This thesis seeks to shed light on a remarkable figure in Russian history, Father Alexander Men’. How and why did Men’ identify Vladimir Solovyov, Nikolai Berdyaev, and other pre-revolutionary cultural figures as representatives of authentic Russian religious culture? Why would a popular Russian Orthodox priest present the writings of mystics, anarchists, and the Silver Age counterculture as the antidote for seventy years of Soviet materialism? What role did Judaism and the Russo-Jewish intellectual tradition have on Men’s identifications as an Orthodox priest? I use a semiotic theory of culture following Yuri Lotman and the Tartu–Moscow Semiotic School as a framework to analyze the historical development of Orthodox personalism. Through this we find a coherent justification for Men’s cultural project. This thesis traces this line of thought from theories of cultural unity by Pyotr Chaadayev, through Christian universalism in Vladimir Solovyov, the existential personalism of Nikolai Berdyaev, and finally through Men’s personal relationship with Nadezhda Mandelstam.

Die Universitätsbibliothek Leipzig ist mit dem Gedächtnis der Stadtgeschichte eng verbunden. Gelegenheit zu dieser Feststellung war im Jahr 2009, als wir eine Ausstellung zu den Beständen der ehemaligen Leipziger Ratsbibliothek zeigten („Leipziger – Eure Bücher!“). Und im Jahr 2012, zum 800jährigen Jubiläum der Thomaskirchengemeinde, konnte die Universitätsbibliothek erneut einen Einblick in die reichen historischen Bestände aus der Gemeinde, der Schule und der Bibliothek von St. Thomas geben (die Ausstellung hatte den Titel „3x Thomas“). Nun also St. Nikolai, deren Bestand die Entwicklung evangelischer Kirchenbibliotheken im Gefolge der Reformation beispielhaft verstehen lässt.:Fuchs, Thomas: Die Kirchenbibliothek von St. Nikolai in Leipzig; Schmitz, Wolfgang: Die Bedeutung des Buchdrucks für die Verbreitung der Reformation; Kötz, Sebastian: Die Bibliothek der Kirche St. Nikolai in Leipzig als ein Dokument des lutherischen Glaubens; Katalogteil

No description available.

This project revisits the work of Nikolai Berdiaev, one of the first Russian Silver Age religious philosophers to be widely read in the West. The focus of this research is his thought on freedom and the ‘creative act’. We will argue that Berdiaev’s vision of freedom contains two types of freedom – a freedom understood within the created order and a freedom ‘outside’ of creation. It will be shown that in the former type, the reader finds a nuanced and insightful multi-layered conception of human freedom, which offers intriguing possibilities for exploring freedom and its implications for humanity. It will also be demonstrated that this type of freedom is closely related to his innovative view of creativity. Berdiaev conceives of freedom and creativity as distinct concepts, and yet so integrally related that they are interdependent. In the latter type of freedom, the reader will encounter a highly speculative and original metaphysical view that attempts to explain freedom as non-determination and answer the challenges of theodicy, which, this research will maintain, fails to do. This research will contend (contrary to Berdiaev’s own statements) that his thought is most comprehensible from a broadly theological perspective. This perspective will underscore the significant tension within his work that arises from his speculative metaphysics. Unlike earlier works on Berdiaev that glossed over this tension, we will attempt to ameliorate it by engaging Jürgen Moltmann’s theology of freedom. Moltmann’s theology will provide a number of ideas and concepts for an analysis, critique, and reconfiguration of Berdiaev’s vision. This reconfiguration will seek to remain faithful to Berdiaev’s core concerns, while providing a new interpretation of his thought that is relevant for a contemporary dialogue concerning the significance of freedom and creativity for the person and community in relation to God.

No description available.

