249 research outputs found
Andrej Belyj: avtobiografizm i biografičeskie praktiki. Sbornik statej, red. sost. K. Kriveller, M.L. Spivak
No full textReview of the collection of articles, compiled on the basis of the reports for the conference "Biographical Practices of Andrej Belyj and 'The History of the Emergence of the Self-Conscious Soul' ", held in the Memorial apartment of the writer on October 14, 2014. The choice of the Russian Symbolist as the central figure for the discussion of a biographical wtiting is explained by the unique fixation of Belyj on the analysis of his own life, portrayed from various points of view in his vast heritage
Antropologičeskie koncepcii v russkom simvolizme
No full textThe work is devoted to the philosophical interpretation of the concept of "man" in the heritage of junior Russian Symbolists (Vjačeslav Ivanov, Andrej Belyj and Aleksandr Blok)
Anthropology of Russian Symbolism
No full textThe article analyzes philosophic-anthropological views of the Russian symbolists. The anthropological ideals of Aleksandr Blok, Andrej Belyj and Vjačeslav Ivanov are revealed
Muzykal'nost' kak estetičeskaja norma simvolistskoj poesii
No full textVyacheslav Ivanov and Paul Valéry insisted that real pole of attraction for the adherents of Symbolism was, paradoxically, not the concept of a symbol, but aspiration to likening of poetry to music. Of course, the high status of music in the Symbolist doctrine can be explained as influence of ideas of Wagner, Nietzsche and Schopengauer. Musicality for Alexander Blok was not only a desired limit of verse technique, i.e. purely literary phenomenon. It becomes the ontological principle, satisfying the ambition of Russian symbolists to be the universal world outlook theory. Nevertheless, Belyj considered music as a very dangerous element of culture for the epistemological aims of mankind
Čelovek kak ontologičeskaja problema v russkom simvolizme.
No full textIn the article the anthropological aspects of the heritage of Russian symbolists is considered through the solution of two tasks: first, the clarification of relationship among the elements of the ontological triad «World – Human being – God», and, secondly, the identification of ideal type of the human being. The Russian symbolism tried to harmonize both theocentric and anthropocentric variants of ontologies of culture in the its doctrine on human being. For the vast majority of symbolists Christ was an anthropological ideal, however Blok denies the strategy of identification with Christ and looks for a fulcrum in himself. The lyric poet is a personal anthropological ideal of Blok. Ivanov and Belyj see the anthropological future in fusion of the elements of the ontological triad. The agent of such transformation for Belyj is personal consciousness, and for Ivanov – bodily emancipation and openness of heart. Solving a problem of harmonization of the individual and collective, Ivanov and Belyj are based on opposite intentions. Ivanov is guided on «dissolution» of personal Self in others in his concept of Pananthropos. The Self-conscious Theurge of Belyj is a subject who has been focused on the perception of others as variants of the unique himself. Blok remains the individualist, being convinced that loneliness, not belonging to a group, allows the artist to fulfill his purpose. In our opinion, among three anthropological models under consideration, i.e. the Pananthropos, the Self-conscious Theurge and the Artist, only the last one can be carried out really within human life
Evropejskij simvolizm i regressivnye kul'turnye modeli
No full textSymbolism seeks to renovate the culture by going back to the roots. Members of the Symbolist movement in both Russia and Italy expressed great interest in ancient social history and in the earliest stage of personal biography. In their cultural models symbolists evaluated early periods as most authentic, sincere and unique. These models can be classified in the following way: regressive (infantile) models of the creative genius ("Il Fanciullino" by Pascoli and "Kotik Letaev" by Andrej Belyj), and regressive models of theater (Vjačeslav Ivanov
Prostranstvo i vremja v povesti Andreja Belogo “Kotik Letaev”
No full textThis work focuses on spatial and temporal aspects of the autobiographical novel of Andrej Belyj in connection with his own epistemology. In the destiny of the character of Belyj traces growth and transformation of consciousness of the child. Kotik Letaev interprets the world as alien to him and incomprehensible, and tries to protect himself, substituting reality for the play of the infantile imagination. The world, in the spirit of extreme solipsism, is declared as a product of character's consciousness. Space and time become the object for the intellectual manipulations. In the letter of 01.03.1927 to Ivanov-Razumnik Belyj wrote about existence of a memoir, psychological and mystical layers of the novel. The time of memory, dominating in the novel, breaks fundamental prohibitive property of physical time - irreversibility. The concept of reincarnation allows Belyj to describe Kotik Letaev as “the old man of non-our world.” Time before the birth belongs to the country of rhythms, where temporary components prevails over spatial according to the idea of Belyj’s article “The form of art” (1902). The multilevel spatial and temporal design of the novel transmutes reminiscence into the fascinating play helping the character of the novel to force out the phobias of existence
Poèt kak antropologičeskaja problema v modernizme: ot russkih simvolistov k Gottfridu Bennu.
