Аннотация: This article makes an attempt to cleanse the notion of time from the naturalistic associations, which across the centuries connect it with the natural cycles on one hand, and the familiar markers of sequence (before, now, after) on the other. The “perception” of time, in the interpretations of which all the way until today, dominate the methods on introspection, is subjected to the similar criticism. The focus of examination is the conditions of origin of time and its cultural functions, which are defined first and foremost by the task of institutionalization of “reality”. The article reviews “time” in its genesis; in addition to that, it subjects to reconstruction the “historicism”’; “reduction to foundations” is carried out based on the attraction of various anthropological material. Scientific novelty consists in the reframing of the formed ideas that interpret time as a natural given. Time and its institutionalizing realities are compared with their origin – a sovereign being on one hand, and various institutions of reality (fear of death, body, ephemera, etc.) on the other. As a result, time appears as the most universal form of sublimation of the self-preservation instinct and the axis of structuring of the “real”.

Ключевые слова: Continuum, Sovereignty, Naturalism, Metaphysics, Time, Being-to-death, Sublimation of fear, Procedurality, Realism , Reality

Библиография:
Fuko, Mishel'. Arkheologiya znaniya. M., Nika-Tsentr, 1996. – 208 s.
Heidegger M. Sein und Zeit. Tübingen, 1986.
Foucault M. L”archeologie du savoir. Paris, 1969.
Gegel' G. Fenomenologiya dukha. – Sankt-Peterburg. 2002. S. 11.
Gegel' G. Entsiklopediya filosofskikh nauk. T. 3. – M., 1977.
Khaydegger M. Bytie i vremya. / Per. s nem. V.V. Bibikhina. M.: Ad marginem, 1997.
Marks K., Engel's F. Izbran. soch. V 9 t. T. 2. – M., Politizdat, 1985.
Marks K., Engel's F. Soch., t. 3. – M.: Gosudarstvennoe izdatel'stvo politicheskoy literatury, 1955-1981 gg.
Mamardashvili M.K. Lektsii o Pruste: (Psikhologicheskaya topologiya puti). M., 1995. S. 109.
Khaydegger M. Prolegomeny k istorii ponyatiya vremeni. Tomsk: Izdatel'stvo «Vodoley», 1998.— 384 s.
Fuko M. Nadzirat' i nakazyvat'. M., 1999.
Spektor D.M. Inobytie i vremya (kontury estetiki transtsendentnogo). // NB: Filosofskie issledovaniya. — 2014.-№ 3.

References (transliteration):
Fuko, Mishel'. Arkheologiya znaniya. M., Nika-Tsentr, 1996. – 208 s.
Heidegger M. Sein und Zeit. Tübingen, 1986.
Foucault M. L”archeologie du savoir. Paris, 1969.
Gegel' G. Fenomenologiya dukha. – Sankt-Peterburg. 2002. S. 11.
Gegel' G. Entsiklopediya filosofskikh nauk. T. 3. – M., 1977.
Khaydegger M. Bytie i vremya. / Per. s nem. V.V. Bibikhina. M.: Ad marginem, 1997.
Marks K., Engel's F. Izbran. soch. V 9 t. T. 2. – M., Politizdat, 1985.
Marks K., Engel's F. Soch., t. 3. – M.: Gosudarstvennoe izdatel'stvo politicheskoy literatury, 1955-1981 gg.
Mamardashvili M.K. Lektsii o Pruste: (Psikhologicheskaya topologiya puti). M., 1995. S. 109.
Khaydegger M. Prolegomeny k istorii ponyatiya vremeni. Tomsk: Izdatel'stvo «Vodoley», 1998.— 384 s.
Fuko M. Nadzirat' i nakazyvat'. M., 1999.
Spektor D.M. Inobytie i vremya (kontury estetiki transtsendentnogo). // NB: Filosofskie issledovaniya. — 2014.-№ 3.

