Silver Age Research Articles

The avant-garde artistic approaches of Russian women writers of the Silver age

The article presents the avant-garde, and thus the work of Russian women writers, poets and publicists of the Silver Age, centred on new forms and bold, often provocative plots. The subject of characterisation is the creative attitudes of those authors who, in the period in question, in accordance with the spirit of the epoch, firstly, revealed their individuality to readers and, secondly, touched upon themes ‘forbidden’ up to that time. The author makes an attempt to present the work of those Russian women writers who, in connection with the multifaceted development of literature at the turn of the century, created works in a new style, centered around such issues as: love (in its various guises), gender attitudes and the involvement of women in various conflicts of the surrounding reality. The exploratory analysis of women’s writing of the late nineteenth and early twentieth centuries has shown that the new modern era, characterised by a diversity of schools and creative groupings, contributed to the expansion of the boundaries of the themes of women’s literature.

The Image of China in Russian Literature from the Early 20th Century to the 1950s

Abstract: In recent years, scholars from various countries have begun to focus on the theme of the East in their literary studies, and more attention has been paid to the image of China in Russian literature. However, most of the studies on Russian literature in the first half of the 20th century focus only on the Silver Age, and pay less attention to the image of China in Russian literature of other eras. This article focuses on the early 20th century to the 1950s, when Russia interacted with China most frequently, systematically combing it with the specific historical background and international situation of the times, and presents a complete image of China in the Russian literature. The study found that although Russian writers of each era had different experiences about China, and their own writing intentions were different, even the images of China written by Russian writers of the same era presented different characteristics, Russian literature from the early 20th century to the 1950s consistently reflected the social realities of both China and Russia. In fact, the process that Russian writers from the early 1900s to the 1950s constructed a more realistic and complete image of China was also a process that literary creation broke through national stereotypes. The evolution of the image of China in Russian literature from the beginning of the 20th century to the 1950s reflects the process of mutual interaction between the cultures of China and Russia, and also symbolizes the macro-trend of the world's national cultures to continuously eliminate the barriers between them and mingle with each other.

Levels of Social Participation among Silver-Age Citizens and Factors of its Activation in the Region of Russia (Case of the Sverdlovsk Region)

Introduction. The quality of life of silver-age people is associated not only with psychological, economic and physical well-being, but also with the peculiarities of interpersonal relations and the diversity of their social activity. The widespread ideology of active or “delayed aging” actualizes the study of the nature of inclusion of elderly citizens in various practices of social participation that fill their daily lives. The aim of the study is to reveal the level characteristics of social participation of citizens of silver age in the Sverdlovsk Oblast and the factors that determine them. Materials and Methods. The article analyses the data from the survey of residents of the Sverdlovsk Region over the age of 60, the sample is structured by gender, age, and place of residence of the respondents (type of settlement). The authors’ survey method was used to determine the nature and frequency, level and type of social participation of the Urals elderly, to identify factors that contribute to or impede activity in old age. Results. The study showed that socio-consumer participation characterized by activities “for oneself” and collective participation aimed at social integration “together with others” constitute the main content of social participation of the studied cohort. The participation of the elderly in the practices aimed at helping and caring (“for others”) is significantly lower, and a radical decrease in the activity of the elderly Urals residents is revealed when they switch to “civic participation”. It has been proved that the intensity of social participation of silver-age citizens living in cities is higher than in rural areas. The only exception is participation in civic activities. The same influence on the intensity of the different practices of social participation at all levels is exerted by the status of residence (independent or in a residential institution), the presence of close relatives and the frequency of Internet use. Discussion and Conclusion. The identification of the levels and factors of social participation of older citizens creates an evidence base on the processes of active aging in a typical Russian region. The results of the study demonstrate the relevance of focusing regional social policy on aging and the non-profit sector on increasing the social participation of people and groups of the “silver” age. The article may be of interest to regional authorities, social protection and service institutions, the regional non-profit sector, offering tools for the development and implementation of effective social aging policies aimed at implementing resources and supporting the social participation of the older generation.

