhail Vasilyevich Lomonosov, (1711-1765) and Gavriila Romanovich Derzhavin (1743-1816) ; Prince Vladimir Fedorovich Odoevsky (1803-1869) ; Aleksander Vasilyevich Sukhovo-Kobylin (1817-1903) -- The Russian philosophical context. Philosophy as a passion ; The destiny of Russia ; Thought as a call for action ; The totalitarian cast of mind -- The (...) religious and spiritual context. The kingdom of god on earth ; Hesychasm: two great Russian saints ; The Third Rome ; Pre-Christian antecedents -- The Russian esoteric context. Early searches for "deep wisdom" ; Popular magic ; Higher magic in the time of Peter the Great ; Esotericism after Peter the Great ; Theosophy and anthroposophy -- Nikolai Fedorovich Fedorov (1829-1903), the philosopher of the common task ; The one idea ; The unacknowledged prince ; The village teacher ; First disciple: Dostoevsky and Tolstoy ; The Moscow librarian ; Last years: Askhabad: the only portrait -- The "common task" ; Esoteric dimensions of the "common task" ; Fedorov's legacy: projectivism, delo, regulation -- The religious cosmists. Vladimir Sergeevich Solovyov (1853-1900) ; Sergei Nikolaevich Bulgakov (1871-1944) ; Pavel Aleksandrovich Florensky (1882-1937) ; Nikolai Aleksandrovich Berdyaev (1874-1948) -- The scientific cosmists. Konstantin Edouardovich Tsiolkovsky (1857-1935) ; Vladimir Ivanovich Vernadsky (1863-1945) ; Alexander Leonidovich Chizhevsky (1897-1964) ; Vasily Feofilovich Kuprevich (1897-1969) -- Promethean theurgy. Life-creation ; Cultural immortalism ; God-building ; Re-aiming the arrows of Eros ; Technological utopianism ; Occultism -- Fedorov's twentieth century followers. Nikolai Pavlovich Peterson (1844-1919) and Vladimir Aleksandrovich Kozhevnikov (1852-1917) ; Svyatogor and the biocosmists ; New wine and the universal task ; Alexander Konstantinovich Gorsky (1886-1943) and Nikolai Alexandrovich Setnitsky (1888-1937) ; Valerian Nikolaevich Muravyov (1885-1932) ; Vasily Nikolaevich Chekrygin (1897-1922) -- Cosmism and its offshoots today. The N.F. Fedorov museum-library ; The Tsiolkovsky museum and Chizhevsky center ; ISRICA - Institute for Scientific Research in Cosmic Anthropoecology ; Lev Nikolaevich Gumilev (1912-1992) and neo-eurasianism ; The hyperboreans ; Scientific immortalism: Igor Vishev, Danila Medvedev ; Conclusions about the Russian cosmists. (shrink)

This collection of translations is interesting, useful, and enjoyable. It introduces a philosophy little known in either English or the Western world. Russian Cosmism was a progressive movement in late nineteenth-century and early twentieth-century Russia. It was an intellectual counter to the rational Futurism that would eventually take hold as the guiding functionalist art and scientific ideology of the Soviet Union. Cosmism sought to understand the totality of human civilization with the universe as the basic unit of analysis. (...) Sunspots, cosmic rays, and interstellar interactions with planet Earth could and did have an impact on human societies and political, economic, social, and artistic structures. It may seem... (shrink)

This article investigates the complex object of the political book. Mobilising Deleuze and Guattari's typology of the book, the article assesses the material properties of four specific books (or sets of books): Mao Zedong's ‘Little Red Book’, Russian Futurist books, Antonin Artaud's paper ‘spells’, and Guy Debord and Asger Jorn's ‘anti-book’ Mémoires. Highly critical of the dominant mode of the political book, what they call the ‘root-book’, Deleuze and Guattari draw attention to the troubling religious structures and passions that (...) order its field. Here the book internalises the world as the origin and source of truth and authority – a mode of existence as dear to the avant-garde as it is to religious formations: ‘Wagner, Mallarmé, and Joyce, Marx and Freud: still Bibles.’ But the book also features in Deleuze and Guattari's counter-figure of the ‘rhizome-book’, where they foreground the dynamic materiality of this medium: ‘A book has neither object nor subject; it is made of variously formed matters, and very different dates and speeds.’ The rhizome-book is an enticing concept for assessing the political book, yet Deleuze and Guattari pay little attention to the specific, concrete attributes of this medium. In focusing on the properties of particular books this article seeks to address that absence, and so contribute to an understanding of the political book that is fully engaged with its material forms. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Creating Life: The Aesthetic Utopia of Russian ModernismJohn GoodliffeCreating Life: The Aesthetic Utopia of Russian Modernism, edited by Irina Paperno and Joan Delaney Grossman; x & 288 pp. Stanford: Stanford University Press, 1994, $39.95.In describing the history of a country’s literature, one may well be tempted to divide it into separate compartments and so lose sight of the continuity which is, in the final analysis, more (...) worthy of attention. Historians of Russian literature have often succumbed to this temptation and it became almost commonplace to read that in Russia the Realism of the nineteenth century gave way to the Symbolism which began in the twentieth; that Symbolism gave way to Futurism; and that in due course all the earlier “-isms” were swept aside by the Socialist Realism of the Soviet period. For Marxist-oriented Soviet [End Page 371] historians such preoccupation with compartmentalization was obsessive. This makes more than welcome a series of essays which is at pains to emphasize the essential connections and kinship between these various “-isms.”Four of the seven essays are intended to demonstrate how the Symbolists, while ostensibly breaking with the earlier tradition of positivism (the idea that art’s essential purpose is to help build a better world), were, in a number of important respects, continuing and even reinforcing what they claimed to despise. Thus, regarding art and life as indissolubly linked, they attempted to turn life into art and art into life. Their endeavors frequently led them into behavior that now appears “eccentric, at times even ridiculous” (p. 166). Olga Matich describes how Blok, Bely, Dmitry Merezhkovsky, and Zinaida Gippius attempted to model their sexual relationships on the pattern of the “erotic utopia” described by Vladimir Solov’ev in his seminal The Meaning of Love (1892–94). Joan Delaney Grossman discusses Nina Petrovskaia’s relationships with Bely and Valery Briusov. Michael Wachtel shows how Viacheslav Ivanov attempted to overcome his grief at the death of his first wife by using his creative powers to make contact with her “beyond the grave.”Irene Masing-Delic traces the Pygmalion myth through Pushkin, Baratynsky, Turgenev, and Chernyshevsky to the Symbolists who were especially attracted by a myth which showed how an artist could create life and even conquer death. In “Andrei Bely and the Argonauts’ mythmaking,” Alexander Lavrov considers the role of the “Argonaut” circle in establishing a Russian Symbolist culture in the first years of the twentieth century. The Argonauts’ credo was “life-creation” rather than “art-creation,” and they claimed to make no distinction between “talent for living” and “talent for writing.” Lavrov argues that the failure of the relationship between Bely and Nina Petrovskaia marked the disintegration of “Argonautism” and the culture they sought to create. It is left to Irina Gutkin in the concluding essay to guide us through the grotesqueries of Futurism into the apparently diametrically opposed, sanitized world of Socialist Realism, by way of Constructivism, Marxism, and Meyerholdian bio-mechanics, leaving us in little doubt that, appearances to the contrary, each of these movements was concerned with turning art into life and using it to create a better world. So ultimately, as she neatly sums up the thesis of the whole collection, “The aesthetic utopian ideal of art creating life, which took shape at the beginning of the twentieth century, was fused with the utilitarian tradition of the 1860s” (p. 181).I have deliberately reserved for the end comment on Irina Paperno’s introduction and opening article (“The Meaning of Art: Symbolist Theories”) in order to emphasize the manifest contribution she and her co-editor, Joan Delaney Grossman, have made to ensuring the coherence of this admirable collection. Professor Paperno’s clear and concise coverage of her topics makes it evident that she was determined that the book should not turn into the kind of bits-and-pieces patchwork that too many publications of this sort tend to [End Page 372] become without a firm editorial hand at the helm. Her earlier book on Chernyshevsky (Chernyshevsky and the Age of Realism, 1988) and Irene Masing-Delic’s Abolishing Death; a Salvation Myth of Russian Twentieth-Century Literature (1992), form the first two parts of... (shrink)

