Пигалев А.И. Культура как целостность

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íîé, íî ïîä÷èíåííîé íåêîòîðîìó «ñâåðõðàöèîíàëèçìó», ñ êîòî-

ðûì è ñâÿçûâàåòñÿ ñîîòâåòñòâóþùàÿ ìîäåëü åäèíñòâà. Âî âñåõ ñâîèõ

ðàçíîâèäíîñòÿõ òàêîé ïîäõîä îñíîâûâàåòñÿ íà ïðåäñòàâëåíèè î

òîì, ÷òî ðå÷ü èäåò îá àíàëèçå äóõà ïî âîïëîùàþùèì åãî ïðåä-

ìåòíîñòÿì, íî ñàìè ñòðóêòóðû äóõà óòðà÷èâàþò ïîäâèæíîñòü, ò. å.

ñïîñîáíîñòü ê èçìåíåíèÿì.

Òàêèì îáðàçîì, ïðåäñòàâëåííîñòü â èíäèâèäóàëüíîì ñóùåì

îïðåäåëåííûõ íàäûíäèâèäóàëüíûõ ñòðóêòóð íåèçìåííî ïîäðàçó-

ìåâàåòñÿ. Ýòî èìåííî ïðåäñòàâëåííîñòü òîãî, ÷òî â ïðåäøåñòâóþ-

ùåì òåêñòå îáîçíà÷àëîñü êàê ñòðóêòóðû äóõà. Íè÷åãî ñóùåñòâåííî

íîâîãî â ýòîì îòíîøåíèè íå ïðèíîñèò è ïîñòñòðóêòóðàëèçì ñî

ñâîèìè ìàëûìè ãðóïïàìè åäèíîìûøëåííèêîâ, êàæäàÿ èç êîòî-

ðûõ îáîçíà÷àåòñÿ êàê «êîëëåêòèâíîå ß», óãíåçäèâøååñÿ â ñèíãó-

ëÿðíîñòÿõ áûòèÿ è îòòóäà àòàêóþùåå ýòî îòîæäåñòâëÿåìîå ñ «âëà-

ñòüþ» áûòèå. Ïîýòîìó ïîñòñòðóêòóðàëèçì òàêæå ìîæåò áûòü ïî-

íÿò â êà÷åñòâå âàðèàíòà (êðèïòî)ñîöèîëîãèè ñèìâîëà. Â êîíå÷íîì

èòîãå òî÷íî òàêàÿ æå õàðàêòåðèñòèêà ìîæåò áûòü ïðèëîæåíà è ê

áîëüøèíñòâó äðóãèõ âàðèàíòîâ èññëåäîâàíèÿ êóëüòóðû â êà÷å-

ñòâå öåëîñòíîñòè.

Èòàê, â ñâåòå ïðîäåëàííîãî àíàëèçà ñïåöèôèêà ÷åëîâå÷åñ-

êîé äåÿòåëüíîñòè îòêðûâàåòñÿ èìåííî â íåïðåðûâíîì ñîçäàíèè

ñèìâîëîâ è ìàíèïóëèðîâàíèè èìè. ×åëîâå÷åñêèé ìèð, â îòëè÷èå

îò ñôåðû æèçíåäåÿòåëüíîñòè âñåõ ïðî÷èõ æèâûõ ñóùåñòâ, âñåãäà

ïðîíèçàí ðàçíîîáðàçíûìè ñèìâîëàìè è îáðåìåíåí ìíîæåñòâîì

ñèìâîëè÷åñêèõ íàñëîåíèé. Â ýòîì ñìûñëå ëþáîå ÷åëîâå÷åñêîå äåé-

ñòâèå — èìåííî êàê ÷åëîâå÷åñêîå — âñåãäà ñèìâîëè÷íî. Îíî ñèì-

âîëè÷íî äàæå òîãäà, êîãäà ïîâåðõíîñòíûé âçãëÿä âèäèò â íåì

ëèøü ÷èñòî æèâîòíûå ðåàêöèè.

