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1. Verbal thinking, awareness of one's own thinking; psycholinguistics, studying of the resources of verbal thinking; schools (K. Jackobson, A. Reformatsky, etc.)

2. Rassudochnoe vklyuchenie yazyka (vystraivanie definicij kak sposob vklyucheniya inostrannogo yazyka).

2. Rational involvement of language (chaining of definitions as the means of foreign language involvement).

3. Neekvivalentnost' PS potoku slovesnogo (logicheskogo) izlozheniya myslej.

3. Non-equivalence of FC to the stream of verbal (logical) presentation of thought.

4. Slovesnye kompleksy; nevozmozhnost' insulyarnogo sushchest-vovaniya slov ("ne meshat' formirovaniyu kompleksnyh obrazovanij"); "CLUB TOAST MASTERS INTERNATIONAL". Vystuplenie pered auditoriej (v tom chisle bol'shoj), izuchenie obshchej ritoriki; kodeks professional'nogo kul'turnogo obshcheniya, emocional'noe obshchenie; yarkoe, ubeditel'noe izlozhenie svoih myslej na rodnom yazyke (predposylka govoreniya na inostrannom).

4. Verbal complexes; incapability of words to exist solely ("not to block complex formations"); "CLUB TOAST MASTERS INTERNATIONAL". Speaking to the audiences (including numerous ones), studying rhetoric; codex of professional civilised communication; emotional communication; vivid, convincing presentation of one's thoughts in the native language (as the starting point for speaking in a foreign language).

5. PS i hudozhestvennyj obraz: "Kachestvennyj potok soznaniya" hudozhestvenno-filosofichnyj, quasi-hudozhestvenno-filosofichnyj (obogashchenie shtampa, eksperimental'nye prirashchivaniya - avtomaticheskij poisk).

5. FC and artistic image: "Qualitative flood of consciousness" - artistic and philosophical, or quasi-artistic and philosophical (enrichment of cliches, experimental embroadening - automatic search).

6. PS i filologiya; Dzh. Dzhojs "Uliss", L. Tolstoj (L. Stern);

6. FC and philology; J. Joyce "Ulysses"; L. Tolstoy (L. Stern);

poeticheskoe v literature kak kondensat PS hudozhestvenno-filosofski myslyashchej lichnosti;

the poetical in literature as a condensate of an artistic and philosophic personality's FC;

poeticheskoe, eticheskoe i PS (poeziya v bytu -> chuvstvo prekrasnogo v figure umolchaniya);

poetical, ethical and FC (poetry in daily life - sense of beauty in silence figures);

intuitivnoe vospriyatie chuzhogo PS.

intuitive perception of another person's FC.

7. Opornye yazyki.

7. Foothold languages.

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* * *

Dvurushnik ya s dvojnoj dushoj.

O. Mandel'shtam

Segodnya yarok solnechnyj moroz

I holoden svetila lik slepyashchij.

I stol'ko dialektiki svetyashchej

Polno vezde i v shutku, i vser'ez.

I nashim YA, smeyushchimsya do slez,

Uzhasnyj hohot nahodyashchim v plache,

Nel'zya byt' tak, ne buduchi inache,

Kogda b sushchestvovat' im ne prishlos',

Oni i cel'ny potomu, chto vroz'

Bytijstvuyut ih chasti, chto naskvoz'

Oni izmenny i pererodit'sya

Gotovy kazhdyj mig, chtob, stav drugim,

Obratnym prevrashcheniem svoim

Dvizhen'e dlit' i ottogo svetit'sya.

* * *

I dream about the ancient and new books

about bold statements with the past connected.

My wish is clear and even may be acted

in drama where the actors are the spooks

of this reality that's like imagined looks,

and steady every days' and nights' play last

a process of a prolongated lust,

of a converting good men into crooks.

But clearness ends abruptly in a dim

wet from the tears, my sleep transforming stream

of memory, that is like time existence

on things; events' and feelings' broad space.

And everything then is reversed and plays

a mystic part in Theatre of Distance.

Tema 23.

Theme 23

Kolichestvo chteniya

The amount of reading

I. Knigi i avtodidakt.

I. Books and the autodidact.

1. Vozmozhnost' vozvratit'sya, povtorit' chtenie.

1. Chance to come back and re-read.

2. Sistema vypisok (obyazatel'noe ukazanie istochnika, goda izdaniya, avtora, stranicy i t.d.).

2. System of outwritings (with compulsory reference to the source, year of publishing, the author, the number of the page, etc.)

