This article discusses the body of work produced in the 1920–1930s by the Cosmist philosophers Alexander Gorsky, Nikolai Setnitsky, and Valeryan Muravyov as a representative case of the interaction between philosophy and literature typical for the Russian culture in the nineteenth to twentieth centuries. The article demonstrates how the synthesizing nature of the Cosmists’ creative thought, along with the multiplicity of their cultural roles, led to their use of genre forms which combined two types of writing, the literary and the philosophical, namely, philosophical mystery plays, philosophical poems, aphorisms, and fragments. In addition, their aesthetic views and creative productions are shown in connection with the philosophical legacy of Nikolai Fedorov, who explored the notions of “projective culture,” of history as salvatory work, and of art as a re-creation of life (“zhiznetvorchestvo”). This study of poetry and prose of Gorsky, Setnitsky and Muravyov reveals the links between their aesthetic views, which were based on the notion of “cultural Central Image” ( Tsentroobraz ), and their creative practices.

中文翻译：

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宇宙主义哲学家 Alexander N. Gorsky、Nikolai A. Setnitsky 和 ​​Valeryan N. Muravyov 的作品作为文学和哲学的综合体

本文讨论了 1920 至 1930 年代由宇宙主义哲学家亚历山大·戈尔斯基、尼古拉·塞特尼茨基和瓦列良·穆拉维约夫创作的作品，作为 19 至 20 世纪俄罗斯文化典型的哲学与文学互动的典型案例。这篇文章展示了宇宙主义者创造性思想的综合性质，以及他们文化角色的多样性，如何导致他们使用结合文学和哲学两种写作类型的体裁形式，即哲学神秘剧、哲学诗歌、格言和片段。此外，他们的美学观点和创造性作品与尼古拉·费多罗夫的哲学遗产有关，他探索了“投射文化”的概念，将历史视为救赎工作，以及作为生活再创造的艺术（“zhiznetvorchestvo”）。这项对戈尔斯基、塞特尼茨基和穆拉维约夫诗歌和散文的研究揭示了他们基于“文化中心形象”（Tsentroobraz）概念的审美观点与其创作实践之间的联系。