Eternal Ideas Research Articles

The Impact of One Thousand And One Nights on Western Romance Stories. The Story of Tristan and Isolt Is an Example

Objectives: This research is concerned with demonstrating the impact of the ancient Arabic narrative structure on Western love stories. To demonstrate the areas of convergence and divergence in the fundamental and eternal idea of love, as writers expressed it in their arts in varying ways, and they met in expressing it in some axes, which leads to exploring Western civilization’s dialogue with the stories of One Thousand and One Nights in Western love stories. Methods: The research considered that the optimal threshold for comparison is to determine the impact of Arabic literature on Western literature, and to explain the term “romance.” Then, taking the stories of One Thousand and One Nights as a reference text, we show, through comparison between it and one of the love stories known to Westerners - which is the story of Tristan and Aizult - the points of similarity and difference between them, adopting the approach of intertextuality to clarify the features of the cultural impact of the stories of One Thousand and One Nights. In Western stories. Results: The West’s contact with the East had an impact on the new concept of love in European literature. The book One Thousand and One Nights is considered one of the most influential books in Western romances, including the story of Tristan and Iseult. The research showed the possible Arabic origins of this story through textual comparison, as well as between the most prominent features. The cultural impact of One Thousand and One Nights. Conclusion: The book One Thousand and One Nights had an impact on changing some Western literary concepts, including the concept of romance, and this influence was clear in Western romances. Recommendations: The research recommends paying attention to comparative studies and rooting literary concepts and their roots to demonstrate the points of convergence between cultures and the role of Arabs in civilizational interaction.

Reinterpretation of Mythological Characters in Youth Culture

The article deals with the specifics of modern reinterpretation of mythological characters, as well as its representation in youth culture. Mythological subjects and their heroes remain attractive for the creative sphere for many centuries. For young people, immersion in mythology allows them to develop constructive solutions to many issues, to recreate a positive picture of the world through the eternal idea of the triumph of good and justice reflected in ancient texts. It is the reinterpretation approach to the reading of world-famous works that allows us to use a wide range of myth. For example, the interest in the myths of European society in the second half of the 20th century is due to the fact that this time is associated with the threat of the outbreak of nuclear war and, as a consequence, with constant uncertainty and the simultaneous desire of each person for a life-affirming and immutable basis, such as the classical one. The evolution of representations of myth in culture has led to the emergence of reinterpretations of the original source, making some of them popular, including with youth audiences.In the 21st century, other mythological images have emerged in accordance with the challenges of the time, which we consider as cultural products of a new level, characterized not only by an appeal to the classical text, but also by a commercial component. The article provides several examples of how the new artistic presentation of mythological characters is reflected in modern mass youth culture — in literature, video games and cinema. The modern interpretation of the tales of ancient civilizations is based on the cultural preferences of mass viewers: the images of myths can be canonical or modernized, but in any case universal. The process of giving new meaning to myths familiar from the school days from an unexpected (nonclassical) side has been repeatedly discussed in the scientific cultural field.The relevance of reinterpretation of mythological characters in youth culture is due to the desire of the new generation not only to rethink the cultural heritage, but also to get in touch with it.

Предназначение неклассического искусства как философская проблема (на материале философии В. С. Соловьева, С. Н. Булгакова и Н. А. Бердяева)

Introduction. In the modern world, the problem of the purpose of art remains relevant due to the emergence of various forms of non-classical art. Modernism and postmodernism differ from classical art, therefore it is inappropriate to transfer the purpose of classical art to these movements without a deep analysis. It seems reasonable for the analysis of non-classical art to consider it through the spectacles of Russian religious philosophy. Theoretical analysis. Representatives of the philosophy of unity and the representative of religious existentialism N. A. Berdyaev wrote about the purpose of classical art. The question arises: what is the purpose of non-classical art – modernism and postmodernism? The philosophers themselves – V. S. Solovyov, S. N. Bulgakov, N. A. Berdyaev analyzed works of classical art and modernist works. The author analyzes the artifacts of postmodern art through the spectacles of Russian religious philosophy. Conclusion. For a deep analysis of works of non-classical art, the criteria developed in the philosophy of unity should be used, since any work of art can be evaluated for the author’s desire to realize unity and from the point of view of actualization of eternal ideas. It is also possible to use the concept of Berdyaev’s creativity for the analysis of modernism, but this concept is not applicable for evaluating the art of postmodernism.

