This article focuses on Alexei Losev’s literary texts that embrace his mythology of music: “I was 19 years old,” “A meteor,” “A woman-thinker,” “The Tchaikovsky trio,” and “An encounter.” It is shown that Losev’s musical mythology developed from his early musical-critical works—through the artistic-mythological episodes of his philosophical works per se (the fragment “Musical myth” from the treatise “Music as a subject of logic”)—to his fiction of the 1930s. Losev’s intentionally abstract philosophy of music required to be complemented by the artistic, emotional, socially and historically specific expression. The main idea of Losev’s musical myth in its historical-cultural aspect is to reflect the relevant self-consciousness of an individual. The epoch of religious super-individualism and “prayerful delight” is replaced by the epoch of “musical delight” and professed idealization of an individual. This change was a reason of the extreme ambivalence of music, which, on the one hand, expresses the highest order and harmony and, on the other, is a continuous evolvement and chaos, a substantive uncertainty. The novelty of the article consists, firstly, in the analysis of correspondence between musical ambivalence and drama in the lives of the heroes, especially heroines symbolizing music itself; and secondly, in identifying the constant features of Losev’s musical myth, as well as its specific features that emerge at different stages.

中文翻译：

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音乐作为 AF Losev 哲学散文中讨论的主题

本文重点介绍阿列克谢·洛舍夫 (Alexei Losev) 的文学作品，其中包含他的音乐神话：“我 19 岁”、“流星”、“女性思想家”、“柴可夫斯基三重奏”和“一次邂逅”。这表明洛舍夫的音乐神话是从他早期的音乐评论作品发展而来的——通过他的哲学作品本身的艺术神话情节（“音乐作为逻辑的主题”论文中的“音乐神话”片段）——到他的1930 年代的小说。洛瑟夫有意抽象的音乐哲学需要通过艺术、情感、社会和历史的具体表达加以补充。洛舍夫音乐神话在历史文化方面的主要思想是反映个人的相关自我意识。宗教超个人主义和“祈祷之乐”的时代被“音乐之乐”和自称理想化个人的时代所取代。这种变化是音乐极端矛盾的原因，它一方面表现了最高的秩序与和谐，另一方面又是一种不断的演变和混乱，一种实质性的不确定性。文章的新颖之处在于，首先分析了英雄生活中音乐矛盾与戏剧之间的对应关系，尤其是象征音乐本身的女主人公；其次，识别洛舍夫音乐神话的不变特征，以及在不同阶段出现的具体特征。表达了最高的秩序与和谐，另一方面是不断的演变和混乱，一种实质性的不确定性。文章的新颖之处在于，首先分析了英雄生活中的音乐矛盾与戏剧之间的对应关系，尤其是象征音乐本身的女主人公；其次，识别洛舍夫音乐神话的不变特征，以及在不同阶段出现的具体特征。表达了最高的秩序与和谐，另一方面是不断的演变和混乱，一种实质性的不确定性。文章的新颖之处在于，首先分析了英雄生活中的音乐矛盾与戏剧之间的对应关系，尤其是象征音乐本身的女主人公；其次，识别洛舍夫音乐神话的不变特征，以及它在不同阶段出现的具体特征。