Name: Dictionary of culture of the XX century.

"Dictionary..." Vadim Rudnev, semiotician, linguist and philosopher, author of the monograph "Morphology of Reality" (1996), translator and compiler of the book "Winnie the Pooh and the Philosophy of Ordinary Language", which has become an intellectual bestseller, is a unique hypertext dictionary. The publication contains 140 articles devoted to the most relevant concepts and texts of the culture of the twentieth century. This publication continues a series of cultural reference dictionaries published by the Agraf publishing house. For a wide range of readers.

The 20th century and the second millennium with R.Kh. Replacing each other, the century was completely filled with "eras of change." It's time for humanity to take stock. The hallmark of this was
the emergence of various kinds of "Chronicles ...", "Encyclopedias ...", "Dictionaries ..." and other reference and analytical publications on various areas human activity. The book that you dear reader, hold in your hands - from this series. Its author, Vadim Rudnev, a linguist and philosopher, embodied in the "Dictionary..." his view of the culture of the twentieth century. "Dictionary ..." compiled articles on the following areas of modern culture - philosophy, psychoanalysis, literature, semiotics, poetics and linguistics. The work on the "Dictionary ..." was not easy both at the stage of preparing the text and in developing the concept of building a book, which, in our deep conviction, should, first of all, be readable and useful as reference guide.

BUT
011 Absolute idealism
012 Avant-garde art
014 Autocommunication
016 Acmeism
019 Accent verse
021 Analytical psychology
023 Analytical philosophy
027 Joke
029 Atomic fact
031 Autistic thinking

B
032 "Endless Dead End"
036 Unconscious
038 Binary Opposition
040 Biography
043 "Pale Fire"

AT
047 Verificationism
048 Verlibre
052 Verlibration
053 Virtual Realities
055 "Magic Mountain"
060 Time

G
063 Generative Linguistics
067 Generative Poetics
069 Hypertext
073 Hypothesis of linguistic relativity

D
075 Deconstruction
077 Depression
079 Detective
081 Zen thinking
084 Dialog word
086 Dodecaphony
088 "Doctor Faustus"
093 Dolnik
096 Credibility

W
098 "Castle"
102 "Mirror"
105 Sign

And
107 Altered state of consciousness
110 Proper name
112 Individual language
113 Intertext
119 Optimization
120 Truth

To
123 "As if" and "Really"
126 Carnivalization
127 Picture of the world
130 Cinema
134 kitsch
136 Inferiority Complex
137 Conceptualism

L
142 Linguistics oral speech
145 Linguistic Apologetics
146 Linguistic Therapy
148 Logoedization
150 Boolean semantics
153 Logical positivism

M
155 Popular culture
159 The Master and Margarita
162 Mathematical logic
164 Medical research
167 Metalanguage
169 Myth
172 Multivalued logics
174 Modalities
177 Modernism
180 Motive analysis

H
182 Neurosis
184 Neomythological Consciousness
187 New Doctrine of Language
190 New novel
192 Norma
195 "Norma/Roman"

O
199 oberiu
203 "Orpheus"
205 Elimination

P
207 Paradigm
209 Parasemantics
211 "Pygmalion"
214 Polymetry
215 Polyphonic novel
218 The Picture of Dorian Gray
220 Postmodernism
225 Poststructuralism
227 Stream of consciousness
229 Pragmatism
231 Pragmatics
234 Complementarity principle
237 Principles of 20th century prose
241 Space
245 Psychoanalysis
250 Psychosis

R
252 Realism
255 Reality
257 Rhythm

With
260 Semantics of Possible Worlds
262 Semantic primitives
264 Semiosphere
265 Semiotics
268 Serial Thinking
270 Symbolism
273 20th century verse system
277 "Mournful insensibility"
279 Meaning
281 Dream
284 Event
286 Socialist Realism
288 Structural linguistics
292 Existence
297 Story
297 Surrealism

T
303 Theater of the Absurd
305 Text
308 Text in text
311 Phone
315 Body
318 Theory of speech acts
320 Creative Self-Expression Therapy
322 Trauma of birth
324 Transpersonal psychology
328 "Three Days of the Condor"

F
331 Phenomenology
333 Philosophy of fiction
335 Philosophy of text
336 Phonology
339 Formal school
343 Functional asymmetry of the cerebral hemispheres
brain

X
345 "Khazar Dictionary"
349 Characterology
352 "Banana fish is well caught"

W
355 Schizophrenia
357 School for Fools
361 "The Sound and the Fury"

E
364 Egocentric words
368 Oedipus complex
370 Existentialism
374 Expressionism
376 Extreme experience

I
379 Language game

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Rudnev Vadim Dictionary of 20th century culture

Vadim Rudnev

Vadim Rudnev

Dictionary of 20th century culture

Glory ( [email protected])

From the publisher

The 20th century and the second millennium with R.Kh. Replacing each other, the century was completely filled with "eras of change." It's time for humanity to take stock. A sign of this was the appearance of various kinds of "Chronicles ...", "Encyclopedias ...", "Dictionaries ..." and other reference and analytical publications in various fields of human activity. The book that you, dear reader, are holding in your hands is from this series. Its author, Vadim Rudnev, a linguist and philosopher, embodied in the "Dictionary..." his view of the culture of the twentieth century.

"Dictionary..." compiled articles in the following areas modern culture philosophy, psychoanalysis, literature, semiotics, poetics and linguistics. The work on the "Dictionary..." was not easy both at the stage of preparing the text and when developing the concept of building a book, which, in our deep conviction, should, first of all, be readable and useful as a reference tool.

The "Dictionary of Culture of the 20th Century" is intended for a wide range of readers - from schoolchildren preparing to enter a humanitarian university to students and researchers who will find source study and bibliographic material in the book.

"Dictionary..." Vadim Rudnev, semiotician, linguist and philosopher, author of the monograph "Morphology of Reality" (1996), translator and compiler of the book "Winnie the Pooh and the Philosophy of Ordinary Language", which has become an intellectual bestseller, is a unique hypertext dictionary. The publication contains 140 articles devoted to the most relevant concepts and texts of the culture of the twentieth century. This publication continues a series of cultural reference dictionaries published by the Agraf publishing house.

In memory of my father

In the novel of the modern Serbian prose writer Milorad Pavic "The Khazar Dictionary" (hereinafter in all articles of our dictionary, if a word or phrase is in bold, this means that a separate article is devoted to this word or combination of words - with the exception of quotes), and so, Pavich's "Khazar Dictionary" tells the story of how one of the collectors of this mysterious dictionary, Dr. Abu Kabir Muawiyah, began to write from newspaper advertisements of bygone years and, most surprisingly, soon began to receive answers in the form of parcels with various things. Gradually, these things so filled his house that he did not know what to do with them. These were, as the author writes, "a huge camel saddle, a woman's dress with bells instead of buttons, an iron cage in which people are kept suspended from the ceiling, two mirrors, one of which was somewhat late, and the other was broken, an old manuscript on an unknown language [...].

