This article discusses the foundation of ideas for Vyacheslav Ivanov’s interpretation of Pushkin’s poem. In The Gypsies, Ivanov sees a conflict between personal freedom and sobornost’ as revealed b...

This article attempts to analyze Karsavin’s theory of revolution in the broader context of a Russian metaphysics of revolution in order to determine the place of Karsavin’s phenomenology of revolution both in his work and within Eurasianist ideology. His article “Phenomenology of Revolution” ontologically links two key concepts within Karsavin’s understanding: the “symphonic person” and the “ruling stratum.” The meaning of revolution consists in leading the symphonic person to a realization of its main tasks, which require the utmost exertion and (...) are related to the very existence of its historical form. This crisis can result in the person’s death, but in the death of the old person is born a new individuation of a higher order of personhood for whom that revolution has been a rebirth. If the symphonic person succeeds in “being revived through death or recovery,” then this will also be the birth of a new ruling stratum and a new government, that is, its new being as a state. Karsavin thus clarifies the historical functions both of the symphonic person and of the ruling stratum. The latter turns out to be a kind of entelechy of the symphonic person, providing its own personal content to the generic concept. The concept of the ruling stratum is explained in the metaphysical context of the symphonic-person theory. In light of the symphonic person’s mission, the ruling stratum is an organic connection among individuals of the active sociocultural segment of the population that has resonated with the spirit of history and the people. In this case, the stratum “rules” along with parties and institutions, eventually passing judgment on them. The main results of Karsavin’s work are (1) modeling a developmental phase of revolution and (2) the concept of the ruling stratum, which allows us to avoid formal sociological understanding of the active elite and direct our attention to the connection between personal activity and the “silent” but by no means “sleeping” substrate of the nation that manifests itself in critical epochs. (shrink)

In the course of his collaboration with GAKhN, whose task was to create a systemic 'scientific' theory of art, Losev undertook a systematic interpretation of German classical aesthetics as the historical presupposition for his own Christian, Platonist doctrine of art conceived as a dialectical universe comprising totalizing connections at all levels. This interpretation was concealed in a masterful way within the ' Commentaries' to Dialektika khudozestvennoj formy. Independently of the significant results achieved by this revival of the classical tradition, Losev (...) 's mythologized theory of art called forth a critical reaction on the part of his GAKhN colleagues and brought to light some of the broader theoretical attitudes present among GAKhN 's collaborators. (shrink)

In the course of his collaboration with GAKhN, whose task was to create a systemic ‘scientific’ theory of art, Losev undertook a systematic interpretation of German classical aesthetics as the historical presupposition for his own Christian, Platonist doctrine of art conceived as a dialectical universe comprising totalizing connections at all levels. This interpretation was concealed in a masterful way within the ‘Commentaries’ to Dialektika khudožestvennoj formy. Independently of the significant results achieved by this revival of the classical tradition, Losev’s mythologized (...) theory of art called forth a critical reaction on the part of his GAKhN colleagues and brought to light some of the broader theoretical attitudes present among GAKhN’s collaborators. (shrink)

Against the backdrop of the fate of the generation that peaked between the 1970s and 1990s, this article discusses the possibility of linking times of disintegration even when the machine of a powe...