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The present paper aims to address the crucial concern of pollution induced by growing plastic waste and electromagnetic interference (EMI). Nanocomposites combining poly(lactic acid) (PLA) and organo-modified montmorillonite (OMMT) are synthesized and compression molded into thin films. A first set of samples, referred as virgin, was kept as is, while a second set of samples were photochemically, thermally and hydrolytically aged before mechanical recycling via extruding and second compression molding, resulting in the so-called recycled composite. The electromagnetic (EM) properties with a focus on microwave absorption performances of virgin and recycled samples are compared for various thicknesses and weight concentrations of OMMT in PLA matrix. The EM performances are gauges by Rozanov and Salisbury structures that consist in one- and two-layer stacks of composite films back-coated by a metal foil. Characterization in Rozanov configuration shows an average absorption index over the Ka band of 29.3% and 21.1% for, respectively, virgin and recycled PLA reinforced with 4 wt.% OMMT. An optimization of the film thickness is proposed; up to 61.85% and 80% of absorption with a thickness of 1.4 mm and 3.75 mm, respectively, is reached with a metal back-coated rPLA-4%OMMT film. Characterization in Salisbury configuration gives advantage to the recycled structure with an average absorption of 49.6% for a total thickness of 1.4 mm. The requirements of EMI shielding are met by PLA-OMMT composites with a certain benefit of recycling process on EM performance. [ABSTRACT FROM AUTHOR]

An intensive study of V. Rozanovs work naturally actualizes the question of the reasons for the contradictory assessments that have accompanied it for more than a century. The author explains their polarity by the prevalence of subjective or stereotypical ideas about the fundamental novelty of V. Rozanovs approach to the psychology of literary creativity and to the aesthetics of secluded nudity, which the creative subject of his books invariably followed. The article examines the space of solitude as a sphere of creative realization of Rozanov, where the main attention is paid to the intuition of intimacy, interpreted by the writer as a genuine spiritual act underlying the true creativity of life and literature. In solitude the authors intuition of intimacy penetrates into the phenomena and objects of life, endows them with related intimate meanings, is reflected in them and contributes to the creation of a mythopoetic picture of the world, filled with a variety of subjective and personal ideas of V. Rozanov about God, the world, cultural and literary values, about to yourself. In the above examples, V. Rozanovs faces appear in the process of intimate rapprochement with the Absolute and revealed in ontological insights. Disguises are figurative dialectical projections of the intimate faces of the author, opposed to the traditional views on the writers personality. These are polar, familiarly traversed projections of his intimate faces designed to enhance their ontological and aesthetic significance. The philosophical concept of detachment in myth and literature, developed by A.F. Losev in Dialectics of Myth , served as a methodological basis for the study of the phenomenon of solitude and unity in V. Rozanov of the myth-maker and writer.

Purpose. The purpose of the article is to compare the anthropology of gender by Vasil Rozanov and the ethics of sexual difference by Luce Irigaray, to identify similarities and distinctions between these theories, and to assess their role in the development of the gender studies. Theoretical basis combines the comparative method and the gender approach, which is based not only on describing the difference of statuses, roles and other aspects of men’s and women’s lives, but also on overcoming the androcentrism in the contemporary world. Originality of the work consists in the fact that, in the context of the gender studies, the special philosophical and anthropological comparison of the gender concepts by Rozanov and Irigaray were carried out for the first time. This allowed reckoning Rozanov’s theory in essentialism, and Irigaray’s theory in anti-essentialism. The article also reveals the similarity in the anthropology of gender by Rozanov and the ethics of sexual difference by Irigaray in terms of sexuality concept, analyzes and details their main ideas. Conclusion. The important similarity between Rozanov’s and Irigaray’s concepts is the assertion of female subjectivity as equivalent to male one. The female equivalent of sexuality by Rozanov manifests itself in the concept of "cunnicentrism", but by Irigaray, it is in the metonymy of "two lips". The methodological basis of their concepts is the insuperable opposition of "masculine" and "feminine". Rozanov seeks to identify "masculine" and "feminine", but Irigaray rather concentrates on their radical distinction. According to Rozanov, sexual differences are determined biologically or metaphysically, which defines their eternal and unchanging nature. In turn, Irigaray argues that phallocentric culture is the condition of sexual differences, which may be overcome with changing linguistic structures. The fundamental similarity of the anthropology of gender and the ethics of sexual difference is that not only "masculine", but also "feminine" principles are sexualized in them. Thus, Rozanov in his style and attention to physicality is surprisingly close to the modern gender anthropology and may be regarded as its forerunner. At the same time, the influence of Irigaray’s philosophical concepts on the contemporary gender studies is that she was the first to point out the need to create a woman’s other discourse that respects sexual difference and revealed the problematical character of singling out the distinctions between the female different and any other different in it.

This article examines Vasilii Rozanov’s autobiographical practices by analyzing previously unnoticed aspects of his engagement with Fedor Dostoevsky’s works. Rozanov’s fascination with Dostoevsky is hardly a secret, and his contemporaries found his tendency to embody characters, such as Fedor Karamazov or Smerdiakov so striking that he was even called a ‘living plagiary’ of Dostoevsky’s novels. And yet, a major aspect of this literary performance has yet to be explored. The author posits that Rozanov’s excessive intertextuality and his creative embodiment of certain Dostoevskian characters contribute to his creation of a hybrid autobiography, whose uniqueness emerges from its fundamental dependence on others’ texts and its thematization of relationality. Ultimately, this article argues that Rozanov wrote himself into a Dostoevskian genealogy of his own making, while also developing an original authorial persona that combined autobiographical referentiality with a subjectivity enacted primarily through interaction with others’ texts.

