Монография посвящена изучению рефлексии с позиций культурно-исторической и диалогической парадигм (М. М. Бахтин, Ю. М. Лотман, Л. С. Выготский и др.). В соответствии с принятой нами методологией был осуществлен анализ философско-методологических основ.

Ch. 1. Metodologicheskie problemy sot︠s︡ialʹno-gumanitarnogo poznanii︠a︡ -- ch. 2. Metodologicheskie problemy istorii filosofii i ėstetiki.

Philosophy in China has undergone a difficult course of development since 1949. During the first period of the existence of the Chinese People's Republic , there was a process of dissemination of the Marxist world-view among Chinese philosophers. A beginning was made in the treatment of current problems in the theory of the building of socialism. Studies in various areas of philosophical knowledge - dialectical and historical materialism, logic, ethics, esthetics, the history of philosophy - got under way. The discussions (...) that occurred in the mid-'50s reflected the fact that Chinese scholars in the realm of philosophy had attained a higher level of achievement. (shrink)

I found Shpet's article "A Work on Philosophy" [Rabota po filosofii], which we present to the reader's attention, in the Shpet archives stored in the Lenin State Library and passed it on to the editorial board of the journal Logos, where it was published by I. Chubarov. The small circulation of that journal makes it appropriate to republish this text, which is of major importance for an understanding of Shpet's philosophical position and provides a good clarification of the subsequent logic (...) of development of his conception. Although the article is unfinished, there is no reason to lament this fact, since all of its basic ideas and their logical development were realized by Shpet in subsequent publications. A whole series of his works is devoted to grounding and affirming so-called positive philosophy, the basic features of which I would like to clarify. (shrink)

Synchronizing oscillations may be just one case of integration and/or coding, one which explains associations by concurrence. Understanding the sequencing of neural/behavioral events requires a clock mechanism that imposes structure behind mere associations, and may be best served by dissociating oscillations and synchronization in terms of physiologic and computational mechanisms.

Methodology and ethics: these two terms have only recently begun to be linked organically in scientific thought, especially when the discussion is about man as the subject and object of knowledge. It is not as if this situation had not been anticipated in the history of thought. Suffice it to mention Kant's perspicuity: his analysis of "the conditions of the thinkability" of an object of knowledge is combined with ideas about man as an end in itself, as self-sufficient, and about (...) man's freedom, his ability to set goals in general. Crudely put, for Kant ethics is primary, it "anticipates" direct knowledge. (shrink)

In our recent past, at first glance, an ideologically monolithic society was a kind of "collective soul" that envisioned the internal subordination of the individual to the social, collective, existing system of ideologies, stereotypes that were perfected and skillfully introduced into public consciousness - and suddenly this ideological one-dimensionality society collapses and the person is alone with one another.

In this paper, I use two films—Les Statues MeurrentAussi directed by Resnais and Marker and Sans Soleil as representatives of Left Bank cinema to show how they construct experiences of time and memory using various modernist strategies. Key to this is the use of a mental journey genre in modernist cinema and the construction of a facial dispositif which leads to a perceptual experiencing of inner states. Les Statues MeurrentAussi is a key film in the history of French cinema as (...) it highlights Alain Resnais’ and Chris Marker’s early commitment towards a politically avant-garde filmmaking style. The film was banned for many decades because it was highly critical of France’s colonial interests. The film is also a proof to the less emphasised collaboration between two pioneering directors and especially in their use of the essay film genre. Sans Soleil on the other hand is considered as a philosophical masterpiece because of its meditations on time and memory. In taking these two films, I hope not only to demonstrate cinema’s capability to generate affective spatio-temporal states but also to highlight a piece of film history which is often misappropriated under the tag of the French New Wave. (shrink)