3. Knigi i "tot svet".

3. Books and "that world."

4. Upravlenie chteniem i aktual'nye zadachi lichnosti.

4. Guidance of reading and actual goals of the personality.

5. CHtenie sostoyaniya; chtenie informativnoe, chtenie smeshennogo tipa.

5. Reading of feelings; informative reading, mixed type reading.

6. Sistema i legenda libri, princip sostavleniya (prodolzheniya).

6. System and legenda libri, the principle of making up (going on).

7. Povtornoe chtenie i zhiznennyj opyt.

7. Re-reading and life experience.

8. Obraz knigi i dumanie sostoyaniyami:

8. Image of a book and thinking with states:

a) trenirovka voobrazheniya;

a) imagination training;

b) obogashchenie lichnosti i obraz knigi;

b) enrichment of a personality and a book's image;

v) dumanie sostoyaniyami kak relaksiruyushche-gedonisticheskij instrument;

c) thinking with states as a relaxing and hedonistic instrument;

g) obraz knigi kak hranilishche sushchnostnogo;

d) a book image as the storage of the essential;

d) opredelenie, utochnenie obraza knigi i duhovnyj rost (povyshenie urovnya intellektual'no-duhovnogo);

e) definition, clarification of a book image and spiritual growth (increase of intellectual and spiritual level);

e) svyaz' obrazov knig i tezaurus sostoyanij;

f) connection of book images and thesaurus of states;

zh) obraz knigi kak translyator sostoyaniya;

g) a book image as a transmitter of a state;

z) obraz knigi do i posle prochteniya;

h) a book image before and after reading;

i) opornye obrazy knig;

i) footholding book images;

k) kolichestvo chteniya i obraz knigi;

j) quantity of reading and book image;

l) parametry obraza knigi (tip knigi, uroven', stil', zhanr, "nuzhnost'" i t.d.).

k) parameters of a book image (type of a book, level, style, genre, "necessity", etc.);

9. Polnye sobraniya sochinenij i avtodidakt:

9. Collected works and the autodidact;

a) neupodoblenie avtodidaktu ZH.-P. Sartra;

a) unlikening to the autodidact by I.-P. Sartre;

b) dodumyvanie;

b) thinking and conjecturing;

v) "fragment, chitaemyj chasto, cennee redkogo polnogo pro-chteniya".

c) "an extract often re-read is more valuable then seldom full reading."

10. Interes i nastojchivost'.

10. Interest and persistence.

11. Densaciya sostoyanij.

11. Densation of states.

12. Zakon obyazatel'noj skorejshej narrativizacii sostoyaniya pos-le prochteniya:

12. The law of compulsory narrating of feelings as soon as possible after reading:

a) rol' sociogruppy;

a) the role of a social group;

b) narrativizaciya sostoyanij kak instrument duhovnogo obshcheniya;

b) narration of feelings as an instrument of spiritual communication;

v) povyshenie masterstva narrativizacii i uroven' kul'tury, umenie opredelyat' nyuansy, sopostavlyat', obobshchat', primenyat' i t.d.;

c) growing skills of narration and level of culture; ability to define nuances, compare, sum up, apply, etc.;

g) pis'mennaya narratizaciya ("pis'mo sebe samomu postarevshemu", drugie vidy);

d) written narration ("a letter to oneself grown old," etc.)

d) narrativizaciya i myshlenie (pod vpechatleniem) - ispol'-zovanie tehniki nastrojki;

e) narration and thinking (under impression) - using technique of tuning;

e) narrativizaciya sostoyaniya i zakreplenie prochitannogo (dolzh-no projti ne bolee 9 chasov posle prochteniya);

f) narration of the feeling and fixation of the read (no longer than 9 hour after reading);

zh) cennost' nahodok pri narrativizacii (zapisyvanie-zatira-nie pri pomoshchi lista associacij).

g) value of findings in narration (writing-erasing with the help of the associative list).

13. SHekspir - chitatel', repertuar chteniya.

13. Shakespeare as a reader, the repertoire of reading.

14. Petrarka - chitatel'.

14. Petrarca as a reader.

II. Tipy chitatelej. Dialektika kachestva i kolichestva.

II. Types of readers. Dialectics of quality and quantity.

1. SHekspirovskij tip (glubina postizheniya pri otnositel'no nebol'shom kolichestve knig).

1. Shakespearian type (depth of comprehension with relatively moderate amount of reading).

2. Petrarkinskij tip (kolichestvennaya nenasytnost', no takzhe i glubina postizheniya).

2. Petrarcian type (quantative insaturation combined with depth of comprehension).

3. Predpochtitel'nost' petrarkinskogo tipa (ili smeshannogo). "Risk ne ponyat' - SHekspir byl genij!!! On ponyal Montenya, Petrarku i t.d. bez podgotovki, neobhodimoj obyknovennomu smertnomu".

3. Preference to Petrarcian type (or a mixed type). "Risk of non-understanding - Shakespeare was a genius!! He understood Montaigne, Petrarca, etc. without any preparation necessary for an ordinary person."