No full textThe modernist project of a total transformation of life through art focuses to a certain extent on the question of an anthropological nature of poets as well as on the general line of the transformation of human nature. The theoretical basis for the discussions on the range of issues among the representatives of the new art was rooted both in ideas of natural science (to which the modernists have always showed increased interest) and in Nietzsche's concept of the overman, which arose under the undoubted influence of Darwinism. Paradoxically, both the Russian Symbolists and the German expressionists discover unexpected unity in upholding of principles of non-biological criteria of human development. Unlike Darwinism, for which the criterion of evolution is augmentations of degree of an adaptability to external conditions and increasing of life expectancy, the aesthetics of modernism castigates dangerous symptoms of a social timeserving as a decline of anthropological nature. Dmitry Merezhkovsky worried about the ubiquitous dissemination of mediocrity in Europe. This anthropological type, according to Alexander Blok, appeared as a result of division of masses from the spirit of music, which is open only to the poet in the era of civilization. Modernists indicate that poets often demonstrate an alienation from their social background, an evolutionary leap. Taking into account the fact that geniuses often bore the symptoms of biological degeneration – illness and antisocial behavior – Gottfried Benn in his theory of "progressive anthropology" claims that main vector of human evolution is not the increasing survival of species, but the ability to create art
sj-docx-1-jop-10.1177_02698811231166463 – Supplemental material for Behavioral profile of adult zebrafish acutely exposed to a selective dopamine uptake inhibitor, GBR 12909
No full textSupplemental material, sj-docx-1-jop-10.1177_02698811231166463 for Behavioral profile of adult zebrafish acutely exposed to a selective dopamine uptake inhibitor, GBR 12909 by Konstantin N Zabegalov, Fabiano Costa, Yuliya A Viktorova, Gleb O Maslov, Tatiana O Kolesnikova, Elena V Gerasimova, Vladimir P Grinevich, Evgeny A Budygin and Allan V Kalueff in Journal of Psychopharmacology</p
Academicianul Gleb Drăgan - savant de talie internaţională
No full textAcademicianul Gleb Drăgan a fost fondatorul Școlii de Tehnica Tensiunilor Înalte și al Laboratorului de Tehnica Tensiunilor Înalte din România. El este autorul a 33 de cărţi și coordonatorul Tratatului de Tensiuni Înalte în trei volume. El a editat 32 de dictionare explicative de terminilogie tehnică, precum și sute de studii ştiinţifice şi tehnice, articole prezentate la congrese şi conferinţe în România sau în afara ei, în special, în domeniul energetic, al descărcărilor electrice coronă, comutărilor de supratensiuni, supratensiuni atmosferice etc. De asemenea, a editat două monografii în care este descrisă tragedia familiilor basarabene deportate. Profesorul Gleb Drăgan a fost membru al Academiei Române şi al Academiei de Ştiinţe Tehnice din România, Membru Onorific al Academiei de Ştiinţe a Moldovei, Doctor Honoris Causa al Universităţii Tehnice a Moldovei şi al Universităţii Tehnice din Oradea, membru şi membru onorific în diferite organizaţii nonguvernamentale naţionale şi internaţionale.Academician Gleb Drăgan was the founder of the High Voltage Engineering School and the High Voltage Engineering Laboratory in Romania. He is the author of 33 technical books and coordinator of the High Voltage Treaty in three volumes. He edited 32 explanatory dictionaries of technical terminology, hundreds of technical and scientific studies and articles presented at congresses and conferences in the country and abroad, mainly dealing with electric power field, corona discharges, switching surges, atmospheric switching over voltages etc. He is also the author of two chronicles describing the tragedies of the deported Besssarabian families. Professor Gleb Dragan was member of the Romanian Academy and member of the Academy of Technical Sciences of Romania, Honorary Member of the Academy of Sciences of Moldova, Doctor Honoris Causa of the Technical University of Moldova and member of the Technical University of Oradea, member and honorary member in several prominent national and international non-governmental organizations
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