Spiritual Loneliness Research Articles

Danmu subculture as a phenomenon of contemporary Chinese youth subculture

Danmu subculture is a unique phenomenon of Chinese youth subculture in the Internet space. Its main group of people are young people who grew up with the Internet in China and are the only children in their parents' families: they do not lack parental love and do not feel any material difficulties, but they are characterised by spiritual loneliness, from which the Internet space has become their escape. This paper argues that the uniqueness of the young generation, globalisation and routinisation of the Internet are the social contexts in which the Chinese Danmu subculture emerged and developed, and its unique language form is an expression of rebellion against the culture of the parents' generation and the dominant culture, a kind of 'symbolic resistance', and manifests the cultural identity of this interesting group, the circle of Danmu subculture created by young people separates it from the dominant culture and other subcultures. It has an obvious «participatory» character, which is the secondary creation of original videos and the carnivalesque participation of youth groups in online videos. In addition, as the Danmu subculture moves beyond its unique cultural circle, a reversal for the dominant culture gradually emerges. The author presents the idea that a complex relationship is formed between the Danmu subculture and the dominant culture, which includes both rebellion and compartmentalisation as well as beneficial reversal and active neighbourhood. It is thought that over time, the Danmu subculture may become a mass culture and a tool for youth groups to identify with the dominant culture.

Misuse of Psychiatry

Misuse of Psychiatry

Topical Problems of New Georgian Literature

The history of new Georgian literature begins with Romanticism. Its origin was facilitated by the historical process that developed in Georgia at the beginning of the 19th century, in particular, the loss of the country's independence. The Georgian man left the field of action, he became dependent on others. Sadness and despair, in turn, gave rise to a certain spiritual loneliness in Romantic writers. Loneliness even added more judgmental character to their creativity. Questions arose about human life, destiny, its essence and purpose, which in itself gave the creations of the Romantics a philosophical character. Thus, Georgian literature has already responded to the world historical-philosophical proces, Where the problem of the place of art, starting from the era of Romanticism, permeated the entire humanitarian self-knowledge of European culture. The subject of research is also the question, what philosophy means in literature, What is the difference between philosophy and the philosophy of literature and what do they have in common, When philosophy thinks in categories, literature in artistic forms and these two forms of conveying truth are important to man. Georgian classical romanticism begins with Alexander Chavchavadze and he laid the foundation for the artistic-philosophical understanding of the events and carried out the philosophical contemplation of the essence and existence, purpose and origin of human life in excellent artistic forms;The elements of philosophical reasoning in the work of Gregory Orbeli are faint, but still appear in the last period of creation.The peak of Georgian romanticism, Nikoloz Baratashvili, takes the philosophical character of Georgian literature of that time to the highest level. The difference is that the internal philosophical discourse with Nikoloz Baratashvili goes to the highest level and not only philosophically prepares us for certain events, but, in many cases, responds to them.In the second half of the 19th century, realism further deepened the process of depicting these important issues in a highly artistic form, which is the subject of a separate study.

Friedrich Nietzsche about “the Free Minds”

Introduction. The theme of “free minds”, which Nietzsche developed during his philosophical career, occupies an important place in his creative heritage. In a sense, it is a further development of Plato’s doctrine of the “true philosopher”, the bearer of exemplary piety and reason. By means of mental constructs “free mind”, “knowing man”, “theoretical man”, “free philosopher”, “Zarathustra” F. Nietzsche not only deeply and fully showed the creative principle of creative personalities, but also revealed the complex, sometimes their tragic life, because he often wrote about himself. The aim of the study is to trace the meaningful evolution of this important topic in the philosophy and life of the German philosopher. Materials and Methods. The works of F. Nietzshe served as the source of the research. In the course of the work, the method of thematic cultural analysis was used, which makes it possible to track the meaningful development of the main philosophical themes, their semantic interrelationships in the conceptual constructions of the philosopher. And also, the method of existential-transcendental analysis was used, with the help of which the opportunity opened up to study the living conditions and spiritual aspirations of the German philosopher. Discussion. “Free minds” always have to prove their right to exist. Unlike “bound minds”, they should strive to free themselves from petty connections and relationships in everyday life. In the guise of Zarathustra, F. Nietzsche created an almost ascetic image of a “free mind” that “scorched by the sun” in the desert, “hungry, strong and lonely” “breaks his heart”. If for Plato the highest ability of a person was his mind, which provided transcendental knowledge of metaphysical being, then for F. Nietzsche this was the volitional principle. Surviving the “great break” is a universal law for all “free minds” discovered by Nietzsche. He captured the moment of the “birth” of the “free mind”, the initial impulse, which will largely determine his further life path. Spiritual loneliness and independence are an indispensable condition for the life of a “free mind”. The last phase in the formation of a “free mind” is the realization of his fate as a lonely wanderer, destined and doomed to create new truths, values and ideas. Results. The great philosopher F. Nietzsche has always been a transcendental person, a genuine “free mind”, which predetermined the depth of his philosophical thought. In the last years of his philosophical activity, nihilistic attitudes began to gain strength, which led to an exacerbation of the conflict in his psyche. Therefore, the doctrine of the “free mind” is one of the main philosophical achievements of Friedrich Nietzsche.