A year later, the attic room was full of things, and one morning, entering it, Dr. Muawiyah was stunned to realize that everything he had acquired was beginning to add up to something that made sense.

Dr. Muawiyah sent a list of things for computer analysis, and the response that came back was that all these things were mentioned in the now lost Khazar Dictionary.

Once upon a time, one smart and talented person uttered two phrases in the same conversation: "Attend nothing to importance" and "Everything makes sense" (for the difference between the concepts of meaning and meaning, see the articles sign, meaning and logical semantics). He wanted to say that what is important is not what people say, but how and why they say it (that is, if we paraphrase this in terms of semiotics, it is not the semantics that are important for human communication, but the pragmatics of the statement).

I’ll add on my own (although the founders of psychoanalysis, Sigmund Freud and Carl Gustav Jung, came up with this a long time ago): if a word, by chance association, entails another word (see also parasematics about this), you should not brush aside the second word - it can help it is better to understand the meaning of the first word.

At first, the idea of ​​a dictionary seemed impossible and as meaningless as the storage of things in the room of an Arab professor. But, remembering that "nothing should be given importance", while "everything has meaning", we included in the "Dictionary .. " those words and phrases that were understandable and interesting to us ourselves.

"Dictionary of Culture of the 20th Century" is a collection of three types of articles.

The first and most obvious type are articles devoted to specific cultural phenomena of the 20th century, such as modernism, transpersonal psychology, semiotics, conceptualism, etc.

Articles of the second type are devoted to concepts that existed in culture long before the twentieth century, but it was in it that they acquired particular relevance or were seriously rethought. These are such concepts as dream, text, event, existence, reality, body.

Finally, the third type of articles is small monographs devoted to the key, from the point of view of the author of the dictionary, works of art of the 20th century. The very appeal to these works is legitimate, but their choice may seem subjective. Why, for example, in the "Dictionary ..." there are no articles "Ulysses" or "In Search of Lost Time", but there are articles "Portrait of Dorivia Gray" or "Pygmalion"? We dare to note that this subjectivity is imaginary. For the dictionary, those texts were selected that better explained the concept of culture of the twentieth century, embodied in the dictionary. For example, an article about Oscar Wilde's novel "The Picture of Dorian Gray" is included as an illustration of the most important, in our opinion, topic of delimiting the time of text and reality as a particular manifestation of the fundamental cultural collision of the 20th century. - painful search for boundaries between text and reality.

An article about Bernard Shaw's play "Pygmalion" was included as an illustration of how the literary text is ahead of philosophical ideas - in his comedy, Shaw proclaimed that language plays the greatest importance in human life, which soon became the cornerstone of a vast philosophical direction called analytic philosophy ( see also logical positivism, language game).

The most important feature of the dictionary is that it is a hypertext, that is, it is built so that it can be read in two ways: alphabetically, and from article to article, paying attention to underlined words and phrases.

The dictionary deals mainly with the following areas of culture of the 20th century. Philosophy, psychoanalysis, linguistics, semiotics, poetics, versification and literature. Thus, this is a dictionary of humanitarian ideas of the 20th century.

References to dictionary entries are deliberately simplified. With rare exceptions, these are articles and books available to citizens of Russia and neighboring countries.

The dictionary is intended primarily for those who value everything that was interesting and significant in the past century.

Vadim Rudnev

011 Absolute idealism

012 Avant-garde art

014 Autocommunication

016 Acmeism

019 Accent verse

021 Analytical psychology

023 Analytical philosophy

027 Joke

029 Atomic fact

031 Autistic thinking

032 "Endless Dead End"

036 Unconscious

038 Binary Opposition

040 Biography

043 "Pale Fire"

047 Verificationism

048 Verlibre

052 Verlibration

053 Virtual Realities

055 "Magic Mountain"

063 Generative Linguistics

067 Generative Poetics

069 Hypertext

073 Hypothesis of linguistic relativity

077 Depression

079 Detective

081 Zen thinking

084 Dialog word

093 Dolnik

096 Credibility

098 "Castle"

102 "Mirror"

107 Altered state of consciousness

110 Proper name

112 Individual language

113 Intertext

119 Optimization

120 Truth

123 "As if" and "Really"

126 Carnivalization

127 Picture of the world

136 Inferiority complex

137 Conceptualism

142 Linguistics of oral speech

145 Linguistic Apologetics

146 Linguistic Therapy

148 Logoedization

150 Boolean semantics

153 Logical positivism

155 Popular culture

159 The Master and Margarita

162 Mathematical logic

164 Medical research

167 Metalanguage

172 Multivalued logics

174 Modalities

177 Modernism

180 Motive Analysis

182 Neurosis

184 Neomythological Consciousness

187 New Doctrine of Language

190 New novel

195 "Norma/Roman"

199 oberiu

203 "Orpheus"

205 Elimination

207 Paradigm

209 Parasemantics

211 "Pygmalion"

214 Polymetry

215 Polyphonic novel

218 The Picture of Dorian Gray

220 Postmodernism

225 Poststructuralism

227 Stream of consciousness

229 Pragmatism

231 Pragmatics

234 Complementarity principle

237 Principles of 20th century prose

241 Space

245 Psychoanalysis

250 Psychosis

252 Realism

255 Reality

260 Semantics of Possible Worlds

262 Semantic primitives

Rudnev Vadim

Dictionary of 20th century culture

Vadim Rudnev

Dictionary of 20th century culture

Glory ( [email protected])

From the publisher

The 20th century and the second millennium with R.Kh. Replacing each other, the century was completely filled with "eras of change." It's time for humanity to take stock. A sign of this was the appearance of various kinds of "Chronicles ...", "Encyclopedias ...", "Dictionaries ..." and other reference and analytical publications in various fields of human activity. The book that you, dear reader, are holding in your hands is from this series. Its author, Vadim Rudnev, a linguist and philosopher, embodied in the "Dictionary..." his view of the culture of the twentieth century.

"Dictionary ..." compiled articles on the following areas of modern culture - philosophy, psychoanalysis, literature, semiotics, poetics and linguistics. The work on the "Dictionary..." was not easy both at the stage of preparing the text and when developing the concept of building a book, which, in our deep conviction, should, first of all, be readable and useful as a reference tool.

The "Dictionary of Culture of the 20th Century" is intended for a wide range of readers - from schoolchildren preparing to enter a humanitarian university to students and researchers who will find source study and bibliographic material in the book.

