Eastern European Philosophy

After years of neglect, alienation has again reached the agenda of critical thought. In my case, I recognize alienation as a challenge for education in contemporary societies. To obtain conceptual resources to overcome this challenge, I have revisited the comprehensive 20 th century discussion of alienation. Today, alienation is naturally discussed as an existential condition of human being, but still in the 1980s, there was a strong Marxist current that claimed alienation to be implied by capitalism, in particular by the (...) institution of private property and the social division of labor, and that alienation therefore should be criticized as part of the critique of capitalism and political economy and possibly overcome. Today, under the hegemony of neo-liberal capitalism, this critical and processual concept of alienation is more relevant than ever. Hence, in the present work I argue that the basic logic of Marx's idea of alienation still has critical potential. The argument forms a long engagement with mainly 20 th century literature, departing from the very idea of capitalism, considering the ideas of history, education and democracy, discussing how to distinguish and translate key terms, considering why alienation became an object of controversy among Marxists, offering an interpretation of Marx's critique relevant for contemporary society, thus considering alienation a consequence of working under conditions of private property, i.e. being a human being in a capitalist society, and finally presenting Marx's idea of communism as relevant to the contemporary educational agenda. (shrink)

knj. 5. Od Zenona do Bergsona : studije i članci iz istorija filozofije -- knj. 9. Prirodnjački spisi -- knj. 10. Naučni spisi -- knj. 11. Rezime filozofskih i naučnih radova -- knj. 12. Autobiografija, pesme, prepiska.

The paper analyzes the correspondence between Prince Evgenii Troubetzkoy and Marian Zdziechowski, from 1905–1916 (not yet published). The correspondence focuses on the question of Russian-Polish relations and the possibility of Poland’s autonomy within the Russian Empire or the restoration of Poland’s independence. With the clarification of these two thinkers’ positions on the “Polish question,” the paper examines their concepts of nationalism and patriotism, their attitude to the idea of Slavic unity and the role of Russia as well as the correlation (...) between their political views and their religious outlook. It demonstrates how the “fascination” of Polish intellectuals with Russian constitutional democrats in 1905 was replaced by disappointment due to the failure of the First Russian revolution, and then by serious disagreements during the First World War. The conclusion states that despite their disagreements on the “Polish question,” Evgenii Troubetzkoy and Marian Zdziechowski retained respect for each other, and their correspondence reveals new facets of their personalities. (shrink)

In this essay, we provide an overview of Dostoevsky’s reception within Turkish scholarship, drawing on one definitive source: the Literary Journal HECE, Dostoevsky Special Issue (vol 1, vol 2), edited by Birsen Karaca and published in Ankara in 2022 to commemorate Dostoevsky’s bicentenary. The special issue of HECE also examines how the early Dostoevsky in the literature and scholarship of various region—such as China, Pakistan, Azerbaijan, and Turkmenistan—has influenced Turkish Dostoevsky scholarship. This comparative cross-cultural reception of Dostoevsky within Turkish “dostoevedenie” (...) is unique to Turkish scholarship and enables us to understand how Dostoevsky’s works were transmitted from European to Asian culture. (shrink)

This article situates Dostoevsky’s short story A Disgraceful Affair in a Lacanian, psychoanalytic context in order to interrogate Bakhtin’s reading of Dostoevsky’s poetics through his concepts of the ‘carnivalesque’, the ‘chronotope’, and the ‘threshold’. Focusing on ‘shame’ and ‘repetition’ as functions of Otherness in this story, it will analyse the aesthetic means by which Dostoevsky constructs a ‘new’ pathological subject. It argues that in this neglected short story Dostoevsky’s protagonist can be analysed much like the ‘subjects’ of poststructuralism, creating a (...) split subject of ‘Russian’ history. (shrink)

