Translated material
Russian Pantheon
- How are “my Russians” built? Who are they? -In general, I took those people about whom I know something, I have a more or less clear idea. From the very beginning, the composition of the book became clear in the sense of the share of certain personalities: most of all, of course, writers, people of literature turned out to be most of all. This is not surprising - Russia gave the most noticeable people in this area. It affects, without any a priori schemes and methods of artificial selection, the main feature of Russian cultural history is its literature. In general, “mine” are people who are inclined to share universal ideals, as they developed in European cultural history. - But what about then to be with those Russians who were self -determined in confrontation to the West? Say Slavophiles. You did not do without them. - In no case, the Slavophiles are present - Ivan Kireevsky and Khomyakov. Here the whole point is what to consider Europe. It cannot be reduced to a well -known set of universalist concepts - such as rational knowledge or, say, political democracy. The European cultural story is much richer than the picture that the Slavophiles found, or rather, the picture that they themselves composed. After all, they were the real romantics, were the Russian branch of the world romantic movement, which grew and widened from the very beginning of the 19th century. This has long been noticed - this proximity to their romanticism, especially in its German head, in the so -called Jenan romanticism.
Or another example of the same kind - Solzhenitsyn. His anti -Western position is well known, but he himself is a very sharply pronounced type of European thinking, not modern, of course. Solzhenitsyn is a type of puritanine, that is, in the depths of European. This is the knight of Vera Abraham, if you use the philosopher of Kirkegora. That is, Russia gives examples of the type of thinking, and the life action characteristic of Europe at the depths of its history. Russia is a country on its peaks by no means alien to the European, Western cultural tradition. The vector of her movement is there precisely there, despite all the deviations. - Is there a single plot in your book, do you find in the Russian cultural past a certain logical deployment of such a plot? Do you have the meaning of Russian history? Any lessons that can be learned from the Russian past? - No. And not because it is the Russians who are “pointless and merciless”, but because in history there are no through stories at all. There are no laws in history, there is no predetermined need or teleological deployment. Rickert found this at the beginning of the 20th century. There are sciences about the nature and science of culture, and in the sciences of culture, we are dealing not with laws, but with single facts. As for the meaning of history, and not only Russian, but history as such, it acquires meaning only in the future of the end, in an eschatological plan. Berdyaev wrote about this, and much more interesting than Fukuyama. The end of the story is really the end, and not bringing it to a certain common denominator, when there is nowhere to move more and does not have to move. As well as in the program "On top of the barriers. American hour": Dialogue on Broadway:
- Hava-Nagila, or Hanukkah in New York
- Do books need their “Oscar”
- Kinohero music. "Circus"