Kairos, критический момент. Актуальное произведение искусства на марше. Валерий Подорога

и гримасы. Там, где они видимы и кажутся обладающими телом, мыслями, индивидуальным обликом, они – только мёртвые маски, пустые футляры. Лишь неуловимо быстрое движение приводит их в чувство, и только те движения, о которых объявляет язык; в нём находим их следы (авторское косноязычие, бормотание, крики и вой), сами же они практически невидимы, сверхбыстрые существа этого странного мира. (См.: Белый А. Петербург. М.: Наука, 1981; Подорога В. Мимесис. Материалы по аналитической антропологии литературы. Том 2 (ч. 1). М.: Культурная революция, 2011. С. 30–76.)

      7

      Адорно Т.В. Эстетическая теория / Пер. с нем. А.В. Дранова. М.: Республика, 2004. С. 120.

      8

      Адорно Т.В. Эстетическая теория / Пер. с нем. А.В. Дранова. М.: Республика, 2004. С. 126.

      9

      Адорно Т.В. Эстетическая теория / Пер. с нем. А.В. Дранова. М.: Республика, 2004. С. 127.

      10

      Пруст М. По направлению к Свану / Пер. с франц. Н. Любимова. М.: Художественная литература, 1973. С. 71.

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Примечания

1

Тиллих П. Систематическая теология. Т. 3. М.; СПб.: Уни

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