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DIALOGUE OF MALE AND FEMALE IN THE WORKS OF HERMANN HESSE
Abstract. The paper deal with the nature and dynamics of the interaction between male and female as an important aspect of Hermann Hesse's philosophy. Duality of female nature at different stages of works aroused ambiguous attitude of the writer and was a source of ideological and philosophical quest. The problem of relationship between generations, men and women, the natural and the spiritual principles in a human are presented are viewed as the aspects of the single worldview problem, continuing relevance at the present stage of culture and society. Keywords: worldview, figure of a mother, love, nature, spirituality
NATALIA ROZHKOVA
PhD in Pedagogics, Associate Professor, Chair of Philosophy and History, Orel State Agrarian University
more-nz@rambler. ru
I. The image of a mother in H. Hesse's works.
Modern media, films and literature are filled with plots, happpening against of painful irreparable destruction of intergenerational relationships and interactions. If earlier conflicts between daughter-in-law and mother-in-law, son-in-law and mother-in-law were typical, now we can see plenty of horrific stories about the way the different family members (including mothers and children) hate, betray, maim and kill each other. Today Hamlet's phrase "...The time is out of joint" became apparent and tangible meaning.
One can neither overestimate nor appreciate the role of a mother in a person's life, and the German writer Hermann Hesse in his work honored the memory of his extraordinary mother's by sets of rows, full of love, devotion, tenderness and prophetic reticence.
The paper tries to trace the transformation of the writer's views on females and to consider their intersection with the statements of some German and Russian philosophers.
H. Hesse's stories and novels, written in the period up to 1918, are largely autobiographical and full of sincere gratitude to parents, and especially to mother, for warmth, wisdom and care, warmed the author during his lifetime. After travelling, you can go back home with new experiences and changes in your mind, and meet the most important thing, without which no one can live, -mother's love: «И теперь мама смотрела на меня своими прекрасными глазами и читала то, что было написано на моём лице, и, возможно, обдумывала, что она должна сказать и спросить» [2: 74]
Characters of young, beautiful, full of life and love of mothers fill the early Hesse's works: «Как чудесно звучит мягкий, лёгкий и звонкий, как птичья трель, голос матери! Он такой добрый и приветливый, и по-особенному благородный, как и сама мать». [2: 285]. However, the beauty is not a single advantage, because these women are endowed with foresight, can easily penetrate into the depths of their children souls and sometimes find themselves wiser and harder than their husbands. In the story "Walter ^mpf" (1906), the mother of the main character had guessed that he should not be a trader, as his father desired, because «... тот самый внутренний нерв, который составляет истинную суть человека и таинственным образом влияет на его судьбу, эту искру жизни он получил от матери» [2: 170]. His mother had a poetic character. Full personal crash, which foresaw his mother: disbelief, material and spiritual ruin, indifference to
himself - Walter grasped precisely, because he did not follow his true aspirations and natural inclinations. The real mother does not only mend clothes and give new wool socks before a long journey; she finds the right words to talk about the most important things with an adult son, for example, about faith in God and love: «Постепенно ты сам узнаешь, что без веры жизнь не прожить, ведь знания ничего не значат. ...Человеку нужны доверие и уверенность. И тогда лучше идти к Спасителю, чем к профессору, или к Бисмарку, или ещё к кому-нибудь. Вера проходит не через рассудок, так же, как и любовь» [2: 100].
However, thankful and enthusiastic attitude to the mother, seen in early novels and stories, had gradually transformed, and the women, who can cripple the life of their children, came on the pages of his works. The fairy tale "August" (1918) unfolds the man's soul, who was almost killed by his mother's love. Boy's godfather was a magician and musician and allowed a mother to make a wish for a son. The wish was very simple and, at first glance, a perfect «Сыночек, желаю тебе, чтобы все люди любили тебя» [2: 354]. Sincere intentions to benefit very often cause great evils: August grew up in a selfish man and, eventually, became deeply unhappy and completely lonely.
The more terrible story describes the novel "The Glass Bead Game" in the short story "The Indian Biography" (1943). Pravati, a wife of Rajah and a mother of a future Rajah, persuades her husband to start a war with their neighbors to save, and then expand their holdings. The battle was lost, the boy died and the Dasa has a terrible picture: «Он ещё видел, как сидит Правати, высокая, неподвижная, с поседевшими вдруг волосами, а на коленях у неё лежал её сын, он лежал как добыча, словно она сама задушила его, его руки и ноги вяло свисали с её колен» [1:т.4: 528]. An eerie figure of a mother-killer, who unknowingly dealt with her entire family, suggests that H. Hesse had to meet different mothers and rethink the role of a woman in life of a son, husband, brother, i.e. in a men's life.
