№ 5 (2025)
- Жылы: 2025
- Мақалалар: 7
- URL: https://journals.rcsi.science/2454-0757/issue/view/24632
Бүкіл шығарылым
Articles
The interpretation of culture as a cult and rational discourse
Аннотация
The article separates two interpretations of culture: as a cult and a rational structure; in the latter, the author, in turn, distinguishes between semiotic, psychological and social narratives. The characteristic of culture proposed by Mikhail Gefter is analyzed. Based on his ideas, the author argues that a person believes culture, and not only thinking rationally, but also in terms of faith. The dual interpretation of culture ‒ sacred and rational - was formed already in antiquity and continued to be reproduced in relation to different cultural conditions. Historical examples of this interpretation are considered: in archaic culture, in the Middle Ages in the "Confessions" of St. Augustine, in the Renaissance by Nicholas of Cusa. New European culture (sociologists often say modern), according to the author, is the last variant of two versions of culture. As the culture of modernity comes to an end, undergoing a deep crisis, the ideas about nature, personality and sociality underlying the cult of modernity cease to be perceived as a sacred foundation, and rational constructions cease to work effectively. At the end of the article, the ideas of cosmic reality are discussed, as well as stories put forward for the role of a new cult of the next big culture ("future culture"). There are other contenders for the role of a cult for the future culture (world religions, Humanity, Reason, artificial intelligence, dictatorship, etc.), but all of them are not yet accepted by the main participants in the modern discourse of "Salvation". The author, comparing different historical versions of "Salvation", raises the question of whether humanity has enough time to solve the modern problems of our time.
Philosophy and Culture. 2025;(5):1-10
1-10
The image of world in Vasiliy Rozanov's creativity
Аннотация
We consider the creativity of V.V. Rozanov in connection with the universal intuition of his spiritual searches. The thinker had expressed this intuition in his later works as the special vision of the world. We reconstructed features of Rozanov’s vision, using the images of his later works. In such way we recreate his picture of the world allocating by Rozanov the image of the world as the order, the image of the world as the chaos and the image of the world as the interaction between the order band the chaos. Our analysis gives us the opportunity to suppose, that Rozanov describes the world as the phenomenon. This phenomenon does not depend on the human experience. The paradox of Rozanov’s theory consists on the discrepancy between his supernatural intuition of the world and his descriptions of things, in that the thinker emphasizes its material aspects. But factually draws Rozanov shadows of things, showing its original since, connected with the original structure of the world. This structure is unknown for people and can not be controlled by means of the rational knowledge. This distinctive feature of Rozanov's creativity allows to interpret his doctrine as the form of the artistic philosophy. We explain the philosopheme of world by Rozanov as several reciprocal transitions between the world as the philosophical concept and the world as the aesthetic image. This peculiarity conditions the examination of the phenomenon of the world by Rozanov in context of the ancient idea of space as the limited and closed unity, those movements are restricted. At the same time Rozanov’s intuitions can be understood in context of Christian idea of the world as the creation of God.
Philosophy and Culture. 2025;(5):11-26
11-26
Body as Destiny: A Fragment in the Work of Alina Shapochnikov
Аннотация
Modern culture is marked by a sense of social, psychological, and mental fragmentation and loss of integrity. It is characterized by a feeling of rupture and disintegration. Strategies for creating new integrity through addressing fragmented bodily forms and rethinking the role of the bodily fragment are revealed through various artistic practices. One vivid example is the work of Polish-Jewish artist Alina Shapochnikova. Throughout her career, spanning from 1945 (the beginning of her artistic education) to 1973 (her death from cancer), the artist created numerous works—from classic charcoal sketches to independent sculptural compositions. This research focuses on the image of the fragmented body and the strategies for its construction in the work of Alina Shapochnikova, an exploration likely connected to the artist's personal traumatic war past, her terminal illness, and reflected in key series of works, including "Bellies," "Herbarium," "Tumors," etc. The methodology of the research is based on a cultural-historical (diachronic) approach, allowing for the tracing of the specificities of the artist's creative path in relation to her biography. Archival digitized notes and manifestos by the artist are used, revealing the ideational content of her works and allowing for assumptions about the validity of the approach taken. A general analysis of the artist's creative strategies showed that addressing the image of the fragmented body through the use of "obsessive repetition" enables the artist to explore themes of trauma, illness, and death in new ways. The rupture, which due to the fragmented bodily form remains unspoken, simultaneously generates a sense of new sensibility and empathy. The fragmented bodily form creates a meaningful flicker, a transgressive transition made by both the viewer and the creator: from a personal imprint to an alienated fragment of what was once a whole bodily form, as seen in the work "Leg" from 1962. Shapochnikova expands traditional methods of working with sculpture through her experiments with material and form, using rubber, newspapers, gauze, and resins. The objects she creates—elements of a new visual vocabulary—are referred to by the artist in her 1972 manifesto as maladroits ("clumsy objects"), thereby emphasizing the special status of alienated (objectified) casts of bodily fragments made at the same time from her own body.