Социально-философские и философско-антропологические мотивы в поэтическом творчестве Н.С. Гумилёва

The present research paper is devoted to philosophic motifs in the creative work of one of the leading cultural figures of the Silver Age, the poet, writer and philosopher N.S. Gumilyov. His personal fate (executed in 1921 by order of the Petrograd Cheka) is one of the examples of the sad poetic “tradition” of Russian culture: Pushkin, Lermontov, Mayakovsky, Yesenin and others. This paper analyzes philosophical and linguistic peculiarities of the “Akmeism” poetic and theoretical style, which was originated by Nikola Gumilev. In socio-philosophical aspect, Gumilyov’s intentions were associated with the formation of the concept of “Adamism”, which implied the analysis of man as a personality (most fully reflected in the compositions “The Captains”, “The Conquistadors’ Way”, etc.) in comparison with the Nietzschean “superman”. For Nietzsche, his slogan ‘God is dead’ did not mean the exaltation of man, but merely stated the overabundance of the individual in every personality. In this case, Gumilyov adhered to the idea of “transcendental man”, which implied the unity of Man’s natural essence in synthesis with supernatural (higher, i.e. spiritual) origins. This was the purpose of this article. Analysis of Gumilyov’s poetic and publicistic works argues in favour of the proof of the philosophical idea of “transcendental man”, which was later developed in N.A. Berdyaev’s philosophy of personalism. Both Russian philosophers and writers defended the idea of a creative and free Man, capable of self-assertion. Self-affirmation of Man for them is inextricably linked with the ability to Self-knowledge. But it should be noted that the views of Berdyaev and Gumilev on the role of society and the state in human life had certain differences.

Возможность сохранения традиционных социокультурных ориентиров человечества при реализации трансгуманистического проекта

The article is devoted to the search for the optimal path of controlled techno-bio-socio evolution, which will pre-serve the humanity’s traditional constants. Based on the previously conducted research, the author argues that compliance with the principle of continuity is possible only if the program of moderate transhumanism, which involves a delicate modernization of human nature while preserving its essence, is implemented. A similar transhumanist narrative is also evident in early 20th-century Russian scientific thought. The conducted compara-tive analysis of the main provisions of Russian philosophy of the Silver Age and the philosophy of moderate transhumanism allows us to assert that they coincide in terms of determining the limits of redesigning human nature. The humaneness and ethical elaboration of the ideas of Russian thinkers provide grounds for their use as socio-cultural guidelines for the philosophy of moderate transhumanism. The methodological basis of the study is the principles of systemic and comparative historical approaches. According to the author, these princi-ples enable the achievement of a synergistic effect, thereby enriching the concept of moderate transhuman-ism.

“Silver Age” of the Middle Оka. To the issues of social differentiation and location of the Ryazan-Oka archaeological culture at the intersection of river and land trade routes in the first millennium AD

“Silver Age” of the Middle Оka. To the issues of social differentiation and location of the Ryazan-Oka archaeological culture at the intersection of river and land trade routes in the first millennium AD

О смысле памяти

The review presents to the reader the first published manuscripts of Olga Alexandrovna Shor, known as a biographer and publisher of the works of the Russian poet Vyacheslav Ivanov. The review examines in detail published Shor’ manuscripts stored in the Roman Archive of Vyach. Ivanov, in particular the treatise “Mnemology”, as well as individual notes included in the book. Olga Shor’s philosophizing is proposed to be understood as a kind of mystical ontologism based on the concept of being as a starting point for describing the ontological memory and reality of an event. The connections and interactions of Shor’s reflections in the treatise with the cultural context – the philosophy of Plato and Aristotle, the heritage of Vyach. Ivanov, neo-Kantianism, Russian and European religious and philosophical thought – are considered in outline. The author of the review expresses the hope that the first and very detailed publication of “Mnemology” will draw research attention to the author’s philosophical work of Olga Shor. The return of such forgotten names and works to our intellectual space is also important because it opens access to the creative laboratory of the Silver Age, which was busy searching for a way out of the crisis of European culture and creating an original version of cultural philosophy. Considering the fact that Olga Shor left her work unfinished without preparing it for publication, which makes a serious critical analysis of this work incorrect, the review mainly clarifies the key points of the author’s thoughts and offers an understanding of the author’s intention

Ángeles Vicente’s 1911 sapphic scandals: queer intermedia and transatlantic gender history

ABSTRACT Ángeles Vicente (1878–1918) was a Spanish-born author who lived most of her life in Argentina. Starting in 1907, she was a prolific author and released several important texts during the Spanish Silver Age (1898–1936). In 1911, she was involved in several scandals, related to gender and sexuality, which received extensive coverage at the time of their occurrence. This paper explores Vicente’s scandals in 1911, drawing on the methodology of queer intermedia, to explore networks of queer world-building at the dawn of identarian politics related to sexual orientation and gender expression. Using the past as a resource to explore potential futures, we argue that understanding the lives and work from queer figures of past eras, particularly in different cultural and social locations, is vital to creating a robust knowledge of the universe of possibilities that accompany gender and sexual non-normativity.