ФРИДРИХ НИЦШЕ О «СВОБОДНЫХ УМАХ»

One of the main achievements of Nietzsche’s philosophy was the doctrine on creative, highly spiritual personalities – “free spirits”. In contrast to such subjects as “will to power”, “eternal return” developed by the German philosopher in the last years of his philosophical activity, the subject of “free spirits” was comprehensive for him. He started his philosophical life with the book of “The Birth of Tragedy” (“cognizing minds”). Later Nietzsche positioned himself as an immoralist, oppositionist of Plato’s metaphysical philosophy. However, on the issue of true philosophers, their views complement one another. If Plato in the “State” dialogue created a mental construct of exemplary transcendental person, whom he called as a “true philosopher”, then Nietzsche substantially deepened and expanded ideas about it, revealing the complex and contradictory nature of “free spirits”. If Plato developed mostly reasonable and virtuous nature of “transcendental person”, then Nietzsche studied mainly emergence, development and life “free spirits” as creators of new values. “Free spirits” always have to prove their right to exist. Unlike “bound spirits”, they should strive to free themselves from petty relations and relationships in everyday life. In the shape of Zoroaster F. Nietzsche created almost ascetic image of a “free spirit” that “baked by the sun” in the desert, “hungry, strong and lonely” “breaks his heart”. Surviving the “great divide” is a universal law for all “free spirits” discovered by Nietzsche. He embedded the moment of the “birth” of the “free spirit”, initial impulse, which will predetermine his further life path to a great extent. Spiritual loneliness and independence is an indispensable condition for “free spirit” life. The last phase in “free spirit” formation is the realization of its fate as a lonely wanderer, destined and doomed to create new truths, values and ideas. Western European civilization history shows that “free spirits” (philosophers, scientists, writers and poets, artists and composers, etc.) were the motive power of cultural and historical process. They were the bearers and creators of highest achievements of the European Spirit of godlikeness. At present time, domination of commercialism prevents the cultivation and active creative activity of highly spiritual works of creators, and mental space of the Western European civilization is increasingly simplified and degraded.

“Ne geroy, a samyy obyknovennyy chelovek…” (Litovskiy period zhizni L. P. Kar-savina)

By means of the analysis of the correspondence between the members of L. P. Karsavin’s family the author proves that the Lithuanian period of the philosopher’s life was the result of his own choice made under the influence of the unfavourable circumstances. It is shown that in Lithuania Karsavin had to face a lot of unpleasant problems, such as the irreverent attitude of his colleagues – religious philosophers to him, lack of attention to those ideas that were important for him, no response to his published works, intellectual and spiritual loneliness. Karsavin was so keenly and deeply worried about this fact that shortly after his moving to provincial Kaunas, he stopped to develop his metaphysics and returned to it only after his arrest in 1949. The letters from Karsavin’s wife let us know how nervous and exhausted the philosopher was at that time being unable to find people educated enough to talk to and discuss his ideas with. To make things worse, there were no reviews or even mentions concerning his published articles and books in the Lithuanian press. All this does not coincide with what is usually told and written about the Lithuanian period of Karsavin’s life, even by some researchers of standing reputation. It is concluded that to understand the real circumstances of the philosopher’s life in the “Lithuanian exile” is necessary to better realize the significance of his activity for the Russian and Lithuanian cultures.

ТРАГЕДИЯ ХУДОЖНИКА В РОМАНЕ ДЖ. ЛОНДОНА «МАРТИН ИДЕН»

The article is devoted to the understanding of the creative personality problem in the novel “Martin Eden” by Jack London, combining the elements of a career novel and ‘Künstlerroman’ (“novel about the artist”), in which the prose writer portrayed objectively the life of a man of art, his psychological problems. It is ascertained that the key source of the plot conflict is the tragic discrepancy between the reality and the romantic idealization of ideas and personalities that leads the protagonist to the subsequent disappointment in ideals and to the loss of life guidelines. The main reason for the tragedy of the hero is spiritual loneliness - the reckoning that overtakes the one who dares to rise too high, to think too boldly.

Orpheus in the Counting House: The Confidential Clerk

T. S. Eliot's most recent play, The Confidential Clerk, received short shrift in New York after triumphs in Edinburgh andLondon.lt would be too much perhaps to say that the play was “snuffed out by the reviews,” but it certainly came up against as unsympathetic a row of reviewers as any great dramatist has had to face. A leading journalistic critic wrote that The Confidential Clerk “represents a deliberate attempt to be ordinary. Unfortunately, Eliot has succeeded.” When he indicated in a lecture at Harvard University several years ago that, like Shakespeare, he hoped gradually to reduce dramatic verse to the level of colloquial speech before attempting elaborate embroidery of it, Eliot could not have expected his words to fly back in his face in precisely this way. Mrs. Guzzard's ringing lines seem especially apropos here: “Wishes, when realized, sometimes turn / Against those who have made them.” At any rate the apparently simple language (some have called it “unpoetic”) and farcical plot devices of the new play seem to have turned aside extensive serious critical consideration. For a play that comes to grips so forcibly with such compelling issues as the spiritual loneliness and inarticulateness of modern men and women, freedom of the will and predestination, cultural integration, and the place of the arts in life, it has been curiously underrated. The Confidential Clerk, while closely linked with Eliot's previous plays, is in so many ways a new departure as to reward close study. As a matter of fact, much of its poignancy and plangency eludes one when the play is viewed for the first time merely as a stage piece. Probably no other play of Eliot's calls for such total immersion.