The thesis analyses heuristically the ideas of the Russian philosopher Vladimir Solomonovich Bibler (1918-2000), who belongs to the continuers of Mikhail Mikhailovich Bakhtin's philosophical school. Bibler's work is unknown in our country. In his thoughts, Bibler came to the statement we are now at the new beginning of philosophy and thinking, at the time of different present and past cultures meeting. These cultures are in mutual dialogue transforming their meanings. On the basis of Bibler's thoughts, the School of Dialogue of Cultures was created in Russia. Its aim is to prepare a man of culture who himself is able to be active in the dialogue of cultures. Individual classes of this school copy the historical sequence of cultures (the classical age, the medieval age, the modern age, and the present age). The School has been proven experimentally with success.

The paper focuses on the personality of Sergei Iosifovich Gessen, Russian philosopher and emigrant, who lived and worked in Czechoslovakia during the inter-war period. The main aim is to present Gessen's philosophy of pedagogy, mostly by means of his works, that were written and published during his stay in our country. This includes his articles for journal Russian school abroad, of which he was also an editor, his shorter studies but most importantly his monography Philosophical principles of pedagogy, which was partly rewritten by the author for the purpose of its Czech edition. Based on his works, we will try to formulate the topics and the principles, which Gessen emphasizes in his texts and which should be valid in his ideal pedagogical system. We will also consider, if the pedagogical topics he was analyzing are still up to date in contemporary circumstances. Keywords: Sergei Gessen, Sergius Hessen, Russian emigration, Russian philosophy, pedagogy

In my dissertation "Russian Exile and Inner Emigration An Irregular History of a Cultural Phenomenon" I attempt to examine the issue of the Russian mentality against the background of Russian literary and intellectual trends over the course of one hundred years - from the December Revolt in 1825 to the period after the October Revolution in 1917. The phenomenon of inner emigration and exile, which is characteristic for this period of time, is examined through the use of authentic sources, that is solely literary and epistolary records, as well as through the Czech reflection of the Russian soul, as it was perceived and presented from the time of Masaryk and Slavík and after them by many Czech and foreign scholars up to the present. Examining authentic testimonies, the aim of the work is to make the point that despite the confrontation with European rationalist influences, the Russian world and the so- called Russian soul essentially always retained a spiritual dimension from the Eastern civilizations, based not on rationality but on sensation, not on scholastic argumentation of the external existence of God but on a realization of the unity and the inner interconnection of the material and spiritual world.

In my dissertation "Russian Exile and Inner Emigration An Irregular History of a Cultural Phenomenon" I attempt to examine the issue of the Russian mentality against the background of Russian literary and intellectual trends over the course of one hundred years - from the December Revolt in 1825 to the period after the October Revolution in 1917. The phenomenon of inner emigration and exile, which is characteristic for this period of time, is examined through the use of authentic sources, that is solely literary and epistolary records, as well as through the Czech reflection of the Russian soul, as it was perceived and presented from the time of Masaryk and Slavík and after them by many Czech and foreign scholars up to the present. Examining authentic testimonies, the aim of the work is to make the point that despite the confrontation with European rationalist influences, the Russian world and the so- called Russian soul essentially always retained a spiritual dimension from the Eastern civilizations, based not on rationality but on sensation, not on scholastic argumentation of the external existence of God but on a realization of the unity and the inner interconnection of the material and spiritual world.

