Специфіка російського софіологічного міфу
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Date
2019
Authors
Демчук, Руслана
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Abstract
У статті здійснено аналіз провідних концепцій російської софіології – трансформації "теорії всеєдності" В. Соловйова. Російський спосіб філософствування постає як несвідоме міфологізування, де в підсумку Софія виступає як персоніфікація Космосу – опозиція вселенському Хаосу, що є загальним місцем усіх зазначених концепцій. Проте опозиційні категорії космосу – хаосу є характерним маркером "священного" міфу. Отже, російська інтелектуальна думка, занурившись у Софію, створила інваріант софіології як топос міфопоетики, що розроблялася у формі авторського (вторинного) міфу. Специфічна російська софіологія постала як реакція на політичні події усвідомленого "есхатологічного" кінця "русского міра" напередодні його краху на тлі революційних змін 1917 р.
The article analyzes the Russian ideological phenomenon of the late 19th – early 20th centuries, notes that the categories "sobornost", "the spirit’s integrity", and "all-unity" that were reflected by the Russian thought straightaway, contrasted to all Western philosophy that had become a request for the constitutions of the original Russian philosophy. The unclear relationship of the Russian reflection with theology and its incompatibility with scientific philosophy had conditioned the selection by Russian thought a peripheral theme for both directions, not in the sense of having a theme but in the developing it on the Russian base. Russian originality is concluded in the transformation of the topic of all-unity and understanding it as a sophiology, which we consider in the mode of the author’s myth. After all, leading sophiological concepts point out the authors’ unavailability to separate myth from philosophical logos. The sophiology begins where the tendency towards the hypostasis of Sofia manifests itself, giving it the status of the creature that is conscious of itself, or the face-hypostasis. The quintessence of V. Solovyov’s concept is "Everything is Sofia", P. Florensky’s – "All Orthodox and churched are Sofia", S. Bulgakov’s – "God is Sofia". However, the common place of all theories is that Sofia acts as a personification of the Cosmos, which is opposed to the Chaos. Consequently, Russian sophiology is a typical authorial (secondary) myth, not a Russian kind of philosophical knowledge, as it is mainly positioned in case studies. The theme of Sophia became a marker of the "Silver Age", when there were sophiological concepts of E. Troubetzkoy, L. Karsavin, S. Franko, O. Losev, O. Blok’s sophiography poetry of the Beautiful Stranger. Specific Russian sophiology appeared as a reaction to the political events of a conscious "eschatological" end of the "the Russian World" on the eve of its collapse, against the background of the revolutionary changes in 1917.
The article analyzes the Russian ideological phenomenon of the late 19th – early 20th centuries, notes that the categories "sobornost", "the spirit’s integrity", and "all-unity" that were reflected by the Russian thought straightaway, contrasted to all Western philosophy that had become a request for the constitutions of the original Russian philosophy. The unclear relationship of the Russian reflection with theology and its incompatibility with scientific philosophy had conditioned the selection by Russian thought a peripheral theme for both directions, not in the sense of having a theme but in the developing it on the Russian base. Russian originality is concluded in the transformation of the topic of all-unity and understanding it as a sophiology, which we consider in the mode of the author’s myth. After all, leading sophiological concepts point out the authors’ unavailability to separate myth from philosophical logos. The sophiology begins where the tendency towards the hypostasis of Sofia manifests itself, giving it the status of the creature that is conscious of itself, or the face-hypostasis. The quintessence of V. Solovyov’s concept is "Everything is Sofia", P. Florensky’s – "All Orthodox and churched are Sofia", S. Bulgakov’s – "God is Sofia". However, the common place of all theories is that Sofia acts as a personification of the Cosmos, which is opposed to the Chaos. Consequently, Russian sophiology is a typical authorial (secondary) myth, not a Russian kind of philosophical knowledge, as it is mainly positioned in case studies. The theme of Sophia became a marker of the "Silver Age", when there were sophiological concepts of E. Troubetzkoy, L. Karsavin, S. Franko, O. Losev, O. Blok’s sophiography poetry of the Beautiful Stranger. Specific Russian sophiology appeared as a reaction to the political events of a conscious "eschatological" end of the "the Russian World" on the eve of its collapse, against the background of the revolutionary changes in 1917.
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Keywords
Софія, софіологія, російська філософія, В. Соловйов, П. Флоренський, С. Булгаков, авторський міф, стаття, Sophia, sophiology, Russian philosophy, V. Solovyov, P. Florensky, S. Bulgakov, author’s myth, article
Citation
Демчук Р. В. Специфіка російського софіологічного міфу / Руслана Демчук // Наукові записки НаУКМА. Історія і теорія культури. - 2019. - Т. 2. - С. 21-28.