Â òî æå âðåìÿ ïðåäñòàâëÿåòñÿ, ÷òî ïðèâåäåííîé âûøå «ñëó-

÷àéíîé âûáîðêè» äîñòàòî÷íî äëÿ ïðåäïîëîæåíèÿ î ñïåöèôèêå

ïîäõîäà ê ñîöèîêóëüòóðíîé ñèìâîëèêå â òåõ âèäàõ ÷åëîâå÷åñêîé

äåÿòåëüíîñòè, êîòîðûå ìîæíî â óçêîì ñìûñëå îáîçíà÷èòü êàê

«ôèëîñîôèÿ», à â øèðîêîì — êàê «ãóìàíèòàðíîå ìûøëåíèå».

Î÷åâèäíî, ÷òî «ôèëîñîôèÿ» è «ãóìàíèòàðíîå ìûøëåíèå» ñàìè

ïî ñåáå òàêæå ñèìâîëè÷íû. Íî òîëüêî áëàãîäàðÿ «ôèëîñîôèè» è

«ãóìàíèòàðíîìó ìûøëåíèþ» âïåðâûå ïîÿâëÿåòñÿ âîçìîæíîñòü

óâèäåòü çà ìûñëåííûìè êîíñòðóêöèÿìè ïðîñâå÷èâàþùóþ ñêâîçü

íèõ öåëîñòíîñòü êóëüòóðû. Òîãäà è èñòîðèÿ «ôèëîñîôèè», è èñòî-

ðèÿ «ãóìàíèòàðíîãî ìûøëåíèÿ» ñòàíåò îäíîâðåìåííî èñòîðèåé

452

ïîèñêîâ ìîäåëåé åäèíñòâà, à òàêæå èñòîðèåé êðèòèêè ýòèõ

ìîäåëåé.

Ïðè ýòîì è òî è äðóãîå ïåðâîíà÷àëüíî îñóùåñòâëÿåòñÿ èñ-

êëþ÷èòåëüíî íà óðîâíå ñîöèîêóëüòóðíîé ñèìâîëèêè è îñîçíàåò-

ñÿ â êà÷åñòâå èììàíåíòíîé ìûñëèòåëüíîé ðàáîòû âíóòðè ñîîò-

âåòñòâóþùèõ îáëàñòåé ïðîôåññèîíàëüíîé äåÿòåëüíîñòè. Ëèøü ïî

ïðîøåñòâèè äîâîëüíîãî äëèòåëüíîãî ïåðèîäà âðåìåíè èììàíåíò-

íàÿ ðàáîòà â ïðîôåññèîíàëüíî î÷åð÷åííûõ ãðàíèöàõ îáíàðóæèâà-

åò ñâîé ñìûñë â êà÷åñòâå ñîçäàíèÿ âñå íîâûõ îðãàíîâ êóëüòóðû,

ïîÿâëåíèå êîòîðûõ ïîðîæäàåò è íîâûå ñòðóêòóðû âíóòðåííåé

äèôôåðåíöèàöèè åå òåëà. Íî âîçìîæíîñòü óâèäåòü, ÷åì æå íà

ñàìîì äåëå çàíÿòî «ãóìàíèòàðíîå ìûøëåíèå», ñ÷èòàþùåå ñåáÿ

èãðàþùèì â ñèìâîëû, íå ìîæåò áûòü ñïîëíà îñóùåñòâëåíà â

ýòèõ æå ãðàíèöàõ.

Â ïîïûòêå íàìåòèòü è ñõåìàòè÷íî îïèñàòü ïóòè âûõîäà çà

ïðîôåññèîíàëüíî î÷åð÷åííûå ãðàíèöû è ñîñòîÿë çàìûñåë ïðîäå-

ëàííîãî èññëåäîâàíèÿ, êîòîðûé ïðèäàåò åìó ìåòîäîëîãè÷åñêèé

ïîòåíöèàë. Ýòî äîëæíî ïîçâîëèòü ïðîäâèíóòüñÿ â ïîíèìàíèè ôå-

íîìåíà ÷åëîâå÷åñêîé êóëüòóðû â òîì íàïðàâëåíèè, äâèæåíèå â

êîòîðîì îñóùåñòâëÿëîñü äî ñèõ ïîð ëèøü ýïèçîäè÷åñêè. Ðå÷ü èäåò

î çàäà÷å ðàçðàáîòêè ñîîòâåòñòâóþùèõ ãåðìåíåâòè÷åñêèõ ïðîöåäóð

è âûÿâëåíèè ñîîòâåòñòâóþùèõ ìåõàíèçìîâ âíóòðåííåé äèôôå-

ðåíöèàöèè ñîöèîêóëüòóðíîãî öåëîãî. Ïåðâûé øàã íà ïóòè ðåøå-

íèÿ ýòîé çàäà÷è — îáíàðóæåíèå ñàìèõ «ïðîôåññèîíàëüíî î÷åð-

÷åííûõ ãðàíèö»: âåäü ëèøü çíàÿ, ãäå îíè íàõîäÿòñÿ, ìîæíî íàäå-

ÿòüñÿ ïåðåéòè èõ.