Eternity As A Concept Determining The Purpose and Method of Sufism: The Idea of Human Eternity in Junayd al-Baghdādῑ

İslâm düşünce geleneğinde daima ikmâl edici ve kuşatıcı bir misyonla faaliyet gösteren tasavvuf, âlem ile Allah irtibatını, diğer disiplinlerden farklı bir gâye ve farklı bir yöntemle izah etmektedir. İslâmî gelenekte tedâvül eden hemen her tasavvur ve tasdik için de daha geniş ve derin anlamlar teklif eden sûfîlerin dayandıkları bazı üst ilkeler vardır. Bunlardan biri de insanın âlemin herhangi bir ferdi olarak değil, Allah’ın husûsî bir kurgusu olarak var olduğu inancına kaynaklık eden “ezeliyet” kavramı veya ruhun ezelîliği düşüncesidir. Ezeliyet kavramını normatif geleneğin hassasiyetlerinden uzak ama yine de Ehl-i sünnet anlayışına muvâfık bir tarzda yorumlayan sûfîler, kavrama tasavvufun hemen hemen bütün meselelerini taşıyabilecek bir kapasite tanımışlardır. Husûsen tasavvuf tarihinin inşa edici simalarından Cüneyd-i Bağdâdî (ö. 297/909), insan ve Allah arasındaki irtibatın boyutlarını “ruh” üzerinden ele alarak beşerî vücûdda ilahi bir unsur olan ruha yönelmeyi düşünce sisteminin merkezi haline getirmiştir. Bu konudaki mülahazalarıyla “Allah insanın nesi olur?” veya “İnsan nerelidir?” gibi çok temel iki soruya cevap arayan Cüneyd, bir şekilde “ruhun ezeliyeti” düşüncesine ulaşmıştır. Öyle ki bu konu hakkında öne sürdüğü fikirler, Cüneyd ile birlikte tasavvuf ilminin gâyesinin “ezeliyete vuslat”, yönteminin ise “ezelî ahde vefâ” olarak güncellendiğini söylememizi mümkün kılmaktadır. Cüneyd’in tevhîd anlatılarının ana temasını oluşturan “mîsâk” olgusu ile tevhîdin usûlü olarak takdîm ettiği “fenâ” tecrübesi bu noktada Cüneyd’in ezeliyet düşüncesini kavramak bakımından büyük önem arz etmektedir. Bu makale, mîsâk ve fenâ gibi kavramsal referanslardan hareketle, taşıyıcı bir kavram olarak ezeliyetin, Cüneyd’in düşünce sistemindeki yerini ve etkinliğini ortaya koymayı, aynı zamanda kavramın tasavvuf ilminin gâyesi ve yönteminin belirlenmesine nasıl kaynaklık ettiğini açığa kavuşturmayı amaçlamaktadır.

Rozumienie czasu według J. Ratzingera w odniesieniu do poglądów św. Augustyna, G. Greshake i M. Heideggera

The subject of reflection in this article is the interdependence of the concept of time, which is not in contradiction with the idea of eternity, memory and the “dialogical” soul. The views of J. Ratzinger against the background of the ancient tradition represented by St. Augustin, whose reflection is the basis and starting point of Ratzinger’s concept of time, conceived anthropologically and spiritually. Then, their continuation is presented on the basis of the theological discussion with G. Greshake, in which he criticizes the theory of resurrection in death without the soul, containing the essence of the existence of the human person and its history. At the same time, Ratzinger regards Greshake’s effort to re-understand time as a step forward in understanding the hope of eternal life. A reference to contemporary philosophy presented on the example of Martin Heidegger, whose analyzes and, unfortunately, the closed notions of temporality and being that describe human existence, are included in the background of considerations on eternity. This shows that also on the basis of existential philosophy it is at least possible to be aware of the idea of eternity and God. The above analysis also indicates the need for a new study of the biblical and anthropological foundations of the issue of time – memory, soul and speaking about eternal life in their context.

B Flach! B Flach!

B Flach! B Flach!

