Self-Sacrifice of a Scientist in Soviet-Russian Cinema

Abstract: In the article we analyze the evolution of the idea of self-sacrifice of a scientist in Soviet-Russian cinema (from 1930th until now). The research is based on Weber-Merton’s assumption that the development of modern science stemmed from religion. And in this sense scientific work could be...

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Autor principal:	S. M. Medvedeva
Formato:	article
Lenguaje:	EN RU
Publicado:	MGIMO University Press 2015
Materias:	cinema science religion ethics ethics of science image of a scientist moral choice self-sacrifice creativity International relations JZ2-6530
Acceso en línea:	https://doaj.org/article/b2f441d17f1b4b738990f7d2086aa8fb
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spelling	oai:doaj.org-article:b2f441d17f1b4b738990f7d2086aa8fb2021-11-23T14:51:00ZSelf-Sacrifice of a Scientist in Soviet-Russian Cinema2071-81602541-909910.24833/2071-8160-2015-5-44-231-239https://doaj.org/article/b2f441d17f1b4b738990f7d2086aa8fb2015-10-01T00:00:00Zhttps://www.vestnik.mgimo.ru/jour/article/view/439https://doaj.org/toc/2071-8160https://doaj.org/toc/2541-9099Abstract: In the article we analyze the evolution of the idea of self-sacrifice of a scientist in Soviet-Russian cinema (from 1930th until now). The research is based on Weber-Merton’s assumption that the development of modern science stemmed from religion. And in this sense scientific work could be regarded as a kind of religious activity. As a result a number of traits (more typical for a priest) were attributed to a scientist. Such traits are the following: self-sacrifice (in the name of science), asceticism, deep devotion to ideals, etc. As it is shown in the article these pseudoreligious traits remain unchanged in the cinematographic images of scientists. In the article we ague, that the subject of self-sacrifice of a scientist was pictured by Soviet-Russian cinema during its whole history. This ability to self-sacrifice serves as a criterion to prove that a scientist is a true scientist. Nevertheless, it is possible to separate out three periods of picturing of self-sacrifice according to implicit sense of action: 1) period of Stalin’s cinema (1930th-1950th); 2) period of Thaw and Stagnation (1960th-1980th); 3) postsoviet cinema (until now). Each period has its unique tradition of presentation of self-sacrifice of a scientist. Finally we ague, that in the late soviet time appeared a trend to show the sacrifice in the name of science as a senseless and useless action. Scientists in the cinema either lost their ability to self-sacrifice or they sacrificed in vain. In post soviet cinema such tragic attitudes increased: now a scientist has to sacrifice himself on purpose to give up science. It means that science doesn’t worth sacrifice any more. This tendency reveal deep moral crisis among modern Russian intelligentsia.S. M. MedvedevaMGIMO University Pressarticlecinemasciencereligionethicsethics of scienceimage of a scientistmoral choiceself-sacrificecreativityInternational relationsJZ2-6530ENRUVestnik MGIMO-Universiteta, Vol 0, Iss 5(44), Pp 231-239 (2015)
institution	DOAJ
collection	DOAJ
language	EN RU
topic	cinema science religion ethics ethics of science image of a scientist moral choice self-sacrifice creativity International relations JZ2-6530
spellingShingle	cinema science religion ethics ethics of science image of a scientist moral choice self-sacrifice creativity International relations JZ2-6530 S. M. Medvedeva Self-Sacrifice of a Scientist in Soviet-Russian Cinema
description	Abstract: In the article we analyze the evolution of the idea of self-sacrifice of a scientist in Soviet-Russian cinema (from 1930th until now). The research is based on Weber-Merton’s assumption that the development of modern science stemmed from religion. And in this sense scientific work could be regarded as a kind of religious activity. As a result a number of traits (more typical for a priest) were attributed to a scientist. Such traits are the following: self-sacrifice (in the name of science), asceticism, deep devotion to ideals, etc. As it is shown in the article these pseudoreligious traits remain unchanged in the cinematographic images of scientists. In the article we ague, that the subject of self-sacrifice of a scientist was pictured by Soviet-Russian cinema during its whole history. This ability to self-sacrifice serves as a criterion to prove that a scientist is a true scientist. Nevertheless, it is possible to separate out three periods of picturing of self-sacrifice according to implicit sense of action: 1) period of Stalin’s cinema (1930th-1950th); 2) period of Thaw and Stagnation (1960th-1980th); 3) postsoviet cinema (until now). Each period has its unique tradition of presentation of self-sacrifice of a scientist. Finally we ague, that in the late soviet time appeared a trend to show the sacrifice in the name of science as a senseless and useless action. Scientists in the cinema either lost their ability to self-sacrifice or they sacrificed in vain. In post soviet cinema such tragic attitudes increased: now a scientist has to sacrifice himself on purpose to give up science. It means that science doesn’t worth sacrifice any more. This tendency reveal deep moral crisis among modern Russian intelligentsia.
format	article
author	S. M. Medvedeva
author_facet	S. M. Medvedeva
author_sort	S. M. Medvedeva
title	Self-Sacrifice of a Scientist in Soviet-Russian Cinema
title_short	Self-Sacrifice of a Scientist in Soviet-Russian Cinema
title_full	Self-Sacrifice of a Scientist in Soviet-Russian Cinema
title_fullStr	Self-Sacrifice of a Scientist in Soviet-Russian Cinema
title_full_unstemmed	Self-Sacrifice of a Scientist in Soviet-Russian Cinema
title_sort	self-sacrifice of a scientist in soviet-russian cinema
publisher	MGIMO University Press
publishDate	2015
url	https://doaj.org/article/b2f441d17f1b4b738990f7d2086aa8fb
work_keys_str_mv	AT smmedvedeva selfsacrificeofascientistinsovietrussiancinema
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Self-Sacrifice of a Scientist in Soviet-Russian Cinema

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