Ñàìî ñîáîé ðàçóìååòñÿ, ÷òî «ãóìàíèòàðíîå ìûøëåíèå», íå

ñîçíàþùåå èñòîêîâ è ãðàíèö ñâîåãî êàòåãîðèàëüíîãî èíñòðóìåí-

òàðèÿ, åäâà ëè áóäåò â ñîñòîÿíèè îñìûñëèòü è óñëîâèÿ ñâîåãî

ñóùåñòâîâàíèÿ, è ïðåäåëû ñâîèõ âîçìîæíîñòåé. Ïîýòîìó ïðîáëå-

ìà ïîíèìàíèÿ êóëüòóðû â êà÷åñòâå öåëîñòíîñòè îáíàðóæèâàåò

àðõåòèïè÷åñêè êàíòîâñêèé àñïåêò. Ýòî — ïðîáëåìà êðèòèêè â ñìûñ-

ëå îãðàíè÷åíèÿ, óñòàíîâëåíèÿ ãðàíèö îïðåäåëåííîé ïàðàäèãìû

ìèðîïîíèìàíèÿ. Ïðèíöèïèàëüíî âàæíî, ÷òî ýòè ãðàíèöû èìåþò

óçíàâàåìûé àíòðîïîëîãè÷åñêèé õàðàêòåð.

453

Áûëî áû íåïðîñòèòåëüíîé îøèáêîé äóìàòü, ÷òî ñîöèîêóëü-

òóðíàÿ òêàíü ñîâåðøåííî ïîäàòëèâà è ïëàñòè÷íà. Íàïðîòèâ, äàëå-

êî íå âñå ìîäåëè åäèíñòâà îêàçûâàþòñÿ îñóùåñòâèìûìè. Âîîáùå

ãîâîðÿ, îíè, êîíå÷íî, âñå îñóùåñòâèìû ïðè èñïîëüçîâàíèè èç-

áûòî÷íîãî íàñèëèÿ. Íî òîãäà ìíîãèå èç íèõ çàêàí÷èâàþòñÿ ðàçðó-

øåíèåì ñòðóêòóð ÷åëîâå÷åñêîãî â ÷åëîâåêå, òàê ÷òî, ïî áîëüøî-

ìó ñ÷åòó, ýòî âðÿä ëè ìîæíî íàçâàòü äîñòèæåíèåì öåëè. Âåäü â

ýòîì ñëó÷àå èñ÷åçàåò è ñóáúåêò êóëüòóðû, è, ñòàëî áûòü, ñàìà

êóëüòóðà. Çàäà÷à îãðàíè÷èòåëüíîé êðèòèêè ñîñòîèò, ïðåæäå âñå-

ãî, â óñòàíîâëåíèè ãðàíèö îïðåäåëåííîé ïàðàäèãìû ìèðîïîíè-

ìàíèÿ â êà÷åñòâå îáóñëîâëåííûõ èììàíåíòíûìè àíòðîïîëîãè÷åñ-

êèìè ôàêòîðàìè.