4. Nachitannost' i snobizm:

4. Well-readness and snobbism:

a) razvitie chuvstva knigi;

a) development of the sense of a book;

b) soprotivlenie diktatu masskul'tury;

b) resistance to the diktat of mass culture;

v) samostoyatel'nost' vybora;

c) independence of choice;

g) osvedomlennost' o eshche ne prochitannom.

d) information about not read yet.

5. Sistematichnost' vozvrashcheniya k shedevram i kachestvo proch-teniya.

5. Systematic re-reading of masterpieces and quality of reading.

6. Adekvatnoe ponimanie.

6. Adequate understanding.

7. YAzyki (podderzhanie formy):

7. Languages (being in shape):

a) zakreplenie;

a) securing;

b) pereryvy i vozvrashcheniya;

b) making breaks and coming back;

v) vozobnovlenie znanij ("precedent!").

c) refreshment of knowledge ("precedent!").

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***

Moe "chirik" i pesni Prosvetlennyh,

moe "chut'-chut'" i polnovesnyj ih

ne ustupayushchij stihiyam stih -

skul'pturnyj vihr' u vechnosti na sklonah!

Moj zhalkij pyl i svet ih raskalennyh,

ih zvezdnyh myslej - zlyh i vseblagih!

Ih Mirovaya Skorb' i - bed moih

poshib nekrupnyj, slyshnyj v stydnyh stonah!

No net vo mne unyn'ya, leni, ved'

trudit'sya nuzhno, chtob blagogovet'

ne prosto pered genial'nym Dantom,

a pered ponyatym i, govoryat,

kto hudo-bedno ponyal Dantov ad,

tot k avtoru priblizilsya talantom...

* * *

It will be last headache and joy and point

in long-long way, that finally abridged

by steps with journey to the death enriched.

it will be real past that future'd joined.

And both times - old and new - invisible joint

will suddenly be visible like switched

in being like fulfilled and reached

and out of worthless dust to gold overcoined.

Pain travels with us. May be - moving us

towards in evolutionary fuzz,

and particles of the troubles are everlasting.

Our world endure because we tolerate

and thus existence has its own rate

proportioned by the fact that seeds are casting.

Tema 24.

Theme 24

Prodolzhenie sleduet...

To be continued...

I. Duhovnost' i garmonicheskoe razvitie cheloveka.

I. Spiritual and harmonious development of a human being.

1. Garmoniya kak esteticheskij termin.

1. Harmony as an aesthetic term.

2. Garmonichnost' kak antinomiya odnobokosti.

2. Harmony as an antinomy to one-sidedness.

3. Duhovnaya krasota i garmoniya.

3. Spiritual beauty and harmony.

4. Potrebnost' sovershenstvovat'sya kak stremlenie k garmonii.

4. Need for perfection as an aspiration for harmony.

5. Total'noe razvitie lichnosti i akcentuaciya duhovno-intel-lektual'nyh zanyatij ("net nichego takogo, chto mozhno schitat' bespoleznym dlya moej special'nosti").

5. Total development of a personality and accentuation on spiritual and intellectual studies ("there is nothing useless for my occupation").

6. Garmonichnost' kak dinamicheskij process: disgarmoniya (ent-ropiya), vremennaya odnobokost' kak istochnik razvitiya tvorchestva, energii.

6. Harmony as a dynamic process; disharmony (anthropy), temporary one-sidedness as a source of developing creativity, power.

7. Pereocenka garmonichnosti i uroven' ponimaniya: korrelyaciya predstavlenij

7. Re-valuation of harmonization and level of understanding: correlation of concepts.

8. Duhovnost' kak vzaimodejstvie individual'nogo i kollektivnogo ejdosa: "vnutrennee" i "vneshnee vnutrennee" (rodstvennost' dush).

8. Spirituality as interrelation of individual and collective eidoses: "inner" and "exterior inner" (souls akin).

9. Duhovnost' i sovershenstvovanie myshleniya:

9. Spirituality and development of thinking:

a) rasshirenie krugozora (predstavlenij);

a) embroadening of outlook (concepts);

b) dumanie sostoyaniyami i duhovno-intellektual'nymi plastami;

b) thinking with feeling and spiritual-intellectual layers;

v) dorastanie do vysokih ponyatij;

c) growing up to high ideas;

g) effekt "obezymyanivaniya" i vezdesushchnost' "ego" - garmonichnoj lichnosti (v edinstve protivopolozhnostej).

d) effect of "losing one's name" and omnipresence of "ego" - a harmonious personality (in the unity of opposites).

II. Tvorcheskij eksperiment - instrument razvitiya.

II. Creative experiment as an instrument of development.

1. |ksperiment - zhizn' (filosofy: F. Nicshe, Sokrat...).

1. Experiment is life (philosophers: F. Nietzshe, Socrates...)

2. |ksperiment - fragment zhizni (popytka - neudacha - fobiya eksperimenta - eksperiment-proskopiya).

