Suchergebnisse

Die Darstellung in Form einer fiktiven "absoluten Einheit" – des neuen Wij – in Majakowskis Gedicht "Krieg und Frieden" zeigt die Infernalität eines neuen Typs im Vergleich zu Gogol. Majakowskis Gedanke ist das Gegenteil von Tolstois Pazifismus und der Idee des "ewigen Friedens" (der Roman "Krieg und Frieden"). Im Gegensatz zu Tolstoi, der sich weigert, die wahre Vielfalt der Manifestationen des Menschen und des menschlichen Prinzips zu bemerken und anzuerkennen, reduziert Majakowski alle Menschen, ihre Gedanken und Sorgen auf ihre persönlichen Ideen. ; Representing himself in his poem War and Peace in the form of a fictional "absolute unit" - the new Vij - Mayakovsky demonstrates the infernality of a new type, in comparison with Gogol's one. Mayakovsky's ideacontrasts with Tolstoy's pacifism and the idea of "eternal peace" (the novel War and Peace). Unlike Tolstoy, refusing to notice and recognize the real diversity in the manifestations of man and the human principle, Mayakovsky reduces all people, their thoughts and concerns to their personal ideas. ; Репрезентируя себя в своей поэме Война и мир в виде вымышленной «абсолютной единицы» – нового Вия – Маяковский демонстрирует инфернальность нового типа, по сравнению с гоголевской. Мысль Маяковского обратна толстовскому пацифизму и идее «вечного мира» (роман Война и мир). В отличие от Толстого отказываясь замечать и признавать реальное многообразие проявлений человека и человеческого начала, Маяковский редуцирует всех людей, их помыслы и заботы к своим личным представлениям.

Die Darstellung in Form einer fiktiven "absoluten Einheit" – des neuen Wij – in Majakowskis Gedicht "Krieg und Frieden" zeigt die Infernalität eines neuen Typs im Vergleich zu Gogol. Majakowskis Gedanke ist das Gegenteil von Tolstois Pazifismus und der Idee des "ewigen Friedens" (der Roman "Krieg und Frieden"). Im Gegensatz zu Tolstoi, der sich weigert, die wahre Vielfalt der Manifestationen des Menschen und des menschlichen Prinzips zu bemerken und anzuerkennen, reduziert Majakowski alle Menschen, ihre Gedanken und Sorgen auf ihre persönlichen Ideen. ; Representing himself in his poem War and Peace in the form of a fictional "absolute unit" - the new Vij - Mayakovsky demonstrates the infernality of a new type, in comparison with Gogol's one. Mayakovsky's ideacontrasts with Tolstoy's pacifism and the idea of "eternal peace" (the novel War and Peace). Unlike Tolstoy, refusing to notice and recognize the real diversity in the manifestations of man and the human principle, Mayakovsky reduces all people, their thoughts and concerns to their personal ideas. ; Репрезентируя себя в своей поэме Война и мир в виде вымышленной «абсолютной единицы» – нового Вия – Маяковский демонстрирует инфернальность нового типа, по сравнению с гоголевской. Мысль Маяковского обратна толстовскому пацифизму и идее «вечного мира» (роман Война и мир). В отличие от Толстого отказываясь замечать и признавать реальное многообразие проявлений человека и человеческого начала, Маяковский редуцирует всех людей, их помыслы и заботы к своим личным представлениям.

The article presents the experience of revealing N. Fedorov's philosophical system through an appeal to the theme and image of Easter. It is shown that for Fedorov Easter is the Central category of the philosophy of active Christianity and at the same time a symbol of fundamentally new choice of civilization. The connection between Fedorov's anthropology, ontology, and ethics and the Easter dogma is revealed. The lines of Fedorov's criticism of the anti-Paschal consciousness and the anti-Paschal vector of the world that has lost faith in the reality of the Resurrection of Christ are considered. It is emphasized that appealing to the Paschal dogma, according to which Christ rose in the fullness of two natures (divine and human), Fedorov brings the idea of divine-human synergy to the eschatological plan, extending it to the promise of the resurrection of all the dead. The symbolism of the Easter service Fedorov considers as the origin to such concepts as «extra-temple Liturgy» and «extra-temple Easter» It is shown that the category of paschality in Fedorov's philosophy correlates with the literary and philosophical tradition and simultaneously sets an active and projective understanding of Easter, which influenced the development of the resurrection theme in literature and philosophical thought in the last quarter of the XIX–XX centuries (F.М. Dostoevsky, V. Solovyov, S. Bulgakov, V.V. Mayakovsky, A. Platonov, B. Pasternak, et al).

In the article it examines the features of the poetics of one of the unusual authors of the Silver Age, I. Annensky. The aim of the research is to analyze the aesthetic issue of the interaction of music and words within the framework of intermediality and traditions formed in Russian literature. Extensive material of Russian literature of the XIX century is involved. The analysis and comparison of the intermediate image of the string from the poem by I. Annensky «Bow and Strings» with a similar element in the works of F.I. Tyutchev, A.A. Fet, L.N. Tolstoy, I.S. Turgenev, A.P. Chekhov, V.V. Mayakovsky is carried out. The study is based on methods of intermediate analysis. The specificity of the «string» image is revealed and the difference in its semantics in I. Annensky's poem in relation to its predecessors is emphasized. The influence of the poet on subsequent generations of writers is shown. A musical instrument is endowed in the poetics of the author with greater sensitivity and sincerity, which gives them special power and significance. The image is contrasted with the world of people and becomes a sign of true exalted being. And Annensky continues the established intermedial tradition of presenting the image of the «string» within the framework of combining music and words, but complicates it, complements it with complex aesthetic and ethical content. In previous studies, these points were not reflected, which shows the novelty of this work. Associative and intertextual connections can be defined as the basis of intermedial interactions in the works of I. Annensky. The author relies on the same elements of time and space as his predecessors, but significantly transforms them already within the framework of his artistic concept of being.