Òî, ÷òî çà ýòèìè ïðåäåëàìè ÷åëîâåê ïðîñòî ðàçðóøàåòñÿ,

óêàçûâàåò íà íàëè÷èå â íåì íåêîãî æåñòêîãî, à ïîòîìó è õðóïêî-

ãî ÿäðà. Çíàÿ åãî ñòðîåíèå, ìîæíî áûëî áû óæå íà óðîâíå ñîöèî-

êóëüòóðíîé ñèìâîëèêè (ò. å. íà óðîâíå ìûñëèòåëüíûõ ñõåì) îñó-

ùåñòâëÿòü ñåëåêöèþ ìîäåëåé åäèíñòâà, îòäåëÿÿ òå èç íèõ, êîòî-

ðûå ïî èõ ðàçðóøèòåëüíûì ïîñëåäñòâèÿì ñëåäîâàëî áû îòíåñòè ê

óòîïè÷åñêèì. Ñ äðóãîé ñòîðîíû, æèâó÷åñòü óòîïè÷åñêèõ òåíäåí-

öèé óêàçûâàåò íà òàêèå ïðîöåññû ðåàëüíîãî è ñèìâîëè÷åñêîãî

ìåòàáîëèçìà, ñêðûòûå â íåäðàõ åâðîïåéñêîé êóëüòóðû, êîòîðûå

íå ìîãóò íå îòðàæàòüñÿ íà ñîñòîÿíèè åå ïîâåðõíîñòè, ïîääåðæè-

âàÿ ñîáëàçí óòîïèçìà.

Ýòî ñî âñåé î÷åâèäíîñòüþ ñâèäåòåëüñòâóåò î íåçàâåðøåííî-

ñòè ïðîöåññà ñèíòåçà, íà÷àòîãî ïàòðèñòèêîé è îïðåäåëÿþùåãî

âíóòðåííåå ñòðîåíèå åâðîïåéñêîé êóëüòóðû. Âîîäóøåâëÿþùàÿ

ôèëîñîôèþ äâàäöàòîãî ñòîëåòèÿ áîðüáà ïðîòèâ ìåòàôèçèêè è

òðàíñöåíäåíòàëèçìà, ñòàâøàÿ ê êîíöó âåêà ìàãèñòðàëüíûì íà-

ïðàâëåíèåì ìûñëè, âî ìíîãîì îáóñëîâëåíà èìåííî ñòðåìëåíèåì

èçáàâèòüñÿ îò àâòîìàòè÷åñêè äåéñòâóþùåãî è òîòàëèòàðíîãî ìå-

õàíèçìà îñóùåñòâëÿþùèõñÿ óòîïèé. Íà ýòîì ïðîáëåìíîì è ïðî-

áëåìàòèçèðóþùåì ôîíå ñîöèîëîãèÿ ñèìâîëà äîëæíà ñòàòü ýêñï-

ëèöèòíîé êðèòèêîé ìîäåëåé åäèíñòâà. Ëèøü âîçäàâàÿ äîëæíîå

òàêîé îãðàíè÷èòåëüíîé êðèòèêå, ìîæíî íàäåÿòüñÿ áîëåå îïåðà-

òèâíî è òî÷íî îòâå÷àòü íà âûçîâû âðåìåíè.

Ïðèìå÷àíèÿ

454

Ïîñëå ÷àñòè÷íîãî ðàçðóøåíèÿ ïîïóëÿðíîãî ìàðêñèçìà îòå÷å-

ñòâåííîé êóëüòóðû ñõåìà «åñòåñòâåííî-èñòîðè÷åñêîé íåîáõîäèìîñòè»

íåîæèäàííî îáðåòàåò âòîðîå äûõàíèå ïîä ìàñêîé «òåîðèè ïàññèîíàð-

íîñòè» Ë. Í. Ãóìèëåâà, êîòîðàÿ òàêæå ïîçâîëÿåò îáúÿñíÿòü èñòîðè÷åñ-

êèå êàòàêëèçìû íåêîíòðîëèðóåìîé èãðîé ïðèðîäíûõ ïðîöåññîâ, êî-

òîðóþ, ïðàâäà, ìîæíî ïîïûòàòüñÿ ïîçíàòü è, òåì ñàìûì, ïîä÷èíèòü

÷åëîâåêó.

Ñì. áîëåå ïîäðîáíî î ðàçëè÷åíèè ìåæäó «ïðèðîäíûì» è «èñ-

êóññòâåííûì» âðåìåíåì, â ÷àñòíîñòè, â êíèãå: Ñàâåëüåâà È. Ì., Ïî-

ëåòàåâ À. Â. Èñòîðèÿ è âðåìÿ: Â ïîèñêàõ óòðà÷åííîãî. Ì., 1997.

Ñòðàõ ïåðåä èñòîðè÷åñêîé íîâèçíîé âî âñåõ åãî àñïåêòàõ ïî÷òè

èñ÷åðïûâàþùå ïðîàíàëèçèðîâàí â èçâåñòíîé ðàáîòå: Ýëèàäå Ì. Ìèô î

âå÷íîì âîçâðàùåíèè. Ì., 1998.

