First comprehensive introduction to information theory explores the work of Shannon, McMillan, Feinstein, and Khinchin. Topics include the entropy concept in probability theory, fundamental theorems, and other subjects. 1957 edition.

I. "Filosofskiĭ paroxod": k istorii voprosa -- II. Respressii i permanentnai︠a︡ ėmigrat︠s︡ii︠a︡ -- III. Overkili russkoĭ filosofii -- IV. Postsovetskiĭ period: v poiskakh identichnosti -- V. Vozvrashchenie "filosofskogo paroxoda" (2003) -- VI. "Filosofskie avtobusy" -- VII. Samolet-paroxod-"filosofskiĭ poezd" -- VIII. Afinskiĭ kongress: prikosnovenie k istorii (2013) -- IX. "Uchitʹsi︠a︡ bytʹ chelovekom": XXIV vsemirnyĭ filosofskiĭ kongress -- X. Mezhdu proshlym i budushchim.

This article discusses the foundation of ideas for Vyacheslav Ivanov’s interpretation of Pushkin’s poem. In The Gypsies, Ivanov sees a conflict between personal freedom and sobornost’ as revealed b...

The Russian peasant commune was an obstacle to the development of productive rural forces. According to Boris N. Chicherin, this problem should have resolved naturally and without any specific stat...

vyp. 1. O filosofīi v Rossīi, o mistit︠s︡izmi︠e︡ i kritit︠s︡izmi︠e︡ V.S. Solovʹeva, o svobodi︠e︡ voli, o smysli︠e︡ zhizni, ob otnoshenīi︠a︡kh vi︠e︡ry k znanīi︠u︡.

The article is devoted to Berdyaev's first Italian journey, which had a "tremendous influence" both on his creative destiny and on the development of his aesthetic views. It is significant that one of the defining motives for visiting Italy was his desire to "return to his homeland impressed by the greatest beauty"! Since the first journey of the philosopher was connected with Florence, it seemed appropriate to pay due attention to the achievements of this city and its decisive contribution to (...) the formation and development of the culture of the Renaissance. The formation of revivalist principles in Florentine literature and fine arts is shown; the formation of theory (Alberti) and the history of art (Vasari), as well as a number of cultural phenomena accompanying these processes, which ultimately determined the artistic and aesthetic appearance of Florence and turned it into the capital of the Italian Renaissance. As a result, this makes it possible to fully understand and appreciate Berdyaev’s choice of this particular city, especially since Florence not only made “the strongest impression” on him, but also became the “key” to understanding both Florentine art proper and artistic-aesthetic culture Italian Renaissance. This is the first attempt in Russian literature to consider and analyze Berdyaev's Florentine journey as one of the sources of his creative heritage, which has not yet become the subject of special study. The relevance of topic is also determined by the existing confusion on this issue, which the article is aimed at overcoming. (shrink)

This paper examines the controversy between Franz von Baader and Schelling as it takes place in Schelling’s lecture course Das System der Weltalter. This particular instance of their disagreement involves Schelling criticising Baader for his notion of the biblical Elohim as divine proxies. The paper first provides a background to Baader-Schelling philosophical feud before examining Schelling’s remarks against Baader in the System der Weltalter. Then, Baader’s writings on Elohim are looked into in the light of their connection to Baader’s conception (...) of creation as falling-away and Baader’s source for interpreting Elohim as proxies, including Saint Martin and Kabbalah. Thereafter, Schelling’s criticism of Baader is analysed and interpreted in the context of the System der Weltalter. The paper aims to achieve several things: to show the presence of distorted kabbalistic influence in Baader and its discussion in Schelling; to revise Koslowski’s view on Baader’s creation narrative by pointing out how Baader’s Elohim/divine proxies function to form a rather dualistic relation between God and creation; and to interpret Schelling’s convoluted and difficult reply to Baader displaying that at stake between the two thinkers were questions of God’s ineffability and freedom as well as God’s involvement into creation. (shrink)