This thesis is a study of the Russian religious philosopher Nikolai Berdiaev (1874-1948). The aim of the thesis is to re-examine the alleged gnostic subtext in Berdiaev’s thought by exploring a number of interrelated motifs in his world outlook, teaching on man and theory of knowledge. The method employed is a close reading of Berdiaev's philosophical and autobiographical writings. In order to establish which motifs should be examined, how they are to be understood and the manner in which they are interconnected, a scrutiny is made of Hans Jonas’s phenomenological elucidation of ancient Gnosticism. A synthetic conception labelled Jonasian Gnosticism is proposed as the interpretive framework, in order to provide a unitary and consistent heuristic tool with which to investigate the topic, and to distinguish the specific proposed representation of Gnosticism from other existing ones. A chapter is devoted to an analysis of the concept of gnosis as employed by Berdiaev. Another key notion taken from the Jonasian framework is that of demundanization, which denotes among other things a rejectionary attitude towards the world grounded in a negative experience of evil and suffering. Varieties of dualism as well as Berdiaev’s doctrine of the human spirit’s otherworldly origin and non-belonging in the world, constitute other issues that are examined. In addition, both Berdiaev’s assessment of historical Gnosticism and his view of a gnostic return in modern times are examined. The study demonstrates the complexity of Berdiaev’s attitude towards the classic Gnostics, and his attempt to denounce Gnosticism while at the same time making a case for a Christian gnosis. The results suggest both affinities and divergences in the relationship between Berdiaev’s thought and Jonasian Gnosticism. Even though the doctrinal standpoints diverge on crucial points, it is argued that a suggestive affinity nevertheless exists in the shared existential attitude towards self and world.

Part 1. Chapter 1. Introduction: the Man and his work. The intellectual life of Russia at the turn of the century was marked by a lively interest in religious questions, and, in some circles, a cautious rapprochement between the intelligentsia and the Orthodox Church. Vladimir Lossky was born into an academic environment which looked more sympathetically upon traditional Christianity than had previously been usual: and the fact of his being brought up in a household both academic and (articulately and critically) Christian tends to set him apart from the religious thinkers of his father's generation (Bulgakov, Berdyaev, and others) who had discovered, or rediscovered, Orthodox faith in adult life adter experiencing disillusion with radicalism or Idealism, or both. Lossky's first major theological essay was, in fact, directed against the ethos of Russian 'religious philosophy', especially its preoccupation with the Wisdom of God (Sophia) as a cosmic principle. In this, as in later works, he pleads for a theology rooted in the historical experience of the Church and free from philosophical systems. His commitment to the 'historical experience' of the Church is reflected in his lifelong allegiance to the Patriarchate of Moscow as the only canonically authoritative Russian ecclesial body. His thinking on the relation between Church and culture was clarified in his experiences in the Second War, which also brought him into close association with several Catholic theologians. It was in this context that he first attempted a synthetic presentation of Orthodox dogma in his best-known work, the 'Essai sur la théologie mystique de l'Eglise d'Orient'. In the post-war period he continued his professional work as a mediaevalist at the Sorbonne, but continued to write on theological questions, developing, in particular, a distinctive approach to the concept of the human person and to the catholicity of the Church. He was much involved in ecumenical gatherings in France and England, and, in Paris, up to the time of his death, assisted in the training of clergy for the Patriarchal jurisdiction (though his hopes for the development of a western-rite group were frustrated). Chapter 2: The debate with Bulgakov. Superficially, Lossky's theology has much in common with that of Sergei Bulgakov, especially in their attitudes to tradition and catholicity, and Lossky's hostility to Bulgakov is surprising. However, a brief examination of Bulgakov's thought reveals its extensive dependence upon the notion of 'Sophia', the Divine Wisdom, as an all-embracing cosmic reality, both divine and human - a notion which Lossky rejects absolutely as deterministic, destructive of a proper sense of both divine and human freedom. He also condemns Bulgakov's Christology: the idea of 'Godmanhood', fundamental to Bulgakov's theology, jeopardises the reality of Christ's humanity, and tends to reduce the Incarnation to a manifestation of cosmic