This article considers the image of the sun in Georges Bataille's philosophy and its position in relation to his theory of the sacred. The author puts forward the hypothesis that the sun as a conceptual metaphor accumulates meanings, notions, and intuitions that are later attributed to the sacred and are finally inscribed in its composition. Among the probable points of intersection the following concepts are considered: the ambivalence of the sacred, loss of subjectivity as religion's main point, the unreal, the monstrous, the opposition of heterogeneous/homogeneous, violence, death, etc. The conclusion is drawn that the sun expresses the human being's violent transition to another state, which could be associated with the opposite side of reality, i.e. with the sacred. The author also analyzes the role of this image in Bataille's epistemology, which interprets cognition as religious ecstasy and the destruction of the subject-object relation with its object in favor of identification with it. Toward the end of the article the image of the sun's place in the philosopher's later work is considered, and it is concluded that it is inscribed in the structure of the sacred via the concepts of sacrifice and expenditure.

Keywords: Georges Bataffle, sun, sacred, sacrifice, violence, unreal, heterogeneous, expenditure.

Zygmont A. The image of the sun in the philosophy of sacred Georges Bataille // State, religion, and Church in Russia and abroad. 2017. N 3. pp. 332-359.

Zygmont, Aleksei (2017) "The Image of the Sun in Georges Bataille's Philosophy of the Sacred", Gosudarstvo, religiia, tserkov' v Rossii i za rubezhom 35(3): 332-359.

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The INTELLECTUAL history of the sacred is a very actively developing field of research today. This circumstance is largely due to the fact that the credibility of this concept as an empirical model declines more and more, and it is increasingly presented as an idea determined by the place and time of its appearance (Western Europe, the turn of the XVIII-XIX centuries), presented in specific literary, philosophical, theological, etc. scientific and other monuments, and as such needs reflection as a separate stage in understanding religion in Western culture in general and scientific thought in particular 1.

For this area of research, Georges Bataille is one of the key authors who paved the way from the classical theory of the sacred in French sociology (E. Durkheim, A. Hubert and M. Mauss, J. Dumezil, R. Hertz) to the non-classical, conditionally philosophical one: his theory of the sacred influenced such thinkers as J. R. R. Tolkien and others. Baudrillard, Y. Kristeva, V. Yankelevich, J. Agamben, etc. On the other hand, some Russian and Western researchers are now looking for ways to apply it to empirical research in the field of religious studies.2 In France, however, there was little interest in this particular theory of his: in Camille Tarot's recently published seminal work "Symbolic and Sacred", Bataille's name does not even appear. 3 The reason for this was that in his homeland his texts are perceived primarily as literature. This is partly true: he started out more as a writer, but later the intuitions of his artistic writing were reflected in more "scientific" works on ethnology, sociology, economics, and the theory of religion

1. Although, of course, in a number of research programs and research areas, the sacred retains its significance and continues to be used: as an example, we can cite the so-called "strong" program of cultural sociology, the foundations of which were laid by J. Alexander, the mimetic theory of R. Girard, and a number of researchers who develop the problem of religion and violence (M. Jurgensmeyer, R. Scott Appleby, et al.)

2. See, for example, Biles, J. and Brintnall, Kent L. (eds.) (2015) Negative Ecstasies. Georges Bataille and the Study of Religion. NY: Fordham University Press; Azari, N. (2003) "Georges Bataille: A Theoretical Resource for Scientific Investigation of Religious Experience", JCRT 4(3): 27-41; Gladarev B. S. Shopping as a rudiment of religious consciousness. Community. Management. 2006. N 1. pp. 110-119.

3. Tarot, С. (2008) Le symbolique et le sacre: Theories de la religion. Eds de la decouverte / M.A.U.S.S.

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and art history, which are now increasingly becoming the subject of attention of scientists from these fields.4
It is this transition from literature and essay studies to philosophical and even religious theory within the framework of a single concept that is the subject of this article: it will focus on the role of the image of the sun in the formation of Bataev's concept of the sacred. The fact is that Bataille's statements of thought are usually based on his later texts written during (as the Summa Atheologica5) or after the Second World War. However, his early works, in which we can observe the evolution of his thought and the beginnings of his more mature concepts, often remain in the shadows, or even condescendingly declared a "breakdown of the pen". The study of the image of the sun in his texts of the late 1920s and mid-1930s could, however, clarify the genesis of his idea of the sacred in the form in which it appears in his systematic post-war writings, which is the purpose of this article. It should be noted that this image itself has already become a subject of study (in the works of A. Steckl, N. Land, L. Boldt-Irons, F. Renback 6), but the question has not yet been raised in this way.

So, the sun, as we believe, plays in Bataille's texts of the 20s-30s the role of the operator 7 of a certain other world, the underside of reality, to describe which he consistently used the concepts of the unreal, low matter, heterogeneous and, finally, sa-

4. See, for example: Zenkin S. Nebozhestvennoe sacralnoe. Theory and Artistic Practice, Moscow: RSUH, 2012; Pawlett, W. (2015) Georges Bataille: The Sacred and Society. Routledge; Arppe, T. (2014) Ajfectivity and the Social Bond: Transcendence, Economy and Violence in French Social Theory. Routledge.

5. Initially, this project involved writing five books, but in the end was limited to three, published in 1941-1945 - "Inner Experience" (1941). "Guilty" (1944) and "On Nietzsche" (1945). For more information, see: Bataille, G. "Annexe 6. Plans pour la somme atheologique", (EC, t. VI, p. 362; Zenkin S. Non-theological mysticism of Georges Bataille / / Bataille J. Sum of Atheology. Filosofiya i mystika [Philosophy and Mysticism], Moscow: Ladomir Publ., 2016, pp. 6-73.