This paper examines the relationship between the generation and suspension of meaning in Dostoevsky’s Demons with reference to Bakhtin’s thesis that one’s meaning is defined by someone else’s answer. By generation I mean both the generational conflict between fathers and children and the generative power of language. It is the division between what one says and what one means that troubles Stavrogin. He has his authorship usurped by others and is not in control of his own discourse. Although the document (...) headed “From Stavrogin” in the unpublished chapter “At Tikhon’s” has traditionally been called a confession by critics, that is misleading, for, as the narrator points, the pages look very much like a political tract, and what is at stake in his dialogue with Tikhon is the very question: is it a confession or not? This document also raises questions about the authenticity of signatures, as does Prince Myshkin’s counterfeiting of someone else’s signature in The Idiot. (shrink)

How should we conceive of the relationship between finite subjectivity and reflection? And what implications does this have for the phenomenological method? This article addresses these questions by reconstructing the main pillars of Patočka’s theory of the subject. I present three of Patočka’s key arguments related to finitude, consciousness, and the world (the primacy of the sum, the reduction to immanence, and temporality); then, after every argument, I outline their implications for Patočka’s philosophy. In particular, I highlight how Patočka’s thought (...) implies a repositioning of the subject in the world to which it ontologically belongs and a reassessment of the meaning of reflection. These theoretical assumptions open phenomenology to a different understanding of the subject than it had previously possessed and promote rich analysis of the movements of existence. The most important implication of Patočka’s theory of finite subjectivity, however, concerns the concept of the world, which bear a significance that extends beyond its critical position vis-à-vis transcendental subjectivity. (shrink)

The article gives a new insight into how prolific the genre of the physiological sketch was in European literature at the beginning of the nineteenth century and how, in turn, it became the foundational genre of the Russian Natural School, at the time when Dostoevsky entered the literary scene in 1846. The genre appeared first in France and England and spread to Russia, where it was taken up by progressive writers and critics and made into a flagship for the sociological (...) representation of the nation through its professions and social occupations. National types, such as the baker, the street sweeper, the lawyer, the clerk and many others were subjects of the sketches. However, when Dostoevsky took up the form of the sketch in his early work Poor Folk, he transformed the typical characters of the nation into subjects who did not fit into the sociological explanation of personality and departed from the poetics of the Natural School. The second part of the essay is devoted to a brief analysis of Dostoevsky’s new poetics and its transformation of the context of the Natural School in which it was engendered. (shrink)

Michael Millerman, English-language translator of many of the works of Russian ideologue Alexander Dugin, has suggested – most recently in an essay in the journal First Things and in an accompanying podcast with the editor of the journal – that Dugin is a thinker of the first rank, offering a political philosophy that liberals and anti-liberals alike need to take seriously. How well does such a claim stand up to critical scrutiny? In particular, does Dugin’s principal contribution to political theory, (...) his book The Fourth Political Theory, offer a coherent and thoughtful philosophical challenge to the liberal and democratic ideas that prevail in Western societies? Or is his “theorizing” of a piece with the hysterical rants that typically characterize his activities as a ferociously anti-liberal ideologue? This article attempts to address such questions by means of a critical re-examination of the relationship between Dugin the philosopher and Dugin the ideologue. (shrink)

The article consistently reconstructs the history of the creation and publication of one of the most important and least researched treatises by Vladimir Solovyov—Istorija i Budushhnost’ Teokratii (The History and Future of Theocracy). The first printed version of this treatise was published in Zagreb in 1887. The ideological context in which this work was written is shown. The important point of this context was the polemics between Solovyov and almost all representatives of the Russian intelligentsia, both conservative and liberal, as (...) well as the restrictions imposed on the publication of his works in Russia by the clerical censorship and personally by the chief prosecutor of the Holy Synod Konstantin Pobedonostsev. The differences and discrepancies between the first edition of this text and the later editions published in three versions of Solovyov’s Collected Works (1904, 1914 and 1966 respectively) are analyzed. The history of the only known manuscript of this treatise, which is currently kept in the Vatican Apostolic Library (Vat. Slav. 64), is presented. (shrink)