"Dictionary..." Vadim Rudnev, semiotician, linguist and philosopher, author of the monograph "Morphology of Reality" (1996), translator and compiler of the book "Winnie the Pooh and the Philosophy of Ordinary Language", which has become an intellectual bestseller, is a unique hypertext dictionary. The publication contains 140 articles devoted to the most relevant concepts and texts of the culture of the twentieth century. This publication continues a series of cultural reference dictionaries published by the Agraf publishing house.

In memory of my father

In the novel of the modern Serbian prose writer Milorad Pavic "The Khazar Dictionary" (hereinafter in all articles of our dictionary, if a word or phrase is in bold, this means that a separate article is devoted to this word or combination of words - with the exception of quotes), and so, Pavich's "Khazar Dictionary" tells the story of how one of the collectors of this mysterious dictionary, Dr. Abu Kabir Muawiyah, began to write from newspaper advertisements of bygone years and, most surprisingly, soon began to receive answers in the form of parcels with various things. Gradually, these things so filled his house that he did not know what to do with them. These were, as the author writes, "a huge camel saddle, a woman's dress with bells instead of buttons, an iron cage in which people are kept suspended from the ceiling, two mirrors, one of which was somewhat late, and the other was broken, an old manuscript on an unknown language [...].

A year later, the attic room was full of things, and one morning, entering it, Dr. Muawiyah was stunned to realize that everything he had acquired was beginning to add up to something that made sense.

Dr. Muawiyah sent a list of things for computer analysis, and the response that came back was that all these things were mentioned in the now lost Khazar Dictionary.

Once upon a time, one smart and talented person uttered two phrases in the same conversation: "Attend nothing to importance" and "Everything makes sense" (for the difference between the concepts of meaning and meaning, see the articles sign, meaning and logical semantics). He wanted to say that what is important is not what people say, but how and why they say it (that is, if we paraphrase this in terms of semiotics, it is not the semantics that are important for human communication, but the pragmatics of the statement).

I’ll add on my own (although the founders of psychoanalysis, Sigmund Freud and Carl Gustav Jung, came up with this a long time ago): if a word, by chance association, entails another word (see also parasematics about this), you should not brush aside the second word - it can help it is better to understand the meaning of the first word.

At first, the idea of ​​a dictionary seemed impossible and as meaningless as the storage of things in the room of an Arab professor. But, remembering that "nothing should be given importance", while "everything has meaning", we included in the "Dictionary .. " those words and phrases that were understandable and interesting to us ourselves.

"Dictionary of Culture of the 20th Century" is a collection of three types of articles.

The first and most obvious type are articles devoted to specific cultural phenomena of the 20th century, such as modernism, transpersonal psychology, semiotics, conceptualism, etc.

Articles of the second type are devoted to concepts that existed in culture long before the twentieth century, but it was in it that they acquired particular relevance or were seriously rethought. These are such concepts as dream, text, event, existence, reality, body.

Finally, the third type of articles is small monographs devoted to the key, from the point of view of the author of the dictionary, works of art of the 20th century. The very appeal to these works is legitimate, but their choice may seem subjective. Why, for example, in the "Dictionary ..." there are no articles "Ulysses" or "In Search of Lost Time", but there are articles "Portrait of Dorivia Gray" or "Pygmalion"? We dare to note that this subjectivity is imaginary. For the dictionary, those texts were selected that better explained the concept of culture of the twentieth century, embodied in the dictionary. For example, an article about Oscar Wilde's novel "The Picture of Dorian Gray" is included as an illustration of the most important, in our opinion, topic of delimiting the time of text and reality as a particular manifestation of the fundamental cultural collision of the 20th century. - painful search for boundaries between text and reality.

An article about Bernard Shaw's play "Pygmalion" was included as an illustration of how the literary text is ahead of philosophical ideas - in his comedy, Shaw proclaimed that language plays the greatest importance in human life, which soon became the cornerstone of a vast philosophical direction called analytic philosophy ( see also logical positivism, language game).

The most important feature of the dictionary is that it is a hypertext, that is, it is built so that it can be read in two ways: alphabetically, and from article to article, paying attention to underlined words and phrases.

The dictionary deals mainly with the following areas of culture of the 20th century. Philosophy, psychoanalysis, linguistics, semiotics, poetics, versification and literature. Thus, this is a dictionary of humanitarian ideas of the 20th century.

References to dictionary entries are deliberately simplified. With rare exceptions, these are articles and books available to citizens of Russia and neighboring countries.

The dictionary is intended primarily for those who value everything that was interesting and significant in the past century.

Vadim Rudnev

011 Absolute idealism

012 Avant-garde art

014 Autocommunication

016 Acmeism

019 Accent verse

021 Analytical psychology

023 Analytical philosophy

027 Joke

029 Atomic fact

031 Autistic thinking

032 "Endless Dead End"

036 Unconscious

038 Binary Opposition

040 Biography

043 "Pale Fire"

047 Verificationism

048 Verlibre

052 Verlibration

053 Virtual Realities

055 "Magic Mountain"

063 Generative Linguistics

067 Generative Poetics

069 Hypertext

073 Hypothesis of linguistic relativity

077 Depression

079 Detective

081 Zen thinking

084 Dialog word

093 Dolnik

096 Credibility

098 "Castle"

102 "Mirror"

107 Altered state of consciousness

110 Proper name

112 Individual language

113 Intertext

119 Optimization

120 Truth

123 "As if" and "Really"

Current page: 1 (the book has 29 pages in total)

Rudnev Vadim
Dictionary of 20th century culture

Vadim Rudnev

Dictionary of 20th century culture

Glory ( [email protected])

From the publisher

The 20th century and the second millennium with R.Kh. Replacing each other, the century was completely filled with "eras of change." It's time for humanity to take stock. A sign of this was the appearance of various kinds of "Chronicles ...", "Encyclopedias ...", "Dictionaries ..." and other reference and analytical publications in various fields of human activity. The book that you, dear reader, are holding in your hands is from this series. Its author, Vadim Rudnev, a linguist and philosopher, embodied in the "Dictionary..." his view of the culture of the twentieth century.

"Dictionary ..." compiled articles on the following areas of modern culture - philosophy, psychoanalysis, literature, semiotics, poetics and linguistics. The work on the "Dictionary..." was not easy both at the stage of preparing the text and when developing the concept of building a book, which, in our deep conviction, should, first of all, be readable and useful as a reference tool.

"Dictionary of Culture of the 20th Century" is intended for a wide range of readers - from a schoolboy preparing to enter a humanitarian university, to students and researchers who will find source study and bibliographic material in the book.

"Dictionary..." Vadim Rudnev, semiotician, linguist and philosopher, author of the monograph "Morphology of Reality" (1996), translator and compiler of the book "Winnie the Pooh and the Philosophy of Ordinary Language", which has become an intellectual bestseller, is a unique hypertext dictionary. The publication contains 140 articles devoted to the most relevant concepts and texts of the culture of the twentieth century. This publication continues a series of cultural reference dictionaries published by the Agraf publishing house.

