The article deals with the human, aesthetic and spiritual problems of Russian symbolism in connection with development of a creative heritage of F. Dostoevsky. In the article N. Berdjaev’s point of view on development of humanism of the Renaissance type in Russia of the late 19th and early 20th centuries is given and a problem of the person in F. Dostoevsky’s prose is appointed. The author discusses a question on a degree and character of influence of problems of the person (...) and features of a genre of the novel of Dostoevsky’s type on the formation of Russian symbolism. A. Volynsky, leading Russian symbolists, Viach. Ivanov, A. Belyj, D. Merezhkovsky have arranged mysticism, subjectivity and tragic element concerning to art and proclaimed art as the aesthetic and religious act. In Dostoevsky’s art Russian symbolists recognized their own important theme: the understanding of the world and the person in terms of a tragical category and revealing the dramatic position of the person facing unspirital and meaningless practice of modern society as the main thing in the literature. The author is arrived at a conclusion that Russian symbolists have connected Dostoevsky’s art with the newest tendencies in Russian art and culture of beginning of 20th century and have created the original tragical and symbolic concept of Dostoevsky’s creative works. (shrink)

The article dwells on human problems in the English postmodernism prose. A non-classical character of the 20th century literature is discussed. Postmodernism prose is described as a modern modification of the classical psychological novel. The author considers that the main theme in this prose is revealing a dramatic man'€™s position in front of a spiritless and senseless practice of modern society. The major components of the psychological novel poetics as a hero, plot, composition and psychologism are determined. The author analyzes (...) J. Barnes'€™ "€œTaking it over"€, "€œEngland, England"€, "€œLove, etc"€ and J. McEwan'€™s "€œOn Chesil Beach"€. (shrink)

The development of the conception of U. Eco’s literary art is considered on examples of ‘Notes in the margins of the novel ’The Name of the Rose‘’, ‘The Role of the Reader‘, ‘From Internet to Gutenberg‘, and ‘Confessions of a young novelist‘. In the article, the non-classical character of literary creativity and theory of Eco is discussed that is realized through the transformation of some ideas and conclusions of semiotics, structuralism, post-structuralism, and postmodernism. In ‘Confessions‘ Eco talks about the relationship (...) between himself as an author, his creations as texts, and the audience as readers. He distinguishes two types of readers: Empirical reader and Model reader. The article indicates the basic components of Eco’s literary theory of Interpretation. Eco considers that author will be interpreted not according to his intentions, but according to a complex strategy of interactions and intertextual meanings, based on fictional realms of novels. The article pays attention to Eco’s way from writing on non-fiction to fiction and otherwise, by exploring the boundary between fiction and nonfiction. However, in the practice Eco constitutes the relationship between fictional and nonfictional parts of literary art. As a result, Eco creates a kind of hypertext - the network of ideas, meanings, senses, codes, signs, interpretations, and so on. All of this gives the opportunity to make up the conclusion that Eco created the modern type of model writer - ‘Umberto Eco - M-author‘ that helps to appear the new kind of reader, the ‘Model reader‘. (shrink)

Of all the world thinkers on whom the author of The Philosophy of the Common Task [Filosofiia obshchego dela] reflected, the one to whom he devoted the most attention, thought, and passion was perhaps a contemporary of his who, though fifteen years his junior, had already thrown some "impossible" works in the face of a fascinated, flabbergasted, and shocked public and had lived for almost ten years outside the world of culture and history, in a state of complete insanity. I (...) speak, of course, of Friedrich Nietzsche. He burst into Russia as a deafening European intellectual novelty, which intoxicated and swept away quite a few young people and even some experienced wise heads with the audacity of his "transvaluation of all values," his prophetic eruptions of new ideas and life principles, his exciting style of free philosophizing, and, finally, his existential tragedy. Fedorov could not but have been sensitive to and, I would say, personally affected by this phenomenon-Nietzsche and Nietzscheanism and the fashion for them. (shrink)

The aesthetic and spiritual problems of a heritage of F. Dostoevsky in connection with the perception of his works in Russian culture of beginning of XXth century are considered in the article. N. Berdjaev’s estimation of value of Dostoevsky’s works for Russian Renaissance, when was active discussions the problems of the humanism and further development of the literature and culture, is given in the work. The author has paid attention to Dostoevsky’s activity in search of new opportunities of the literature (...) for the direct image of a human ideal. The remarkable examples of such works were found by the writer in art of the European Renaissance. The opinion that humanism of Renaissance was formed by special type of the self-made man of art and spirit on the basis of the Renaissance myth of person is supported in the article. The author established a connection with humanistic ideas and aesthetic searches of Dostoevsky, Renaissance and Russian Renaissance of beginning of XXth century through the interpretation of a category ‘the Renaissance myth of man‘. In Russian culture Dostoevsky can be estimated as the type of the artist corresponding late European Renaissance Typological aspects of a human myth in F. Dostoevsky’s prose can explain fixed attention to his works in beginning of XXth century. Constant and deep interest for a person and spiritual life ensured the high degree and important features of influence of his works on formation of views of Russian Renaissance on art, art creativity and understanding of the world and the person in terms of tragical humanism. As a result, Dostoevsky’s creative heritage with his humanistic myth of the Renaissance type became the important part of art and Russian spiritual culture of beginning of XXth century. (shrink)

In his speech Academician Fedorov expressed the opinion that the political and ideological meaning of the problem of interaction between man and nature is fundamental for our conference.