This essay explores Friedrich Engels’ understanding of, and contribution to, historical materialism through the lens of his military writings. After unpacking the tacit theoretical architecture underpinning some of his encyclopaedia articles on the history of warfare, I move to focus on his analysis of the organization, culture and leadership of the various antagonists involved in the Crimean War (1853-1856). Notwithstanding the fact that Engels often wore his Marxism lightly when writing on military matters, I argue that these essays illuminate a (...) sophisticated understanding of historical materialism that is quite at odds with those all too often repeated criticisms of his thought as a form of mechanical materialism and economic reductionism. Indeed, Engels’ writings on military organization during the Crimean War illuminate his dialectical understanding of the unity of essential and historical aspects of capitalist management; including powerful and nuanced analyses of national, class, ethnic and gendered subjectivities through which organizational cultures were reproduced in an (emerging) capitalist context. I show that while Engels understood that modes of production set parameters within which specific military forms emerged as (historically) necessary structures, he also laid great emphasis on the ways in which these organizations operated according to their own emergent principles and through specific cultures and concrete individuals. I submit that through these writings he made an important contribution to our understanding of military organization, and one that provides valuable historical context through which to understand more recent conflicts over the Crimean peninsula. (shrink)

Our article discusses one of the most challenging phenomena in the post-communist Romanian cultural field, which concerns the fictional depiction of childhood under communism. On the one hand, this prominent topic within Romanian literature and films of the 1990s and 2000s seems to develop a nostalgic viewpoint regarding the totalitarian regime. On the other hand, both the political views expressed publicly by the authors/film directors, and the markedly ideological parts of the novels/films that thematized the childhood of the 1970s and (...) 1980s, expose explicitly anti-communist stances. Within these coordinates, our study argues that the nostalgia embedded in the respective fictional depictions does not concern the communist, but rather the capitalist Western society, which was regarded by cultures of the former Soviet bloc with desire and idealization. The so-called “Ostalgie” proves, in this respect, to be a “Westalgia”: in most post-1989 Romanian novels/films, children characters or narrators express longing not for communism, but for a Western world, which is idealized precisely as long as the totalitarian regime imposes a clear distance from it. (shrink)

The centennial of the infamous Philosophers’ Ships (filosofskii parokhod) in 2022 offered an opportunity to examine the story that has been evolving around those involved since the end of the Soviet era. This article discusses the place of Gustav Shpet in the myth of the 1922 steamers. Although he never boarded the steamers, Shpet has come to be associated with their story. In asking why this is the case, the article explores the ships’ history as a part of the popular (...) conception of Russian ‘Silver Age’ philosophy. It suggests that this concept developed during the post-Soviet search for an ‘authentically’ Russian philosophical identity and under the strong influence of Nikolai Berdyaev’s émigré era texts on Russian messianism. An examination of Shpet’s and Berdyaev’s parallel philosophical developments between 1916 and 1922 showcases the differences between the two thinkers. The article proposes that Shpet’s philosophy is indeed incompatible with the popular Silver Age narrative and that this narrative, therefore, is in need of revision. (shrink)

This article, finding that the religious paradigm tends to eclipse much of the artistry in The Brothers Karamazov, explores the novel through science and philosophy for Zosima’s “Sermons” and for Ivan’s hallucination of the Devil. It finds that the panspermia theory (“seeds everywhere”), endorsed by William Thomson (Lord Kelvin) and Hermann von Helmholtz in the 1870s, can best explain Zosima’s belief that God planted “seeds from other worlds” on earth (revising both Scripture and Darwinism) and that panspermia, the transportation of (...) cosmic seeds by comets and asteroids, is crucial in the Devil’s discourse to Ivan on palingenesis (eternal recurrence) and evolution. This “repetition” of planet Earth in Ivan’s hallucination links it to “The Dream of the Ridiculous Man”, a scientific narrative of a “twin” of Earth still in its Golden Age of social harmony. The Golden Age, Dostoevsky’s symbol for utopian socialism, is an inherent theme in The Brothers Karamazov through metaphor and metonymy: in Zosima’s creed of the “earthly paradise”, which Alyosha senses in his “Cana of Galilee” epiphany; in Dmitry’s recitations of the poetry of Schiller; and in Ivan’s allusions to the Garden of Eden, a literary metaphor for the Golden Age. The final section outlines the response to the novel of the young neurophysiologist Ivan Pavlov in 1880-81, an insightful perspective on its socialist tendency. (shrink)

In this article, the author reveals the question of the relationship between the political concepts of “conservatism” and “reaction,” their evolution in the historical context, as well as the special place of conservatism in the Russian political tradition.

