Abstract

This article analyzes the similarity of the revolutions of 1917–1918 with earlier revolutions in Russia and Germany. Several common characteristics are noted: “theatricality”, the connection of politics with Bohemianism, and politics’ concealed connection with art. The revolution presents a theatre stage on which representatives of the Boheme play their dreams out in politics. Furthermore, the article investigates methodological pluralism, which constitutes the philosophical foundation of Bohemianism. Finally, the author distinguishes two types of Bohemian politicians: the first type, a “fantasist, dreamer, poet,” is represented by Kurt Eisner, whereas the other type, that of a “multi-souled artist” is represented by Fyodor Stepun.