Bryusov's Pushkiniana in the Perspective of Modern Cultural Studies

In the work, in the light of modern cultural studies, the literary and poetic activity of Valery Bryusov, a bright Soviet critic and an outstanding symbolist poet of the Silver Age, is reinterpreted. The material for the analysis was Bryusov’s Pushkiniana and, in particular, the article “The Copper Horseman” (1909) and the poem of the Soviet period “Variations on the theme of the ‘Copper Horseman’“ (1923). It is traced how the critic Bryusov analyzed Pushkin’s “Petersburg story” in detail, how analytically precisely he formed the main trends of the research discourse. The appeal to the system of arrangement of Pushkin’s characters explicated Bryusov’s idea of the antithetical confrontation between the autocrat Peter and the “most insignificant of the most insignificant” poor official Eugene. However, an analysis of the works of modern Pushkinists allowed the authors of the article to show that Bryusov, the researcher, was mistaken in his hypothesis of the “little man”. It is shown that the prototype of poor Eugene in Pushkin’s “The Bronze Horseman” was his closest friend, the lyceum student Wilhelm Kuchelbecker. But the involvement in the analysis of Bryusov’s poem “Variations on the theme of the Bronze Horseman” allowed us to show that the poet Bryusov, unlike the critic Bryusov, turned out to be visionarily more accurate, intuitively introducing into the lyrical text the name of “noble Eugene”, the lyceum student Wilhelm. As a result, the difference between the poet-Bryusov and the critic-Bryusov is clarified, it is shown that the restriction of the poet’s freedoms in the Soviet years activated his intuitive vision of literature and, as a result, history.

«Литература в кавычках». Наследие Козьмы Пруткова и акционизм XX века

Kozma Prutkov is a collective pseudonym used by four writers: Alexey, Alexander, and Vladimir Zhemchuzhnikov, along with their cousin Alexei Tolstoy. In the 1850s and 1860s, they published humorous works under this name, creating a versatile character who parodied an official writer through fables, poems, plays, and aphorisms. Prutkov’s works first appeared in 1854 in the magazine Sovremennik, and later in Razvlechenije, Iskra, and Svistok. His fictional biography, elaborated in the book Biographical Information about Kozma Prutkov, included relatives and a position at the Ministry of Finance. After A.K. Tolstoy’s death, The Complete Works of Kozma Prutkov with a Portrait, Facsimile, and Biographical Information was published in 1884, quickly selling out and necessitating a second edition in 1885. The collection has been reprinted multiple times, with the 12th edition appearing in 1916. Prutkov’s persona created a broad literary universe, influencing a wide range of followers and imitators. This began with the satire of the 1860s, influencing figures like Shchedrin, Dostoevsky, and Vladimir Solovyov. Prutkov’s impact persisted through the Silver Age, the Oberiutes, and even into the cultural thaw and conceptualist movements of the 1980s-2000s, though these later periods are less documented. Prutkov's lasting presence in Russian culture is anchored by his body of work and the surrounding interpretations and commentary. His canonical texts are complemented by performative practices involving writers and academics, solidifying Prutkov’s satirical legacy.

“Nature is All Personal”: St Francis of Assisi in the Ontology of Mikhail Prishvin