This article examines stylistic and linguistic aspects of photographic thinking in the novels of Fyodor Dostoevsky and Bruno Schulz. The analysis is framed by the insights of Western and Ukrainian theorists of the image. The development of photo technologies anticipates photographic thinking as an aesthetic phenomenon. Photographic thinking is embodied in the specific artistic and imaginative reflection of reality and the human world, embedded on the linguistic—syntactic—level of the artistic text. In Dostoyevsky’s tract, the text can be seen as a (...) photo album with consecutive snapshots, each frame containing a certain dominant. On the syntactic level, the phrases “suddenly” and “for a moment” introduce the photographic frame or a change of frame. The phrase “for a moment” grounds a new poetic technique, a way of capturing the psychological states of a character when the soul is revealed, that is, when he or she is reacting unconsciously. The capturing of life from the point of view of a camera distinguishes the surrealist fiction of Bruno Schulz. This photographic perspective is connected with a new conceptualization of temporality: the past and the present are on the same plane and neither is the time of representation, which means the subject of representation is always dead. The conception of time as ‘frozen’ in the moment is also part of Dostoevsky’s poetics. (shrink)

The thought of Lev Karsavin—like all representatives of the Russian religious and philosophical renaissance—is deeply rooted in the work and ideas of Fyodor Dostoyevsky. However, instead of focusing on the broad relationship between the two thinkers, we focus here on a specific aspect of their connection: two significant articles by Karsavin on Dostoevsky. These are: Dostoevsky and Catholicism (1922) and—or rather primarily—Fyodor Pavlovich Karamazov as an ideologist of love (1921). After a short presentation of the first text, I will try (...) to show the debatable, controversial, but also inspiring and even daring nature of the second text. (shrink)

This essay examines the role of Martin Heidegger’s philosophy in the ideology of what the author calls the “Nationalist International,” a loosely affiliated international network of “New” Right, nationalist, alt-right, and neo-fascist groups. The author argues that thought leaders of this movement, from the relatively obscure to politicians and organizers in major political parties, such as Steve Bannon in the MAGA movement in the United States or Marc Jongen of Alternative für Deutschland in Germany, have drawn upon Heidegger to articulate (...) their principles and aims. More openly neo-fascist thinkers, such as Greg Johnson in the United States and Aleksandr Dugin in Russia, have produced sophisticated readings of Heidegger to support their causes. Such figures use Heidegger’s critique of Plato, as the onset of a metaphysical nihilism that culminates in modernity, to condemn liberalism as a facet of a rootless universalism that deprives a people of its history and identity. The repudiation of classical liberal democracy in many militant alt-right organizations and online communities played a role in assault on Congress on January 6, 2021 and Donald Trump’s attempted coup that day. The conclusion addresses the question of how educators and others can engage a new generation vulnerable to radicalization and argues for a form of “absolute welcome” as a response to increasing polarization. (shrink)

The present article attempts to reconstruct Polish philosopher and aesthetician Roman Witold Ingarden’s views concerning his understanding of the concept of artistic style. Starting from the hypotheses provided by the content of the outline of his ultimately unwritten work, Poetics, I have chosen selected threads of the discussions held by Ingarden in Lviv before the war, supplemented by the content of the phenomenologist’s lectures from the 1960s, as essential substantive background. Analyzing the material indicated, I demonstrate that it is appropriate (...) for Ingarden’s understanding of artistic style to correlate this concept with the category of aesthetic concretization. Consequently, I draw a conclusion as to the primary role of some aspects of a literary work – appearances, which allow us to inquire into the properties of artistic style practically as a result of their function of decorativeness and polyphony. A condensed comparative analysis of the two functions, as related to excerpts from Gustave Flaubert’s Madame Bovary and Stanisław Ignacy Witkiewicz’s Insatiability, concludes the account of Ingarden’s conception of artistic style, which turns out to be a unique aphenomenal phenomenon. (shrink)