Philosophy and Culture. 2025;(5):27-34
27-34
The Noology of Mir Findiriski in the treatise «On Craft»
Аннотация
The subject of the research is the study of Mir Findiriski treatise «On Craft» (Risa'la-yi s'ina'iyya). The object of the research is the philosophical visions of Mir Findiriski. According to him the intelligence is the highest mental function of human, whereby human differs from other manifestations of the life on the earth. At different periods in the history of philosophy, thinkers described the intelligence, which formed the section of noology, that is a philosophical legacy of arab-muslim philosophers (al-Farabi, Ibn Sina, etc.). The author examines in detail such aspects of the topic as the Necessity being and intelligence in the structure of being degree of Mir Findiriski, the paradigm of the “subject of the acting or action” of the philosopher’s noological system, three levels of the intelligence, the formation of the general order through three levels of the intelligence, at the top of which is personality with the intelligence of human. In conducting the study, the philological-translation and logical-semantic approaches to the analysis of the text were used, on the basis of which Risala-yi sinaʻiyya in Russian acquired a philosophical interpretation and the paradigm of noology and the system of philosophical visions of Mir Findiriski were synthesized in the treatise “On Craft”. In addition, the method of comparative analysis is used to determine the place of continuity of the intellectual legacy of al Farabi and Ibn Sina and originality in the noology of Mir Findiriski. The main conclusions of the conducted research are: definitions of the being degrees of Mir Findiriski, three levels of intelligence, the formation of general order through three levels of intelligence, at the top of which is personality with the intelligence of human in the noology of the of Mir Findiriski. Mir Findiriski classifies the following being degrees: Necessary being, intelligence, soul and nature. Intelligence as the second being degree has three levels: the intelligence of minerals, plants and animals, the intelligence of the human species and the intelligence of the human personality. Furthermore, the continuity of the intellectual legacy of al-Farabi and Ibn Sina and the originality in the noology of the Safavid philosopher are determined. The continuity lies in the fact that the Almighty God occupies a central place in the noological system of Mir Findiriski. The originality is presented in the following: the intelligence of minerals, plants and animals, the intelligence of the human species and the intelligence of the human personality, which is a distinctive categorical apparatus of intelligence levels from the noology of al-Farabi and Ibn Sina.
Philosophy and Culture. 2025;(5):35-41
35-41
Technosocial autonomy: the synthesis of Gilbert Simondon's processuality and Niklas Luhmann's systems theory
Аннотация
The modern world is undergoing a radical transformation driven by digital technologies, which increasingly exhibit traits of autonomy: algorithms governing social networks, neural networks generating content, or robotic systems making decisions – all of them function according to an internal logic that cannot be reduced to human intentions. This growing independence of technology poses fundamental questions for society: who or what controls the techno-social reality? How can we preserve human agency in a world where technology gains its own "intellect"? In this regard, two approaches – the procedural philosophy of technology by Gilbert Simondon and the systems theory of Niklas Luhmann – remain insufficiently integrated and researched, despite their complementary potential. Simondon emphasizes individuation and transduction, revealing technologies as dynamic processes interwoven with the development of humanity and society. Luhmann, describing technology through the lens of autopoietic, self-referential systems, demonstrates their capacity for self-organization and operational closure. The methodological foundation of the article is comparative analysis and theoretical synthesis. We compare the key concepts of Simondon and Luhmann, identifying points of intersection and contradiction. Digital platforms are examined as examples where the autonomy of algorithms (Luhmann) and their role in shaping user practices (Simondon) are most vividly manifested. The goal of this article is to propose a synthesis of these approaches, bridging the gap between procedural and systemic understanding of techno-social autonomy. We argue that the integration of Simondon's and Luhmann's ideas allows for: 1) explaining how technologies simultaneously evolve through interaction with society (Simondon) and function as closed systems (Luhmann); 2) revealing the dialectic of human and technological agency in the context of digitalization; 3) creating a basis for ethical reflection on autonomous technologies, avoiding the extremes of techno-optimism and determinism. The scientific novelty of the work lies in overcoming disciplinary boundaries: Simondon's philosophical depth enriches Luhmann's structural analysis, while systems theory lends sociological specificity to processuality. This synthesis paves the way for a more holistic understanding of techno-social reality not as a confrontation between humans and machines, but as a complex symbiosis, where the autonomy of technology becomes both a condition and a challenge for a new stage of social evolution.