Alexej Remizov is usually regarded by literary critics as a Symbolist rather than a Futurist writer. However, I would posit that Remizov similarly to the Futurists viewed language as “logos,” bozhestvennii glagol. According to the mystical interpretation of the famous words “At the beginning there was Word and the Word was with God and the Word was God”, when God was creating the world he named the objects, and these abstract names became a force for the appearance of an object (...) in physical reality. In the light of these words, The Medieval mystical and magical philosophers claimed that one could restore the divine language of Creation, possess the ability to create objects anew, and thereby become Creator himself. One can argue that a major goal of Remizov was similar to that of hisMedieval predecessors: to reveal the mystical power of language in order to create, not to describe reality. The paper analyzes three chapters from Alexej Remizov’s Rossiya v pis’menah, a book which can be read as a manifesto of Remizov’s attitude toward language and reality, and discuss possible sourcesthat might have influenced Remizov in his attitude towards language. (shrink)

This book offers an original approach to avant-garde art and its transformative force. Presenting an alternative to the approaches to art developed in postmodern theory or cultural studies, Ziarek sees art's significance in its critique of power and the increasing technologization of social relations. Re-examining avant-garde art and literature, from Italian and Russian Futurism and Dadaism, to Language poetry, video and projection art, as well as transgenic and Internet art, this book argues that art's importance today cannot be (...) explained simply in aesthetic or cultural terms but has to take into consideration how artworks question the technological character of modern power. To emphasize the transformative character of art, the book redefines art as a force field, in which forces drawn from historical and social reality come be to formed into an alternative relationality. Through discussions of such key avant-garde figures as Marinetti, Duchamp, Khlebnikov, and Vertov, and innovative contemporary artists like Viola, Wodiczko and Kac, The Force of Art counters the pessimism about art's social function by recovering and redefining art's transformative role in modernity. (shrink)

From "word-images' to "chapter-shots: The irnagiuist montage of Anatolij Mariengof. The article discusses the three dominant imaginist principles of Anatolij Mariengofs poetic technique, as they are translated into prose in his first fictional novel Cynics. These principles include the "catalogue of images", a genre introduced by Vadim Shershenevich, i.e. poetry formed of nouns, which Mariengof makes use of in his longer imaginist poems. Another dominant imaginist principle, to which Mariengof referred in his theoretic articles and poetic texts, is similar to (...) the creating of shocking images typical of Russian futurism. Mariengofs application is the juxtaposition of "pure" and "impure", either a conflict between the vehicle and the object within a metaphor or a conflict between metaphors. This is an essential poetic feature in both Mariengofs poetry and prose. The third, maybe the most Mariengofian imaginist principle, relevant to the study of Cynics, is the poetics of transition, i.e. a certain fragmented structure of the text, which is related to Mariengors use of heteroaccentual rhyme. All these principles can be treated as fundamental elements in Mariengofs use of montage technique in his fictional prose. (shrink)

Contemporary thought has been profoundly shaped by the early-twentieth-century turn toward synchronic models of explanation, which analyze phenomena as they appear at a single moment, rather than diachronically as they develop through time. But the relationship between time and system remains unexplained by the standard account of this shift. Through a new history of systematic thinking across the humanities and sciences, The Writing of Spirit argues that nineteenth-century historicism wasn't simply replaced by a more modern synchronic perspective. The structuralist revolution (...) consisted rather in a turn toward time's absolutely minimal conditions, and thus also toward a new theory of diachrony. Pourciau arrives at this surprising and powerful conclusion through an analysis of language-scientific theories over the course of two centuries, associated with thinkers from Jacob Grimm and Richard Wagner to the Russian Futurists, in domains as disparate as historical linguistics, phonology, acoustics, opera theory, philosophy, poetics, and psychology. The result is a novel contribution to a pressing contemporary question--namely, what role history should play in the interpretation of the present. (shrink)