Memories of a childhood, rosy-comfortable, happy and clean, had never left the German writer. Describing his growing, the character of the story "Cyclone" (1916) feels the end of something very important and light in his life: «Я замечал только странное оскудение, грозившее со всех сторон, ужасное угасание привычных радостей и мыслей, ставших дорогими». Он ясно понимает главное: «Меня не ждёт уже ни одно истинное удовольствие» [2: 236].
Despite the undeniable influence of Freudianism, which is manifested, for example, in the numerous plots of dreams ("Unusual News from Another Star", "Dream", "The Indian Biography", "Journey to the East", etc.), the relationship with mother in H. Hesse works can be hardly interpreted in the plane of sexual attraction, famous Oedipus complex. This is rather about reverence, love and irrevocable happiness, which granted to a child with a loving mother: «Мама! - крикнул я, но звука не было. Между ней и мной было стекло. Моя мать медленно шла дальше, не оглядываясь, погружённая в свои прекрасные, заботливые мысли, смахнула рукой невидимую нитку с платья, нагнулась над своей корзиночкой со швейными принадлежностями..^ кричал отчаянно и беззвучно. Я шагал и не двигался с места! Потоки воспоминаний, бремя любви!» [2: 408].
The limited expansion and metaphorization, symbolization of a mother's figure occurs in the story "Narcissus and Goldmund" (1930). A priest and an artist dispute about the nature of such phenomena, as art and religion, science and love being, where one man learns life through the prism of high ideas, and the other man understands the death and pleasure as the one thing. «Матерью была Ева, она была источником света и источником смерти, она вечно рожала и вечно убивала, в ней любовь и жестокость были едины, и её образ становился для него олицетворением и священным символом, чем дольше он носил его в себе» [1: v.3: 144]. Interweaving, conscious blending of many symbols in this quote give a ripple effect/ First of all, the combination of names "mother" and "Eve", which are contrasted in the Christian context, as the usual, traditional associative is "mother - Mother of God" and "Eve - the Fall". Here the semantic dominant and a common noun - Eve - is interpreted in a very untraditional way: there is no stigma of the Fall, but there is complexity, incomprehensibility and extraordinary power, which can be explained by the polarity of its trends, such as creation and destruction.
Apparently, this huge potential fascinated the author, and the inner view of weary wanderer artist evidenced it: «И всё-таки одно оставалось: вечная мать, древняя и вечно юная, с печальной и жёсткой улыбкой любви. Опять он увидел её - великаншу, со звёздами в волосах, мечтательно сидящую на краю мира; рассеянной рукой обрывала она цветок за цветком, жизнь за жизнью, заставляя их медленно падать в бездну» [1: т.3: 159].
This figure has mythological foundations and infernal coloring. Life (woman, Eve, mother) is Maya, "mother", patroness of fertile land [4: 158], the love and the joy of love, Maya is a whole life, but, according to ancient Indian mythology, this life is an illusion [5: 38]. The figure of Maya is an archetype one; many cultures have a goddess of fertility (Demeter, Isis, Ceres, etc.) and they are connected via the unconscious into a coherent sense of power and ubiquity of life. In this case, on the one hand, we can talk about the impact of the Jung's concept, his ideas of archetypal symbolism and theory of the collective unconscious. On the other hand, there is the analogy with the works of Friedrich Nietzsche, who looked into life's eyes and heard from it the following: «Я только изменчива и дика, и во всём я женщина, и притом не добродетельная. Хотя я называюсь у вас, мужчин, глубиною или верностью, вечностью, тайною». [3: 92] Lifestyle, created by Nietzsche, is speculative, while Hesse's lifestyle is more concrete, tangible, mysterious and beautiful.
The duality of the female nature allows Hesse and his characters to overcome chilling fear of death, to realize dialectic unity of births and death, their cyclic predetermination: «Я верю, что смерть - это большое счастье, такое же огромное, как счастье первой любви. Я не могу отделаться от мысли, что вместо смерти с косой придёт моя мать, которая возьмёт меня к себе и вернёт в невинность бытия» [1: v.3: 262]. Mother can do the things, impossible for the others - clarification, release from sufferings, and return of happy "childishness" of life.
No wonder that children's memoirs take in G. Hesse's works such the important place and one of his philosophical idols Friedrich Nietzsche wrote «всё в женщине - загадка, и всё в женщине имеет одну разгадку: она называется деторождение» [3: 56].
