The mid fifth century was largely marked by a Christological controversy that began with private teachings of the ambassador of the Alexandrian see to Constantinople, the prominent Archimandrite Eutyches. The precise teaching of Eutyches remains somewhat obscure, since no written work by him is extant. Thus, everything that the modern historical scholarship knows about Eutyches’ theology comes from secondary sources, such as the writings of his opponents or scontemporary Synodal Acts. Consequently, the fine points of Eutyches’ Christological position are subject (...) of scholarly debate. However, on the basis of the unchallenged contemporary historical evidence, as it is found in the original trial of Eutyches for heresy at the Synod of Constantinople in 448 AD, a critical evaluation of Eutyches’ Christological position seems possible. In this article it was argued that the Christological teaching of Eutyches was inadequate in terms of the later Christological standard set at Chalcedon (451 AD). (shrink)

The article discusses the features of the process of transformation of human consciousness and educational culture in the conditions of the modern information society in the context of digitalization. By using such concepts, the theory of postmodernism and existentialism, the authors prove the legitimacy of the explication of these theories on the processes of transformation of human consciousness and radical changes in educational culture. At the same time, the necessity of critical reflection on the processes and phenomena from the perspective (...) of the basic values of human life, such as love, moral values, creativity, is emphasized. The role of independent and systemic thinking as a condition for selfrealization is also proved. The phenomenology of modern consciousness, intertwined with the phenomena of technology, is the basis of the existential analysis of consciousness. According to the authors, it is an utmost technological and utilitarian orientation of consciousness. Consciousness today is a reflection of the technological orientation of society and this cannot but affect the educational culture, which is becoming technological. The information space modulates the independence of thinking as a support for authoritative opinions, awakening the needs for material well-being, to the detriment of the dialogic nature of thinking and the independence of thinking. (shrink)

A particular explanation of perception requires adherence to either ontological or metaphysical views. Everyone might have experienced pareidolia at least once. It is possible for objects around us to create illusions based on their shapes.

Vasilij Zhukovskij’s Sel’skoe kladbische, a translation of Thomas Gray’s Elegy Written in a Country Churchyard, occupies a special place in Russian literary history. First published in 1802, it was so widely imitated by later Russian poets that it came to be regarded as a “landmark of Russian literature”, not only at a boundary between two cultures (English and Russian) but also at a boundary within Russian culture itself — the transition from Neoclassical to Romantic aesthetics. Zhukovskij’s translation of Gray (...) can be read as the end result of a long process of personal education in the sign system of Sentimentalism, in both its European and its Russian variants, which then reproduced itself in an impersonal way within his culture as a whole. Zhukovskij did not merely reinscribe Gray’s poem into Russian. Rather, he used it to deploy the developing Russian Sentimentalist (Karamzinist) style within a wide range of lyric registers, thereby providing models for other Russian lyric poets. In this sense, his work exemplifies Juri Lotman’s dictum that “the elementary act of thinking is translation” — it made itpossible for Russian poets to think within an entirely new, though by no means foreign system of signs. (shrink)

In the treatise On the Spiritual in Art, Wassily Kandinsky divided the creation of art into three categories, the ultimate one of which is called Composition. In this article, I argue that Kandinsky’s classification is similar and comparable to the principle of semi-abstract Chinese freehand brushwork summarized by Zheng Xie in the Inscriptions on Painting - Bamboo. In an attempt to clarify the core of Kandinsky’s strategy of abstraction, i.e. the transformation from painting to writing, I then connect it with (...) the evolution of Chinese characters and the aesthetic theory of Chinese calligraphy, which is also in accord with Kandinsky’s idea of internal necessity and the spirit in art. Through this aesthetic dialogue across time and space, this article aims to bring a new dimension to the understanding of Western abstractionism from the perspective of the oriental philosophy of art. (shrink)

Stefano Garzonio. Mechanisms of adaptation “to our (Russian) customs” of Italian opera librettos. The paper deals with the history of poetical translation of Italian musical poetry in the 18th century Russia. In particular, it is focused on the question of pereloženie na russkie nravy, the adaptation to national Russian customs, of Italian opera librettos, cantatas, arias, songs and so on. The author points out three different phases of this process. The first phase, in the 1730s, coincides with the reign of (...) Anna Ioannovna and it is linked to Trediakovsky’s translations of Italian intermezzos, comedies and to the first opera seria, La forza dell’amore e dell’odio (‘The force of love and hate’, 1736) by F. Araja and F. Prata; the second phase, in the period 1740–1770s, is characterized by a very varied production of translations and imitations, which undoubtedly influenced the general developing of Russian musical and dramatic poetry. It is during this periodthat pereloženie na russkie nravy is introduced into dramatic genres and sometimes it is findable in musical poetry as well. The third phase, in the 1780–1790s, is linked with the activity of such poets-translators as Ivan Dmitrevskij, Michail Popov, Vasilij Levšin and is characterized by the new practice of performing operas in Russian translations. In the paper the different forms of pereloženie na russkie nravy are pointed out, starting from the formal niveau of metrics and stylistics up to the adaptation of themes, places and realia. (shrink)

Since 1997, FORUM is an integral part of the journal landscape of European Studies. In addition to facts of contemporary history, it offers deep insights into the history of ideas, reflects current discussions, and provides reviews of books on Central and Eastern European history. Especially on the history of ideas and contemporary history it offers more than ›just‹ history--e.g. interdisciplinary discussions by political scientists, literary, legal, and economic scholars and philosophers. FORUM sees itself as a bridge between East and West. (...) Through the translation and publication of documents and contributions from Russian, Polish, and Czech researchers it offers the Western reader insight into the scientific discourse within Eastern Europe.In his classic book on the history of Russian philosophy, Vasilij Zenkovskij singled out Simon Frank as the most influential Russian philosopher of all times. Frank's oeuvre is informed by two main sources: Russian-Orthodox spirituality on the one hand and Western, mainly German, philosophical traditions on the other.To honor Frank's impact and significance, the Institute for Central and Eastern European Studies decided to translate his most important writings into German in 1996. 17 years later, an edition of eight volumes had been completed, which served as the occasion for a symposium on Frank's work. This issue of Forum collects the research presented during that symposium. (shrink)