Viktor Šklovskij, the famous Russian literary theorist, and the founder of Russian Formalist School, published his first books in 1914, when World War I had just started. One of them consisted of the futuristic essay, Resurrection of the Word, first presented in December, 1913, and devoted to the problem of the death and resurrection of literature through the use of transrational language. Another book, entitled The Saturnine Fate, concerned archaic prose poetry devoted to the war that had just (...) begun. Šklovskij borrows an official military rhetoric and changes its accents, turning it into an instrument of pacifism. It should be stressed that 1914 was the same year the new Formalist theory started growing, reaching a first intellectual peak in 1916 when the key Šklovskij essay, Art as Device, was published. At the same time, Šklovskij had been drafted into the army, and war became a fruitful background for this emerging theory. Šklovskij first served as an instructor in the armored car division; following the February 1917 bourgeois revolution he was actively involved in agitation for the Provisional Government as a commissar, first on the Western front, then later on the Southern front. After the Russian bourgeois revolution of 1917, as events grew out of control, the explosion of history required simultaneous reflection. Šklovskij began writing memoirs long before he reached old age, based on his own conception of the genre. A war depicted in a book with the intertextual title Sentimental Journey is reconstructed here as a mechanism paralleled principally with the automobile; a means of transport to be handled with care. In the first part of the book, the war is seen as having a specific order of things, as opposed to a revolution which follows more the path of chaos. However, throughout his journey, Šklovskij observes the logic of events and concludes that the processes of war and revolution do not stand opposed, but instead have a consequential relationship. (shrink)

By utilizing words, photographs, and motion pictures, this multimodal and multisited project traces a rhizomatic genealogy of Russian Cosmism—a nineteenth century political theology promoting a universal human program for overcoming death, resurrecting ancestors, and traveling through the cosmos—throughout post-Soviet techno-utopian projects and imaginaries. I illustrate how Cosmist techno-utopian, futurist, and other-than-human discourse exist as Weberian “elective affinities” within diverse ecologies of the imagination, transmitting a variety of philosophies and political programs throughout trans-temporal, yet philosophically bounded, communities. With a particular (...) focus on the United States and Ukraine, and taking an apophatic analytical position, I dissect how different groups of philosophers, technologists, and publics interact(ed) with Cosmism, as well as how seemingly disparate communities (re)shape and deterritorialize Cosmist political theology in an attempt to legitimize their constructed political imaginaries. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.2 (2003) 31-45 [Access article in PDF] Antonio Gramsci on Surrealism and the Avant-garde E. San Juan, Jr. Surrealism provided me with what I had been confusedly searching for. I have accepted it joyfully because in it I have found more of a confirmation than a revelation. It was a weapon that exploded the French language. It shook up absolutely everything....A process of disalienation, (...) that's how I interpreted surrealism. 1In the spring of 1919, André Breton and Phillipe Soupault conducted various experiments in automatic writing. They converted themselves into machines to record the whispers of the unconscious, inspired by Rimbaud's urge for adventure in quest of cosmic knowledge and Lautreamont's conviction of art as a communal enterprise. To destroy bourgeois morality and class inequality, uphold the freedom of the imagination, and release the libidinal energies dammed up in the psyche, surrealism — Guillaume Appolinaire's term 2 — was invented from the nihilistic ruins of Dada to lay the groundwork for building a society founded on liberty and justice. In the same year the Italian Marxist Antonio Gramsci founded the innovative journal, L'Ordine Nuovo and advocated the factory council (modeled after the Russian Soviets) as the germ of an emergent communist society. Both initiatives were pathbreaking in challenging the orthodoxies of modernist bourgeois culture, politics, and philosophy.When Breton published his 1924 "First Manifesto of Surrealism" privileging dreams, the unconscious, the fantastic, and marvelous, Gramsci was the principal leader of the Communist Party of Italy spearheading the opposition to Mussolini's fascist takeover. Two years later, Gramsci was arrested and imprisoned until his death in 1937. In the Prison Notebooks that occupied him while in jail, Gramsci does not — as far as I am aware — refer to Breton or to surrealism directly. But in his scattered reflections on modern art and culture in general, and in his particular observations on Italian futurism (in particular, on Filippo Marinetti and Luigi Pirandello), we can [End Page 31] extrapolate the general approach Gramsci would take toward surrealism and avantgarde art as oppositional cultural practices. This exercise may clarify what a revolutionary Marxist position should be toward the philosophical or pedagogical category of the aesthetic within the field of cultural practice and artistic production, especially in the post-Cold War epoch of nation-state realignments and the reconfiguration of globalized finance capital in the new millennium.All commentators agree that Gramsci viewed the aesthetic as a category within the terrain of historical materialism and the political economy ofvalue in general. Artistic values are rooted in the social and material practices of a specific society which defines the limits of conventional artistic forms and the subject matter available to the artist. Vision or intuition and diverse raw materials (language, sounds, dance movements, and filmic images) are indissociable. Contrary to Benedetto Croce's emphasis on transcendental intuition, Gramsci valorizes the materialization of this intuition into perceptible, sensory structure, an architectonic whole produced by intellectual discipline and shaped by an integral worldview. In short, for Gramsci, the work of art is the historicization and objectification of vision/intuition.Gramsci's conception of Marxism stresses its intrinsic dialectical method, its emphasis on processes and relations within a social formation comprised of multilayered modes of production, given the necessarily uneven development of capitalism. This mode of historicizing life not only to interpret but to change it is a guide for collective action, not a dogmatic party line. "Man 'is' precisely the process of his actions," Gramsci writes, and "relative to what we have thought and seen, we seek to know what we are and what we can become, whether it is true and within what limits that we do 'make ourselves,' create our own lives and our own destinies." 3 Here, knowledge and action are oriented toward linking the past with the present in order to fashion the future. The chronotope of revolution is essentially a collage, more precisely a montage, of transformations that amalgamates contraries, oppositions, disparities.While Gramsci did not endorse Freudian theory completely except by... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Queer Defamiliarisation: Writing, Mattering, Making Strange by Helen PalmerTrevor Norris (bio)Helen Palmer, Queer Defamiliarisation: Writing, Mattering, Making Strange Edinburgh: Edinburgh University Press, 2020, 214 pp. ISBN 978-1-4744-3414-0Helen palmer is senior lecturer in English literature and creative writing at Kingston University in London and the author of Deleuze and Futurism: A Manifesto for Nonsense (2014). Her research examines queer theory, performance, literary modernism, gender, aesthetics, and feminist and (...) Afrofuturist fiction. Queer Defamiliarisation explores these ideas and also includes part of Palmer’s literary creative response to James Joyce. The project here is an inquiry into reading, thinking, writing, and pleasure and considers how language can change us when we experience the relationship between naming and the performance of identity as a material boundary: the places where our bodies, behavior, and language are subject to violence in gendered, sexualized, and racialized forms. Palmer also suggests how our own and others’ experiences of violence might be bound up with an aesthetics of linguistic and formal complexity, and she reimagines the difficulty of naming for violently excluded identities by reviewing a range of complex experimental and avant-garde literary works in which new identities can emerge. Showing us how we might understand the materiality of bodies, sense making, and desire in emancipa-tory ways, Palmer attunes us to a phenomenology of reading in which we [End Page 217] recognize how argument undergoes metamorphosis by always being a hybrid of theory, criticism, cultural history, appropriation, memoir, and experimental form. Palmer’s wide-ranging arguments speak about the porosity and mutual embeddedness of our selves, our language, our bodies and environments, and the queer processes of world creation that act on and emerge from these things. Placing her work with other texts that rethink gender, personhood and ecology through new materialisms is productive, therefore, and readers might find value in looking at Queer Defamiliarisation alongside Donna Haraway’s (2016) Staying with the Trouble, Timothy Morton’s (2019)Humankind, and Rebecca Tamás’s (2020) Strangers inasmuch as they think through the ethics and emergence of relatedness and examine what it means to play, be alongside, care for, and nurture other beings and their worlds. Palmer’s project stays with the kind of “serious and... lively” trouble that allows “unexpected collaborations and combinations, in hot compost piles” (Haraway 2016, 4).The fertile landscape is mapped out in three introductions whose themes are explored in four chapters. Palmer transforms the early-twentieth-century Russian formalist concept of defamiliarization as literary and aesthetic device, the “paradoxical process that... restores sensations to things through a [linguistic] distancing that is also a re-proximation, an approximation, a touching” (9), by reading early- to mid-twentieth-century literary and cultural theorists such as Shklovsky, Brecht, and Jakobson through the ideas of contemporary queer, feminist, and decolonial scholars such as Sara Ahmed, Rosi Braidotti, and Vicki Kirby. She questions how the estrangement of naming operates for those whose bodies are not normatively gendered, racialized, and sexualized in relation to dominant forms of representation and power and explores concerns with and for queer, trans, decolonial, and feminist aesthetics. Throughout, she encourages us to think of the strangeness of language in relation to an ethics and an erotics of radical sympathy with the stranger because it is in the “continuous movement and continual transformation” (13) of naming, and categories of naming, that an emancipatory ethics can be found. This is a timely intervention by Palmer given current anxieties around naming gender and sex, and her argument seeks to move beyond “unhelpful binaries” to acknowledge the “infinite variations and permutations of existence and experience” (14).Palmer productively combines Sara Ahmed’s concept of disorientation from Queer Phenomenology (2006) with the psycholinguistic registers of Jakobson’s “contiguity and displacement” to suggest that queer defamiliarization is a performance of language and naming that “cleaves through and between sameness and difference,” “knocking signifiers loose and ungrounding bodies,” leading to “perceptual shifts and corporeal responses” that can “materially en-gender newness” (Palmer 17). From the start of the section “Spectaxa” (152), Palmer foregrounds the materiality of her text in increasingly modernistic excess to illustrate what we have been reading and... (shrink)