Problems of the relationship between man and nature are becoming a steadily increasing portion of the questions facing modern civilization. Moreover, their character is changing significantly. Only two or three decades ago, the most acute problems were an unending list of "shortages" of one type or another, while the environment in which men lived was regarded primarily as a set of resources without which things could not be produced. Today it is the threat of excessive human influences on nature that (...) has taken center stage. The biosphere is beginning to be perceived on the level of its capacity to assimilate what has been produced, and the growing question is how best to combine the scientific-technological creations of man with the objective processes occurring in nature. (shrink)

Our aim is to point out the role of scientific research in contemporary technological developments. Interactions between science and technology in the context of application-driven research projects of the 20th century are discussed. We define science and technology as two separate domains, and provide elementary models for their interaction by the means of applied and engineering sciences. These elementary models constitute linear and cascade models of science-technology interaction. We apply these elementary models for the purpose of further methodological analysis of (...) Soviet nuclear warfare project. The special role of organization and management in research and development activities is being emphasized. The new science-technology interaction model is devised in the course of nuclear project. This new interaction model is referred as non-linear or spiral. The model is seen as more collaborative and risk aware than linear and cascade interaction models present in twentieth century. The conclusion is the new model was of great impact to modern social forms in which research is carried out in the present. (shrink)

The comparative analysis of the W. Golding’s novels demonstrates that the identification of God is the central problem in the works of the famous English writer. Golding did not consider Divinity only in connection with Christian orthodoxy, rational view of the world. In his novels, God gets different embodiments according to the wide cultural tradition. The group of heroes is trying to determine Divinity by force of the religious ritual in such fables as Lord of the Flies, The Inheritors, Rites (...) of Passage, Double Tongue, The Scorpion God. The writer was convinced that the base of any religion is violence and triumph of mass consciousness, it can lead to tyranny, totalitarian system. The heroes of novels Pincher Martin, Darkness Visible opposed God to the ego. To Cris and Sophy God became ‘the black lighting‘, the death, the damnation. By the example of their fates, Golding revealed the cult of self-will and individual freedom as the main problem of the contemporary society. Paths to God of Golding’s saints are different and profoundly individual, they are far away of any standards. They believe in spiritual foundation of the objective reality, they can reach the theophany and spread their consciousness to the compassion of other people. However, saints are exclusion, that is why the author’s viewpoint is conveyed by the spiritual searches of Jocelin, Talbolt, Arieka. Each of them had come up the hard way from proud self-assurance to doubting and searching the truth. Golding supposed that the man cannot touch the ground of Divinity, but his aspiration for God is the root of human and morality. The author saw God as spiritual foundation of the objective reality that is becoming acquainted due to intuition, individual spiritual search and creativity. (shrink)

t. 1. Rasshiri︠a︡i︠u︡shchai︠a︡si︠a︡ vselennai︠a︡ absoli︠u︡ta -- t. 2. Kosmo-antropo-sot︠s︡io-prirodogenez cheloveka -- t. 3. Antropologicheskai︠a︡ istoriosofii︠a︡.

Name der Zeitschrift: Semiotica Jahrgang: 2014 Heft: 202 Seiten: 481-509.

Codes are mechanisms in which signs are actualized. They relate various sign sides to each other. These sign sides can be represented as heterogeneities (diversity, relations, differences), some are organized with the help of various differences – identities formulated in a specific way. The basis of the codes of visual perception and art are primarily the heterogeneities of the elements perceived directly (contours of objects, sizes, directions of movement, light and color irritants, etc.). A structure, conceived of as a manner (...) of connection, is a principle for constructing a kind of a whole and is the center of an organized heterogeneity. (shrink)

The analysis of works of visual art illustrates typical groups of elements and interrelations, which form semiotic systems of these works. Specific systems of connotations and their relations with semantic structures, paradigmatics, and typical signal structures are described. Like in linguistic texts, different levels are formed in complex images. The following basic level types are distinguished: sems and other units of semantic level; signs subdivided into: icons of represented objects and connotative sign formations; representamens of basic signs as interpreted by (...) Charles Peirce, including those of connotations, and signals referred to as basic perceptive integer units forming an individual level. (shrink)