This essay provides an exploration of the intertwining realms of psychiatry and literature, focusing particularly on the case of Fyodor Dostoevsky. The paper gives an overview of the interest in Dostoevsky’s opus and biography displayed by Italian psychiatry, in particular by Cesare Lombroso and the connection he made between genius and mental illness. The essay is divided into two parts: the first, more theoretical, aims to address the question of the osmosis between psychiatry and literature, paying particular attention to the (...) fact that, in the last twenty years of the nineteenth century, this osmosis seems to have centered mainly around Dostoevsky. The first section delves into the theoretical underpinnings of this intersection, highlighting the influence of figures like Cesare Lombroso and the attraction Dostoevsky’s works and biography held for psychiatrists and alienists. The second section examines Luigi Lugiato’s unpublished study on Dostoevsky. Luigi Lugiato (1879-1950), an Italian psychiatrist and alienist, is a perfect example to demonstrate how decades following Lombroso’s death and notwithstanding all the polemics and critiques surrounding his theories, his strong positivist paradigm continues to shape psychiatric analysis and remains influential in the European cultural panorama. The “law of contradiction”, observed in Dostoevsky’s works and life, permeates Lugiato’s own examination of the author. (shrink)

The authors examine the Slovak ethos of plebeian resistance to the First World War in several of its forms. First, they examine intellectual forms of resistance against war, against its Christian justification. Several Slovak authors emphasized that the First World War was in direct contradiction to Christian ethics, asserting that it served as proof of the failure of all European nations and their elites, who were proud of their humanity and ability to solve problems peacefully. Secular authors who based their (...) opposition to the First World War on universal cultural and moral values represented the second form of resistance. After the end of the war, they also expected the equal rights of the Slovak ethnic group in the new post-war situation. The third form of resistance is literature, and the authors of the article focused mainly on Milo Urban’s novel Živý bič (1927) as the most important anti-war novel of Slovak interwar literature reflecting wartime events in the Orava village of Ráztoky. (shrink)

Influenced by the intellectual historical approach, scholars researching the history of Latvian philosophical thought have turned their attention to analyzing archival materials. Texts such as letters and diaries have become a research focus. While this tendency enhances the exploration of the history of philosophy, it also creates new challenges. As the complexity of the historical narrative in philosophy intensifies, it becomes increasingly difficult to understand these processes in a broader context. To alleviate the issue of fragmentation, one possible solution is (...) to explore local theories. Latvian theory delineates a net of individuals who engage in interactions with one another, thereby developing the flow of ideas. In examining the influence of personalism within the intellectual space of Latvia from the end of the nineteenth to the first third of the twentieth century, this article reveals two philosophemes of Latvian theory: substantiality and panentheism. (shrink)

Dostoevsky’s discourse in The Idiot is aimed—and this is his main artistic task—at developing the artistic language of a previously unknown world, of the singular human experience unfolding within the novel, rather than at conveying a finished, completed plot. The focus of this paper is on the process of constructing this new symbolic language of self-understanding, which can be approached through an analysis of the unique interplay of textuality, visuality and corporeality in this novel and in the genre of the (...) modern novel. This paper shall examine the crucial role played by Dostoevsky’s drawings and calligraphy in the poetics of The Idiot in the context of the genesis of this novel, in order to show that the “ideograms” that appear in sketches and drafts are saturated with metaphorical meaning and thus become text- and plot-forming motifs and discursive signs. This new discourse of the novel incorporates several other literary works at the level of intertextuality (specifically Cervantes’ Don Quixote and Victor Hugo’s novel The Last Day of the Condemned Man), and in this way recalls the genre specificity of the modern novel and the creative processes of text and plot creation. (shrink)