This article attempts to analyze Karsavin’s theory of revolution in the broader context of a Russian metaphysics of revolution in order to determine the place of Karsavin’s phenomenology of revolution both in his work and within Eurasianist ideology. His article “Phenomenology of Revolution” ontologically links two key concepts within Karsavin’s understanding: the “symphonic person” and the “ruling stratum.” The meaning of revolution consists in leading the symphonic person to a realization of its main tasks, which require the utmost exertion and (...) are related to the very existence of its historical form. This crisis can result in the person’s death, but in the death of the old person is born a new individuation of a higher order of personhood for whom that revolution has been a rebirth. If the symphonic person succeeds in “being revived through death or recovery,” then this will also be the birth of a new ruling stratum and a new government, that is, its new being as a state. Karsavin thus clarifies the historical functions both of the symphonic person and of the ruling stratum. The latter turns out to be a kind of entelechy of the symphonic person, providing its own personal content to the generic concept. The concept of the ruling stratum is explained in the metaphysical context of the symphonic-person theory. In light of the symphonic person’s mission, the ruling stratum is an organic connection among individuals of the active sociocultural segment of the population that has resonated with the spirit of history and the people. In this case, the stratum “rules” along with parties and institutions, eventually passing judgment on them. The main results of Karsavin’s work are (1) modeling a developmental phase of revolution and (2) the concept of the ruling stratum, which allows us to avoid formal sociological understanding of the active elite and direct our attention to the connection between personal activity and the “silent” but by no means “sleeping” substrate of the nation that manifests itself in critical epochs. (shrink)

Abstract:The lack of extant contemporary comparanda obscures the workings of iambic trimeter in Senecan tragedy. This article offers a quantitative analysis of the reception of Senecan trimeter in four early works of Italian Humanist Tragedy, which illuminates the creative possibilities afforded by the basic structure of the meter and identifies specific features important to questions of style and semantics. Our analysis demonstrates, among other things, that both Seneca and the Humanist tragedians use clusters of resolution in conjunction with antilabe as (...) a literary device to convey high emotion. (shrink)

Kniga 1. Iz zapisnykh knizhek 1906-1922 godov ; Ėpokha "Vselenskogo dela" : statʹi 1910 - serediny 1920-kh godov ; Vechnye sputniki : Fedorov, Solovʹev, Tolstoĭ, Dostoevskiĭ -- Kniga 2.

Frankfurt-type cases with covered manipulation received a great attention in the debates about freedom of will and moral responsibility. They pretend to give the refutation of the Principle of Alternative Possibilities and to show that we can intuitively blame or praise an agent who was not able to do otherwise. In this paper, I will try to make explicit some basic intuitions underlying the agent’s responsibility in Frankfurt-type cases, which were surprisingly ignored in the contemporary debates. The key intuition is (...) that the responsibility of the agent in Frankfurt-type cases is always grounded at the point of overcoming the uncertainty preceding action. This overcoming is crucially important for agent’s responsibility and immune to any manipulation of counterfactual intervener. (shrink)

This paper challenges the moral justificatory significance of the notion of basic desert. The notion of basic desert is commonly used in the literature to distinguish a specific sense of moral responsibility that depends on free will. In this sense, a person is morally responsible for an action if this action belongs to her in such a way that she would deserve to be blamed if she understood that it was morally wrong, and she would deserve to be praised if (...) she understood that it was morally exemplary. The central question of the paper concerns the role of the notion of basic desert in moral justifications of social practices including responsibility practices. I argue that the significance sometimes attributed to the notion of basic desert is largely a byproduct of its isolation from a larger context of other moral reasons and moral justifications. First, I introduce the concepts of special and general moral justifications and defend the central assumption behind these concepts. Next, I present a three-case argument that challenges the justificatory moral significance of the notion of basic desert by considering various logical roles that it might play in the general moral justification of various social practices. Finally, I apply this argument to Derk Pereboom’s theory of hard incompatibilism in order to show that moral justification of the revisionary part of his project does not depend on the belief in free will necessary for moral responsibility in the sense of basic desert. (shrink)