Times and Seasons

Times and Seasons

Through Him All Things Were Made

The medieval theological worldview was a synthesis of grace and nature that allowed theology and science to act together in a sacred and salvific pursuit of knowledge. This synthesis is beautifully expressed in the Divine Ideas tradition. In this tradition, the tapestry upon which ancient and medieval theology was written, created things existed by reflecting God’s eternal ideas of them. This gave all natural knowledge a Trinitarian dimension because the generation of ideas in the Divine Mind and of created things in the world was isomorphic with the generation of the Son, the uncreated Logos. In my paper, I will argue that just as all things exist as a primordial sacrifice of the Creator offered and known outside Godself through the Son-Logos, so we participate in that primordial gift (in beatitude) when we, recognizing the divine profundity of nature, come to a knowing of God-in-things—to use Meister Eckhart’s phrase. In this tradition, humans, made in God’s image, are ordained to participate in God’s knowing of all things, and to offer creation back up into Divine life by knowing and worshiping God through theology, science, and liturgy. The Divine Ideas model, then, would restore to the sciences a contemplative, salvific power in recognizing the mystical depth of creatures. I will examine theologians like Maximus the Confessor, the Victorines, and modern theologian Mark McIntosh as they see both scientific and theological knowing as a deifying participation in Divine life. I will look at the poetry of St. John the Divine and Thomas Traherne as it lifts the human imagination, illumined by nature and consecrated through liturgy into the life of the world to come. I will close by saying that this tradition becomes especially important in a world confronting the climate crisis. By recognizing the Divine dimensions of creatures, we see how the waste and pollution of the integrity and beauty of the wilderness blemishes the sacrifice of knowing and love that humanity is called to offer to God through theology, the sciences, and the eucharist.

A biotheology of God’s divine action in the present global ecological precipice

Theological discourse surrounding the environmental crisis has rightly brought to the forefront human agency as a primary causal determinant. However, this article explores a theistic divine action position toward an account of the present global precipice that the earth and all its creatures teeter upon. The first section offers a preferred view of divine action theory, Divine Compositionalism, with explanatory power to account for an ever-changing planet. Furthermore, Divine Compositionalism is used to ground the role of God as Creator and sustainer of all things toward a constructive biotheology. The second section accounts for both human culpability and God’s divine action, retaining human free will and God’s sovereignty within a creation God owns and loves. The final section explores a possible remedy to the environmental precipice through the very elements of human cooperation that ensured the success of our prehistoric ancestors. A cooperative biotheology entails humanity re-claiming its inter-relation with all creatures in a world family while exercising the free will to partner with one another on a spiritual level in accomplishing God’s good and wonderful eternal ideas for the next step in human spiritual development toward earth’s physical evolution.Contribution: Drawing upon Divine Compositionalism as a new view of divine action, this article explores God’s action in the natural world as it is now and offers a biotheology that entails divine–human partnership toward an alternative future outcome.

St Augustine’s Teaching on the Image of God in Man in the Mystery of Creation

ree comments on the Book of Genesis and the treatise On the Trinity enabledus to become acquainted with the Augustinian teaching on the image of Godin man in the mystery of Creation. anks to such a narrowing of the source material,we could more carefully and with greater prudence analyze the thoughtsof the Bishop of Hippo. We hope that in this way we managed to avoid the riskof superficiality and we took into account all the statements of Saint Augustineregarding the problem posed. Unfortunately, L. Krupa did not prevent himself from committing this mistakeN8. He did not take up the subject of human natureas an image of God, and completely passed over in silence the polemics of theBishop of Hippo with Gnostics, who regarded the human family as the imageof the Holy Trinity. Based on the analysis carried out, we could see that accordingto Saint Augustine’s image of God in man is to be sought in his soul, andin the strict sense, in this “part” of him, which is focused on the contemplationof eternal ideas. e essence of the image of God is expressed in the ability of thesoul to participate in God’s life. All this reflects, as Saint Augustine states, thetrue honour and dignity which man owes to his Creator. A characteristic featureof God’s image, even a basic one – in view of the Augustinian approach – is itstrinitarian character.Saint Augustine tried to seek the traces of the Holy Trinity everywhere.is significant task was the passion of his life. Finally, he has found the imageof the Holy Trinity in man. He tried to provide his readers with an insight intothis reality through the trinitarian analogies, the source of which he discoveredin the structure of the human soul. Considering the entirety of St. Augustine’steaching on the image of God in man in the mystery of Creation, the analogousimages of the Holy Trinity in the soul seem to be the most interesting for us.On the other hand, like Saint Augustine, however, we are aware of their greatlimitations. For what is created, even in its most beautiful representation, in comparisonwith the Creator will always be in a vulnerable and poor condition.