This interview is inspired the most important working-hypothesis presented in the volume Aesthetic Revolutions and the Twentieth-Century Avant-Garde Movements, edited by Aleš Erjavec, that questions the legitimacy of the distinction between aesthetic and artistic avant-gardes, supported by the relationship of each concept with the modern revolutionary politics. The relevance of this contrast for determining modernity both in its ideological shape and its continuity, in the terms of postmodernity will be criticized in our discussion with professor Erjavec, reflecting on the manner (...) in which the artistic communities representative for Surrealism, Russian constructivism, Situationist International, Dadaism, Italian Futurism, 1960s American Art, as well as for Slovenian, Mexican or Romanian artistic movements of the 20th century opened the path for different democratic or totalitarian political attitudes, practices and ambitions. (shrink)

The Nazis' use and misuse of Nietzsche is well known. The Superman, the "will to power," Nietzsche's equation of bourgeois democracy and decadence, and his denigration of reason were staples of Nazi propaganda. Communists also used and misused Nietzsche, but that fact is largely unknown because Soviet propagandists invoked reason and labeled Nietzsche the "philosopher of fascism," even while covertly appropriating his ideas. In this pioneering book, Bernice Glatzer Rosenthal excavates the trail of long-obscured Nietzschean ideas that took root in (...) late Imperial Russia, intertwining with other elements in the culture to become a vital ingredient of Bolshevism and Stalinism. Nietzsche made a difference. He furnished intellectual ammunition for a prolonged conflict about culture, society, and politics that began around the turn of the century. His first Russian admirers were poets, philosophers, and political activists. They responded to the changes transforming their society by espousing new values and seeking a new faith by which to live and work. This response resulted in new aesthetic and political amalgams, such as Symbolism, Futurism, Nietzschean Christianity, and Nietzschean Marxism. The ensuing debates between and among their partisans reverberated throughout the wider culture and therefore also into Bolshevism, becoming the subject of an uninterrupted polemic between Bolsheviks and non-Bolsheviks, and among Bolsheviks, that continued into the 1930s. In Stalin's time, unacknowledged Nietzschean ideas were used to mobilize the masses for the great tasks of the first Five-Year Plan and the Cultural Revolution, which was intended to eradicate "bourgeois" values and attitudes from Soviet life and to construct a distinctly Socialist culture. Nietzsche's belief that people need illusions to shield them from reality underlay Socialist Realism, the official Soviet aesthetic from 1934 on. In the aftermath of de-Stalinization, the government cast Nietzsche as the personification of "bourgeois" nihilism and "bourgeois" individualism. Soviet intellectuals wishing to reappropriate their lost cultural heritage discovered the Nietzsche-influenced intellectuals of late Imperial Russia and reopened discussion on the issues they had posed. More than an exercise in historical rediscovery, _New Myth, New World_ offers a new interpretation of modern Russian history. By uncovering the buried influence of Nietzschean ideas on Soviet culture and politics, Rosenthal opens new avenues for understanding Soviet ideology and its influence on the twentieth century. (shrink)

