The law of negation of the negation as it appears in the economic writings of Marx in general, and in Capital in particular, has repeatedly been treated in our philosophical literature in one way or another. To this day, however, as judged from the literature, attention has not been directed to the principle of negation of the negation as it is manifested not only in Marx's historical but also in his logical analysis. Negation of the negation has been examined primarily (...) as a form of expression of historical analysis . In the present article the emphasis is upon negation of the negation in logical analysis, upon the function of this principle considered as form of motion dealt with by historical analysis. All the examples of negation of the negation in historical analysis that have already been treated in the literature are omitted quite consciously, to avoid repetition. Nor is anything said about the structure of Capital as a "dialectically subdivided whole" in connection with negation of the negation, as that question has been splendidly handled in the book by L. A. Man'kovskii referred to in the footnote. (shrink)

Konstantin Leont'ev is one of those Russian thinkers about whom much has been said and written both in Russia and abroad. Interest in his works has increased steadily in the past five years: collections of his works are being published, special conferences are being held, and articles and monographs are being written. In the process it turns out that a thinker who died a hundred years ago is perceived in Russia as "our contemporary," as a clairvoyant and a prophet, but (...) also in large measure as a teacher to whom many are inclined to turn in their searches for intellectual world-view and ideological orientations. (shrink)

Volume 40, Issue 3, August 2019, Page 298-303.

Rossii︠a︡. Folʹklor v trudakh Rozanova, Florenskogo, Trubet︠s︡kogo -- Ėmigrat︠s︡ii︠a︡. V rassei︠a︡nii sushchie ot Berlina do Tokio -- Russkai︠a︡ ėmigrat︠s︡ii︠a︡ i i︠a︡ponskiĭ folʹklor.

There is a very sharp upsurge of interest in the West in the history of Russian conservative thought, particularly in its most outstanding figure, K. Leont'ev. Judge for yourself. In 1948 a monograph on him appeared in West Germany ; one appeared in the USA in 1952 ; and in Italy in 1957 . In 1966 he was inscribed in the "family of the very greatest Russian intellects," to which his large book, Scrittori Russi is devoted. Added to this is (...) N. Berdiaev's book K. N. Leont'ev, which has been translated into English and French, V. Zenkovsky's entire chapters on Leont'ev in his History of Russian Philosophy [Istoriia russkoi filosofii], 1948, and in his book Russian Thinkers and Europe [Russkie mysliteli i Evropa], 1955; and the chapters by the American historian E. Thaden, in his Conservative Nationalism in 19th Century Russia, Seattle, 1964. It thus becomes clear that Leont'ev has been forgotten in a strangely one-sided fashion. As we see, in the West he is not only not forgotten, but his ideas are, ever more obviously, becoming a powerful weapon in a very current ideological struggle. Superficial books written about him find a market. His thoughts are made the basis of very contemporary and dangerous notions. It turns out then that he has been forgotten only in our country. (shrink)

Recalling the banishment of Russian philosophers in 1921, Boris Zaitsev remarked "only Shpet is forgotten." But Gustav Gustavovich Shpet was not "forgotten" and he was not the only one who succeeded in avoiding expulsion at that time. Among the humanists of prerevolutionary-stamp who continued to work in Soviet Russia after 1922, we can list P.P. Blonskii, A. A. Bogdanov, A.N. Giliarov, S.A. Zhebelev , A.F. Losev, V.N. Ivanovskii, R.V. Ivanov-Razumnik, N.I. Kareev, A.O. Makovel'skii, V.N. Murav'ev, E.L. Radlov, B.G. Stolpner, P.A. (...) Florenskii, B.A. Fokht, G.I. Chelpanov, PS. Iushkevich: almost all of them were philosophers. (shrink)

Mikhail Bulgakov's novel The Master and Margarita was written between 1929 and 1940. Although delayed for a quarter of a century, it quickly found a stable place in our life as soon as it was published [for the first publication of the novel see: Moskva, 1966, no. 11; 1967, no. 1]. It is usually classified as a satirical philosophical novel. The satirical element puts it in the same family as such well-known works of the end of the '20s as the (...) novels of I. Il'f and E. Petrov, Twelve Chairs [Dvenadtsat' stul'ev] and The Golden Calf [Zolotoi telenok], but its emphatically philosophical orientation makes it all but a unique phenomenon in the history of Soviet literature. The novel's philosophical aspects have already been examined in a number of essays. Thus, for example, N. P. Utekhin analyzes the reflection of certain general philosophical categories in the novel. G. Chernikova and I. L. Galinskaia have endeavored to determine the concrete literary sources of the novel's philosophy [Chernikova 1971, pp. 213-219; Galinskaia 1986]. (shrink)

