Статья посвящена вопросу о структуре псевдонауки как ненормативной интерпретации данных, имеющей специфические когнитивные признаки: неопределенную область применения, ограниченную фактическую базу, ненадежные допущения и др. Обсуждаются различия и сходства псевдонауки и гипотезы как форм знания. Анализируется свойство системности научного знания, где теории и гипотезы поддерживают друг друга, изоляция же от признанных теорий рассматривается как признак псевдонауки. Аргументируются возможность определения достоверности гипотез «здесь и сейчас» в зрелой науке и неправильность анализа псевдонауки как научноисследовательских программ (И. Лакатос). Неоднозначные примеры, такие, как космологические и (...) психологические теории, анализируются в контексте предлагаемого подхода к определению псевдонауки. (shrink)

Since Estonia is in the midst of a national redefinition and examination of past traditions and future aspirations, it makes an excellent case study for the potentiality of theatre as an arbiter of national identity. The changing value of the institution itself is part of the equation (will Estonians continue to appreciate and attend the theatre in coming years?). In addition, the historical role of Estonian theatre as a repository for national narratives, especially literary ones, makes it a significant site (...) for struggles around print and technology, and between embodied performances and archival performatives.This essay introduces a series of articles that address how Estonia and its theatre might be regarded and understood in light of its history, memories, present experiences, and future possibilities. The idea of pretence that lies at the heart of theatricality itself provides an ideal means for interrogating national identity in a time of great instability and flux. The examples of productions discussed in these three essays share more than a deliberate utilization of the rubrics of theatricality. It seems no coincidence that the reworking of national classics, Estonian national myths, and ethnic folk songs and ceremonies takes place concurrently with the representation of new technologies, commodity capitalism, and diasporic collisions. Embodying precisely the predicament of culture in a country reassessing its past and confronting its future, the theatre is an important institution for national resignification. (shrink)

Maximilian Voloshin turned to classical metres after he moved to Crimea that in his consciousness had associations with Hellas. Also, his friendship with Vyacheslav Ivanov became an important stimulus. Initially, Voloshin used the same metres that can be found in Ivanov’s collection of poems Кормчие звезды. However, their form shows that Voloshin was well familiar with classical poetry.

In a series of his studies A. Lebedev insists in abandoning of the term Vorsokratiker, introduced by Diels-Kranz and widely accepted in the contemporary historiography of the ancient philosophy. Essentially, he proposes three basic arguments. The purpose of this article is to show that all of them are weak and, therefore, one cannot accept Lebedev’s criticism as convincing.