In memory of my father

In the novel of the modern Serbian prose writer Milorad Pavic "The Khazar Dictionary" (hereinafter in all articles of our dictionary, if a word or phrase is in bold, this means that a separate article is devoted to this word or combination of words - with the exception of quotes), and so, Pavich's "Khazar Dictionary" tells the story of how one of the collectors of this mysterious dictionary, Dr. Abu Kabir Muawiyah, began to write from newspaper advertisements of bygone years and, most surprisingly, soon began to receive answers in the form of parcels with various things. Gradually, these things so filled his house that he did not know what to do with them. These were, as the author writes, "a huge camel saddle, a woman's dress with bells instead of buttons, an iron cage in which people are kept suspended from the ceiling, two mirrors, one of which was somewhat late, and the other was broken, an old manuscript on an unknown language [...].

A year later, the attic room was full of things, and one morning, entering it, Dr. Muawiyah was stunned to realize that everything he had acquired was beginning to add up to something that made sense.

Dr. Muawiyah sent a list of things for computer analysis, and the response that came back was that all these things were mentioned in the now lost Khazar Dictionary.

Once upon a time, one smart and talented person uttered two phrases in the same conversation: "Attend nothing to importance" and "Everything makes sense" (for the difference between the concepts of meaning and meaning, see the articles sign, meaning and logical semantics). He wanted to say that what is important is not what people say, but how and why they say it (that is, if we paraphrase this in terms of semiotics, it is not the semantics that are important for human communication, but the pragmatics of the statement).

I’ll add on my own (although the founders of psychoanalysis, Sigmund Freud and Carl Gustav Jung, came up with this a long time ago): if a word, by chance association, entails another word (see also parasematics about this), you should not brush aside the second word - it can help it is better to understand the meaning of the first word.

At first, the idea of ​​a dictionary seemed impossible and as meaningless as the storage of things in the room of an Arab professor. But, remembering that "nothing should be given importance", while "everything has meaning", we included in the "Dictionary .. " those words and phrases that were understandable and interesting to us ourselves.

"Dictionary of Culture of the 20th Century" is a collection of three types of articles.

The first and most obvious type are articles devoted to specific cultural phenomena of the 20th century, such as modernism, transpersonal psychology, semiotics, conceptualism, etc.

Articles of the second type are devoted to concepts that existed in culture long before the twentieth century, but it was in it that they acquired particular relevance or were seriously rethought. These are such concepts as dream, text, event, existence, reality, body.

Finally, the third type of articles is small monographs devoted to the key, from the point of view of the author of the dictionary, works of art of the 20th century. The very appeal to these works is legitimate, but their choice may seem subjective. Why, for example, in the "Dictionary ..." there are no articles "Ulysses" or "In Search of Lost Time", but there are articles "Portrait of Dorivia Gray" or "Pygmalion"? We dare to note that this subjectivity is imaginary. For the dictionary, those texts were selected that better explained the concept of culture of the twentieth century, embodied in the dictionary. For example, an article about Oscar Wilde's novel "The Picture of Dorian Gray" is included as an illustration of the most important, in our opinion, topic of delimiting the time of text and reality as a particular manifestation of the fundamental cultural collision of the 20th century. - painful search for boundaries between text and reality.

An article about Bernard Shaw's play "Pygmalion" was included as an illustration of how the literary text is ahead of philosophical ideas - in his comedy, Shaw proclaimed that the most important thing in human life is language, which soon became the cornerstone of a vast philosophical direction called analytic philosophy ( see also logical positivism, language game).

The most important feature of the dictionary is that it is a hypertext, that is, it is built so that it can be read in two ways: alphabetically, and from article to article, paying attention to underlined words and phrases.

The dictionary deals mainly with the following areas of culture of the 20th century. Philosophy, psychoanalysis, linguistics, semiotics, poetics, versification and literature. Thus, this is a dictionary of humanitarian ideas of the 20th century.

References to dictionary entries are deliberately simplified. With rare exceptions, these are articles and books available to citizens of Russia and neighboring countries.

The dictionary is intended primarily for those who value everything that was interesting and significant in the past century.

Vadim Rudnev

011 Absolute idealism

012 Avant-garde art

014 Autocommunication

016 Acmeism

019 Accent verse

021 Analytical psychology

023 Analytical philosophy

027 Joke

029 Atomic fact

031 Autistic thinking

032 "Endless Dead End"

036 Unconscious

038 Binary Opposition

040 Biography

043 "Pale Fire"

047 Verificationism

048 Verlibre

052 Verlibration

053 Virtual Realities

055 "Magic Mountain"

063 Generative Linguistics

067 Generative Poetics

069 Hypertext

073 Hypothesis of linguistic relativity

077 Depression

079 Detective

081 Zen thinking

084 Dialog word

093 Dolnik

096 Credibility

098 "Castle"

102 "Mirror"

107 Altered state of consciousness

110 Proper name

112 Individual language

113 Intertext

119 Optimization

120 Truth

123 "As if" and "Really"

126 Carnivalization

127 Picture of the world

136 Inferiority complex

137 Conceptualism

142 Linguistics of oral speech

145 Linguistic Apologetics

146 Linguistic Therapy

148 Logoedization

150 Boolean semantics

153 Logical positivism

155 Popular culture

159 The Master and Margarita

162 Mathematical logic

164 Medical research

167 Metalanguage

172 Multivalued logics

174 Modalities

177 Modernism

180 Motive Analysis

182 Neurosis

184 Neomythological Consciousness

187 New Doctrine of Language

190 New novel

195 "Norma/Roman"

199 oberiu

203 "Orpheus"

205 Elimination

207 Paradigm

209 Parasemantics

211 "Pygmalion"

214 Polymetry

215 Polyphonic novel

218 The Picture of Dorian Gray

220 Postmodernism

225 Poststructuralism

227 Stream of consciousness

229 Pragmatism

231 Pragmatics

234 Complementarity principle

237 Principles of 20th century prose

241 Space

245 Psychoanalysis

250 Psychosis

252 Realism

255 Reality

260 Semantics of Possible Worlds

262 Semantic primitives

264 Semiosphere

265 Semiotics

268 Serial Thinking

270 Symbolism

273 20th century verse system

277 "Mournful insensibility"

281 Dream

284 Event

286 Socialist Realism

288 Structural linguistics

292 Existence

297 Surrealism

303 Theater of the Absurd

308 Text in text

311 Phone

318 Theory of speech acts

320 Creative Self-Expression Therapy

322 Trauma of birth

324 Transpersonal psychology

328 "Three Days of the Condor"

331 Phenomenology

333 Philosophy of fiction

335 Philosophy of text

336 Phonology

339 Formal school

343 Functional asymmetry of the cerebral hemispheres

345 "Khazar Dictionary"

349 Characterology

352 "Banana fish is well caught"

355 Schizophrenia

357 School for Fools

361 "The Sound and the Fury"

364 Egocentric words

368 Oedipus complex

370 Existentialism

374 Expressionism

376 Extreme experience

379 Language game

ABSOLUTE IDEALISM

- direction in Anglo-Saxon philosophy of the first two decades of the twentieth century. At its core, A. and. ascended to Hegelianism, and in this sense it was the last direction of classical philosophy. But much in A. and. led to such an understanding of the foundations and principles of philosophy, which are important for the twentieth century. right up to his last decades, again characterized by a revival of interest in dialectics and Hegel, in contrast to the dominant in the twentieth century. mathematical logic (see).