II. Shapes of sensual love.
Richness of love, its irrationality and unpredictability can both help to understand the phenomenon's complexity and remind that love is always a door to other world; it is the other dimension, other opportunities and circumstances. "Stereo effect" of love, first of all, consists of the impossibility to capture it for once, describe in one thought or definition, in inability of the person to cope with love as he can cope with anger, laughter, failure or any other felling. Whoever a man is -Casanova, an artist, a miller or a priest - this or that kind of love (parental, sensual, contemplate or divine) does not avoid him: the opposition of sexes is the cornerstone of life.
The basic form of love is love between a man and a woman - for Hermann Hesse it is the form of full communication of souls when a look, a word and a touch is enough to express all completeness of feelings and thoughts. However, by closer examination, this completeness and wellbeing appear to be the source of metaphysical pain from constant division, continuous war between male and female, existing from world's origin. Souls of people at all their closeness are not capable for full interpenetration: «У каждого человека своя душа, ей невозможно слиться ни с какою другой. Двое могут повстречаться, говорить друг с другом и быть рядом. Но души их как два цветка, выросшие порознь, каждый из своего корня; они не способны сблизиться, не то им пришлось бы оторваться от корней. Они только посылают свой аромат и свои семена, .но куда попадёт семечко, это зависит от ветра, а он прилетает и улетает, как хочет». [1: v.2: 51]. Love to a woman sometimes appears to be a deception, a mirage in a desert of reflections about human's essence and mission, because a woman has too much aspiration to external beauty, household and material business. That is why H. Hesse has wrote about «.пропасть между мужчиной и женщиной, между да и нет, между душою и телом» [1: v.4: 521]. The bridge of passion, thrown through this abyss, makes a woman be almost almighty person: «Не лучше ли попасть в руки убийцы, чем в мысли страстной женщины» [3: 45]. Different philosophical concepts as Nietzscheanism, Ancient Indian and Chinese philosophy influenced on philosophical and esthetic views of Hermann Hesse about a woman. Hardly it is possible to call the steady associations and characteristics fixed in a gender picture of the world and relating directly to femininity consolatory and complementary for women: chaos, unpredictability, inability to self-checking, extremism, irrationalism, excessive humility, excessive patience, weakness of will, immoderation, etc.
In the short story "King Yu" (1929), a woman was the cause of death of the whole kingdom because her husband indulged her weaknesses. The same situation was described in "The Indian biography", and the destructive character of male's submission to a female becomes obvious to the reader: «.мужчина в глубине души только зол, а женщина - дурна» и «.у женщины нет ничего невозможного». [3: 57]. Hermann Hesse does not blame women for their disruptiveness:
«она не виновата, она не причина, а жертва, что её красота и его любовь к ней - не её рук дело, что она лишь пылинка в солнечном луче и .что только он сам должен был отрешиться от женщины и от любви, от жажды счастья.и преодолеть несовершенное в себе тайным путём йоги». [1: v.4: 524].
Moreover, in works of the German writer we can see the lines full of puzzled admiration of woman's hardness and integrity. In the story "Marble Workshop" (1907), a girl commits a suicide because of the unwillingness to marry the unloved person. Her father, the groom, the beloved do not even imagine the deeds the girl is capable for, and the marble workshop of her father is the crypt constructed for the only daughter, a metaphor of male coldness and estrangement. The image of an unusual girl is created in the fairy tale "Iris" (1918), where the bride sets a surprising task for her groom - return to himself and find completeness of life, because their full harmony is impossible without it: «Если мне предстоит жить с мужчиной, то его внутренняя музыка должна сливаться с моей в тончайшей гармонии, и сам он обязан желать одного: чтобы его музыка звучала чисто и была созвучна моей» [2: 432].
H. Hesse's thoughts about man and woman confrontation, ways of perception and natures of interaction with the world are closely connected with classics of world symbolism and philosophy, the doctrine about Yin and yang: «Ян есть тепло, свет, мужественность. Инь есть холод, тьма, женственность. Ян есть также и небо, а Инь - земля. Из силы Ян происходит Шен (shen), небесная часть человеческой души, а из силы Инь происходит Квей (kwei), земная часть души. Таким образом, человек, в качестве микрокосма, является и соединителем пар противоположностей». [7:87] If a person is involved in one of the extremes (spiritual or material), it causes the internal dissonance of himself, and balance saving is guaranteed only by Dao's existence. The symbols of man and woman, based on understanding of their contrast, execute the classifying function in creation of the world's model. Polarity demands active, creative interaction of opposites, as it is the creative beginning realization. At the level of culture, a set of phenomena, subjects and ideas can be presented either as man's, or as woman's.