Аннотация: The article provides a brief research on the problem of death in the fi rst Bunuel’s fi lms (“Un chien andalou”, 1929, “L’Вge d’or”, 1930, “Las Hurdes. Tierra sin pan”, 1932). The author concludes that the director’s preoccupation by the problem of death, expressed with naturalistic and sexual images and aggressively built narration, results not just from French model of surrealism, but has its own deep grounds in Spanish culture, surrealistic by itself.

Ключевые слова: philosophy, death, Spanish culture, surrealism, cinema, Eros, de Sade, Bunuel

Контактная информация: Izotova Irina Sergeevna, izotova.irina.s@gmail.com

Библиография:
Bunyuel' L. Moy posledniy vzdokh. M.: Raduga, 1989.
Ado Kyro. Luis Bunuel, an Introduction. New-York: Simon and Schuster, 1963.
Harcourt R. Luis Busuel: Spaniard and Surrealist. Film Quarterly, Vol. 20, No. 3, 1967).
Havard R. The Crucifi ed Mind: Rafael Alberti and the Surrealist Ethos in Spain. Rochester, NY: Tamesis,
2001.
Kinder M. Hot Spots, Avatars, and Narrative Fields Forever. Busuel’s Legacy for New Digital Media and
Interactive Database Narrative. University of California Press: Film Quarterly, Vol. 55, No. 4 (Summer,
2002).
Lopez Villegas M. Sade y Bunuel. El Marques de Sade en la obra cinematografi ca de Luis Bunuel. Instituto
de studios Turolenses. Teruel, 1998/ Gobierno de Aragon. Zaragoza, 1998.
Rubinstein E. Busuel among the Hurdanos. Cinema Journal, Vol. 22, No. 4. University of Texas Press,
1983).
Roof G. Un Passionny Appel Au Meurtre: Murder and Artistic Experience in UN Chien Andalou //Romance
Quarterly. Vol.41. Issue: 4, 1994.
Sanchez Vidal A. El mundo de Luis Bunuel. Zaragoza: Caja de ahorros de la Inmaculada de Aragon,
2000.

References (transliteration):
Bunyuel' L. Moy posledniy vzdokh. M.: Raduga, 1989.
Ado Kyro. Luis Bunuel, an Introduction. New-York: Simon and Schuster, 1963.
Harcourt R. Luis Busuel: Spaniard and Surrealist. Film Quarterly, Vol. 20, No. 3, 1967).
Havard R. The Crucifi ed Mind: Rafael Alberti and the Surrealist Ethos in Spain. Rochester, NY: Tamesis,
2001.
Kinder M. Hot Spots, Avatars, and Narrative Fields Forever. Busuel’s Legacy for New Digital Media and
Interactive Database Narrative. University of California Press: Film Quarterly, Vol. 55, No. 4 (Summer,
2002).
Lopez Villegas M. Sade y Bunuel. El Marques de Sade en la obra cinematografi ca de Luis Bunuel. Instituto
de studios Turolenses. Teruel, 1998/ Gobierno de Aragon. Zaragoza, 1998.
Rubinstein E. Busuel among the Hurdanos. Cinema Journal, Vol. 22, No. 4. University of Texas Press,
1983).
Roof G. Un Passionny Appel Au Meurtre: Murder and Artistic Experience in UN Chien Andalou //Romance
Quarterly. Vol.41. Issue: 4, 1994.
Sanchez Vidal A. El mundo de Luis Bunuel. Zaragoza: Caja de ahorros de la Inmaculada de Aragon,
2000.

Аннотация: This paper highlights the historical formation of one of the most influential images of fate in ancient culture - Geymarmene. Arising from the Greeks at an early stage of the mythological perception of the world, it has undergone significant changes in its value. At first, it symbolized the clan revenge, returning the punishment for the crimes of ancestors to descendants, then later - becomes an independent element of space, through which the stoic sage "polishing" their virtues. Because of the "executioner" punishing their victims it is transformed into ecumenical "educator".

Ключевые слова: fate, destiny, tribal morality, Geymarmene, Moira, retribution, space, justice, fate, philosophy, virtue

Контактная информация: Rodzinskiy Dmitriy Leonidovich, Rodzinskiy66@mail.ru