First of all A. and. interesting for us because it was from him, it was in polemics with him that philosophers were formed who determined the type of philosophical reflection of the twentieth century. It is starting from the representatives of A. and. F. Bradley, J. McTaggart, J. Royce, the creators of analytic philosophy Bertrand Russell and George Edward Moore, as well as their brilliant student Ludwig Wittgenstein honed their "neopositivist" (as they used to say in Soviet times) doctrines (see also logical positivism).

One of the main principles of A. and. in its most orthodox version, the philosophy of F. Bradley, said that reality (see) is only the appearance of true reality, which is the unknowable Absolute. What in this doctrine was unacceptable for the twentieth century? Its categorical metaphysical character, that is, the traditional nature of the formulation of philosophical problems. But in the form melted down by logical positivists-analysts, this doctrine is one of the most important in the 20th century. In philosophical concepts oriented semiotically (see semnotics), it has been transformed as the idea that reality has a symbolic character through and through (see reality) and, therefore, is again imaginary, apparent.

Such an understanding of reality is also characteristic of the latest philosophical systems (see Slavoj Zizek's extended interpretation of the concept of virtual realities). Since it is impossible to determine which reality is real and which is imaginary, the whole world seems to be a system of virtual realities: the latter is also reflected in modern cinema, in particular the famous cult film "Blade Runner" ("Blade Runner"), which is analyzed in detail in S. Zizek's book "Existence with Negativity". The main idea of ​​this film (in the interpretation of the philosopher) is that the fundamental impossibility for a person to establish whether he is a real person or a "replicant" alien makes a person more humane. He seems to be saying to himself: "Here I am doing this, and suddenly it turns out that I am not a man at all! Therefore, I will act in any case in a human way and then I will still become a man."

Second, than the roads of the twentieth century. A. and., is the concept of time (see). It was developed by J. McTaggart, and it is called static; according to it, it is not time that moves, we move in time, but the illusion of the passage of time arises from a change of observers. This idea greatly influenced the philosophy of the time of J.W. Dunn (see serial thinking), which in turn had a decisive influence on the work of H.L. Borges - a writer who embodied the very spirit of prose and the ideology of creativity of the twentieth century. (see the principles of prose of the twentieth century).

A. i. stood at the turn of the century, like a two-faced Janus looking in opposite directions. Now almost no one reads or republishes these philosophers, except for historians of philosophy. But let us be grateful to them for "waking up" Russell and Wittgenstein, and in this sense it is from them that the philosophy and cultural ideology of the 20th century should be counted.

Bradly F. Appearance and Reality. L., 1966.

Zizek S. Existence with Negativity // Art Journal, 1966. - No 9.

AVANT-GARDE ART.

In the system of aesthetic values ​​of the culture of the twentieth century, focused on an innovative understanding of how to write and live, it is necessary to distinguish between two opposing principles - modernism (see) and A. and. Unlike modernist art, which focuses on innovation in the field of form and content (syntax and semantics - see semiotics), A. and. first of all builds systems of innovative values ​​in the field of pragmatics (see). The avant-gardist cannot, like the modernist, lock himself in his study and write on the table; the very meaning of his aesthetic position is in the active and aggressive influence on the public. To produce shock, scandal, shocking - without this A. and. impossible.

Here is what the Russian philologist and semiotician M.I. Shapir, who substantiated the pragmatic concept of A.I., writes about this: “[...] in avant-garde art, pragmatics comes to the fore. At the same time, it is desirable that the reaction be immediate, instant, excluding a long and concentrated perception of the aesthetic form and content. made it possibly more difficult. Misunderstanding, complete or partial, organically enters into the avant-gardist's plan and turns the addressee from the subject of perception into an object, into an aesthetic thing admired by its creator-artist "(here and below in the quotes, the emphasis belongs to M. I. Shapir . V.R.).

And further: “The most essential thing in the avant-garde is its unusualness, catchiness. But this is least of all the unusualness of form and content: they are important only insofar as the “why” affects the “what” and “how.” The avant-garde is, first of all, an unusual pragmatic task , unusual behavior of subject and object. The avant-garde has not created a new poetics and does not have its own poetics; but it has created its own new rhetoric: a non-classical, "non-Aristotelian" system of means of influencing the reader, viewer or listener. These means are based on the violation of "pragmatic rules" : in the forefront, the subject and object of creativity continually cease to fulfill their intended purpose.If classical rhetoric is the use of aesthetic techniques for non-aesthetic purposes, then the new rhetoric is the creation of quasi-aesthetic objects and quasi-aesthetic situations. extreme points From the point of view of the phenomenon, either a non-aesthetic object acts in an aesthetic function (for example, Marcel Duchamp installed a urinal on a pedestal instead of a sculpture), or an aesthetic object acts in a non-aesthetic function (for example, Dmitry Aleksandrovich Prigov buries hundreds of his poems in paper "coffins"). That is why non-existent (virtual) aesthetic objects are effective because all the emphasis is on non-aesthetic impact: the very absence of art amazes and stuns the public (such, for example, is Vasilisk Gnedov's Poem of the End, the entire text of which consists of a title and a blank page ). It's all about the skillful organization of life: just put on a carrot instead of a tie or draw a dog on your cheek.

Speaking about the art of the twentieth century, one should clearly distinguish, when possible, the phenomena of modernism and A. and. So, it is clear that the most obvious directions of A. and. 20th century are futurism, surrealism, dadism. The most obvious directions of modernism are post-impressionism, symbolism, acmeism. But, already speaking about OBERIU, it is difficult to determine unequivocally that this trend belongs to modernism or to A. and. It was one of the most complex aesthetic phenomena of the twentieth century. Relatively speaking, of the two leaders of the Oberiuts, the joker and miracle worker Daniil Kharms gravitated towards A.I., and the poet-philosopher, the authority of nonsense "Alexander Vvedensky - towards modernism. In general, it is characteristic that when the Oberiuts arranged an evening in their Radix theater, a scandal they did not succeed, for which the experienced “scandalist” Viktor Borisovich Shklovsky reproached them for this when they stepped onto the stage. postmodern art, in which both modernism and AI play a role (see conceptualism).

