This article is devoted not only to Losev''sphilosophical works, but also to his fiction,which he created during 1930s and 1940s.Losev''s eight books of the 1920s (his``octateuch'''') combine into a single whole thatamounts to his philosophy of life and historydepicted in expressive images. At the same timeLosev''s ``octateuch'''' strikes one as having beenwritten at a single sitting and in a singlestyle, in a genre that can be identified as the``philosophical novel'''' having as much right asSpengler''s opus to be called an ``intellectualnovel.'''' (...) In his prose of the 1930s and 1940sLosev tries with artistic methods to resolvethe philosophical problems which he raised inhis works of the 1920s. Losev''s ``octateuch'''' andhis fiction are directed against thosecontemporary materialists who seek to embodyPlato''s Republic, whom he christens``soil-less nihilist idealist utopians.'''' All ofthis leads to the conclusion that Losev''sintellectual novel belongs to a definite andmore specific subgenre. It is undoubtedly ananti-utopia, full of the grotesque. In additionto its scientific and social orientation,Losev''s anti-utopia is also religious innature. Thus Losev not only depicts the realconsequences of utopian dreams, but also turnsto the ``life of the artist,'''' which is far fromany technological or social utopias but isfilled with another, no less terrifying ornihilistic utopia: that of the non-religiousexistence of the human person. Losev preservedhis anti-utopian and anti-nihilist viewsthrough his late period (1950s–1980s), despitethe care he took not to cross Sovietcensorship. Losev''s anti-utopia is the kind ofChristian realism to which he appealedthroughout his life. (shrink)

This article explores the question of literary criticism in the context of interactions between literature and philosophy. The best example of such interaction is the legacy of the early twentieth century Russian literary critic, Yuly Aykhenvald. This article gives a brief overview of his works of literary criticism and their thematic repertoire. Aykhenvald’s philosophical background, professional education, and personal connections with renowned Russian thinkers, including Vladimir Solovyov, Fyodor Stepun, and Semyon Frank, are included in an evaluation of Aykhenvald’s position on (...) one of the most discussed relationships in Russian culture—that of Russia and the West. The issue of relations between the West and Russia acquired a particular urgency after the October Revolution of 1917, when Russian culture split into two realms—Soviet and émigré. This article analyzes Aykhenvald’s position on this issue, which is present in both his philosophical responses to the Eurasianists and in his essays written on the occasion of the 125th anniversary of Pushkin’s birth. Throughout the mid-1920s Aykhenvald wrote that Pushkin was the ideal of spiritual and aesthetic balance. In Pushkin’s work Aykhenvald found the embodiment of his own historiosophical aspirations—the harmonious fusion of Russia and the West. (shrink)