The aim of this article is to analyze one of the most recognized in the Russian intellectual-cultural tradition and Russians＇ social self-consciousness ways of identification of the nature of Russianness and Russia--...The aim of this article is to analyze one of the most recognized in the Russian intellectual-cultural tradition and Russians＇ social self-consciousness ways of identification of the nature of Russianness and Russia--and comprehend it in the category of the ＂Russian Sphinx＂. The Russian thinkers and writers discussing the nature of Russia often return to the motif of Sphinx. Opposed to its ancient Greek archetype-counterpart, ＂the Russian Sphinx＂ does not have to resort to intricate questions--he is a riddle himself. As I show and explain, the livelihood and dissemination of the Russia-Sphinx motif in the homeland of Dostoyevski are not incidental. This motif is a synthetic medium of many archetypal contents, which accurately articulate a set of traditional intuitions and imaginations held by the Russians and concerning the alleged essence, nature, or depth of ＂Russianness＂. To conclude, I demonstrate the need to make the people comprehending Russia in a similar way aware that the accompanying, the particular--in its basic framework a priori assumed by them--image of the Russian reality is de facto a correlate of their subjective cognitive intention.展开更多
Perhaps no other medium has been described, analyzed, and understood in relation to other media as much as film has been. Theatre, photography, and magic provided a framework for understanding the intermediality of fi...Perhaps no other medium has been described, analyzed, and understood in relation to other media as much as film has been. Theatre, photography, and magic provided a framework for understanding the intermediality of film as an exchange between people, objects, and techniques. In what follows the author shall leave aside the peculiarities of these entities, and shall instead regard them as equivalent containers of knowledge--a reduction that resembles Bruno Latour＇s concept of an ontological symmetry of human and non-human actors （Latour, 1996）. The attempt to describe Hollywood around 1930 as an epistemological network raises the questions of how much external knowledge was necessary and how much was digestible to support the development of a relatively young medium like film at that time？ The author shall claim that Hollywood progressively excluded external ＂actors＂ and therefore was forced to establish its own structures in order to compensate this loss or integrate knowledge on its own terms. The factor that most people working in the industry did not have higher or specialized education proved to be favorable for achieving independence. Autonomy here means self-referentiality as opposed to intermediality.展开更多
文摘The aim of this article is to analyze one of the most recognized in the Russian intellectual-cultural tradition and Russians＇ social self-consciousness ways of identification of the nature of Russianness and Russia--and comprehend it in the category of the ＂Russian Sphinx＂. The Russian thinkers and writers discussing the nature of Russia often return to the motif of Sphinx. Opposed to its ancient Greek archetype-counterpart, ＂the Russian Sphinx＂ does not have to resort to intricate questions--he is a riddle himself. As I show and explain, the livelihood and dissemination of the Russia-Sphinx motif in the homeland of Dostoyevski are not incidental. This motif is a synthetic medium of many archetypal contents, which accurately articulate a set of traditional intuitions and imaginations held by the Russians and concerning the alleged essence, nature, or depth of ＂Russianness＂. To conclude, I demonstrate the need to make the people comprehending Russia in a similar way aware that the accompanying, the particular--in its basic framework a priori assumed by them--image of the Russian reality is de facto a correlate of their subjective cognitive intention.
文摘Perhaps no other medium has been described, analyzed, and understood in relation to other media as much as film has been. Theatre, photography, and magic provided a framework for understanding the intermediality of film as an exchange between people, objects, and techniques. In what follows the author shall leave aside the peculiarities of these entities, and shall instead regard them as equivalent containers of knowledge--a reduction that resembles Bruno Latour＇s concept of an ontological symmetry of human and non-human actors （Latour, 1996）. The attempt to describe Hollywood around 1930 as an epistemological network raises the questions of how much external knowledge was necessary and how much was digestible to support the development of a relatively young medium like film at that time？ The author shall claim that Hollywood progressively excluded external ＂actors＂ and therefore was forced to establish its own structures in order to compensate this loss or integrate knowledge on its own terms. The factor that most people working in the industry did not have higher or specialized education proved to be favorable for achieving independence. Autonomy here means self-referentiality as opposed to intermediality.