From the point of view of characterology (see), a typical modernist and a typical avant-garde artist were completely different characterological radicals. Here are the typical modernists: lean, long Joyce, pampered Proust; small, thin, as if forever frightened, Franz Kafka; long, thin Shostakovich and Prokofiev; dry little Igor Stravinsky. All these are autistic schizoids (see autistic thinking), closed in their aesthetic world. It is impossible to imagine them on the square or on the stage shocking the public. They do not even have external data for this.

Here are the vanguards. Aggressive, with a thunderous voice, the athlete Mayakovsky, just as athletically built, "ate the dog" on various scandals Luis Buñuel (also, however, a complex figure - in his youth an ardent avant-garde artist, in old age - a representative of refined postmodernism); narcissistic to the point of paranoia and at the same time calculating his every step, Salvador Dali. For each of these characters, two features make up their avant-garde essence - aggressiveness and authoritarianism. How else to carry out their difficult task of actively influencing the public? These are properties of epileptoids and polyphonic mosaics (see characterization).

Shapir M. What is the avant-garde? // Daugava. 1990. - No 3.

Rudnev V. Modernist and avant-garde personality as a cultural and psychological phenomenon // Russian avant-garde in the circle of European culture. - M., 1993.

AUTO COMMUNICATION

(cf. individual language) is a concept analyzed in detail in the framework of the semiotic culturology of Yu. M. Lotman. In ordinary communication, communication takes place in the channel I-Other. When A. it occurs in the channel I - I. Here we are primarily interested in the case when the transfer of information from I to I is not accompanied by a break in time (that is, it is not a knot tied to memory) The message to oneself already known information takes place in all cases where the rank of communication rises, so to speak. For example, a young poet reads his poem printed in a magazine. The text remains the same, but when translated into another system of graphic signs, which has a higher degree of authority in this culture, the message acquires additional significance.

In the I-I system, the carrier of information remains the same, and the message acquires a new meaning in the process of communication. In the I-I channel, a qualitative transformation of information takes place, which as a result can lead to the transformation of the consciousness of the I itself. By transmitting information to itself, the addressee internally rebuilds his essence, since the essence of the personality can be interpreted as an individual set of meaningful codes for communication, and this set is in the process A. is changing. Wed cited by Yu.M. Lotman's example from "Eugene Onegin":

So what? His eyes read

But thoughts were far away;

Dreams, desires, sorrows

Crowded deep into the soul.

He is between the printed lines

Read with spiritual eyes

Other lines. In them he

It was completely deep.

One of the main features of A., according to Lotman, is the reduction of the words of the language, their tendency to turn into signs of words. An example of A. of this type is the declaration of love between Konstantin Levin and Kitty (who in this case can be considered almost as one consciousness) in L.N.'s "Anna Karenina". Tolstoy:

“Here,” he said, and wrote the initial letters: k, c, m, o: e, i, m, b, s, l, e, n, i, t? These letters meant: “when you answered me: this can't be, did that mean never or then?" [...]

“I understand,” she said, blushing.

– What is this word? he said, pointing to the n, which meant the word never.

“This word means never [...]”.

V. A., as Yu. M. Lotman writes, “we are talking about the increase in information, its transformation, reformulation. Moreover, not new messages are introduced, but new codes, and the receiver and transmitter are combined in one person. In the process of such auto-communication, reformulation occurs the personality itself, with which a very wide range of cultural functions is associated - from the feeling of a separate being necessary for a person in a certain type of cultures to self-knowledge and autopsychotherapy" (see altered states of consciousness).

As a compromise between communication and poetry, between meaning and rhythm, Yu. M. Lotman considers a two-channel poetic language, which superimposes a rhythmic code that has an autocommunicative character on the content code (see also the system of verse).

Lotman Yu.M. Autocommunication: "I" and "Other" as addressees

Lotmam Yu.M. Inside thinking worlds: Man. Text. Semiosphere. Story. - M., 1996.

(ancient Greek akme - the highest degree of flourishing, maturity) is the direction of Russian modernism, which was formed in the 1910s. and in his poetic attitudes, repelled by his teacher, Russian symbolism. The acmeists, who were members of the "Workshop of Poets" association (Anna Akhmatova, Nikolai Gumilev, Osip Mandelstam, Mikhail Kuzmin, Sergey Gorodetsky), were "overcoming symbolism", as the critic and philologist, future academician V. M. Zhirmunsky called them in the article of the same name. The transcendental two-worldness of the Symbolists A. opposed the world of simple everyday feelings and everyday spiritual manifestations. Therefore, the Acmeists also called themselves "Adamists", representing themselves as the first man Adam, "a naked man on bare earth." Akhmatova wrote:

I don't need odic ratis

And the charm of elegiac undertakings.

For me, in poetry everything should be out of place,

Not like people do.

When would you know from what rubbish

Poems grow, not knowing shame,

Like a yellow dandelion by the fence

Like burdock and quinoa.

But the simplicity of A. from the very beginning was not that healthy sanguine simplicity that happens with village people. It was an exquisite and undeniably autistic (see autistic consciousness, characterology) simplicity of the outer cover of verse, behind which lay the depths of intense cultural searches.

Akhmatova again;

So helplessly my chest went cold,

But my steps were light

I put on my right hand

Left hand glove

An erroneous gesture, an "erroneous action," to use Freud's psychoanalytic terminology from his book The Psychopathology of Everyday Life, which was already published in Russia at that time, conveys a strong inner experience. It can be conditionally said that all of Akhmatova's early poetry is a "psychopathology of everyday life":

I've lost my mind, oh strange boy

Wednesday at three o'clock!

Pricked ring finger

A ringing wasp for me.

I accidentally pressed her

And she seemed to die

But the end of the poisoned sting

Was sharper than the spindle.

Salvation from habitually unhappy love in one work. Perhaps the best poems by A. are poems about poetry, which the researcher A. Roman Timenchik called auto-meta-description:

When I wait for her arrival at night,

Life seems to hang by a thread.

What honors, what youth, what freedom

In front of a nice guest with a pipe in her hand.

And so she entered. Throwing back the cover

She looked at me carefully.

I say to her: "Did you dictate to Dantu

Pages of Hell?" Answers: "Me".

Initially restrained, "clarified" (that is, proclaiming clarity) A.'s poetics was also true to the great Russian poet of the twentieth century. Mandelstam. Already the first poem of his famous "Stone" speaks of this:

The sound is wary and muffled

The fruit that fell from the tree

In the midst of the silent chant

Deep silence of the forest...

The laconicism of this poem makes researchers recall the poetics of Japanese haiku (three lines) belonging to the Zen tradition (see Zen thinking) - external colorlessness, behind which lies a tense inner experience:

On a bare branch

Raven sits alone...

