The author of the work raises the issue of the phenomenon of nomadism in the context of the work of the French director Alain Resnais. The object of the research is the early works of the director, such films as "Last year in Marienbad", "Hiroshima, my love", "I love you, I love". The purpose of the work is to answer the question of how nomadic strategies allow the author to create non-linear narrative structures, oscillating characters and flickering characters in his (...) films, and how understanding these strategies can help viewers and researchers in the act of deciphering works. The author also analyzes a number of phenomena related to nomadism, such as the rhizome, the body without organs, deterritorialization, escape, flicker. The novelty of the research lies in the application of nomadic strategies to the cinema of Alain Resnais. This approach makes it possible to use the current philosophical and art history prism to study narrative structures, intraframe space and characters. The author argues that Rene's cinematography can be viewed through a position of resistance to forms of power - suppression and control - which manifests itself in the violation of traditional forms of narration and the creation of split characters. To study the mentioned aspects of Rene's work, the author resorts to the philosophy of Gilles Deleuze and Felix Guattari. The author also explains the position of the modern viewer and describes the strategies of looking, which can lead to a state of pleasure from interacting with nomadic works. (shrink)

У статті досліджується проблема утворення та діяльності машинно-тракторних станцій у Радянському Союзі, починаючи від появи перших машинних товариств, тракторних колон та МТС у 20-30-х рр. XX століття та закінчуючи реорганізацією їх у ремонтно-технічні станції в 1958 р. Історичний процес створення, функціонування та реорганізації МТС розглядається в процесі сільськогосподарського виробництва.

"E. B. Pashukanis was the most significant contemporary to develop a fresh, new Marxist perspective in post-revolutionary Russia. In 1924 he wrote what is probably his most influential work, The General Theory of Law and Marxism. In the second edition, 1926, he stated that this work was not to be seen as a final product but more for ""self-clarification"" in hopes of adding ""stimulus and material for further discussion."" A third edition was printed in 1927. Pashukanis's ""commodity-exchange"" theory of law (...) spearheaded a perspective that traced the form of law, not to class interests, but to capital logic itself. Until his death, he continued to argue for the ideal of the withering away of the state, law, and the juridic subject. He eventually arrived at a position contrary to Stalin's who, at that time, was attempting to consolidate and strengthen the state apparatus under the name of the dictatorship of the proletariat. Inevitably, Pashukanis was branded an enemy of the revolution in January 1937. His works were subsequently removed from soviet libraries. In 1954, Pashukanis was ""rehabilitated"" by the Soviets and restored to an acceptable position in the historical development of marxist law. In Europe and North America, a number of legal theorists only rediscovered Pashukanis's work in the late 1970s. They subjected it to careful critical analysis, and realized that he offered an alternative to the traditional Marxist interpretations, which saw law simply and purely as tied to class interests of domination. By the mid-1980s the instrumental Marxist perspective in vogue in Marxist sociology, criminology, politics, and economics gave way, to a significant extent due to Pashukanis's insights, to a more structural Marxist accounting of the relationship of law to economics and other social spheres." --Descripción del editor. (shrink)

The main thesis of this article is that Arthur Schopenhauer was the first to formulate clearly the problem of corporeality as an essential problem of philosophical thought. Schopenhauer can be understood as a philosopher and even as a phenomenologist of corporeality. For the first time in the European thought he explicitly describes the relation between consciousness and the body and offers a phenomenological description of the experience of embodiment, bringing his thought closer to M. Merleau-Ponty’s future phenomenology. The article considers (...) the role of the body in the formation of subjectivity as well as the correlation between the concept of body and the concept of will in the structure of Schopenhauer’s philosophy. Both Schopenhauer and Merleau-Ponty understood the body as a key to the experience of the world and to overcoming the object-subject dichotomy. Hence, while Merleau-Ponty welcomes this conclusion, Schopenhauer considers it is a source of pessimistic sarcasm: the will of which I am the materialization is completely indifferent to my individual existence and uses me as material for its meaningless reproduction. The emphasis on corporeality has important intersections with the development of aesthetics in the 18th century. T. Eagleton thus suggests that Schopenhauer’s philosophy makes a crucial contribution to the modernist project of aesthetics by its “implicit” aesthetics, presupposed by the development of the theme of embodiment, to which he attributes the unexpected “comicality” of Schopenhauer’s philosophy, well suited to the interpretation of absurdist art. The article also considers the influence of Schopenhauer’s philosophy on Beckett’s work, which S. Garner interprets through Merleau-Ponty’s phenomenology of the body, proving that their reflections on body and flesh can be correlated with Beckett’s theater where the bodily presence of actors is emphasised. (shrink)

All of the principal tendencies in philosophy were represented in Russia during the brief period of the "religious and philosophical renaissance." However, at that time [the early twentieth century] a quite independent philosophical movement-the metaphysics of total-unity [vseedinstvo]-stood at the focus of philosophical development [in Russia]. That metaphysics was based on one of the most essential intuitions of Russian spirituality, namely, the conviction that there is a wholeness in nature and a harmonious unity of all existence. The idea of total-unity (...) was originally expressed in philosophical terms by Vladimir Solov'ev during the 1870s. And at the beginning of the present century, Pavel Florenskii gave a new impulse to this idea with his symbolic philosophy. (shrink)

В кн. также: Философские афоризмы и изречения В. И. Ленина.