This article analyses Franciscan ideas in the work of M. Prishvin from 1908–1953 in the context of European and Russian Francisciana of the Silver Age. The texts reveal direct and hidden references to the image of St Francis of Assisi and Franciscan texts (The Canticle of Brother Sun and Vita Prima by Thomas of Celano, and Little Flowers of St Francis). It is shown that Franciscan texts become a source of direct, ontological, and personalistic experience of the world as a beautiful and miraculous integrity for Prishvin, creating a paradisiacal harmony between man and creation. St Francis’ compassion for nature became one of Prishvin’s creative impulses in Ginseng (1933) and The Golden Horn (1934). The Franciscan experience of nature in its living reality and personalist uniqueness (nature as subject, not object) is one of the main sources of “kindred (merciful) attention”, Prishvin’s main ontological and life-creating principle. Prishvin polemicised against the opposite of Franciscanism, the utilitarian, object-oriented attitude towards nature in Soviet practice, in which the living, ontological, and personal reality of nature was perceived as an object and replaced by a “patriotic” and utilitarian ideology. In the 1940s, Prishvin returned to the cultural myth of St Francis as a renaissance figure, which emerged in the Russian religious and philosophical renaissance at the turn of the twentieth century; in this myth, St Francis, through his acceptance and justification of the world as God’s creation, overcomes medieval ascetic dualism (matter as evil, the gap between flesh and pirit) and expresses humanistic values (personalism and ontologism), thus uniting God and the world, Christianity and nature, Christianity and culture. For Prishvin’s concept of the integrity of being (the unity of the earthly and the heavenly, the flesh and the spirit), St Francis becomes one of the main sources. What also makes Prishvin similar to St Francis is the concept of joy, which the writer experiences ontologically as the essential basis of being. The image of St Francis becomes not only a literary but also an existential, ontological and creative response of the writer to the challenges of his time. Summing up his life, Prishvin defines his life-creative strategy and mission in the tragic twentieth century in the spirit of St Francis (‘life is happiness’).

Mystery Tradition in Mikhail Prishvin’s Novel The Worldly Cup

This article examines one of M. Prishvin’s key texts, i. e. the novel The Worldly Cup (Mirskaya chashcha) (1922), which has never been analysed as a mystery text in the context of the European mystery tradition and theatrical mystery of the Silver Age (The Twelve (Dvenadtsat’) by A. Blok, Christ is Risen (Khristos voskres), The Antichrist/Coming/The Maw of the Night (Antikhrist/Prishedshii/ Past’ nochi) by A. Bely, Demonic Action (Besovskoe Deistvo) by A. Remizov, and Dream in the Desert (Son v pustyne) and The Human Face (Lik chelovecheskii) by V. Gippius). Prishvin acts as successor of the mystery tradition, as it was perceived in Russian culture from V. Solovyov to J. Brodsky. The story highlights the following features of the mystery tradition: going beyond the visible world (meta-history), its transformation, the symbolism of the cross, the resurrected Lazarus, the number “12” and “X”, and the communion cup. The Worldly Cup is both a mystery of the revolution (“Black Mass”) and “The Mystery of Golgotha”. The key to the mystery reading of the text is the symbolism of the communion cup, which refers to the archetypal plots of the Western Middle Ages (myths of the Grail and Faust). Prishvin was familiar with the myth of the Holy Grail in R. Wagner’s interpretation (Parsifal), whose music the writer greatly appreciated in his youth. The article reveals plot similarities (stages of “initiation”) between Alpatov, Parsifal, and Lancelot. Alpatov is a Russian Parsifal; for him, every meeting is an already acquired Grail, according to the evangelical and mystical law, which was accentuated by Russian religious thought. According to this law, what is given is returned; the face of Christ appears in everyone. Compassion as Alpatov’s main feature becomes a real active force, since in the Gospel it extends to everyone, including those who “do not know what they are doing”. Alpatov thereby finds himself in the role of the mother of God, praying “for everyone indiscriminately”, from The Descent of the Virgin Mary into Hell (Khozhdenie Bogoroditsy po mukam), which Dostoevsky defined as a mystery. It is established that Prishvin’s acquaintance with V. Gippius’s mystery play Dream in the Desert (Son v pustyne) influenced the mystery plan of The Worldly Cup. Prishvin interprets the writing vocation as the role of a mystic who initiates the reader into his mystery and opens to them the possibility of a new reunion of man and God, new relationships between people, and the gift of discerning harmony in nature.

Recognition and Motivation: A Study on the Strategies for Improving the Career Attractiveness of Nursing Workers in Nursing Institutions

Nursing staff in nursing institutions are the guardians of the growing "silver age" of the elderly, and they are the solid arms of the elderly institutions to support the happiness of the elderly in their old age. The project members investigated 6 different types of elderly care institutions in Nanjing, and explored the basic situation and career attractiveness of institutional caregivers through qualitative interviews, and analyzed the dilemma of occupational attractiveness. Adhere to the problem-oriented, combined with the logic and influencing factors of the construction of the professional self-identity of the nursing staff, from the aspects of the social environment, institutional system and personal development of the professional self-identity construction of the nursing staff, and put forward constructive and targeted suggestions, aiming to promote the construction of the professional self-identity of the elderly care workers in China, and promote the improvement of nursing quality and the healthy development of the nursing career.