The article looks at the interpretation and assessment of the most important female protagonist in Russian literature – Pushkin's Tatyana Larina – by authoritative figures in literary criticism in pre-revolutionary Russia. In 1840s, 1870s and 1900s key figures in various schools of thought: Westernizers (V. G. Belinsky), Slavophiles (F. M. Dostoevsky), representatives of “new religious consciousness” (V. V. Rozanov) repeatedly returned to the same texts to interpret them in accordance with radically different ideals, which turned their assessments into polar opposites. The primary moot point was Tatyana's choice between love to Onegin and spousal duty to her husband. A positive or negative take on the choice Tatyana made characterizes the religious stance and worldview of the three authors and the strands of 19th and 20th century Russian culture they represent. Our study has allowed us to underscore and compare the deep currents of Russian religious and artistic thought, their interconnections and mutual influence within the cultural field of contemporary Russia. It has found resonance in the 'national idea' of the turn of the 21st century as expressed by A. I. Solzhenitsyn – “the preservation of the people”.

Our essay discusses V V Rozanov's Dostoyevsky and the Legend of the Grand Inquisitor (1891) in which readers find Dostoyevsky's unique critique of Modernity Dostoyevsky's novel The Brothers Karamazov, along with Rozanov's interpretations in his book, provide an outstanding answer to the question of how modern people came to atheism. For them, this position is not so much a "superficial treachery" as "something that revolts against God but is nevertheless divine in itself." This revolution is a reflection of something great within the human spirit However, it, nonetheless, betrays the inability of humans en route to finding their beliefs. So this atheistic turn dialectically reveals the inability of human spirit which actually negates the basis of human life. Hence, the following issue: atheistic humans change their institutional principles and the bases on which they arrange their lives. In other words, humans seize the "authority" of the world from God. Dostoyevsky's "legend of the Grand Inquisitor" provides a revelation about modernity and modern society; and it generates. a metaphor for the authority and "legitimacy" of the modern system, a metaphor which take its roots in the substrates of different nations and cultures. Dostoyevsky's "legend" and Rozanov's interpretations help us to rethink the critique of modernity from a religious perspective. [ABSTRACT FROM AUTHOR]

This article investigates the relation between Vasilii Rozanov's myth of Egypt and Mikhail Bakhtin's concept of carnival. It considers the first as an instance of religious art and the last as a case of transformation of religion into art. While Rozanov replaces Christian orthodox religion by a largely invented pseudo-Egyptian belief, which is grounded on a more or less free interpretation of reproductions of old artifacts from the Nile region, Bakhtin replaces in his book on Rabelais religion by an artistic project, which in the tradition of the concept of 'Third Renaissance' proclaims the development of a culture, which realizes human(ic) possibilities, rooted in antiquity but not (completely) carried out in them. Rozanovs aims at the integrative specialty of Russian culture, inherent to (his) neo-slavophile way of 'serious' thinking and thus excludes it from other cultures, whereas Bakhtin includes the possible coming culture into a European tradition, which renovates itself by perennially going back to its roots of laughter and ambivalence. [ABSTRACT FROM AUTHOR]

The approach to Russian sexuality exemplified by Eliot Borenstein's recent keynote conference address, 'Perverting Slavic Studies: A Love Story' is examined and placed into the overall context of some common myths and clichés that seem to circulate in Russian sex studies outside Russia Each of the three parts of the study addresses a familiar set piece about sexuality in Russian culture and literature: Rozanov as an anti-Semitic sadist, as discussed by Laura Engelstein; Viktor Erofeev as an arch-enemy of academic feminists, as framed in the collection Eros and Pornography in Russian Culture; and finally Borenstein's broad approach and his 'Russian pornography as an idea'. In a brief summary, some of the most conspicuous problems of the burgeoning Russian sex studies 'industry' in the USA are formulated as it struggles to come to grips with its topic. [ABSTRACT FROM AUTHOR]

Abstract: This paper offers a reading of the critical work written on Rozanov in the 1920s with the focus on new interpretations of his style as an organic part of his ideas. It examines the opinions on various aspects of Rozanovʼs experimental narrative expressed by such leading literary personalities as Viktor Shklovskii, Viktor Khovin, Aleksei Remizov, Dmitrii Sviatopolk-Mirskii, Erikh Gollerbakh and Konstantin Mochulʼskii on one hand, and views by Lev Trotskii on the other. The aim is to create a representative typology of those opinions and interpretations which can be viewed as main trends of critical thought of the 1920s. The trends which in this decade mark the beginnings of the specificity of Russian culture in emigration still show aspects of homogeneity with intellectual thought inside Russia. [Copyright &y& Elsevier]

The importance is examined specifically of the coin and, more generally, of money, in the religious thought of Vasilii Rozanov. First, there is Rozanov's rejection of the Orthodox ideal of poverty, which is based on his interpretation of the religious role of the family and the obligation placed on men to support their household. Then, the focus is on Rozanov's numismatics; the importance of the coin for Rozanov as a historical artefact, and also the metaphysical function of the coin in connecting him to ancient civilizations, and resurrecting pre-Christian values in the modern world. These two dimensions of finance are reconciled by demonstrating that, for Rozanov, the physical and metaphysical properties of money are linked in a complex system of exchange that helps humanity maintain its links with the Creation. Rozanov also establishes a clear link between the coin, the word, and the reproductive body, a dynamic that is threatened specifically by Jesus Christ. In addition, Rozanov's thought is examined in the context of Russian Orthodoxy and religious philosophy over the religious value of money and the economy. [ABSTRACT FROM AUTHOR]