СУЩЕСТВОВАНИЕ АВТОРСКОГО ТЕКСТА В КОНТЕКСТЕ ПОНИМАНИЯ ПЛАТОНОВСКИХ ЭЙДЕСОВ

This article is devoted to the study of musical text in the context of the Plato ontology. Our task is to show the process of cognitive comprehension of a musical text as an ontological and hermeneutic reflection. It is fundamentally important for the author to become acquainted with two basic philoso-phical positions, showing fundamentally opposite views on the musical ontology as a whole. To reveal the existence of a musical text at the ontological and hermeneutic levels, we need to develop the neces-sary tools to “subtract” the authentic meanings that underlie the creation of the creator of the text. In the context of the problem under study, we will get acquainted with the various ontological positions of philosophers such as Peter Kivy, Jerome Levinson and other thinkers. Observing, for example, the invisible controversy of Kiwi and Levinson, we can track two radically opposite approaches to the study of musical text. Developing the position of classical Platonism that musical compositions are discovered rather than created, Peter Kivy shows us musical works as discovered eternal types. The opposite position is that of Jerome Levinson, showing a musical composition as a soluble idea, which lies in the potentiality of the author. This approach criticizes the idea of combining musical creations with Platonic universals (Kivy), arguing, on the contrary, about the author’s onto-logical principle. Choosing one of the approaches to understanding the authentic intent of the author’s text, we need to establish the primary and secondary levels of reflection. Given the direct relationship between the author and the interpreter of the text, it is important for us to identify the ontological conditions for the emergence of the text as the primary level of reflective immersion. The level of hermeneutic exist-ence, which implies the conditions and variability of the musical variant of the text, we will attribute to second-order reflection. Thus, in the context of the Plato ontology, it is important for us to identify the uniqueness of the historical text and show the self-existence of its existence. In this regard, the author comes to the con-clusion that the moment of birth of the text is in intuitive experience as an eternal idea that does not depend on anything and does not go anywhere. This level is the most basic, since the fact of fixing the idea of the text in direct graphics is secondary, and having recognized the graphics, the transcriptor creates the interpretation-thing of the idea, just trying to establish similarity as the principle of com-munication. An attempt to establish this connection in the form of a musical interpretation is multivari-ate and coincides with the original idea only partially. As a result, at the hermeneutic level, scoring of musical notations enlivens the musical being of the text, but at the same time alienates us from under-standing its original idea.

On Life: A Critical Edition by Tolstoy Leo Inessa Medzhibovskaya Michael Denner Inessa Medzhibovskaya Tolstoy and His Problems: Views from the Twenty-First Century by Medzhibovskaya Inessa (review)

SEER, 98, 1, JANUARY 2020 156 twentieth century’. Russian culture was placed ‘outside of modern history as an imaginary sanctuary of eternal ideas and passions’ and presented as a sort of ‘secular religion’ that justified a sense of ‘spiritual superiority’ (p. 767). If the History has a ‘tendency’ or a thesis to make, this is probably it. It is made in the face of Russia’s current repressive messianic nationalism. The book itself is so thick and long that any singular thesis or bias is swallowed up in the multi-dimensional mass. But one can detect a profession de foi of sorts in its tiny three-page Conclusion, which circles round to a question asked in the Introduction: ‘Why, and how, have the grand narratives of sacredness and exceptionalism in literature and history been so durable?’ (p. 5). Russian verbal culture is very, very good — but it is not sacred, superior, exceptionalist, prophetic or salvational. It is just literature, made by mortal hands, and when it experiments and frolics about, it has the right to stumble like every other free human craft. Readers have the right to ignore it. Thus the History endorses the alternative to the exceptionalist view, which is ‘to demonstrate the transformations of literature rather than emphasize perennially repeating elements and structures’ within it (p. 5). And it could be argued that this is something of an outsider’s view, one not shared by many Russian writers of genius. This includes the prophets of the nineteenth century, of course, but also those who would throw the Russian classics overboard, dreaming of being just ordinary workers whose special skill happens to be language and the arrangement of sounds and ideas on the page. Many Russian writers, even the most modernist, postmodernist, democratic and playful, treasure their special status. A ‘secular religion’ is precisely what they assume the word should be. Losing this special status is — like every genuine liberation — an act of orphaning as well as an exhilaration. The Oxford History paves the way. Princeton University Caryl Emerson Tolstoy, Leo. On Life: A Critical Edition. Edited by Inessa Medzhibovskaya. Translated by Michael Denner and Inessa Medzhibovskaya. Northwestern University Press, Evanston, IL, 2019. xii + 246 pp. Illustration. Notes. $27.95 (paperback). Medzhibovskaya,Inessa(ed.).TolstoyandHisProblems:ViewsfromtheTwentyFirst Century. Studies in Russian Literature and Theory. Northwestern University Press, Evanston, IL, 2019. xiv + 233 pp. Illustrations. Notes. $39.95 (paperback). These two books, both edited by Inessa Medzhibovskaya, make a significant contribution to Tolstoi studies. The first one provides essential guidance to any scholar, Russian or international, who wants to understand On Life. Written in REVIEWS 157 1886–87, it is Tolstoi’s most thorough statement of his philosophical position in the later part of his life: in a letter in 1889 he identified it along with What I Believe (1883–84) as his most important work (L. N. Tolstoi, Polnoe sobranie sochinenii [PSS], vol. 64, p. 317). The Orthodox Church during imperial times and then the Soviet government regarded it as subversive. Today the Church and government are still suspicious (with good reason) of Tolstoi’s thought, while others, remembering the Tolstoi they were taught during Soviet times, regard him as old hat and too Soviet. So, in an irony of history that Tolstoi would have appreciated, it has been left to an American scholar, Professor Medzhibovskaya, to produce an edition of On Life that would have been admired by the great textologists and scholars who worked on the so-called Jubilee edition of Tolstoi’s writings (1928–58). These include A. I. Nikiforov, who prepared On Life for volume 26. He provides a detailed account (PSS, vol. 26, pp. 748–844) of its conception and writing, its publication and its rewriting in 1888 and later. He compares the 1884 version with later ones and describes the drafts of the work and compares them. What he could not do when the volume came out in 1936, at the height of Stalin’s purges, is analyse its meaning. Not labouring under such constraints, Medzhibovskaya focuses her edition on the development of Tolstoi’s ideas through its writing, and also its publication history. She includes reviews and responses to it, adding Tolstoi’s...