Nikolai Fedorovich Fedorov is one of the most original and as yet inadequately studied Russian thinkers. Neither a professional philosopher, nor a well-known scholar, nor a critical essayist, he led a kind of double existence while working as an ordinary civil servant, developing his original philosophy at his leisure in the hours free from his intensive daily work. Fedorov's life was one of selflessness and self-denial, not at all eventful outwardly. He graduated from the Gymnasium in Tambov and completed three (...) years of study in the Law Department of the Richelieu Lyceum in Odessa, after which he taught for a number of years in the Borovsk, Lipetsk, Podol'sk, and other regional schools. The quarter century he spent working in the Library of the Rumiantsev Museum in Moscow was the most stable period in Fedorov's life. Fedorov's ideas attracted the attention of outstanding cultural figures. F.M. Dostoevskii became acquainted with them in 1878 through Peterson, and on March 24 of that year he wrote: "I am essentially in full accord with these ideas. I read them as if they were my own." L.N. Tolstoy, who knew Fedorov personally, said, "I am proud to be living in the same times as such a man." V.S. Solov'ev, who also associated with Fedorov, wrote to him as follows in the mid-1880s: "Your ‘project’ is the human spirit's first advance along the path of Christ since the advent of Christianity. As for me, I can only acknowledge you as my teacher and spiritual father." A.M. Gorky was especially impressed by the activism in Fedorov's views. But none of this precludes the many and very essential divergences of these authors from Fedorov. One can find some links with his ideas in A.N. Belyi, V. Ia. Briusov, N.A. Zabolotskii, V.V. Maiakovskii, A.P. Platonov, M.M. Prishvin, I.L. Sel'vinskii, O.D. Forsh, and V.N. Khlebnikov. The artist B.N. Chekrygin drafted a large fresco entitled The Resurrection of the Dead [Voskreshenie mertvykh] and a philosophical work entitled The Synod of the Resurrecting Museum [Sobor voskreshaiushchego muzeia], both inspired by Fedorov's teachings. (shrink)

It would be no exaggeration to say that our art is presently undergoing a revolutionary stage in its development. The revolutionary renewal that has seized all spheres of life is being ever more forcefully represented in artistic culture as well. That culture is beginning to free itself from bureaucratic regimentation, incompetent pressure from above, inflated authorities, lifeless cliches, and opportunism of the moment. Art is actively seeking its place in perestroika, and is in turn in many respects defining the moral (...) climate of perestroika. Recent works such as Fire [Pozhar] by V. Rasputin, the Sad Detective Story [Pechal'nyi detektiv] by V. Astaf'ev, The Execution Block [Plakha] by Ch. Aitmatov, the paintings of G. Korzhev and V. Sidorov, the sculpture of V. Klykov, etc., are actively working for renewal. (shrink)

The article examines the situation associated with the spread of social networks, which brought not only new communication opportunities, but also the risks of blurring the boundaries between privacy and publicity. People voluntarily share personal data in exchange for public acceptance. This information is recorded and studied by various government and commercial institutions. The danger to information privacy as a right to control access to personal information is aggravated by the peculiarities of online communication, which is characterized by “context collapse”: (...) the merging of different audiences with different norms and values. Content posted on social media is searchable beyond a specific point in time and situation. If offline communication involves a foreseeable number of interlocutors, there is an “invisible audience” on social networks, which leads to information asymmetry. However, despite the fact that most users are aware of the potential dangers of privacy breaches, they share personal information on social networks. This phenomenon is called the privacy paradox. The reasons for this behavior are a lack of technical and social skills, a reluctance to spend time and energy on measures to minimize risks, a desire to have wide social connections and skepticism about the effectiveness of the efforts being made. The behavior of users on social networks is influenced primarily by factors such as age and education. The most concerned about the preservation of privacy are young people and middle-aged people, as they have to manage the most complex social relations. (shrink)

(1993). Transformation of Morphomechanical constraints into generative rules of Organic Evolution. World Futures: Vol. 38, Theoretical Achievements and Practical Applications of General Evolutionary Theory, pp. 33-42.

Сборник докладов предназначен для специалистов.

The purpose of this article is to propose a method for analyzing the ideo­logical content of video games while taking into account the agency of the players. The interactivity of video games as a medium has been attracting the attention of researchers for many years, raising, in particular, the ques­tion of how this unique property serves to broadcast certain ideologies. The ability of games to make ideological statements was discussed by Bogost, Frasca, Aarseth, and many other pioneers of game studies. (...) Video games were analyzed both in the context of older media forms that promoted certain ideas through plots, visuals, and other traditional means, and as unique types of objects that can make statements through rules. I aim to introduce the player — as a subject who is able to transform and conceptual­ize the game based on their own cultural background — to this discussion. Using James Gibson’s theory of affordances, I want to acknowledge the player’s freedom of interpretation, the potential to assign one or another ideology to the game in each playthrough. On the one hand, the player acts as a consumer of content; on the other hand, they are a co-author who will use the tools offered by the video game to produce their own state­ments, to be interpreted independently. This leaves the final decision about the ideology of the game to the consumer; thus, game studies need an ap­proach that allows the analysis of the ideological content of specific games. It is especially important in the light of more and more games prioritizing player freedom and not providing any clear plot or even victory conditions. Of course, research can still proclaim, and rightfully so, that the specific rules in such games bear traces of certain ideological systems — capitalism or secularism, for example. But individual players could undermine such interpretations both at the level of reading the game as a “text”, and at the level of interactive actions inspired by those readings. (shrink)

В сборнике представлены очерки, герои которых - художники, философы, священнослужители, ученые, император Индии, французская крестьянка, Учитель Гималайского Братства и другие - сыграли немаловажную роль в земном творчестве Космической эволюции. Для широкого круга читателей.

Ancient Rus church music is one of the brightest pages of spiritual and artistic culture. It is included in the synthesis of arts along with construction, monumental and fresco painting, icon painting, fine plastics, applied art, literature.

В монографии рассматривается проблема целостности духовного смысла в русской художественности на фоне социокультурной динамики. Для специалистов.