The authors of this article propose and defend the hypothesis that the provincial-born Maxim Gorky, when illustrating his worldview in his polemical and artistic works, served as the bearer of ment...

The article deals with the little-studied but actual problem of loneliness of an outstanding creative personality as a consequence of stereotypical understanding of his works and activity. The cultural and philosophical meaning of Ivan Turgenev’s motif of loneliness is that he was a lone creator, recognized by Russian critics and historians of literature only in the context of the activities of other recognized great writers: Pushkin, Gogol, Dostoevsky, Tolstoy, Chekhov. The problem of loneliness is revealed through the paradoxical statement by (...) Turgenev on the question about strange loners and aggressive crowd. The paper presents the loneliness of I.S. Turgenev as a rejection of the understandable and normality among the non-understandable and weirdness. In Russian literatury critical and historico-cultural tradition, during the discussion of Russian classics, the general opinion has been formed: Turgenev is apparently non-Russian author, moreover he is not a classic writer indeed. (shrink)

This article considers revolution as a political clash and revolutionism as an aesthetic position, which is a topic inspired by the philosophical, social, and aesthetic experience of the twentieth century. This topic has been considered on the eve of the 100-year anniversary of the October Revolution. The author proceeds from the claim that one of the theatrical geniuses, Vsevolod E. Meyerhold, was, above all, a man of politics, while the other, Yevgeny B. Vakhtangov, was first and foremost a man of (...) art. The revolutionary pathos of Vakhtangov’s work is paradoxically actualized through the concept of myth and compassion as an alternative to cruelty and destruction. The personality of Meyerhold is described within the context of the revolutionary scene and in the unique mode of revolutionary nature and action. The experience of these theatrical geniuses in all their personal contradictions and artistic difference shows that it is possible to live during a time of revolution, but it is impossible to live in a constant state of revolution. Only creativity, as a source of hope and harmony, is an alternative to chaos and destruction. (shrink)

This article discusses the little-studied issue of the dramatic content of philosophical issues in Fyodor M. Dostoevsky’s works. The polyphonic quality, the dialogism combined with the markers of t...