ArgumentThe article builds a case for the Society for the Protection of the Health of the Jewish Population (Obshchestvo Okhranenia Zdorov’ia Evreiskogo Naselenia [OZE]) as a project of medicalized modernity, a mass politics of Jewish self-help that relied on a racialized and medicalized vision of a future Jewish nation. Officially registered in 1912 in St. Petersburg, it created the space for a Jewish politics that focused on the state of the collective Jewish body as a precondition for Jewish participation in (...) any version of modernity. OZE futurism survived the years of World War I and the Russian Civil War, when the organization had to concentrate on rescue and relief rather than on facilitating the development of new bodies and souls. New archival evidence reveals how race science, medical statistics, and positive eugenics became composite elements of the Jewish anticolonial message and new subjectivity. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.2 (2003) 31-45 [Access article in PDF] Antonio Gramsci on Surrealism and the Avant-garde E. San Juan, Jr. Surrealism provided me with what I had been confusedly searching for. I have accepted it joyfully because in it I have found more of a confirmation than a revelation. It was a weapon that exploded the French language. It shook up absolutely everything....A process of disalienation, (...) that's how I interpreted surrealism. 1In the spring of 1919, André Breton and Phillipe Soupault conducted various experiments in automatic writing. They converted themselves into machines to record the whispers of the unconscious, inspired by Rimbaud's urge for adventure in quest of cosmic knowledge and Lautreamont's conviction of art as a communal enterprise. To destroy bourgeois morality and class inequality, uphold the freedom of the imagination, and release the libidinal energies dammed up in the psyche, surrealism — Guillaume Appolinaire's term 2 — was invented from the nihilistic ruins of Dada to lay the groundwork for building a society founded on liberty and justice. In the same year the Italian Marxist Antonio Gramsci founded the innovative journal, L'Ordine Nuovo and advocated the factory council (modeled after the Russian Soviets) as the germ of an emergent communist society. Both initiatives were pathbreaking in challenging the orthodoxies of modernist bourgeois culture, politics, and philosophy.When Breton published his 1924 "First Manifesto of Surrealism" privileging dreams, the unconscious, the fantastic, and marvelous, Gramsci was the principal leader of the Communist Party of Italy spearheading the opposition to Mussolini's fascist takeover. Two years later, Gramsci was arrested and imprisoned until his death in 1937. In the Prison Notebooks that occupied him while in jail, Gramsci does not — as far as I am aware — refer to Breton or to surrealism directly. But in his scattered reflections on modern art and culture in general, and in his particular observations on Italian futurism (in particular, on Filippo Marinetti and Luigi Pirandello), we can [End Page 31] extrapolate the general approach Gramsci would take toward surrealism and avantgarde art as oppositional cultural practices. This exercise may clarify what a revolutionary Marxist position should be toward the philosophical or pedagogical category of the aesthetic within the field of cultural practice and artistic production, especially in the post-Cold War epoch of nation-state realignments and the reconfiguration of globalized finance capital in the new millennium.All commentators agree that Gramsci viewed the aesthetic as a category within the terrain of historical materialism and the political economy ofvalue in general. Artistic values are rooted in the social and material practices of a specific society which defines the limits of conventional artistic forms and the subject matter available to the artist. Vision or intuition and diverse raw materials (language, sounds, dance movements, and filmic images) are indissociable. Contrary to Benedetto Croce's emphasis on transcendental intuition, Gramsci valorizes the materialization of this intuition into perceptible, sensory structure, an architectonic whole produced by intellectual discipline and shaped by an integral worldview. In short, for Gramsci, the work of art is the historicization and objectification of vision/intuition.Gramsci's conception of Marxism stresses its intrinsic dialectical method, its emphasis on processes and relations within a social formation comprised of multilayered modes of production, given the necessarily uneven development of capitalism. This mode of historicizing life not only to interpret but to change it is a guide for collective action, not a dogmatic party line. "Man 'is' precisely the process of his actions," Gramsci writes, and "relative to what we have thought and seen, we seek to know what we are and what we can become, whether it is true and within what limits that we do 'make ourselves,' create our own lives and our own destinies." 3 Here, knowledge and action are oriented toward linking the past with the present in order to fashion the future. The chronotope of revolution is essentially a collage, more precisely a montage, of transformations that amalgamates contraries, oppositions, disparities.While Gramsci did not endorse Freudian theory completely except by... (shrink)

Key writings by artists and theorists chart the shifting relationship between film and photography and how the rise of cinema forced photography to make a virtue of its stillness. The cinematic has been a springboard for the work of many influential artists, including Victor Burgin, Philip-Lorca diCorcia, Stan Douglas, Nan Goldin, Douglas Gordon, Cindy Sherman, and Jeff Wall, among others. Much recent cinema, meanwhile, is rich with references to contemporary photography. Video art has taken a photographic turn into pensive slowness; (...) photography now has at its disposal the budgets and scale of cinema. This addition to Whitechapel's Documents of Contemporary Art series surveys the rich history of creative interaction between the moving and the still photograph, tracing their ever-changing relationship since early modernism. Still photography—cinema's ghostly parent—was eclipsed by the medium of film, but also set free. The rise of cinema obliged photography to make a virtue of its own stillness. Film, on the other hand, envied the simplicity, the lightness, and the precision of photography. Russian Constructivist filmmakers considered avant-garde cinema as a sequence of graphic "shots"; their Bauhaus, Constructivist and Futurist photographer contemporaries assembled photographs into a form of cinema on the page. In response to the rise of popular cinema, Henri Cartier-Bresson exalted the "decisive moment" of the still photograph. In the 1950s, reportage photography began to explore the possibility of snatching filmic fragments. Since the 1960s, conceptual and postconceptual artists have explored the narrative enigmas of the found film still. The Cinematic assembles key writings by artists and theorists from the 1920s on—including László Moholy-Nagy, Pier Paolo Pasolini, Victor Burgin, Jeff Wall, and Catherine David—documenting the photography-film dialogue that has enriched both media. (shrink)

Sergius Bulgakov (1871–1944) was one of the centrally important Russian Orthodox theologians of the past century. His theological system (Sophiology) is among the most detailed and comprehensive attempts at a novel, Orthodox systematic theology developed in engagement with western philosophical and theological movements. His first major work of theology, Unfading Light (1917), incorporates an early Orthodox critique of the radical Christian transhumanism propounded by Nikolai Fedorovich Fedorov (1829–1903). Fedorov had developed an account of humanity's prospects for a technologically facilitated (...) eschatology. The goals of this article are: (1) to provide a concise summary Fedorov's ideas on technologized resurrection; (2) to provide an overview of Bulgakov's sympathetic critique of Fedorov's model; and (3) to discuss the ongoing relevance of that critique vis‐à‐vis current and future Christian dialogue with the transhumanist movement. (shrink)