Marian Theme in Music: Aspects of History and Genre Stylistics (a Case Study of the Works byKonstanty Antoni Gorski)

Marian Theme in Music: Aspects of History and Genre Stylistics (a Case Study of the Works byKonstanty Antoni Gorski)

In-human Immortality – a Handful Reflections on the Idea of Eternity in the Poetry of Zbigniew Herbert

In-human Immortality – a Handful Reflections on the Idea of Eternity in the Poetry of Zbigniew Herbert

"Межа любові" у повісті "Старосвітські поміщики" М. В. Гоголя

The article is devoted to the story "The old world landowners" of N. V. Gogol. It substantiates the idea of eternity and all-the integrity of love, which has reached its "limit" when the two became the one. It can be traced how the old world is changing when rational (the synonymous with evil) enters. "Mental infancy" – a pledge of the existence of earthly paradise, but the idyll comes to an end with the "knowledge". There is a violation of the external borders of the old world of landowners, where the space in is clearly divided into "their" and "foreign". The estate of Pulcheria Ivanovna and Afanasy Ivanovich is the House with a capital letter, and the main foundation of this House is love, which indicates that N. V. Gogol’s characters are connected. Even after the death and understanding the inevitable death of the patriarchal lifelove remains, where "the two will be the one" (P. Florensky). In this paper, the author focuses on such peculiarities of Gogol prose as poetry. It also underlines that the story "The old world landowners" – is the poetization of the prose of life.

Artist of Lutsk Gavrilo Ostapenko

The article examines the life and work of Gavril Ostapenko, his cultural and social activities, the formation of the artist's creative personality. The name of Gavril Nikiforovich Ostapenko is little known to the general public. However, today the works of the artist attract the attention of museum workers and art critics. In them, using the language of color and line, rather than dry numbers and facts, the artist easily and simply, with sincere admiration and great artistic taste, tells about the city in which he lives, the streets of which he walks, observes its inhabitants. Looking at the works, we seem to turn the pages of the history of Lutsk, its changes - the artist has a monologue about this with the viewer: touching, sincere, sometimes naive. Almost all of G. Ostapenko's creative heritage is now in the funds of the Volyn Museum of Local Lore. It was deposited in 1972 - after the artist's death. GN Ostapenko's biography will not surprise with any unexpected facts, because it is typical for that time. He was born on the Don on March 26, 1892. He came to Volyn with his family for three years, becoming its resident forever. After World War I, in which he participated, he worked as a teacher of graphic arts in men's and women's high schools, men's gymnasium in Kovel. All his life the artist was engaged in his favorite thing. Talented by God, hardworking, attentive connoisseur of beauty, G. Ostapenko sought in his works to embody the eternal ideas of goodness, harmony, love, and - to preserve for posterity the beauty of his hometown. Love for life, chosen profession, admiration for the beauty of native places - these ideas were a priority for G. Ostapenko. Artist of the city… This is the name of this modest, talented man. Becoming one of the heroes of the city‟s history, he forever inscribed his name in the chronicle of Lutsk of the 20th century. His works encourage art critics to re-analyze G. Ostapenko's painting, evaluate it and determine the place and role of the artist in the artistic space of Volyn at the present stage.