In this article the heritage of Hryhorij Skovoroda is considered from the metaphilosophical point of view. This point of view is useful because it allows seeing some syncretism as unity of philosophy, theology, religion, myth, and poetry in the heritage of Hryhorij Skovoroda. Therefore, the author stresses that when we analyze the Hryhorij Skovoroda’s heritage it is wrong to divide it into such parts as philosophy, theology, religion, myth, and poetry. This division doesn’t lead to the whole understanding of Hryhorij (...) Skovoroda’s personality and works. The author argues that Hryhorij Skovoroda is the follower of Philosophia Perennis’ tradition, which is characterized by syncretism. Such syncretism of the Skovoroda’s heritage is neither bad nor good. We see the unique unity of philosophy, poetry, religion and mythology in the Skovoroda’s life and in his works. The author argues that such unity is useful for the deeper understanding of the world and a human being. Syncretic unity of Skovoroda’s worldview helps to overcome the different oppositions of classical philosophy (subject-object, inner-external, immortal-mortal, natural-supernatural, human-divine, relative-absolute etc.). We live in the times of analysis and fragmented world. Therefore syncretism is very hard to understand. In order to understand syncretism we should return to synthetic thinking, we should rediscover the synthetic function of our consciousness. The life and the works of Skovoroda show us how a human being can think synthetically and regain the whole worldview. The whole worldview helps live in the harmony with others and nature. This harmony is very needed in our times of “moral blindness” (Zygmunt Bauman), decay of traditions, which were oriented us towards common values. Keywords:, metaphilosophical approach, unity of opposites, mythopoesis, syncretism, synthesis of philosophy and religion, vocation. (shrink)

Józef Tischner, a Polish twentieth century priest and philosopher, is mostly known for his ideas relating to the theme of solidarity, as well as for his original ‘philosophy of drama’. This article examines selected aspects of his early philosophy, without which those two major contributions cannot be properly understood. I begin by a brief synopsis of three thinkers which have exerted major influence on Tischner – Edmund Husserl, Max Scheler, and Roman Ingarden. I then proceed to recount Tischner’s own early (...) philosophy as an investigation of human self-awareness, showing how several ideas (such as ‘solidarization’) contribute to Tischner’s later thought. Finally, I offer a brief critical remark to Tischner’s work – namely, whether it is possible to argue for an ultimately axiological constitution of self-awareness, without taking a stance on the question related to the nature and existence of values. (shrink)

Money and gossip in nineteenth-century Russian fiction act as combined forces that disrupt the narrative and the relationships between the main characters. The motifs of money are prominent in the novels of both major and minor Russian writers and when seen side by side, the function of the motifs of money becomes clear as a genre marker. The two writers discussed in this paper are Fyodor Dostoevsky and Yevdokia Rostopchina. By placing their works side by side, it becomes evident that (...) their treatment of money represents a similar artistic response to the changing world of Russian social relations in the nineteenth century and the emergence of a new value system replacing that of the old estate culture. More than that, the treatment of money in combination with the prominence of gossip as a structuring device, which moves the plots in Rostopchina’s and Dostoevsky’s novels, reflects the development of the novel as a genre. Rostopchina’s seemingly compliant demeanor conceals a more intricate and subversive agenda. Through her strategic use of feminine masquerade, Rostopchina not only anticipated modern theories of gender as a social construct but also employed a timeless tactic of encoding subversive messages within seemingly conventional works. What is of particular interest in this paper is the incorporation of the society tale into the novel and how this reflects the transformation of value in the nineteenth-century Russian novel. (shrink)

Very often in frameworks for and presentations of The Brothers Karamazov, the modern reading public attempts to divide characters by their ability to reason. Usually Ivan is remembered for his reason, pitted against Dmitri’s passion. Adapting some terminology from mathematical logic, I propose and trace a different approach to reason in Dostoevsky’s text, to recast its canonical characters into alternative, though still fluid, categories. This exercise aims not to reinscribe or to reinterpret Dostoevsky’s novel but rather to reconsider an aspect (...) of reasoning, specifically modes or forms of logic. With an admittedly imperfect mapping of characters onto these logical structures, this article encourages the ways in which we can trouble notions of stable reason and sound logic as they operate in the novel. (shrink)