The subject of this research is the works of Kazimir Malevich of the period 1913–1914. Despite numerous scientific works and articles dedicated to the works of K. Malevich, the period of his becoming requires clarification. The object of this research is the Russian avant-garde art of 1913 – 1914. The author dwells on the compositional principles in the painter’s works of this period. Special attention is given to the colorful shapes and geometric elements underlying the compositions of his paintings. (...) Analysis is conducted on the the path of Kazimir Severinovich, the transition from Futurism and Cubo-Futurism through Fevralism to the original style – suprematism. The philosophical and art history analysis in combination with the general scientific methods of research allowed developing a representation on the transformation the artistic pursuits of Kazimir Malevich towards the dominant of the black geometric colorful shape, which subsequently led to the creation of the “Black Square” and the formation of suprematism. The article examines and compares the paintings of the period 1913–1914, when Malevich had moved from being a mentee to creating his own artistic language. The study of the paintings by Kazimir Malevich and determination of large group of works similar in the techniques and colors used allows broadening and complementing the knowledge on the period prior to suprematism. (shrink)

The article addresses the notion of communism with a special angle of factuality and negativity, and not in the usual sense of a futurist utopia. After considering the main contemporary theories of communism in left-leaning political thought, the author turns to the Soviet experience of an “actually existing communism.” Apart from and against the bureaucratic state, a social reality existed organized around res nullius, that is, an unappropriated world that was not a collective property, as in the case of res (...) publica. The alienation from things and from the state resulted not only in the sense of oppression, but in a new culture of a paradoxical “communality”, where the “Other,” be it a thing or a person, appears rather as ground, not figure. This culture of a non-thematic gaze led to a formation of a communality as a given, and not as a utopian desideratum. I claim that this is a major difference between the current Western society and a post-Communist society. The former is more solidary and collectivist, but only consciously and deliberately so, operating from an individualist ontology, while the latter is individualist, but with an assumption of the “Other” as a pre-given fact. In this chiasmus, both “communisms” are problematic, so that an alternative model of individuation, rather than the atomization of an assumed collectivity, would be preferable. (shrink)

The Russian philosopher and cultural theorist Mikhail Bakhtin has traditionally been seen as the leading figure in the group of intellectuals known as the Bakhtin Circle. The writings of other members of the Circle are considered much less important than his work, while Bakhtin's achievement has been exaggerated in proportion to the downgrading of the thinkers with whom he associated in the 1920s. This volume, which includes new translations and studies of the work of the most important members of (...) the Circle, sets out to correct the distortions in the established representations of its activity. The original contributions to literary and linguistic theory made by Valentin Voloshinov and Pavel Medvedev (but frequently credited to Bakhtin) are assessed, and the distinctiveness of their approaches is highlighted. (shrink)

This essay introduces this special issue on virtue ethics in relation to military AI. It describes the current situation of military AI ethics as following that of AI ethics in general, caught between consequentialism and deontology. Virtue ethics serves as an alternative that can address some of the weaknesses of these dominant forms of ethics. The essay describes how the articles in the issue exemplify the value of virtue-related approaches for these questions, before ending with thoughts for further research.

This correspondence offers a counterpoint to the recent article of Dov Greenbaum and Mark Gerstein defending the pertinence of GATTACA 25 years after its release. I develop three arguments for not being enthusiastic about dystopian representations in the ethical, legal, and social discussion of genetic technologies and genomic sciences.

Purpose of this article is to tell foreign readers about novels made in Russian intellectual property law in 2014. As is known modern Russian revolution in the field of intellectual property legislation occurred January 1, 2008 when Russian intellectual property legislation was codified, included in the text of part fourth of the Civil Code of the Russian Federation. Part fourth of the Russian CC entered into force on January 1, 2008. At the same day seven (...) sectoral intellectual property laws were repealed. Second Revolution in this field took place during 2014: Federal law №35-FZ, 2014, substantially amending the Fourth part on the CC, entered into force on October the 1st of 2014. Scientific aim: The essence and evaluation of these amendments is the subject matter of this paper. Methods: The research is based on the analysis of the new amendments and articles added to the part fourth of the CC. Findings: Codification of the sectoral legislation en bloc in CC is a unique phenomenon. The author believes that such a construction of intellectual property law was made correctly and at the proper time. Factually the Federal Law №35-FZ is the eleventh law amending the text of the part fourth of the CC. But all previous amendments were small and not substantial. As far as amendments introduced by the law №35-FZ are concerned, they are numerous and very, very substantial. Before entering into force of the law №35-FZ, the Part fourth of the CC contained 328 articles. The law 35-FZ amends 169 articles of it and adds seven new articles. I am convinced that the law is a rather big step towards building a modern system of intellectual property legislation in Russia. Conclusions: More than 150 amendments were introduced by the law №35-FZ. Author estimates about 80% of them as positive and about 20% as negative and erroneous. These amendments do not contradict the international intellectual property agreements signed by the Russian Federation. Generally their purpose is to enhance and clarify the Russian intellectual property legislation and to narrow the gap between Russian and European intellectual property laws. The author of this article deals with intellectual property laws more than 50 years on. This paper is a short English version of various articles on this topic published in Russian, in journals: «The business and the law» and «The patents and licenses». (shrink)

In the post-Soviet context, various cyclical models of recurrent Russian “Times of Troubles” have become increasingly popular. This perspective emerged first in Soviet dissident circles, who used it as a means to expose as mistaken the Soviet belief in continual historical progress on Russian soil. In post-Soviet Russia this critical approach has been continued by members of the “Akhezier circle,” the economist Egor Gaidar, and others. Meanwhile it was given an affirmative, conservative reinterpretation by Aleksandr Panarin, according to (...) whom Russia has always managed to overcome its phases of devastating Westernization and state collapse. This idea of Russian history has become influential; even Vladimir Putin has talked about Russia as a strong state able to survive various “Times of Troubles” from the early seventeenth century to the early post-Soviet period. It also figures prominently among members of the neoconservative Izborsk Club. This article analyzes different conceptions of Russian history as cyclical and their prominent place in the prevailing civilizational discourse of post-Soviet Russia. By means of postcolonial perspectives, this discourse is seen on the one hand as an attempt to question and reject Western hegemony, attempts that on the other hand nevertheless seem unable to liberate themselves from a normative dependence on the West. (shrink)