Augustyńska koncepcja rationaes aeternae a badania Edyty Stein nad zagadnieniem sensu

In this article I discuss St. Augustine’s conception of divine or eternal ideas (rationes divinae or aeternae) in respect to its implications concerning the notion of eternity. The analysis of a passage of De diversis octoginta tribus quaestionibus – a classical formulation of the conception of rationes aetearnae – is contrasted with the XX-century exposition of the problem presented in Edith Stein’s Endliches und ewiges Sein. Versuch eines Aufstiegs zum Sinn des Seins. I discuss parallels between these two conceptions, drawing conclusionsregarding their similarity. An important common denominator in both approachesis the intelligibility of God understood as Logos that manifests itself in creation and canbe an object of human cognition. Eternity is understood not only as an unending state ofconstant timelessness, but also as an cognitive activity of visio beatifica orientated towardsntelligible God.

Antynomia przyszłych zdarzeń przygodnych — odpowiedź

In this paper I account for some of the topics raised by the Authors of the papers included in the debate I focus mainly on the following topics: the concept of representation and reliability of my formal analysis of the future contingent antinomy, the concept of causation with an emphasis put on backword causation, the idea of timeless eternity and the position of religious beliefs in philosophical theories. Furthermore I shortly address topics of Ockhamism, Molinism, soft and hard facts, fragmentism and the concept of necessity.

The Creature Makes Itself: Aquinas, the De-idealization of the Eternal Ideas, and the Fate of the Individual

The Christian Platonic tradition affirmed that human flourishing involves conjunction with the realm of eternal divine ideas. The account developed by Thomas Aquinas in effect denied this, rendering ideas contingent, unknowable and impossible as direct objects of attainment. Although no longer ideals for human aspiration, a role within spiritual or ethical striving might still be envisioned for such de-idealized ideas. Through discussions of Meister Eckhart, Kierkegaard and Manfred Frank, the essay outlines such a role: one’s idea in God operates to ontologically ground personal existence, deploying the human agent as an irreducible individual entity engaged in a hermeneutical labor of self-creation.

О понятиях вечности и времени у Николая Надеждина как издателя „Философического письма” Петра Чаадаева

W niniejszym studium przeanalizowano koncepcje wieczności i czasu Mikołaja Nadeżdina (1804–1856) w celu wyjaśnienia jego zamiaru, jaki powziął, wydając rosyjskie tłumaczenie Listu filozoficznego Czaadajewa w swoim czasopiśmie „Teleskop” w 1836 roku. Nadeżdin uważał, że „czas” jest obrazem i podobieństwem Boskiej „wieczności” w świecie zjawisk i że jego przeznaczeniem jest powrót do swojego prototypu. W konsekwencji, stworzone istoty świata powinny stopniowo przemieszczać się w kierunku istot idealnych w ciągu długiego okresu czasu. Tak więc, z jego punktu widzenia, prawdziwy „czas” nie jest niczym innym, jak ruchem świata w kierunku odwiecznych idei. Z tej perspektywy historycznej Nadeżdin pozytywnie oceniał list Czaadajewa, który pozbawia wartości przeszłość Rosji. Innymi słowy, Nadeżdin uznał, że Rosjanie nadal nie mają prawdziwej tożsamości narodowej, gdyż ta powinna dążyć do wieczności Bożej poprzez stworzenie królestwa Bożego. Krytykował obywateli własnego kraju za ich intelektualny nawyk, dzięki któremu zawsze patrzyli na swoich sąsiadów wyłącznie na płaszczyźnie horyzontalnej, bez rozważania własnej idealnej przyszłości. W związku z tym chciał wstrząsnąć rosyjskim społeczeństwem poprzez publikację rosyjskiego tłumaczenia Listu filozoficznego Czaadajewa i wezwać ją do duchowego przebudzenia. Ponadto, w przeciwieństwie do kulturowej postawy wyższości krajów zachodnich, która została wyrażona w listach, zamierzał zwrócić uwagę na to, że każdy naród musi na swój sposób osiągnąć poziom powszechnej realizacji doskonałej idei ludzkości.