process. The basic theme of Lossky's critique is that Bulgakov's system, in Christology, ecclesiology, and Trinitarian theology, is dominated by metaphysical presuppositions incompatible with orthodox belief: it is insufficiently apophatic, too preoccupied with concepts. Lossky's own theology shows a marked and conscious reaction away from this kind of conceptualism. Chapter 3. The Via Negativa. The 'negative way' is not, for Lossky, merely a dialectical step in theology, a 'corrective' to affirmative theology: it is the essential ground of all theology. Theology beings in personal encounter with a personal God, an encounter which cannot be expressed in concepts; negative theology, which declines to speak of God in concepts, most closely reflects this basic reality. It is the μετάνοια, the conversion and self-sacrifice, of the intellect. The Greek patristic language about meeting God in 'darkness' is simply a 'dogmatic metaphor' for this experience, complementing, not contradicting the imagery of 'light': darkness and light together here represent the experience of transcending the sphere of the intellect. The history of early Christian spirituality shows a gradual movement towards a via media between intellectualism and agnosticism, a position which allows for both the absolute incomprehensibility of God in seipso, and His accessibility to man. This via media is expressed most fully by Gregory Palamas, but is anticipated by the Cappadocians, pseudo-Dionysius, and Maximus. It envisages God 'transcending His transcendence, expressing His unknowable 'essence' in His 'energies', His manifestation in the world. God's self-transcendence calls forth man's 'ecstacy'. The personal encounter of man with God is a mutual movement of self-giving: man is nearest to God and so most fully God-like in this movement. And since God is always fully personal, man is therefore most personal in the act of self-renunciation: negative theology alone is adequately 'personalist'. Chapter 4. Imago Trinitatis. Man is in the image of God because he is personal: he cannot be reduced to his 'nature', to what is common, repeatable and conceptualisable. He is more than an individual of a species; and this constitutes him in the image of God's trinitarian life, in which individuality is perfectly transcended in full communion. The Church, in which man realises his capacity for communion can also be called imago Trinitatis: it is a plurality of persons, each called and sanctified in a unique manner by the Spirit, sharing one nature, the humanity which Christ has restored and 'deified'. This 'trinitarian' life is what is designated by the term 'catholicity', the existence of the whole in the part. Lossky's method in discussing the theology of personality is resolutely Christocentric: the impossibility of interpreting ὑπόστᾰσις as 'individual' is established by an appeal to the inadmissibility of so interpreting it in Christology. Lossky's appeal to the Fathers in support of this thesis is, however, problematic: his concern to include the body in the imago Dei, and his understanding of ὑπόστᾰσις both lack a clear and consistent patristic foundation. Although he does genuinely build upon certain Greek patristic ideas, he is, as a 'personalist', essentially and inevitably - a -post-Augustinian'. The ambiguity of the patristic evidence raises the serious question of how far Lossky is justified in criticising Western theology (as he does) according to alledgedly patristic criteria. Chapter 5: The debate with the West (i). Lossky presupposes the unity of Christian theology; if one doctrinal topic is infected with error, the whole theological system is poisoned. In the West, it is the doctrine of the double procession of the Spirit, the filioque, which is the basic error: it suggests that the Spirit is somehow less personal than the Son, rejects the patristic idea that the Father is the sole source of 'cause' of the other persons, and so makes the unity of the Trinity reside not in the person of the Father but in a super-personal 'essence', that which is common to Father and Son. Western theology opts for a divine essence, in place of the living God of revelation: it is as much in thrall to philosophy as Bulgakov's system. Consequently, it is consistently impersonalist, not only in Trinitarian theology, but in its ecclesiology, its doctrine of grace, and its ascetical theology. Protestantism is as much conditioned as Catholicism by the basic assumption implicit in the filioque that real communion, sharing (in some sense) of substance, is impossible between God and man, because both are encapsulated in their 'essences'. Historically, Lossky's critique is often inaccurate and unjust; but he makes a good case, nonetheless, for the dominance, in much of Western theology, of conceptualism and impersonalism. There is little to correspond to Lossky's profound apophoticism and 'kenotic' idea of personality.