My general objective in this paper is to provide the outlines of the reception of Baruch Spinoza and Moses Mendelssohn in the Russian Enlightenment of the late 18th century as well as in the Russian-Jewish Haskalah. In part of the paper I consider Gavrila Derzhavin’s mention of Mendelssohn in his “Opinion,” the translation of Mendelssohn’s Phaedon in Nikolay Novikov’s Masonic-inspired journal Utrennyi Svet, and the readings of Spinoza’s view on God and then-shared interpretation of his views as an (...) “atheism” in Feofan Propovich, Vasily Trediakovskiy, and Alexander Sumarokov. In the part on the late Russian-Jewish Haskalah of 1860s I examine two intellectual biographies appeared in the period—Saveliy Kovner on Spinoza and Yakov Gurliand on Mendelssohn, which aim to interpret positions of Spinoza and Mendelssohn as exemplary strategies of the Jewish emancipation within the framework of claims and prospects of the modern European culture. I also rediscover and reinterpret Spinoza’s approach to religion as the late Russian Haskalah’s authors strongly object to label Spinoza’s philosophy of religion as “atheistic” and consider it as close to the “pure, or true Judaism.”. (shrink)

In the history of Russia’s development, there are clear, unchanging constants of empire, autocracy, and property as power. These are persistent structures that have existed over a long historical period, which are created by the state and society, and are upheld by tradition. On the one hand, they are restrictive, but on the other hand, they guide the direction of socioeconomic, sociopolitical, and cultural development, and also facilitate the emergence of the corresponding social actors and institutions. During the Russian (...) revolutionary process, which spanned 1905–1922 and reached its apex in the October Revolution, an attempt was made to change these constants. However, this attempt failed, and Russia returned to its traditional path of development. (shrink)

The purpose of this article is to study the use of “UP–DOWN” metaphors in Russian and French material. A list of 10 conceptual metaphors expressing up–down movement was proposed by CitationLakoff and Johnson (1980), and this list has been reproduced many times since. However, this analysis shows that the list is not fully accurate. In addition to the conceptual metaphors proposed by Lakoff and Johnson, the authors find it important to include 5 more metaphorical models expressing vertical movement. On (...) the other hand, 5 of the conceptual metaphors in Lakoff and Johnson's list turned out not to be relevant to this analysis. The authors also attempt to describe the connections between different metaphoric models and observe that not all metaphoric models are equally important in their evidential and conceptual power. (shrink)

The article explores the concept of "conscience" in three language pictures of the world - Russian, French and Chinese. The study is contrastive, the results obtained are compared. The description of each concept is made according to a clear algorithm: the etymology of the word, the mythological roots of the concept, its compatibility are studied, the material connotation is singled out from the compatibility according to V. A. Uspensky, dictionary definitions are compared. The purpose of the study is to (...) identify the features of the representation of the concept of "conscience" in different cultures using the material of the semantic field in Russian, French and Chinese, then making a comparison in order to see similarities and differences in the worldview picture of different peoples. This topic is understudied, earlier there were no linguoculturological studies analyzing Russian, French and Chinese cultures, which is the scientific novelty of this work. As a result, a clear difference in the ideas of conscience in the three studied cultures was established. For a Russian person, conscience is an internal judge who punishes him when he commits an evil deed; for the French, conscience has no connection with power over a person, and even often yields to it; for the Chinese, conscience is a guide that a person can follow or deny. The results obtained will contribute to the establishment of mutual understanding between cultures, forming a kind of conceptual bridge. (shrink)

In this article I have dealt with empirical proofs for the Russian religious renaissance which came after the fall of the Soviet socialistic empire and carried on all through the nineties as a pro-religious consensus and a religious belief. Likewise, I have dealt with proofs suggesting certain limitations of the renaissance in question which manifested mainly in irregular fulfillment of religious duties. U ovom clanku autor se bavi empirijskim dokazima za rusku religioznu renesansu koja je nastupila nakon urusavanja sovjetske (...) socijalisticke imperije i kao proreligiozni konsenzus i religijsko verovanje odrzala se tokom 90-ih godina proslog veka. Takodje, autor se bavi i dokazima koji upucuju na izvesna ogranicenja pomenute renesanse, ponajvise izrazena kroz problematicnu redovnost ispunjavanja verskih duznosti. (shrink)

The article is devoted to assessing the reasons and meaning of amendments to the Russian Federation Constitution made by the current political regime. The manner in which the amendments were adopted together with their content demonstrates inability of the state and the political system as a whole to govern and rule in accordance with the principles and norms of democracy and law. The concept of “unworthy governing” is used to characterize the existing mechanism of power and management of society (...) in Russia. (shrink)

INTRODUCTION The Silver Age as History The Russian Revolution of was a cataclysmic event that shattered the foundations of both the old autocratic regime ...

The paper enters contemporary discourse concerning the examination of history of Russian philosophy, which initiates a new reading of the Russian thinkers’ works. These contemporary examinations problematize the phenomenon of so called intellectual doubles as well. The contribution proceeds from the definition of these issues which was published in journal Problems of Philosophy by M. A. Maslin in 2013. In this work, Maslin mentions A. I. Herzen among the examples of intellectual doubles phenomenon, who is one of the (...) founders of the Russian Narodism. Following from this basis, the contribution shifts an attention toward issues of intellectual doubles in the context of the Russian Narodism. The work represents an endeavour to deepen the existing problematization of this phenomenon on the basis of examination the N. K. Mikhailovsky’s creative legacy. There can be found two faces in works of this Narodnik thinker. The first one can be figuratively designed as a Petersburgian and the second one as a Yaltian. These designations are borrowed from the notes of Sergey Elpatevsky, who had been Mikhailovsky’s friend. The two faces express the specificity of the problem of doubleness in Mikhailovsky and his qualitative shift in relation to contemporary examinations of the reflected phenomenon. (shrink)