This article provides a brief systemic analysis of the key concepts of the so-called new science of art developed by the Austrian art historian Hans Sedlmayr. The result of Seldmayr’s pursuits are reflected in creation of his own philosophy of art and culture based on a particular worldview. The cognition of the whole, along with individual and unique, underlies this science. Understanding is the goal of scientific knowledge for Sedlmayr. It suggests not only abstract knowledge, but peculiar existential experience as (...) well. Sedlmayr interprets the understanding of artwork as its contemplation, which in turn, is identical to its actualization or presence. In Seldlmayr’s art of science, epistemologies and ontologies merge into each other. He interprets artworks simultaneously as the event and as the social organism, which overcomes the linearity of time and fragmentation of plurality. This artificial complex system, built on the paradoxical identity of the single and plenty, is both finite and infinite. Sedlmayr’s views encompass classical and nonclassical approach towards cognition of the whole. He relies on the principles of monism, seeking to reduce all concepts to a single basis, single point of singularity that designates the synthesis of all the moments of the whole and can be expressed by a single category. The main category, which resembles the center of the opposites, is the “midpoint”. The aforementioned ideas are consistent and logical only in such scientific worldview that identifies ontology and epistemology, which implies the unity of contemplation and phenomenon of the artwork. Therefore, in Sedlmayr's constructions, actualization or revival of the artwork is identical with its comprehension. The systemic approach towards the artwork reflected in the theoretical works of Sedlmayr extends the boundaries of art science and converges with philosophy. (shrink)

Boston Studies in the Philosophy of Science are devoted to symposia, con gresses, colloquia, monographs and collected papers on the philosophical foundations of the sciences. It is now our pleasure to include A. A. Zi nov'ev's treatise on complex logic among these volumes. Zinov'ev is one of the most creative of modern Soviet logicians, and at the same time an innovative worker on the methodological foundations of science. More over, Zinov'ev, although still a developing scholar, has exerted a sub stantial (...) and stimulating influence upon his colleagues and students in Moscow and within other philosophical and logical circles of the Soviet Union. Hence it may be helpful, in bringing this present work to an English-reading audience, to review briefly some contemporary Soviet investigations into scientific methodology. During the 1950's, a vigorous new research program in logic was under taken, and the initial published work -characteristic of most Soviet pub lications in the logic and methodology of the sciences - was a collection of essays, Logical Investigations (Moscow, 1959). Among the authors, in addition to Zinov'ev himself, were the philosophers A. Kol'man and P. V. Tavanec, and the mathematicians and linguists, S. A. Janovskaja, A. S. Esenin-Vol'pin, S. K. Saumjan, G. N. Povarov. (shrink)

One of the main trends of modern society is a marked increase of the theoretical interest to the sphere of mythology and the theory of myth. And in light of globalization approaches explicitly focus on the impact study of the regional aspects of social phenomena. In this regard, in regional studies of mythology appear attempts seen the myth city's as a socially formalized knowledge about the city or region, a strong regulatory and mobilization element in society, which is capable of (...) forming a regional entity and identity. A problem is in that every city has the own myths and specific municipal culture. It can be one of reasons of conflicts at co-operation of townspeople of different regions because all of us are inclined to identify itself with a sub-group on the sign of place of inhabitation, line of business or the world view. Thus, at all cities have different myths and symbols. We are inclined to see our city as city of the chosen townspeople, while other cities and regions are inhabited by demons and monsters. The article suggests to consider the city like a self-valuable phenomenon. The article submitted to scientific use of the term "the myth city's" which, the author's perspective is not identical to the concept of "myths of the city" and "Mythology of the city." also authors conducted analysis the history of the formation of the Donetsk's myth, identified the main stages of its formation, and conducted explication of its meaningful and functional characteristics. (shrink)