Information about the author:
Anastasya G. Gacheva
Anastasia G. Gacheva, DSc in Philology, Leading Research Fellow, A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, Povarskaya 25 a, 121069 Moscow, Russia.
ORCID ID: https://orcid.org/0000-0001-5453-0881
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Abstract:
The article examines the concepts of creativity elaborated by those representatives of Russian cosmism who belonged to the active Christian line of thought. The description of the aesthetic system of Russian cosmism is given through the prism of the idea of transition from the “art of similarity” to the “art of reality.” It is revealed that the idea of the antientropic essence of life and culture forms the idea of art as an instrument of cosmisation of the world. It is proved that in the aesthetics of cosmism, beauty acts as an ontological category, expressing the measure of perfection of the creation. The connection between the concept of art as world-building and the anthropology of Cosmism, where the human being is seen as a creative agent in the world, has been explored. The characteristics of the interpretation of the idea of synthesis of arts, the idea of the unity of science and art, the concept of culture of the future, which is key for the philosophy of cosmism, are considered. Fedorov’s thesis is analyzed: “Our life is an act of aesthetic creation”, his idea of man’s creation of himself as a work of art. The Christian roots of the idea of transformed corporeality developed by Nikolay Fedorov and the cosmists of the 1920s are shown.
The connection between aesthetics and artistic practice of A.K. Gorsky, N.A. Setnitsky, V.N. Muravyev, whose work was at the junction of philosophy, literature, and art criticism, is revealed. The concept of the projectivity of culture, which underlies the assessment of artistic phenomena given by cosmist philosophers, is investigated. The concept of liturgics in art is presented, the connection of Gorsky’s aesthetics of resurrection with the philosophy of transformed Eros is revealed. The poetic and prose experiments of A.K. Gorsky, N.A. Setnitsky, V.N. Muravyev are considered as well as the connection of their aesthetics based on the concept of the “cultural Central Image” (Tsentroobraz) and their creative practices.
Keywords: philosophy of cosmism, concepts of creativity, Nikolay Fedorov’s legacy, A.K. Gorsky, N.A. Setnitsky, V.N. Muravyev, aesthetic theory and artistic practice, Central image of culture.