Evocations of Nekrasov’s trench prose in Elena Rzhevskaya’s novellas

The article examines the unique characteristics of E. Rzhevskaya’s prose. In 1941–1945, Rzhevskaya was an army interpreter from German. In her analysis of Rzhevskaya’s biography and literary output, S. Perevalova shows the assimilation of the writer’s wartime experience in her oeuvre, which simultaneously follows the patterns of ‘lieutenant prose,’ typified by novellas of V. Nekrasov, Y. Bondarev and other contemporaries of Rzhevskaya’s, and the tradition of Russian classical writers of the 19th c. and the Silver Age. The first work of ‘lieutenant prose’ that invokes the classical tradition was V. Nekrasov’s In the Trenches of Stalingrad [V okopakh Stalingrada], a novella strongly defined by humanism and ties to classical Russian war prose. The author names Nekrasov as well as Lermontov and Blok as influences on Rzhevskaya’s creative method, her affinity with the two poets made stronger by their translations of German poetry which earned the status of classics. Thanks to her interest in Blok and Lermontov, a writer Rzhevskaya became acquainted with world culture, where German literature has long been prominently represented.

Perfil revisado: Vicente Aleixandre, Antonio Machado y otros lectores de Carolina Coronado en la Edad de Plata

Important authors of the Spanish Silver Age such as Vicente Aleixandre or Antonio Machado show, at some point in their work, the reading and influence of the romantic writer Carolina Coronado (1820–1911). This article analyses the reception of Coronado's work in Vicente Aleixandre's La Destrucción o el Amor (1935) (specifically, in the poem "La luna es una ausencia", which the author dedicated to her) as well as in Antonio Machado's poem “A José María Palacio”, present in the second edition of his book Campos de Castilla (1917). It also traces the peculiar presence of the author in the work of other twentieth century writers such as Ramón Sijé or Gerardo Diego; but it mainly focuses on the authorial image that they all construct of Coronado, as well as the aspects and motifs that most interested them in her writing.

Beardsley Movement in Russian Silver Age Culture

This article dwells on the phenomenon of Russian Beardsleism, which was formed by the influence of the works and personality of the English graphic artist Aubrey Beardsley on the Russian intelligentsia at the turn of the twentieth century. As the brightest representative of English aestheticism and Art Nouveau, Aubrey Beardsley became a champion of the ideas of new art for Russia. In his homeland, Aubrey Beardsley managed to usher in a real revolution in the field of illustration and book graphics, turning them into independent elements of creativity and raising the art of graphics to a completely new, unprecedently high level. No less revolutionary was the artist’s behaviour – Aubrey Beardsley turned his life into art, postulating innovative aesthetic and philosophical aspirations by his very appearance. The worth of his personality was undoubtedly comparable to the worth of his works, and one became inseparable from the other. Thus, the very image of Aubrey Beardsley became a symbol of the Art Nouveau era, containing numerous complex concepts. No wonder, therefore, that the sphere of his influence in Russia was extremely wide – not limited to the field of graphic art, it extended from new artistic methods to lifestyle and demeanor. The significance of Beardsleism in the Russian artistic life of the turn of the twentieth century is also indicated by its scope – the most prominent figures of the Silver Age, such as Sergei Diaghilev, Léon Bakst, Nikolai Feofilaktov, and the rather obscure Aleksandr Silin, Anatoly Arapov and Modest Durnov – both these and others experienced the significant influence of Aubrey Beardsley on their works and life.

Genre Features of Professional Screenplays in Russia in 1910s: Theory and Practice

The article explores the genre dominants of Silver Age screenplays. Theoretical concepts of film dramaturgy are applied to the texts of A. A. Khanzhonkov’s “From the World of Mystery” (1915) and A. S. Voznesensky’s “God” (1918). The scientific novelty of the study lies in the comprehensive analysis of these screenplay texts for the first time. The relevance is justified by contemporary philology’s interest in the intermedial aspect of literature. The screenplays exhibit an orientation towards literary models: a wide range of linguistic devices (metaphors, similes, inversions), complex composition, psychological depth, and more. Cinematic expressiveness is realized through a system of modalities (real time, memories, dreams, imagination, altered consciousness, etc.), description of character movements, and “visual sound.” The study suggests that the genre of screenwriting in silent cinema fundamentally differs from subsequent eras and tends towards the epic rather than the dramatic genre. Discrepancies between directorial and literary scripts occurred early in the genre’s formation. A comprehensive examination of original realized screenplays could be key to understanding the reasons for the unsatisfactory results of writer-filmmaker interactions.