2. Experiment as a fragment of life (attempt - failure - phobia of experiments - experiment - proscopia).

3. |ksperiment - priem: svyaz' makro- i mikroekspe-rimental'nosti; koefficient evristichnosti i lichnostnye parametry (sposobnost' stavit' eksperiment na sebe) proporcional'ny koefficientu eksperimental'nosti.

3. Experiment-reception: connection between macro- and micro-experimentality; coefficient of heuristic abilities and personal parameters (ability to make experiments on oneself) are in proportion to the coefficient of experimentality.

4. "Otnoshenie aktivnosti eksperimentirovaniya k materialu ravno otnosheniyu komfortnogo sostoyaniya k zhizni individa".

4. "Ratio of activeness in making experiments to the material is equal to the ratio of felling of comfort to the life of an individual."

5. Dozhivanie kak sledstvie bezeksperimental'nosti.

5. Living out as a consequence of refusing experimentality.

6. Principial'naya shema eksperimenta:

6. Principal model of an experiment:

a) nalichie gipotezy kak baza myshleniya v eksperimentirovanii;

a) hypothesis as the starting point for thinking;

b) opredelenie materiala;

b) selection of material;

v) opredelenie tipa dvizheniya processa ili ego predpo-lozhitel'noj dlitel'nosti;

c) determination of the type of process movement or its supposed duration;

g) uchet nravstvennoj storony;

d) account for moral aspects;

d) vybor sredstv;

e) choice of means;

e) dostizhenie rezul'tata.

f) production of results.

III. Napravlenie myslej i lichnost'.

III. Thought direction and a personality.

1. Otbor myslej (vnutrennij OTK); voploshchenie principa "etika" B. Spinozy.

1. Selection of thoughts (inner control); appliance of the "ethics" principle by B. Spinoza.

Prirode razuma svojstvenno postigat' nekotorye veshchi pod nekotoroj formoj vechnosti.

Sub specie aeternitalis, sub specie rei publicae.

It is inherent to the nature of mind to comprehend things under the dome of eternity.

Sub specie aeternitalis, sub specie rei publicae.

2. Akkomodaciya myslej (bliz' i dal'):

2. Accommodation of thoughts (close and remote):

- B. Franklin - verh-niz -bifokal'nye ochki;

- B. Franklin - up and down - bifocal glasses:

- trenirovka akkomodacii;

- accommodation training;

- "bifokal'nost' nravstvenno-intellektual'nogo zreniya";

- "bifocality of moral and intellectual vision";

- krugozor - bifokal'nye ochki.

- outlook - bifocal glasses.

3. Duhovnaya gravitaciya i napravlenie myslej.

3. Spiritual gravitation and orientation of thoughts.

4. "Krupnost'" myslej ("Kogda b vy znali, iz kakogo sora...") i ih global'noe ravenstvo pri sub®ektivno-momental'noj vazhnosti.

4. "Prominence" of thoughts and their global equality under subjectively momentary importance.

5. "Central'naya mysl' sostoyanie" (F. Dostoevskij o glavnoj mysli pishushchego roman) i zhizn' - proizvedenie:

5. "The focal thought is feeling." (F. Dostoevsky about the major thought of a writer) and life is a work of literature:

a) unikal'nost' opusa "Moya zhizn'";

a) uniqueness of the opus "My Life";

b) sochinenie zhizni (ili chastichnoe sochinenie), sochinenie sud'by;

b) life composing (or partial composing), composing of fate;

v) tema i ideya zhizni (special'nost' i nravstvennyj aspekt);

c) theme and idea of life (occupation and moral aspect);

g) arhitektonika zhizni (vstuplenie, osnovnaya chast', zaklyuchenie - uslovnost' deleniya);

d) architectonics of life (introduction, main part, conclusion as conventional divisions);

d) tvorchestvo i gipertimnye sostoyaniya.

e) creative work and hyperintimate states.

IV. Namerenie, bogatstvo namerenij, intencionnoe vozbuzhdenie.

IV. Intention, richness of intentions, intentional excitement.

1. Namereniya kak sazhency duhovno-intellektual'nyh postupkov, mikronamereniya i makronamereniya.

1. Intentions as samples of spiritual and intellectual acts, microintentions and macrointentions.

2. Namereniya i ih voploshchenie kak nachalo i konec tvorcheskogo processa.

2. Intentions and their realization as the beginning and the end of the creative process.

3. Obyazatel'stvo pered namereniem (intencional'naya otvetst-vennost').

3. Obligation to intention (intentional responsibility).

4. Otmena namereniya pri korrekcii, zagnivanii neosushchestv-lennyh namerenij.

4. Cancelling an intention under correction, decaying of unrealized intentions.

5. Zakon bezotlagatel'nogo ispolneniya mikronamerenij kak spos