Autumn evening!

So it is with Mandelstam in the cited poem. It seems that this is just a household sketch. In fact, we are talking about an apple that fell from the tree of the knowledge of good and evil, that is, about the beginning of history, the beginning of the world (which is why the poem is the first in the collection). At the same time, it can also be Newton's apple, the apple of discovery, that is, again, the beginning. The image of silence plays very big role- he refers to Tyutchev and the poetics of Russian romanticism with its cult of the inexpressibility of feelings in words.

The second poem "Stone" also refers to Tyutchev. Strings

Oh, my sadness,

Oh my quiet freedom

resonate with Tyutchev's lines:

O my prophetic soul!

O heart full of anxiety!

Gradually, the poetics of A., especially his two main representatives, Akhmatova and Mandelstam, become extremely complicated. The largest and most famous work of Akhmatova, "A Poem without a Hero," is built like a casket with a double bottom. Many commentators still solve the riddles of this text.

The same thing happened to Mandelstam: the overabundance of cultural information and the peculiarity of the poet's talent made his mature poetry the most complex in the 20th century, so complex that sometimes researchers in separate work parsed not the whole poem, but only one line of it. With the same analysis, we will finish our essay on A. We will talk about a line from the poem "Swallow" (1920):

An empty boat floats in a dry river.

G. S. Pomerants believes that this line should be understood as deliberately absurd, in the spirit of a Zen koan. It seems to us that, on the contrary, it is overloaded with meaning (see). Firstly, the word "shuttle" is found in Mandelstam two more times and both times in the meaning of part of the loom ("The shuttle is spinning, the spindle is buzzing"). For Mandelstam, the contextual meanings of words are extremely important, as studies of the school of Professor K.F. Taranovsky, who specialized in the study of the poetics of A.

The shuttle, thus, moves across the river, crosses the river. Where is he sailing? This suggests the context of the poem itself:

I forgot what I wanted to say.

The blind swallow will return to the hall of shadows.

The "hall of shadows" is the realm of shadows, the realm of the dead Hades. The empty, dead boat of Charon (shuttle) floats to the "chamber of shadows" along the dry river of the dead Styx. This is an ancient interpretation.

There may be an Eastern interpretation: emptiness is one of the most important concepts of Tao philosophy. Tao is empty because it is the receptacle of everything, wrote Lao Tzu in the Tao Te Ching. Chuang Tzu said: "Where can I find a person who has forgotten all the words to talk to him?" Hence, the forgetfulness of the word can be seen not as something tragic, but as a break with the European tradition of speaking and falling into the Oriental, as well as the traditional romantic concept of silence.

A psychoanalytic interpretation is also possible. Then forgetfulness of the word will be associated with poetic impotence, and an empty canoe in a dry river with a phallus and (unsuccessful) sexual intercourse. The context of the poem confirms this interpretation. A visit by a living person to the kingdom of the dead, which is undoubtedly mentioned in this poem, can be associated with mythological death and resurrection in the spirit of the agrarian cycle as a campaign for fertility (see myth), which in a subtle sense can be interpreted as the campaign of Orpheus (the first poet ) behind the lost Eurydice to the realm of shadows. I think that in this poem, in understanding this line, all three interpretations work simultaneously.

Taranovsky K. Essays on Mandelstam. – The Haage, 1976.

Toddes E.A. Mandelsham and Tyutchev. Lisse, 1972.

Timenchik R.D. Akhmatova's auto-meta description // Russian literature, 1979. 1 - 2.

Rudnev V. Mandelstam and Wittgenstein // Third Modernization, 1990.– No 11.

ACCENT VERSE

(or purely tonic, or shock verse) - poetic size (see verse system), the freest on the scale of metrical varieties, or meters. You. the lines must be equal in the number of stresses, and it doesn’t matter how many syllables there are between stresses. Thus, A. s. - this is the limit of the emancipation of the verse along the line of the meter. No wonder A. s. also called Mayakovsky's verse. Here is an example of a 4-strike A. s. from the poem "Vladimir Ilyich Lenin".

1. Army of proletarians, stand up slender!

2. Long live the revolution, joyful and speedy!

3. This is the only great war

4. Of all that history has known.

And here is the metric scheme of this quatrain:

(the sign "-" denotes stressed syllables in a line, the number indicates the number of unstressed syllables).

Everything seems to be correct: there are four stresses in each line, and as many unstressed syllables as you like between the stresses. But, firstly, not as many as you like, but from one to five, and secondly, the last line is generally quite regulated and can be a line of a 4-strike dolnik (see), where there should be one or two syllables between stresses. Let's conduct such an experiment. Let's take some well-known text written with a 4-strike dolnik and try to substitute this line there. For example:

The girl sang in the church choir

About all the tired in a foreign land,

About all the ships that have gone to sea,

Of all that history has known.

Well, except for the rhyme, it's all right. The diagram confirms this:

This is the first problem of A. s identity. In order for it to be perceived as A. s., a sufficient number of large (more than three syllables) inter-stress intervals is necessary, and thus long words, of which there are not so many proletarians in the Russian language, revolution, joyful, unique, fair. The average word length in Russian is three syllables. It turns out that A. s. - this is not freedom, but the artificial bias of the verse, the obligation to fill in the inter-shock intervals with rare long literary words. However, all avant-garde art is always a truly artificial phenomenon, committing violence against the language that was not lucky enough to meet it.

Rudnev V. Dictionary of culture of the XX century

BUT

Absolute idealism
avant-garde art
Autocommunication
Acmeism
accent verse
Analytical psychology
Analytical philosophy
Joke
atomic fact
autistic thinking

B

"Endless Dead End"
Unconscious
binary opposition
Biography
"Pale Fire"

AT

Verificationism
Vers libre
Verlibrization
virtual reality
"Magic Mountain"
Time

G

Generative linguistics
generative poetics
Hypertext
Hypothesis of linguistic relativity

D

Deconstruction
Depression
Detective
Zen thinking
dialog word
dodecaphony
"Doctor Faustus"
Dolnik
Reliability

W

"Lock"
"Mirror"
Sign

And

Altered state of consciousness
Proper name
Individual language
Intertext
Optimization
True

To

"As if" and "Actually"
carnivalization
Picture of the world
Cinema
Kitsch
Inferiority complex
Conceptualism

L

Linguistics of oral speech
Linguistic apologetics
Linguistic Therapy
Logoedization
Boolean semantics
Logical positivism

M

Mass culture
"The Master and Margarita"
mathematical logic
Medical Research
Metalanguage
Myth
Multivalued logics
Modalities
Modernism
Motive Analysis

H

Neurosis
Neo-mythological consciousness
New doctrine of language
New romance
Norm
"Norma/Roman"

