In this paper the author analyses the materials that were published in the American satirical magazine The Onion in the period from 2006 till 2011 and mentioned September 11 terrorist attacks. The focus of the research is the persistence of 9/11 jokes five years after the tragedy occurred and later on. The jokes are classified basing on their subject-matter and rhetorical patterns. The author concludes that most of these jokes promote respect towards collective memory about the attacks and their victims.

Издание адресуется специалистам в области искусствознания и всем тем, кто интересуется фундаментальными вопросами художественной жизни.

Volume 31, Issue 1, December 2020, Page 13-28.

Eine mit seinem Werk untrennbar verbundene Biographie des klassischen Philosophen (1724-1804), mit einem ausführlichen Personen- und Sachregister.

ABSTRACTThe provision of gifts and payments for healthy volunteer subjects remains an important topic in global health research ethics. This paper provides empirical insights into theoretical debat...

This paper focuses on Kojève’s account of history and philosophy of science. Kojève’s understanding of science can be characterized as internalism, which is evident in his holistic view of philosophy, theology, quantum physics, and the history of classical Newtonian mechanics. It precipitates the facilitation of a further inquiry into the Christian genesis, secular evolution, and subsequent de-Christianization of scientific thought. The paper includes a critical scrutiny of Kojève’s philosophical tenets, followed by a comparative analysis of the views of Hegel, Koyré, (...) and Kojève. The primary objective of this research is to juxtapose Kojève’s doctrines with Hegel’s contemplations on the history and philosophy of science. In addition to identifying affinities, notably the emphasis on the Christian concept of God’s Incarnation for the advancement of science, I draw the distinctions between the positions of Hegel, Kojève, and Koyré, specifically concerning the valuation of mathematical knowledge. (shrink)

The object of this paper is creativity as a cultural philosophical and historical-philosophical phenomenon. The subject of the research is the substantiation of the essence of creativity by Russian religious philosophy on the example of the doctrine of V.S. Solovyov and N.A. Berdyaev. The aim of this research is to identify and articulate the key semantic constructs of creativity from the positions of the above-mentioned thinkers. The article also explores ideas about the nature of creativity and the specific features of (...) a creative subject through the prism of relevant concepts of a socio-humanitarian orientation. A brief historical and philosophical excursion into the understanding of the ontological essence of creativity is carried out, modern ontological concepts of creativity are revealed and an existentially oriented concept of creativity is proposed. The theoretical basis of the research is the original works of V.S. Solovyov and N.A. Berdyaev, as well as various commenting scientific sources. The methodological foundation of the research is a comparative analysis and a method of contextual vision of creativity. The main result of the conducted research is the articulation of key aspects of the understanding of creativity by V.S. Solovyov and N.A. Berdyaev. It is shown that for the first philosopher, the central task of creativity is the spiritualization of the material world through the realization of the unity of Goodness, Truth and Beauty, while the second thinker considers the main mission of creativity to be the establishment of a fundamentally different spiritual being by the subject. The scientific novelty of the research also lies in the comparative characterization of the concepts of creativity of these thinkers in terms of essence, tasks, meaning, material, sources, functions, result and other structural aspects. (shrink)

The subject of the study is the ontological nature of the phenomenon of creativity in the context of conceptual constructions of the most important nominal layers of non-classical philosophy. The aim of the work is to reveal the ontological essence of creativity in the context of European philosophy of the XIX–XX centuries based on the works of A. Schopenhauer, A. Bergson, J.-P. Sartre, A. Camus and M. Heidegger. The theoretical and methodological basis of the research is the works of representatives (...) of the non-classical period of the development of philosophical thought, as well as the works of modern domestic and foreign researchers, in their works directly or indirectly touching on the problem of the ontological determinant of creativity. The central research methods are comparative and complex methods for establishing connections and relationships between phenomena that are part of the sphere of creative being, as well as an analytical and interpretive method for analyzing existing interpretations of the phenomenon under study and presenting the author's position. The scientific novelty of the research consists in the identification and systematization of philosophical ideas regarding the ontological determinant of creativity in the conceptual field of Western European non–classical philosophy of the XIX-XX centuries. As a result of the conducted research, the author comes to the conclusion that within the framework of non-classical philosophy, the ontological nature of creativity is revealed both at the level of objective reality and in the existential-personal space of the subject. Unlike the classical tradition of philosophizing, which absolutizes the epistemological component of the subject's creativity, in the subject field of non-classical philosophy, creativity regains its ontological rootedness, since it acts as the general existential of human existence, revealing itself through the prism of such concepts as the Will to live, pure duration, creative evolution, Vital impulse, imaginative consciousness, rebellion against the absurd, the promotion of truth and the way out of inauthenticity. (shrink)