Âåñüìà âûðàçèòåëüíóþ êâèíòýññåíöèþ òàêîãî ðîäà âûïàäîâ â

ñòîðîíó ñîâðåìåííîé êóëüòóðû ñì., íàïð. â êí.: Ãåíîí Ð. Êðèçèñ ñîâðå-

ìåííîãî ìèðà. Ì., 1991.

Ïåðâàÿ è âòîðàÿ ïîçèöèè âåñüìà âûðàçèòåëüíî ïðåäñòàâëåíû â

ýâîëþöèè âçãëÿäîâ Ì. Õàéäåããåðà. Åñëè íà ïåðâîì ýòàïå ñâîåãî òâîð÷å-

ñòâà Õàéäåããåð ïûòàåòñÿ ïðî÷åñòü ñìûñë áûòèÿ ÷åðåç ÷åëîâå÷åñêîå

ñóùåñòâîâàíèå, òî íà âòîðîì ýòàïå îí èìååò äåëî ñ áûòèåì êàê òàêî-

âûì, êîòîðîå ïîä÷èíåíî ñóäüáå, òàê ÷òî äàæå ïîÿâëåíèå ìåòàôèçèêè

è åå ðàçâèòèå îêàçûâàåòñÿ «ñóäüáîé áûòèÿ». Ðàçóìååòñÿ, Õàéäåããåð íå

åäèíñòâåííûé ìûñëèòåëü, êîòîðûé ìîæåò áûòü ïðèâåäåí çäåñü â êà÷å-

ñòâå ïðèìåðà, íî îí åäèíñòâåííûé, ó êîãî îáå ïîçèöèè ÿâíî ïðèñóò-

ñòâóþò, õîòÿ è â äèàõðîíèè. Äëÿ îñòàëüíûõ ìûñëèòåëåé õàðàêòåðåí

âûáîð ëèøü îäíîé èç îõàðàêòåðèçîâàííûõ ïîçèöèé.

Ïîìèìî óæå óïîìÿíóòîãî ðàíåå Ë. Âèòãåíòøòåéíà ñ åãî êîí-

öåïöèåé «ÿçûêîâûõ èãð» è ñîîòâåòñòâóþùèõ èì «ôîðì æèçíè», ñþäà

ñëåäóåò îòíåñòè ïëþðàëèñòè÷åñêóþ êîíöåïöèþ «îïûòà» Ô. Ðîçåíöâåé-

ãà, â êîòîðîé êàæäûé îïûò, îòíåñåííûé ê ýìïèðè÷åñêîìó ñóáúåêòó,

ñ÷èòàåòñÿ ñàìîäîñòàòî÷íûì è íå ïîäëåæàùèì óíèôèêàöèè (ñì.:

Rosenzweig F. Der Stern der Erlösung // Gesammelte Schriften. Den Haag,

1976. Bd. 2; Idem. Brief an Rudolf Ehrenberg vom 1. 12. 1917 // Gesammelte

Schriften. Dordrecht, 1979. Bd. 1).

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SUMMARYSUMMARY

SUMMARY

CULTURE AS TOTALITY

(METHODOLOGICAL ASPECTS)

Culture is considered as exceeding the bounds of the biological

forms of life. That is why the contact of man with reality is mediated

by complicated symbolic frameworks that have social nature. The

character of symbolism is determined by the configurations of human

relations. So, the peculiarities of the human perception depend on the

structure of the social pattern. In this context the historical development

of the symbolic worlds of culture is interpreted as the evolution of the

types of cultural totality.

Such an approach allows to regard culture as a text that can be

understood with the help of a special hermeneutics. So, there exists a

conformity between the symbolic frameworks of culture and the pattern

of social relations. Although this conformity cannot be reduced to pure

and rigid isomorphism, it provides the humanities with ample

opportunity to take into account the so called «systemic effects». The

question is that intersections, superpositions, condensations, branchings,

knots and loops of the relations within a system are these «systemic

effects» which reify in symbols.

Thus, symbols are indicators of inner differentiation and

metabolism in the depth of cultural totality. Moreover, the «systemic

effects» as symbols turn into the «organs» of culture that coordinate its

elements as a whole and support the stable existence of totality. As a

result, one can speak about the «sociology of symbol» as a general

research approach. If the term «sociology» is understood in the broad

sense as the doctrine of the conditions of the joint human living, that

is, of the living of people together, the sociological aspect of the

problem of the whole and the part may be defined within the limits of

the term «cryptosociology» (that is, the secret, the latent sociology).