Khlebnikov in China

The question of how Velimir Khlebnikov’s work was perceived in China is among the little studied ones. We have a definite idea of the forms the Chinese theme took in Khlebnikov’s philosophical and aesthetic consciousness as a part of the general orientalist views of the Russian futurist poet. At the same time, the problem of the actual Chinese development of V. Khlebnikov’s artistic heritage (the dialogue among cultures presupposes their two-way connection, interlacement of assessments and judgments) remains open. Thus, the article highlights the most relevant literary and translation aspects of V. Khlebnikov’s reception by the Chinese.These two aspects of research are traditionally closely related, regardless of national culture issues. The measure and depth of literary interest in foreign-language poetry is determined by the volume of translated texts; in a similar degree, the stability and quality of translation corresponds to the literary vector of the foreign word perception. For the Russian research into Far Eastern literature, this state of affairs is quite axiomatic (since without a preliminary theoretical and historical-literary, as well as hermeneutic analyses, it is impossible to truly understand the poetics of ancient Chinese or medieval Japanese lyrical poetry; all other approaches will be considered amateurish with good reason, which, however, does not exclude the presence of a special, “naïve” charm of these translations from Chinese or Japanese, taken in isolation from the original). The above thesis is also applicable to the Chinese research into Russian literature (Chinese studies of Russian literature), which has been intensively developing in recent years.The article traces the stages in scientific and philological studies of V. Khlebnikov’s work in China, explains the reasons for Chinese interest in the Silver Age in general and the work of the author of the “Khadzhi Tarkhan” in particular, analyzes the strategies of individual translations of Khlebnikov’s poems into Chinese, taking into account the increased complexity in the transmission of “zaum'” by means of the linguistic system so strikingly different in its internal structure and writing system from Russian.

Folklore Elements in the Poetry of Ekaterina Kletnovaya

The article is devoted to one of the characteristic features of the poetic works of E.N. Kletnova (1869–1938), whose literary work is still not known to the general public and has not previously become the subject of a comprehensive philological study. Poems by E.N. Kletnova are filled with various folklore elements − syntactic constructions and language formulas, lexical means of expression, compositional elements (introduction to a song and song), epic images. The author especially actively resorts to folklore stylization when creating poems on general cultural and political topics, trying to give them a folk-epic sound. In the course of the study, the following methods were used: a comparative-stylistic method to establish the similarities and
 differences in the language design of E.N. Kletnova and folklore genres; a structural method for analyzing the specific structure of the text; a conceptual analysis to reveal the picture of the world of the author's linguistic personality; a descriptive method.
 It was concluded that folklore elements in the poetry of E.N. Kletnova, firstly, are a reflection of her scientific, primarily ethnographic studies; secondly, they are used to create a special native Russian flavor in the poetic disclosure of vital social topics;
 thirdly, they express the interest in mythological antiquities and folklore tradition characteristic of the Silver Age.

Renaissance as an Aesthetic Mechanism: the Renaissance and the Russian Silver Age

The object of this study is the phenomenon of renaissance in culture, the subject area is the causes and mechanism of the deployment of Renaissance processes. The problems we are starting from are the blurring of the term "renaissance" in humanitarian studies and the lack of its conceptualization from the point of view of aesthetic sensuality. One of the well – established perspectives of the Renaissance phenomenon is its generalization as a universal phenomenon. Understanding the "renaissance" as a recurring event and a feature of culture raises the question of the foundations and characteristics of the "Renaissance". The article identifies such signs from the standpoint of philosophical aesthetics, referring to the changes in the spatial-temporal concepts of the European Renaissance and the Russian Silver Age, as well as the productive consequences of this recoding. The originality of the author's approach lies in the fact that the approach to the topic is carried out through the study of historical transformations of sensuality and sensitivity, which have not yet received a detailed understanding of aesthetics. To describe cultural revivals as aesthetic processes, the concept of the "aesthetic mechanism" of the Renaissance is proposed, based on the idea of changing chronotopes. The main conclusions are that the re-symbolization of space and time, defined by I. Kant as a priori forms of sensuality, causes a change in the phenomena organized by them, and the result of changing the worldview and the existential position of the subject is the intensification of culture, which constitutes the Renaissance.