Made available in DSpace on 2014-06-11T19:23:38Z (GMT). No. of bitstreams: 0 Previous issue date: 2005Bitstream added on 2014-06-13T20:50:41Z : No. of bitstreams: 1 bertochi_af_me_mar.pdf: 465608 bytes, checksum: 44078e06f2f629c4b5610084283ddb80 (MD5) / Esta pesquisa objetiva resgatar a formação teórica e política do comunista de esquerda Nikolai Ivanovitch Bukhárin, por meio da análise de suas obras, como da consulta às obras de Lenin, de historiadores e de comentadores, visando a compreensão do processo de transicão direta ao comunismo na URSS, entre 1918-1921. Por meio de sua profícua produção política Bukhárin foi um dos teóricos bolcheviques que mais contribuiu, entre 1912 até 1921, ao lado de Lenin, para o aprofundamento das questões do imperialismo, do Estado e da transição, particularmente, da soviética, no interior das correntes marxistas contemporâneas. Foi a partir da elaboração de sua teoria sobre o imperialismo e, posteriormente, também da de Lenin, que se formaram, nas correntes marxistas contemporâneas, as concepções atuais que embasam a compreensão teórica do imperialismo e da globalização. Autor de teses originais e muito polêmicas, Bukhárin foi durante boa parte de sua vida membro e um dos líderes do grupo dos comunistas de esquerda, e esteve em frontal oposição às propostas e idéias de Lenin, em diversas circunstâncias. Porém, isso nunca foi motivo suficiente para provocar uma ruptura efetiva entre ambos. Mas, ao contrário, estes debates contribuíram muito para o amadurecimento do pensamento teórico destes dois importantes formuladores da primeira tentativa concreta de transição ao socialismo, buscada durante a constituição da URSS. / This research goals to redeem the left communist Nikolai Ivanovitch Bukhárin theoretical and politics education, analyzing his works and historians like Lenin, to understand the process of direct transition to the communism in URSS, between 1918 -1921. Bukharin was one of the bolcheviques theoretical who contributes between 1912 - 1921 by Lenin's side to imperialism and State questions, about present Marxism works. After his theory about imperialism (and also, after Lenin theory about the same subject), it raises present conceptions about imperialism and globalization. Author of polemics and originals thesis, he was member and leader of the left communist group and was against Lenin ideas many time. However, this thing was never a reason to break it other. On the contrary, these debates has a hand in rise of Lenin and Burkhárin theoretical think. Both of than were creators of first right tentative of the transition until socialism during the URSS constitution.

Die Legende von der unsichtbaren Stadt Kitesch setzt den für Rimskij-Korsakov langwierigen und fruchtbaren Streit mit Wagner fort und schließt ihn ab. Von einem Sieg des einen Künstlers über den anderen kann hier keine Rede sein. Eins ist jedoch unstrittig: gäbe es keinen Parsifal, wäre auch Kitesch anders geschrieben.

Die Legende von der unsichtbaren Stadt Kitesch setzt den für Rimskij-Korsakov langwierigen und fruchtbaren Streit mit Wagner fort und schließt ihn ab. Von einem Sieg des einen Künstlers über den anderen kann hier keine Rede sein. Eins ist jedoch unstrittig: gäbe es keinen Parsifal, wäre auch Kitesch anders geschrieben.

Much socialist realism art from Soviet-era Russia has been misunderstood by scholars. It has been considered "synthetic art," which ordinary citizens were forced to admire under the Soviet regime. It also has been interpreted as peasant kitsch art because of its seemingly unacademic and unchallenging theoretical language utilized in order to meet the expectations of Soviet communism. This ideology conditioned artists to make art accessible and nationalistic to serve the perceived needs of the Russian proletariat. Nikolai Rakov (1908-1990), a Soviet-era composer, is also all too often received as a second-class socialist realistic composer. There are, however, other approaches to understanding art created in Soviet Union. Within music scholarship, alternative perspectives on Soviet art remain largely unexplored. It is in that spirit that I turn to Rakov, whose works carry his artistic idea of irresistible beauty, elegance, irony and charm. They evoke colorful images and feelings that draw the audience into Rakov's own compositional world despite his reputation of technical simplicity and uninventive language at a glance. In this dissertation, I therefore turn my attention to the aesthetic side of Rakov's music in order to reevaluate his works. In order to achieve this, I develop and utilize a hermeneutical approach grounded in Claude Lévi-Strauss's The Savage Mind to examine and gauge Rakov's musical aesthetics. I closely evaluate two characteristics of Rakov's music through Lévi-Strauss' ideology of bricolage: 1) miniature structure and 2) contingent chords. This dissertation examines three of Rakov's piano works: Variations in B minor, Concert Etudes, and Four Preludes.

<p>У раду је представљен најзначајнији део<br />књижевног опуса Николаја Тимченка,<br />књижевног историчара и критичара, есејисте<br />и филозофа и указано је на вредност,<br />домете и актуелност његове мисли о српској<br />књижевности 20. века.</p> / <p>U radu je predstavljen najznačajniji deo<br />književnog opusa Nikolaja Timčenka,<br />književnog istoričara i kritičara, esejiste<br />i filozofa i ukazano je na vrednost,<br />domete i aktuelnost njegove misli o srpskoj<br />književnosti 20. veka.</p> / <p>The work presents the most important part of<br />the literary opus of Nikolai Timchenko, literary<br />historian and critic, essayist and philosopher,<br />and points to the value, reach and actuality of his<br />thought on Serbian literature of the 20th century.</p>