Abstract
The article is about philosophical comprehension of cultural semantics and historical dynamics of the most important concepts in Russian culture related to war and peace, which is based on the theory of dialogue as a universal cultural mechanism (M. M. Bakhtin). The extensive empirical material of Russian art and intellectual reflection (P. A. Sorokin, D. S. Likhachev, A. M. Panchenko, Y. S. Stepanov) of the 19th – 21st centuries serves as the basis for the cultural-philosophical discourse of the concepts «war» and «peace». The author describes a special algorithm of their interac-tion: entering into a dialogue with each other, the concepts converge and blur, unite and disintegrate. The key factors that condition this algorithm are the following: the initial involvement in ambivalent chronotopes; the formation of a mediative zone as a result of the dialogue (outside both chronotopes and between them); the risks of misunderstanding due to which the dialogue turns into confrontation. The article defines the conceptual sphere of «war and peace» dis-course, including both the concepts of «war» and «peace» and the emerging intermediate concepts: «peace-war», post-war, post-peace, characterized by polysemy, syncretism and semantic ambiguity. All these unconventional concepts are a kind of simulacra of historical transformations in contemporary understandings of war and peace. They are reflected in artistic texts (literature: from Leo Tolstoy to A. Korolev, music: D. Shostakovich, S. Prokofiev, cinema: from S. Gerasimov to A. Balabanov) and their critical interpretations.
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