But Karl Jung spoke in favor of free reflection to the maintenance of any symbols, so the symbol is multilayered, fluent and multiple-valued. This way of interpretation of the well-known Ancient Chinese symbol is used by Hermann Hesse, ennobling the opposition of Yin and yang to an antagonism and an incessant dialog of the Nature and Spirit.
III. Dialog of natural and spiritual in H. Hesse's heritage.
The spiritual category is one of the fundamental positions in art and epistolary heritage of H. Hesse, and the idea of the nature acts as a counterbalance. In the story "Narcissus and Goldmund", the main characters are connected with theworld characters-categories-entities inclinations and a way of life. The difference between young men is the same, as between the maternal and fatherly beginning, between soul and Spirit: «Дух любит твёрдое, оформленное, он хочет полагаться на свои знаки, он любит сущее, а не становящееся, действительное, а не возможное. В природе дух не может жить, только вопреки ей только как её противоположность». [1: v.3: 56]. This statement sends us to Christian need to overcome the creature nature and to like the Holy Spirit to reach the God's Kingdom. Not very attentive reader can pay attention only to idea of spiritual eminence and machismo in H. Hesse's works. But there are mentions of certain bisexual entities or characters standing on a side of male and female, uniting both beings ("A steppe wolf", "Narcissus and Goldmund", "Piktor's Transformation", etc.) and the speech goes not about a hermaphroditism here, but about the visual contrast of male and female. Especially bright, this illusory antinomy is shown in works of art, i.e. in results of creative activity of a person: «всё подлинное и несомненное, что было создано художником, имело опасное улыбающееся двойное лицо, женско-мужское, где инстинктивное совмещалось с чистой духовностью» [1: v.3: 145].
However, the antinomy perception of the world is the human feature of the world judgment, aspiration to give an assessment to everything, to appropriate the name, to carry to any class, while only two paints cannot color life, which does not consist of top and a bottom, good and evil, etc. H. Hesse understands conditional and absurd nature of male and female opposition, their dialectic continuity, determined by simple and unbiased fact: without both of them the existence of mankind would be impossible. Therefore, we find surprising semantic intersections with V.S. Solovyyov's reflections about entity of love in the stories of the German writer.
The Russian philosopher, in particular, regards love as the only way of restoration of the person's integrity: «Любовь есть нечто только благодаря своему смыслу, или идее, как восстановление единства или целости человеческой личности, как создание абсолютной индивидуальности [6: 56]. Чувство любви само по себе есть только побуждение, внушающее нам, что мы можем и должны воссоздать целость человеческого существа». Thus division into the male and female appears in "Sense of love" as «.состояние дезинтеграции и начало смерти. Пребывать в половой раздельности - значит пребывать на пути смерти, а кто не хочет или не может сойти с этого пути, должен по естественной необходимости пройти его до конца. Кто поддерживает корень смерти, тот неизбежно вкусит и плода ее». [6: 19]. for this reason, together with the hero of Hesse's story a reader gets into a paradise garden where everything and everybody are capable for transformations in each other, where all forms of life are combined in immeasurable harmony and the surprising beauty reigns and where the main transformation is the one, where Piktor becomes Victoria, both of them become a tree, it becomes a person and a bird, but the main thing is that «в любом обличье он воплощал собой целое, был парой, был солнцем и месяцем, мужчиной и женщиной и вставал на небе двойной звездой». [2: 444]. So the paradise was reached, because the love in understanding of the Russian philosopher and German writer indicates androgyny of all real and it is a way of eternity finding.
V. Solovyyov treats the problem mainly in a religious key, that, in K. Jung's opinion, points to its exclusive importance: "If any problem is understood "religiously", than, psychologically speaking, it means: "it is very considerable", "it is especially valuable", "in relation to the person in its whole", therefore and to its unconscious (The Kingdom of God, the other world etc.) [7: 18]. It is possible that Hesse calls the Spirit and the Nature the phenomena, that V. Solovyyov calls as the God and the Universe: «Для Бога Его другое (т. е. вселенная) имеет от века образ совершенной Женственности, но Он хочет, чтобы этот образ был не только для Него, но чтобы он реализовался и воплотился для каждого индивидуального существа, способного с ним соединяться. К такой же реализации и воплощению стремится и сама вечная Женственность, которая не есть только бездейственный образ в уме Божием, а живое духовное существо, обладающее всею полнотою сил и действий. Весь мировой и исторический процесс есть процесс ее реализации и воплощения в великом многообразии форм и степеней». [6:34].