RESUMO Este artigo propõe o uso do conceito de cronotopo para analisar a obra literária de emigrantes russos da primeira onda na França. O artigo se concentra na representação artística de mundo da comunidade de emigrantes russos em Paris, ao explorar os poemas de Irina Knorring, uma representante da jovem geração da primeira onda de emigrantes russos. Nesses poemas, a figura do emigrante russo assume uma posição central. Ao examiná-los, esta pesquisa identifica os motivos e as imagens recorrentes, dotados de (...) sentidos espaciais e temporais, e discute aspectos específicos do cronotopo de Paris. Em seus poemas, Knorring explora não só o mundo interior e as particularidades dos indivíduos, mas também reflete sobre os acontecimentos da vida e sobre o destino comum dos refugiados russos no exílio. Nas obras da poeta, o cronotopo serve como um elemento indispensável, estabelecendo uma unidade espacial e temporal coesa, que permite aos leitores perceberem a imagem dos emigrantes russos na Europa (Paris) pelos olhos do andarilho russo. A análise cronotópica presente no artigo oferece uma representação espacial e temporal abrangente da trajetória de vida de emigrantes russos em Paris, abarcando tanto as experiências individuais, quanto o contexto mais amplo da emigração russa como um todo. (shrink)

Since commencing its illegal invasion in 2022, the Russian military and authorities have committed numerous war crimes against the people of Ukraine. These include the mutilation and execution of combatants; the torture, kidnapping, forced expulsion, rape, and massacre of civilians; and indiscriminate attacks on densely populated areas. In this essay, I evaluate the strategic implications of this misconduct, focusing exclusively on Western responses. I argue that war crimes can and often do negatively impact the strategic goals of the perpetrator, (...) but whether and how this occurs is rarely governed exclusively by the offending action. Western perceptions of battlefield atrocity, shaped as they are by identity, race, and politics, may radically shift from one context to another. In the case of the Russia-Ukraine war, the status of both the participants and the conflict itself has helped inculcate a particular sensitivity among Western actors to the battlefield criminality of Russia. Drawing on evidence from the 2022 Bucha massacre and the ongoing bombing of Ukrainian civilians, I argue that Russian misconduct has consolidated Western support for the Ukrainian military effort, politically, diplomatically, and materially. (shrink)

In light of discussions on Russian exceptionalism, this article considers the question of the independence of thought in the Russian Religious Renaissance. After the post-Revolutionary emigration of the intelligentsia, interaction with the scholars of the West – largely within the ecumenical movement – gave rise to an ecumenical theology that was distinct from the theology that preceded it. Consideration of the theology of the Russian diaspora reveals a development of thought and an interaction with the theology of (...) the West. This paper considers the development of the notion of sobornost and Sergius Bulgakov’s theological insight on the eucharistic dogma, hierarchy and the sacraments, and ecumenical theology. The interference of the “Sophia Affair” notwithstanding, and accounting for the heterogenous diaspora landscape, émigré Russian thought reveals an independence distinct from national sentiment. (shrink)

The paper discusses Dostoevsky’s insight into the oxymoronic metaphysics of the Russian revolution. The keys to it are contained in two of Dostoevsky’s works. The first is Demons with Kirillov’s idea of self-deification in death intended to fill the gap left by the proclaimed absence of God. The second is Notes from the House of the Dead, where Dostoevsky depicts the Russian peasants as people for whom even such notions as freedom, happiness and honor are expressed in monetary (...) terms. The Russian revolution was created by people of Kirillov’s persuasion; yet this ideal was offered to people whose teleology was firmly rooted in the earthly life. The interpenetration of these worldviews resulted in the initial victory of the revolution, but the dominance of the peasant Weltanschauung with its earthly teleology ultimately led to the collapse of the communist project a few decades later. (shrink)

Human values seem to vary across time and space. What implications does this have for the future of human value? Will our human and (perhaps) post-human offspring have very different values from our own? Can we study the future of human values in an insightful and systematic way? This article makes three contributions to the debate about the future of human values. First, it argues that the systematic study of future values is both necessary in and of itself and an (...) important complement to other future-oriented inquiries. Second, it sets out a methodology and a set of methods for undertaking this study. Third, it gives a practical illustration of what this ‘axiological futurism’ might look like by developing a model of the axiological possibility space that humans are likely to navigate over the coming decades. (shrink)

This volume examines the elements of formalism and decisionism in Russian legal thinking and, also, the impact of conservatism on the interplay of these elements. This combination leads to internal contradictions in theorizing about law and rights in Russian legal culture.

The purpose of the present article is not an excursion into the history of philosophy. It is not a story of the adventures of Immanuel Kant on Russian soil, and even less does it pretend to expound systematically the perception of Kantian philosophy by Russian metaphysics. The author's interest is strictly philosophical. Russian religious thought, insofar as it has an appetite for philosophizing, consciously enters into the life of classical European philosophy, into that living communication of minds (...) by which truth is sustained, moved, and nourished among people and nations.2 A clarification of its personal relations with the central figures of this philosophical drama will help us to understand the strictly philosophical significance of Russian metaphysics more accurately than even sometimes the most dedicated description of it in itself succeeds in doing. (shrink)

According to no-futurism, past and present entities are real, but future ones are not. This view faces a skeptical challenge (Bourne 2002, 2006, Braddon-Mitchell, 2004): if no-futurism is true, how do you know you are present? I shall propose a new skeptical argument based on the physical possibility of Gödelian worlds (1949). This argument shows that a no-futurist has to endorse a metaphysical contingentist reading of no-futurism, the view that no-futurism is contingently true. But then, the (...) no-futurist has to face a new skeptical challenge: how do you know that you are in a no-futurist world? (shrink)

Today in education as well as in a society suppression and aggression reveal itself very actively. The word "suppression" in a modern society is used in many meanings; it includes all forms of physical, psychological and economic suppression. There is no system or mechanism to oppose it, to protect the education area of suppression and aggression, they are not outworked. Philosophy of education considers non-aggressive activity as a modern trend in Russian education, which developing non-aggressive relations as a standard (...) of social life will help the society to overcome the revealed suppression and aggression. Non-suppression is a principle, action, position. Non-suppression is an ideological, ethic and vital principle, which is based on recognition of all living, a man and his life, rejection of suppression as a way of relation of a man with the world, the nature and other people. There are many methods of non-suppressedactivity in education. First of all, it is a refusal of force; non-suppressed action as a collaboration, joint activity; non-suppressed action as a help; non-suppressed action as a reduction of aggressive value of opposite side. (shrink)