Consequently, the research must exceed the bounds of the history

of philosophy in the narrow sense and look for the cryptosociological

dimension. Such an approach is applied to the hermeneutics of the

symbolic frameworks of space, time, soul, spirit and language. The

process of the original «centration» is also analyzed in he light of this

456

approach. The analysis is based on the notions of violence, mimesis

and sacrifice. The next step leads to the analysis of two «centralized»

models of totality as the foundations of the European culture.

The first model is identified with the Greek metaphysics. The

Greeks became the creators of metaphysics because their culture had

no solid territory. Indeed, their «territory» consisted of city-states and

islands that were separated from each other by wilderness and the salt

sea-water. Both are useless for agriculture and that is why for life. So,

the ancient Greek culture is the culture of spots of soil, the culture of

archipelago. As a result, the Greeks stood in need of such a symbolic

framework that could ensure their identity as one and the indivisible

culture. Metaphysics became that symbolic framework. It shaped the

structure of human relations in accordance with an ideal matrix.

This matrix, in its turn, is the symbolic reproduction of the

relations between the whole and the part. For instance, Plato’s world

of ideas has the hierarchical structure, since it is «centered» around the

«idea of ideas, that is, around god. In this structure the relations between

elements are replaced by the only relation of every element to a certain

«center» After Plato the fundamental organization of metaphysics

remains invariable and precisely it determines the systematization of

singular beings in space.

The morphological paradigm of the ancient Greek culture which

operates with the static forms reproduces the mutual relations of the

whole and the parts in the city-state as the synchronous system of pure

forms. It turns the whole universe into space, that is, cosmos, and

eliminates almost all its temporal characteristics. The time is considered

to be cyclic, it is only the rotation of the Fortune’s wheel. From this

cause the totality is regarded as the hierarchical structure that exists

only in space. Metaphysics is the ideal symbolic model of this totality.

The second model is identified with the genealogical paradigm of

the ancient Jewish culture. It turns the world into the multiplicity of

rhythms and places the totality of culture in the indefinite future. It

presupposes such a model of the mutual relations of the whole and the

parts which allows the limited liberty of the elements of the system.

The totality is regarded as yet not finished, as the being to be created.

Thus, the creation of some parts is not yet finished, and the future is

not similar to the Fortune’s wheel: it is undetermined, it is not the

repetition of the past, but the genuine novelty that doesn’t depend on

the previous condition.

