REHABILITATION OF THE SUPERSENSITIVE IN THE CULTURE OF THE XX CENTURY: A. TARKOVSKY AND THE “TRANSENDENTAL” STYLE IN CINEMA. ARTICLE THREE

Annotation

The third article, devoted to the work of A. Tarkovsky, deals with gaps in continuity at the cultural level. The logic of the development of Russian culture over the centuries is a continuous accumulation and accumulation of gaps, which were sometimes overcome, although not always, reaching a final resolution. Such gaps, explained by social and political reasons, led to the fact that already existing or just emerging artistic and aesthetic values had to be sacrificed, which manifested itself in the persecution of artists, emigration, etc. But at the same time, there was always a need to restore continuity, and this function could be carried out again only by thinkers and artists. Such a permanent cultural situation largely explains the dramatic facts in the biography of A. Tarkovsky, and the extraordinary resonance provoked by his films. His work should be perceived in the context of philosophical and religious searches in Russia at the turn of the XIX—XX centuries, as well as elements revived in art forms that define some pre- Renaissance universal artistic styles.

Keywords

A. Tarkovsky, the principle of continuity, theurgic philosophy, the supersensible, transcendental style, anthropological catastrophe, P. Schrader, I. Evlampiev, M. Mamardashvili

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