Orientador: Nelson Alfredo Aguilar / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-26T21:06:08Z (GMT). No. of bitstreams: 1 Nucci_Angela_D.pdf: 4545897 bytes, checksum: b757c0ee381a614e4de58b61e1dd3526 (MD5) Previous issue date: 2015 / Resumo: A presente tese tem por objetivo discutir quais seriam as ligações entre o pensamento artístico-filosófico de Kazímir Sievierínovitch Maliévitch (1879-1935) ao longo dos anos de 1920 em relação aos debates da intelligentsia russa do início do século XX, especialmente aqueles ligados à tradição filosófico-mística. A preocupação de estudar Maliévitch frente a alguns de seus contemporâneos ocorre para entender o "sentido e o espírito" de um determinado período histórico e, embora as escolhas bibliográficas revelem interesse pela Filosofia russa, não se trata de uma tese centrada no âmbito da Filosofia, mas sim da História da Arte e suas ligações com a História Intelectual e a História Cultural. Ao longo de sua trajetória, Maliévitch fez uso de conceitos relacionados à tradição filosófica como intuição, mística, não-objetividade, infinito e transfiguração. Houve, portanto, a intenção de apresentar e discutir estes termos dentro de uma coerência interna que integrasse aspectos históricos e artísticos. Desconfiando da razão iluminista e das abordagens cientificistas do conhecimento, muitos pensadores russos viam na intuição, na individualidade criativa e no espírito o caminho para um conhecimento transcendente; pensamento perseguido pelo regime soviético, que no início de 1920 determinou a prisão e a deportação para o Ocidente de uma série de intelectuais russos. Dentre este grupo é possível citar alguns dos mais destacados pensadores russos do início do século XX, como Nikolai A. Berdiáev, Nikolai O. Losski, Pável A. Floriênski e Sierguéi N. Bulgákov. Estes filósofos retomavam alguns dos debates eslavófilos do século XIX e buscavam gerar novas discussões no campo filosófico, social e cultural, frente aos contextos pré e pós-revolucionários. A partir desse panorama, buscou-se pensar em um quadro mais amplo sobre os significados de algumas das questões abordadas por Maliévitch em seus tratados e em suas obras. Em um primeiro momento, buscou-se refletir sobre a produção pictórica pós-suprematista de Maliévitch, tanto no que diz respeito a sua ligação com a tradição popular e religiosa, quanto aos problemas e significados no contexto ideológico e artístico do período soviético. Um segundo ponto discutido, refere-se aos desdobramentos dos debates místicos no projeto artístico de Maliévitch, especialmente no período em que o artista viveu na cidade de Vitebsk, a qual acolheu pela mesma época figuras da importância de Mikhail M. Bakhtin e Pável N. Miedvédiev; estudiosos que estavam ligados a discussões e associações religiosas. Em um terceiro nível, a redação concentra-se no problema da representação artística e da livre criação no quadro da reconstrução social e de um "novo homem" no período em que existia um forte enfrentamento ideológico entre as correntes produtivistas, defensoras do desenvolvimento de uma "cultura material" e as correntes não-figurativas, nomeadas como "místicas" ou "subjetivas" por defenderem valores espirituais. Por fim, buscou-se evidenciar como a questão da representação artística na obra de Maliévitch, ligada ao reconhecimento de uma verdade dissociada da concepção objetiva da realidade, estava inserida em um conjunto de ideias que ganhou proporção suficiente para se tornar uma ameaça e ser diretamente combatido pelo regime soviético / Abstract: The present thesis aims to discuss what would be the connections between the artistic and philosophical thought of Kazimir Severinovich Malevich (1879-1935) along the 1920s compared to the debates of the Russian intelligentsia of the early twentieth century, especially those related to philosophical and mystical tradition. The concern of studying Malevich before some of his contemporaries is to understand the "meaning and the spirit" of a particular historical period, and although the bibliographic choices show interest in the Russian philosophy, it is not a thesis centered within the philosophy, but on Art History and its links to Intellectual History and Cultural History. Throughout his career, Malevich made use of concepts related to the philosophical tradition, such as intuition, mysticism, non-objectivity, infinite and transfiguration. Therefore, the intention was to present and discuss these terms within an internal coherence that integrates historical