Nevertheless, it would be a blunder to oppose the Jewish

foundations of the European civilization to the Greek ones. The Greek

elements without the Jewish ones do not join the Christian concept of

the universal history. The Jewish elements without the Greek ones do

not conform to the Christian universalism. The synthesis of those

457

ÎÃËÀÂËÅÍÈÅÎÃËÀÂËÅÍÈÅ

ÎÃËÀÂËÅÍÈÅ

ÁËÀÃÎÄÀÐÍÎÑÒÈ ........................................................... 4

ÏÐÅÄÈÑËÎÂÈÅ ............................................................... 6

ÂÂÅÄÅÍÈÅ. ÑÎÖÈÎËÎÃÈß ÑÈÌÂÎËÀ .................... 10

ÃËÀÂÀ 1. ÑÈÍÒÅÇ ÐÀÇËÈ×ÈÉ ...................................... 34

1.1. Èñêóññòâåííàÿ ñðåäà ......................................... 34

1.2. Èìïåðàòèâ öåëîñòíîñòè ..................................... 46

1.3. Ñìåæíîñòü ïðîñòðàíñòâ ..................................... 58

1.4. Ïîñëåäîâàòåëüíîñòü âðåìåí ............................... 77

ÃËÀÂÀ 2. ÀÑÏÅÊÒÛ ÅÄÈÍÑÒÂÀ ................................ 102

2.1. Ñòàíîâÿùèéñÿ ÷åëîâåê .................................... 102

2.2. Ôåíîìåí ëè÷íîñòè ........................................... 113

2.3. Âñåîáùíîñòü îïûòà .......................................... 126

2.4. Ñòðóêòóðû äóõà ............................................... 140

ÃËÀÂÀ 3. ßÂËÅÍÍÎÑÒÜ ÖÅËÎÃÎ ............................... 167

3.1. Ïåðâè÷íàÿ «öåíòðàöèÿ» ................................... 167

3.2. Ýôôåêòû ñèñòåìíîñòè ..................................... 196

3.3. Ôåòèøèçì è èäåîëîãèÿ ................................... 211

3.4. Ñèìâîëè÷íîñòü èìåí ....................................... 233

ÃËÀÂÀ 4. ÒÀÊÑÎÍÎÌÈß ÎÁÌÅÍÎÂ ......................... 256

4. 1. Îò ñëîâ ê ÷èñëàì ............................................ 256

4.2. Äåíüãè è âëàñòü ............................................... 271

4.3. Ìåæäó çâóêîì è ïèñüìîì ............................... 294

4.4. Ýâîëþöèÿ ìåòàôèçèêè .................................... 313

ÃËÀÂÀ 5. ÔÎÐÌÀ È ÐÈÒÌ ......................................... 346

5. 1. Áîãè â ïðîñòðàíñòâå ........................................ 346

5. 2. Áîãè âî âðåìåíè .............................................. 361

5. 3. Ãíîñòè÷åñêàÿ ïîäìåíà ..................................... 386

5. 4. Ñèíãóëÿðíîñòè áûòèÿ ..................................... 407

ÇÀÊËÞ×ÅÍÈÅ. Â ÏÎÈÑÊÀÕ ÌÎÄÅËÅÉ

ÅÄÈÍÑÒÂÀ ............................................................................ 442

SUMMARY ..................................................................... 463

458

Íàó÷íîå èçäàíèå

Ïèãàëåâ Àëåêñàíäð Èâàíîâè÷

ÊÓËÜÒÓÐÀ ÊÀÊ ÖÅËÎÑÒÍÎÑÒÜ

(Ìåòîäîëîãè÷åñêèå àñïåêòû)

Ãëàâíûé ðåäàêòîð À. Â. Øåñòàêîâà

Ðåäàêòîð Î. Ñ. Êàøóê, Ò. Þ. Ëÿùåíêî

Òåõíè÷åñêèé ðåäàêòîð Î. Ñ. Êàøóê

Õóäîæíèê Í. Í. Çàõàðîâà

ËÐ ¹ 020406 îò 12.02.97

Ïîäïèñàíî â ïå÷àòü . Ôîðìàò 60õ84/16.

Áóìàãà òèïîãðàôñêàÿ ¹ 1. Ãàðíèòóðà Òàéìñ. Óñë. ïå÷. ë. .

Ó÷.-èçä. ë. . Òèðàæ 200 ýêç. Çàêàç . «Ñ» .

Èçäàòåëüñòâî Âîëãîãðàäñêîãî ãîñóäàðñòâåííîãî óíèâåðñèòåòà.

400062, Âîëãîãðàä, óë 2-ÿ Ïðîäîëüíàÿ, 30.

459

ABOUT THE AUTHORABOUT THE AUTHOR

ABOUT THE AUTHOR

Alexander Pigalev was born into the family of employees in

1952 in Volgograd (former Stalingrad). In 1969 he entered Gorky

State University. His graduate thesis was dedicated to the philosophical

problems of natural sciences. On graduating from the university in 1974

he filled the position of the lecturer of the department of philosophy

at Gorky State University. In 1976 he began his post-graduate course

in the field of philosophy at Moscow State University. The master’s

degree was conferred on him on the basis of the defense of the thesis

«Ideological Foundations Of The Theoretical Knowledge In Natural

Sciences» at Moscow State University. In 1979 Alexander Pigalev

filled the position of the lecturer of the department of philosophy at

Volgograd State Polytechnic Institute.

Since 1983 his activity is connected with Volgograd State

University, where at first he filled the position of assistant professor. In

1993 the doctor’s degree was conferred on him on the basis of the

defense of the thesis «Nihilism And The Problem Of Crisis Of Culture

In Western Philosophy». The defense of the thesis took place at the

Institute of Philosophy in Moscow. Since 1993 he fills the positions of

the full professor and the head of the department of philosophy of

culture and history of philosophy. Professor Alexander Pigalev delivers

lectures on the philosophy of culture and the history of philosophy.

The total number of Professor Pigalev’s articles and books is above 80.

His works were published in Germany, Great Britain, USA. He is also

the scientific supervisor of post-graduate students.