O

OBERIU
"Orpheus"
estrangement

P

Paradigm
Parasemantics
"Pygmalion"
Polymetry
polyphonic novel
"The Picture of Dorian Grey"
Postmodernism
post-structuralism

Mindflow
Pragmatism
Pragmatics
Complementarity principle
Principles of 20th century prose
Space
Psychoanalysis
Psychosis

R

Realism
Reality
Rhythm

With

Semantics of possible worlds
Semantic primitives
semiosphere
Semiotics
Serial thinking
Symbolism
20th century verse system
"Mournful insensibility"
Meaning

Dream
Event
socialist realism
Structural linguistics
Existence
Plot
Surrealism

T

theater of the absurd
Text
Text in text
Telephone
Body
Theory of speech acts
Creative expression therapy
Birth trauma
Transpersonal psychology
"Three Days of the Condor"

F

Phenomenology
Philosophy of fiction
Philosophy of the text
Phonology
formal school
Functional asymmetry of the cerebral hemispheres
brain

X

"Khazar Dictionary"
Characterology
"It's good to catch banana fish"

Schizophrenia
"School for Fools"
"Sound and Fury"

E

egocentric words
Oedipus complex
Existentialism
Expressionism
Extreme Experience

language game

The 20th century and the second millennium with R.Kh. Replacing each other, the century was completely filled with "eras of change." It's time for humanity to take stock. A sign of this was the appearance of various kinds of "Chronicles ...", "Encyclopedias ...", "Dictionaries ..." and other reference and analytical publications on
various areas of human activity. The book that you, dear reader, are holding in your hands is from this series. Its author, Vadim Rudnev, a linguist and philosopher, embodied in the "Dictionary ..."
view of the culture of the twentieth century. "Dictionary..." compiled articles in the following areas
modern culture of philosophy, psychoanalysis, literature, semiotics, poetics and linguistics. Work on the "Dictionary ..." was not easy both at the stage of preparing the text and in developing
the concept of building a book that, in our deep conviction, should be, first of all, readable and useful as a reference tool. The "Dictionary of Culture of the 20th Century" is intended for a wide range of readers - from a schoolboy preparing to enter
humanitarian university, to students and researchers who will find source and bibliographic material in the book.

"Dictionary..." Vadim Rudnev, semiotician, linguist and philosopher, author of the monograph "Morphology of Reality" (1996), translator and compiler of the book "Winnie the Pooh and Philosophy
ordinary language", which has become an intellectual bestseller, is a unique dictionary - hypertext. The publication contains 140 articles devoted to the most relevant concepts and
cultural texts of the 20th century. This publication continues a series of cultural reference dictionaries published by the Agraf publishing house.
For a wide range of readers.

In memory of my father
Peter Alexandrovich Rudnev

FROM THE AUTHOR

In the novel by the modern Serbian prose writer Milorad Pavic "Khazar Dictionary" (hereinafter in all articles of our dictionary, if a word or phrase is in bold, this means that a separate article is devoted to this word or combination of words - with the exception of quotations), so
Here, Pavich's "Khazar Dictionary" tells the story of how one of the collectors of this mysterious dictionary, Dr. Abu Kabir Muawiyah, began to write according to newspaper advertisements
of the past years and, most surprisingly, soon began to receive answers in the form of parcels with various things. Gradually, these things so filled his house that he did not know what to do with them. These were, as the author writes, "a huge camel saddle, female
a dress with bells instead of buttons, an iron cage in which people are kept suspended from the ceiling, two mirrors, one of which was somewhat late and the other was broken,
an old manuscript in a language unknown to him [...]. A year later, the attic room was full of things, and
Entering it one morning, Dr. Muawiyah was stunned to realize that everything he had acquired was beginning to add up to something that made sense."
Dr. Muawiyah sent a list of things for computer analysis, and the response that came back was that all these things were mentioned in the now lost Khazar Dictionary.
Once upon a time, one smart and talented person uttered two phrases in the same conversation: "Do not attach importance to anything" and "Everything makes sense" (about the difference between the concepts of meaning and meaning
see the articles sign, meaning and logical semantics). He wanted to say that what matters is not what people say, but how and why they say it (that is, to rephrase it in terms of
semiotics, for human communication it is not the semantics that are important, but the pragmatics of the utterance).
I’ll add on my own (although this was invented long ago by the founders of psychoalysis, Sigmund Freud and Carl Gustav Jung): if a word, by chance association, entails another word (see Fig.
about this also parasemaitika), one should not brush aside the second word - it can help to better understand the meaning of the first word.
At first, the idea of ​​a dictionary seemed impossible and as meaningless as the storage of things in the room of an Arab professor But, remembering that "nothing should be given importance", in
while "everything makes sense", we included in the "Dictionary .." those words and phrases that were understandable and interesting to us.
"Dictionary of Culture of the 20th Century" is a collection of three types of articles.
The first and most obvious type are articles devoted to specific cultural phenomena of the 20th century, such as modernism, transpersonal psychology, semiotics, conceptualism, etc.
Articles of the second type are devoted to concepts that existed in culture long before the twentieth century, but it was in it that they acquired particular relevance or were seriously rethought.
These are such concepts as dream, text, event, existence, reality, body.
Finally, the third type of articles is small monographs devoted to the key, from the point of view of the author of the dictionary, works of art of the 20th century. The very appeal to these works is legitimate, but their choice may seem subjective. Why, for example, there are no articles in the "Dictionary ..."
"Ulysses" or "In Search of Lost Time", but there are articles "Portrait of Dorivia Gray" or "Pygmalion"? We dare to note that this subjectivity is imaginary. For the dictionary were chosen
those texts that better explained the concept of culture of the twentieth century, embodied in the dictionary. For example, an article about Oscar Wilde's The Picture of Dorian Gray is included as an illustration.
most important, in our opinion, the topic of delimiting the time of the text and reality as a particular manifestation of
fundamental cultural collision of the twentieth century. - painful search for boundaries between text and reality. An article about Bernard Shaw's play "Pygmalion" was included as an illustration of how the literary text is ahead of philosophical ideas - in his comedy, Shaw proclaimed that
language plays the most important role in human life, which soon became the cornerstone of a vast philosophical trend called analytical philosophy (see also
logical positivism, language game). The most important feature of the dictionary is that it
is a hypertext, that is, it is built so that it can be read in two ways: alphabetically, and from article to article, paying attention to the underlined words and
phrases. The dictionary deals mainly with the following areas of culture of the twentieth century. "philosophy, psychoanalysis, linguistics, semiotics, poetics, versification and literature. Thus,
is a dictionary of humanitarian ideas of the 20th century. References to dictionary entries are deliberately simplified. With rare exceptions, these are articles and books available to citizens
Russia and adjacent states. The dictionary is intended primarily for those who
everything that was interesting and significant in the past century is dear.
Vadim Rudnev