It is obvious that many problems of modern society are connected with power-semantic distortions in relationship of men and women. In society, where the clearness of gender characteristics is not welcomed, where the level of virtualization of the relations between sexes increases, problems with simple reproduction of the population are natural, internal problems of the personality are aggravated to a limit. Therefore harmonization of the systems parents - children and a man - a woman will naturally entail the positive impulse in the system the nature -spirituality, and the beginning of this process is inside each personality.
Complementarity of male and fema^ realized and repeatedly mentioned by the great German writer Hermann Hesse in his art heritage, perhaps, is not only a philosophical problem, but also that universal solution of tasks, different in form and difficulty, which humankind faces today. The rationality of modern society, in fact, led it up a blind alley. Gradual penetration of women into bigtime politics and economy only proves that the idea of a saving feminine realized in different models of world art and culture (the virgin, water of life, etc.) becomes more and more actual. Recognition of uniqueness, importance and inescapability both poles (man's and female) each other, cultivation of mutual respect in the interpersonal sphere, failure from the senseless competition in a social field will be opened by huge opportunities and will expand prospects of sociocultural dynamics.
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USING THE VALUE ADDED INDEX IN INDIRECT TAXATION
Abstract. Object of research are problems of formation and the value added taxation, a research objective is development of theoretical provisions and methodical recommendations about the value added taxation in the conditions of improvement of tax administration. The article deals with the methodological aspects of the value added formation from the point of view of foreign and Russian authors. The paper covers the possibility of using value added index for the assessment of the taxation burden of an economic entity. The author gives an expanded interpretation of the added value that can be used when forming the tax base in indirect taxation. Keywords: tax, price, value added, consumption, economic entities, gross domestic product.
VALENTINA RYKUNOVA
PhD in Economics, Associate Professor of Economic Security and Taxation, Southwest State University, Kursk Valentina0209@mail. ru
Indirect taxation has a force of attractiveness in many respects: it is a reverse-charge mechanism upon sale for manufacturers and entrepreneurs and a stable source of revenue to the budget system; and in the presence of a set of indirect taxes and differentiated rates for them it is possible to get a progressive and, therefore, a fair method of income taxation of different social groups. M.N. Sobolev says about indirect taxes that these taxes have always been very profitable for the state because they cover items of mass consumption [1]. From a psychological point of view, the growth of direct taxes is always less preferable than an increase in indirect taxes. Since it is necessary to distinguish between the objective (loss of resources for a taxpayer) and subjective taxation burden [2], on the basis of a subjective assessment of the burden of taxes, payers and politicians may prefer 'invisible' indirect taxes to the direct ones. The fact that indirect taxation, unlike income tax, under certain conditions, has minimal negative impact on savings is also can be used in favor of strengthening the role of indirect taxation.
Modern indirect taxes are value added taxes, excise taxes, sales taxes and customs duties. Value added tax (VAT) is one of those taxes that form the structural component of budget revenues and is the least dependent on commodity prices [3]. Value added tax is one of the most difficult for calculation, payment and control on the part of the taxation authorities.
Value added index lies in the basis for calculating the value added tax [3]. When considering the value added index the principles and methods of its formation and taxation are interpreted differently. Modern scientists, considering the mechanism for calculating the value added tax at the level of economic entities, treat the concept of value added as follows: value added is the difference between the cost of sold goods, works and/or services and the costs of material inputs related to production and distribution [4]. Ultimately, the dependence between the rate of the created value added and the amount of its withdrawal to the budget weakens. Insufficient development of the issues of value added formation, methods of its assessment and withdrawal of its part to the budget determine the relevance of this study. This paper presents the principles and methods of value added index formation and their use in taxation.
There is no generally recognized unambiguous interpretation for the nature of added value in economic theory yet. The most common ones are two contradictory theories. The first one is a classical concept of surplus value (Adam Smith, David Ricardo, Karl Marx), according to which the surplus labour of hired workers is the source a new cost [5]. According to the theory advanced (or invested) capital is divided into two parts which have different purposes. One part goes to form the means of production (past labour) and the other goes on wages payments (living labour). That part of the capital, which is converted into the means of production, i.e. in raw material, auxiliary materials and instruments of labour in the production process does not change the value of its
