The reverse side of romanticism: artistic strategies and the principle of reality
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Romanticism, artistic strategies, offensive ideologies, communicative rationality, protective myth, empire universalism

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Bilyi, O. (2021). The reverse side of romanticism: artistic strategies and the principle of reality. Multiversum. Philosophical Almanac, 1(2), 99-113.


The artistic strategies and artistic coercion in the building of offensive ideologies ( universalistic, chauvinistic, racist ) as well as in the creating of the protective myths are analyzed in this article. It is also described here the connection of romantic hyperbolism with the principle of reality that is vividly represented in their geopolitical implications. The author discerns romanticism as the epiphenomenon of rationalism, as the form of strategic action. In particular it is dealt with the poshlost (platitude) – one of the converted forms of the communicative rationality that parasitizes on the contrast between the ideological totality and customary cultural forms. He comprehends the meaning of artistic maximalism in the context of cultural tradition that originates from the empire universalism. One of the objects of the article is the romantic mobilization of the societies in the XX century in order to make the reality of the Nazi or Bolshevik Utopias. According to the author’s vision Nazi "Myth of the XX century” and mysticism of “scientific communism” fed on the apophatic idolatry. The industrialization of the fakes as the combination of different culture narratives also is the focus of author’s attention. The theme of the global expansionist ideologies takes privileged place in the article. Oleg Bilyi explains the role of artistic fantasy and the mystic ideas concerning the interstate rivalry in the geopolitical doctrines. The author shaped the interdependence of the theoretical background of romanticism and geopolitical projects. He discerns the mythological genesis of the ruler high-handedness, the conquer fantasy of the authoritarian leaders that is formed on the basis of romantic arbitrariness of the creative subject. The essence of the Russian chauvinism as principal part of hybrid war is emphasized.
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