Philosophy and Culture. 2025;(5):42-59
42-59
K. -J. Verne (1714-1789) in Italy. Travels and Encounters
Аннотация
For painters of the 18th century, travel was one of the most important sources of knowledge and inspiration. An educational trip to Italy became traditional for representatives of the French art community. Claude-Joseph Vernet (1714-1789) spent nearly twenty years in the country of the Renaissance. This study focuses on the impressions gained by the landscape artist during his travels and their reflection in his work. The master lived in Rome and thoroughly explored its surroundings. The southern part of Italy became Vernet's favorite region. The artist visited Naples several times and traveled along the entire southern coast of the country. He was interested in nature and architecture, as well as the atmosphere of Italian cities. Literature of that time could assist the artist in studying monuments. The research methodology combines a variety of methods used in art history with a sociological approach relevant to modern science. In the Russian-speaking academic space, works on Vernet's art are extremely rare, and the Italian period is almost completely overlooked by domestic researchers. This has determined the relevance of this article, which is intended as part of a two-part cycle that thoroughly examines Vernet's stay and activities in Italy. The presented section tells for the first time in Russian how the landscape artist became acquainted with the nature and landmarks of various regions of the Renaissance and what impact this experience had on the development of the master's creative style, repertoire of subjects, images, and painterly motifs. The article shows that the Italian period was fundamental in Vernet's establishment as a master of the landscape genre and explains why the painter referred back to his experiences in Italy throughout his subsequent creative life.
Philosophy and Culture. 2025;(5):60-77
60-77
The Opera "The Dawns Here Are Quiet" by Kirill Vladimirovich Molchanov as a Lyrical-Documentary Interpretation of War
Аннотация
This article is devoted to the study of Kirill Molchanov’s opera "The Dawns Here Are Quiet" (1973) as a musical and dramatic representation of the Great Patriotic War. The research focuses on the opera’s musical text, based on Boris Vasilyev’s novella of the same name, as well as the system of characters and their vocal expressions. The subject of the analysis is the means of musical expressiveness used by the composer to construct the images of female heroism, collective memory, and emotional truth. The opera is considered not only as a theatrical work, but also as a cultural form of historical representation and a musical space of remembrance for the generation that survived the war. The work of Vladimir Molchanov is of particular scientific interest as a striking example of artistic understanding of the military theme in the context of Russian and Chinese musical traditions of the late 20th - early 21st centuries.The study applies methods of comprehensive artistic analysis, including musical-stylistic, structural-dramaturgical, and intonational approaches. A comparative method is also used to examine both the Russian version of the opera and its Chinese interpretation, revealing national and cultural differences in the portrayal of war. The study integrates interdisciplinary tools from cultural studies, music semiotics, and memory theory.The scientific novelty lies in the interpretation of K.V. Molchanov’s opera as a lyrical and documentary statement, where the traditional model of heroic pathos is replaced by emotionally authentic, confessional expression. For the first time, the article analyzes the vocal scenes of Vaskov, Zhenya, and Rita, as well as choral fragments, as artistic markers of collective memory. It is shown that the use of speech intonation, polystylism, montage dramaturgy, and the absence of classical aria structures bring the opera closer to cinematic language. The author concludes that The Dawns Here Are Quiet functions as a musical requiem, in which sounding intonation becomes a bearer of historical truth and a vehicle for intergenerational memory. This study opens up new perspectives in the field of contemporary music.
Philosophy and Culture. 2025;(5):78-91
78-91