and artistic aspects. Distrusting enlightenment reason and scientistic approaches to knowledge, many Russian thinkers saw on intuition, creative individuality and spirit, the way to a transcendent knowledge; idea pursued by the Soviet regime, which in the early 1920s led to the arrest and deportation to the West of a number of Russian intellectuals. Among this group we can mention some of the most prominent Russian thinkers of the early twentieth century, as Nicolai A. Berdyaev, Nicolai O. Lossky, Pavel A. Florensky and Sergei N. Bulgakov. These philosophers retook some of the Slavophiles debates of the nineteenth century and sought to generate new discussions on philosophical, social and cultural fields, compared to pre and post-revolutionary contexts. From this background, we tried to think of a broader picture of the meanings of some of the issues addressed by Malevich in his treatises and in his works. At first, we tried to reflect on the pictorial production post-Suprematist of Malevich, both with regard to their connection with the popular and religious tradition, the problems and meanings in the ideological and artistic context of the Soviet period. A second point discussed refers to the unfolding of the mystics debates in the artistic design of Malevich, especially in the period in which the artist lived in the city of Vitebsk, which hosted the same time figures of the importance of Mikhail M. Bakhtin and Pavel N. Medvedev; scholars who were linked to discussions and religious associations. On a third level, the essay focuses on the problem of artistic representation and free creation in the context of social reconstruction and a "new man" in the period in which there was a strong ideological confrontation between the productivist currents, advocates the development of a "material culture" and the current non-figurative, named "mystical" or "subjective" for defending spiritual values. Finally, we sought to show how the issue of artistic representation in the work of Malevich, linked to the recognition of a dissociated truth of the objective conception of reality, was inserted into a set of ideas that gained sufficient proportion to become a threat and be directly fought by the Soviet regime / Doutorado / Historia da Arte / Doutora em História

The thesis focuses on different conceptions of Russia developed throughout the philosophical- journalistic and prose works of an eminent Russian thinker of the 19th century - Alexander Herzen, who had lived and worked in Russia and later on continued his work as emigrant elsewhere in Europe. Applying E. Said's Orientalism, I. Buruma's and A. Margalit's Occidentalism, and A. Etkind's internal colonization, a representative sample of Hezen's work has been analyzed to embrace the changes of the author's perception of Russia. In particular, Etkind's concept is used to bridge the divergence between a conventional understanding of Orientalism directed upon Middle East and the canonical texts of the Russian 19th century (pre-revolutionary) intelligentsia. Herzen's work has been thus situated within the context of postcolonial studies. The analysis studies the images and scenes used by Herzen to build up his ideas and understandings of Russia and Europe, or more precisely his constructions of East and West, indirectly intertwined with the social characteristics of Russia and his various conceptions, including the imaginary role of Russian intelligentsia and the author's own role in Russia and Europe.

La ricerca si colloca nell’ambito degli studi sull’adattamento, scegliendo una prospettiva ispirata alle teorie sviluppate dal filosofo russo Michail Bachtin riguardo all’autorialità. La domanda da cui muove l’analisi di tre adattamenti audiovisivi del romanzo dostoevskiano I fratelli Karamazov si riferisce all’adattabilità sullo schermo del principio letterario della polifonia, individuato da Bachtin. I tre adattamenti, scelti per elementi di omogeneità formale e di eterogeneità rispetto alla resa polifonica sono: il film Brothers Karamazov (Richard Brooks, Stati Uniti 1958); lo sceneggiato televisivo I fratelli Karamazov, (Sandro Bolchi, Italia 1969) e il film Brat’ja Karamazovy, (Ivan Pyr’ev, Michail Ul’janov e Kirill Lavrov, Unione Sovietica 1969). Prima di procedere alle analisi, attraverso una disamina della critica e dei testi bachtinani, abbiamo voluto riconnettere la polifonia letteraria alle ricerche filosofiche dal teorico russo nel corso degli anni Venti e all’humus culturale della filosofia religiosa russa. In seguito a questo approfondimento “genealogico”, abbiamo identificato le implicazioni formali della polifonia e avanzato la nostra proposta metodologica, fondata sulla ripresa dell’elemento autoriale in senso bachtiniano. Nel corso degli anni Settanta, infatti, la critica letteraria e cinematografica è stata influenza dal concetto di morte dell’Autore e ha posto l’accento univocamente sull’intertestualità. Attraverso una disamina delle teorie dell’adattamento, dalla trasmutazione di Umberto Eco alla ri-creazione di Carlo Testa, proponiamo una nuova formulazione ispirata agli studi bachtiniani sull’eccedenza di visione, la posizione nel mondo unica e insostituibile da cui scaturisce la visione dell’autore ( e, nel nostro caso, dell’adattatore). In un secondo momento l’analisi si rivolge alla sceneggiatura e al prodotto audiovisivo, attraverso una metodologia integrata che contempli una fase comparativa, drammaturgica, strutturale, tematica e linguistica. Il proposito che orienta le fasi dell’analisi è quello di valutare la resa polifonica delle tre opere, identificando le condizioni che agevolano la polifonia in un prodotto audiovisivo. / The research pertains to the field of adaptation studies, choosing a perspective inspired by the theories developed by Russian philosopher Mikhail Bakhtin on authorship. The question from which the whole analysis of the three audiovisual adaptations of Dostoyevsky’s novel The Brothers Karamazov moves, refers to the adaptability for the screen of the literary principle of polyphony as identified by Bakhtin. The three adaptations, chosen for elements of formal homogeneity and heterogeneity in relationship to polyphonic rendition are: the movie Brothers Karamazov (Richard Brooks, USA 1958); the TV Drama I fratelli Karamazov (Sandro Bolchi, Italy 1969) and the movie Bratya Karamazovy, (Ivan Pyryev, Michail Ulyanov and Kirill Lavrov, Soviet Union 1969). Before moving forward with the analysis, through an examination of both Bakhtin’s critic and texts, we wanted to reconnect literary polyphony with the Russian theoretician’s philological research in the 1920’s and the cultural hummus of Russian religious philosophy. After this “genealogical” study, we identified polyphony’s formal implications and advanced our methodological proposal, founded on the assessment of the authorial element in a bakhtinian sense. During the Seventies, in fact, literary and film critic was influenced by the concept of the death of the Author, and focused uniquely on intertextuality Through an examination of adaptation theories, from Umberto Eco’s transmutation to Carlo Testa’s re-creation, we are proposing a new formulation inspired by bakhtinian studies on surplus vision, the unique and irreplaceable view of the world the author’s (and in our case, the adapter’s) vision stems from. At a later stage the analysis turns to the screenplay and the audiovisual product, through an integrated methodology covering a comparative, dramaturgical, structural, thematic and linguistic phase. The purpose that guides the phases of the analysis is to evaluate the polyphonic rendition of the three works, identifying the conditions that facilitate polyphony in an audiovisual product.

The thesis is concerned with theoretical work of the Russian legal philosopher P. I. Novgorodtsev, focusing on the concepts of natural law, social ideal, individualism, liberalism, rule of law and democracy. Novgorodtsev's interpretation of these concepts is embedded into broader contexts of both Russian and Western political philosophy and philosophy of law. Novgorodtsev's work is analysed with regards to Russian liberal doctrine transformations from classical liberalism towards liberal socialism. The thesis discloses progressive moments in the author's thought demonstrating ways as to develop them. Problems in question are inquired into through the prism of A. Honneth's critical theory of society which enables to approach the subject matter in its historical variability and conditionality and, at the same time, maintaining normativity. The aim of the thesis is not only to assess Novgorodtsev's work topicality and contribution but also critically research into relevant problems in terms of the chosen topic, primarily metaphysical roots of liberalism and its limits as to the notion of man, state and law. The thesis shows that the Russian philosopher offered reformulations of old concepts not being able, however, to go beyond the liberal paradigm. Hence his texts cannot be utilized for overcoming...