6. См.: Stoekl, A. (1985) "Introduction", in Visions of Excess. Selected Writings, 19271939. Georges Bataille, p. IX-XXV. Minneapolis: University of Minnesota Press; Land, N. (1992) The Thirst for Annihilation. Georges Bataille and Virulent Nihilism, pp. 19-40. Routledge; Boldt-Irons, Leslie A. (1995) "Bataille's 'The Solar Anus' or the Parody of Parodies", Studies in 20th Century Literature, 25(2): 354-372; Ronnback, F. (2015) "The Other Sun: Non-Sacrificial Mutilation and the Severed Ear of Georges Bataille", October 154: 111-126.

7. The concept of "operator" in the sense of an image that "controls" certain meanings is borrowed from the works of Roland Barthes. See, for example, Barthes, R. (1971) Sade, Fourier, Loyola. Seuil.

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kralnogo. Many of his ideas and intuitions, which will eventually be connected with the sacred and sacrifice as its direct expression, he first formulates precisely in connection with the sun: it is ambivalent, the meaning of its impact on a person is to destroy his subjectivity in favor of unity with everything that exists, it is unreal, immersion in it is presented as a return to the past. to the animal state, but for man it means becoming a monster; looking at the sun itself becomes a sacrifice, as a result of which the subject of the gaze merges with the object. Like the sacred, the sun draws around itself everything that is either initially alien to the world we are familiar with, or is torn out of it: a corpse, shameful parts of the body, impurities and, ultimately, death. It is also chronologically the first figure that accumulates various phenomena related to violence (violence), which is inextricably linked for the philosopher with the sacred.8 As Sergey Zenkin points out, the sun in the mythology of the philosopher is associated with "blood, death, slaughter, slaughter" 9. The aim of our analysis will be the concept outlined by Bataille in "The Limits of the useful" (1939-1945) and "The Cursed Part" (1949), where the sun is finally integrated into the composition of the sacred as its central element through the concept of waste (depense).

The structure of the article is built in accordance with the logic of the gradual association of the image of the sun with the sacred in Bataille's thought in 1927-1949. From considering the intuitions presented in his earliest texts - "The Solar Anus" and "The History of the Eye" - we will move on to a number of his works of the 30s, in which the philosopher experiments with various concepts, among them-sacrifice, heterogeneous, change, violence, communication, etc., and then-to the question of the role of the image of the sun in its interpretation of the theme of knowledge as the identification of the subject of knowledge with its object. Finally, the final part of the article is devoted to two of his later texts indicated above.10
8. See about this our article: Zygmont A. I. Violence and the sacred in the philosophy of Georges Bataille / / Bulletin of the Orthodox St. Tikhon's University for the Humanities. Series 1: Theology. Philosophy. 2015. N3(59). pp. 63-81.

Zenkin S. 9. Fornication-worshipping prose of Georges Bataille / / Bataille J. Hatred of poetry. Pornolatric proza, Moscow: Ladomir Publ., 2006, p. 12.

10. Further, in square brackets, we give the title of his text with a reference to the Complete Works with an indication of the volume and page (uvUvres completes, (СC I-XII), or to the original edition in which it was published. Translations

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First experiments: "Sunny anus" and "History of the eye"

Even in the very first text of Bataille, which opens the body of his works - the essay "Solar Anus" (written in 1927 and published in 1931)-the concept of the sun, which he will develop in the future, is clearly visible. As much as we would like to agree with those authors who refer to the day star in the essay as a" sacred "object 11 or a" solar god " 12, the text itself does not provide any direct grounds for this: to do so would be to project a later Bataevite concept onto it. It would be more correct to say that the image of the sun in this text demonstrates some properties that will be attributed to the sacred later: it combines opposites-the negative and positive poles of being, it becomes a symbol of violence that binds all things together and an operator of desubjectivation - the destruction of the individual in favor of his unity with the world whole. According to the author himself, the main image of this essay was given to him in a vision that visited him in the Zoological Gardens in London in July 1927, when he was suddenly blinded by the rays of the sun, which shone between the red-blue buttocks of a baboon and also smelled disgusting 13.

The worldview presented in the essay is characterized by the absence of any center, transcendent foundation, or unconditional point of reference. The absolute coordinate system is being replaced by a relative one, so that anything or nothing can become the original:"And if the original source is not like the soil of the planet that seems to be the basis, but like the rotation of the planet around a mobile center, the car, clock, or sewing machine can equally be taken as the generating principle" 14. Removal of the transcendental dimension it leaves things thrown into the immanence of recursive parodic similarity to each other, like a maze leading to a bad infinity - this is one of the characteristics of Bataille

works that are already available in Russian have been compared with the original, while others have been completed by the author of the article.

11. Ronnback, F. "The Other Sun: Non-Sacrificial Mutilation and the Severed Ear of Georges Bataille", p. 117.

Fokin S. 12. The philosopher-outside-himself. Georges Bataille. St. Petersburg: Oleg Abyshko Publishing House, 2002, p. 55.

13. See Bataille, G. "Le Jesuve" ,CC, t. II, p. 19.

14. Bataille, G. "L'anus solaire", ŒC, t. I, p. 82.

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Although some researchers write that there is no hierarchy or "privileged" image in this chaos, 16 we believe that the conceptual structures of the essay are located in a conditional space stretched between two poles communicating with each other - the earth and the sun, which conventionally correspond to the sacred and profane. Their interaction is described as a sexual act, a violent, opening penetration of one into the other: "The sun loves only the Night and directs to the earth its luminous violence, disgusting fall... the earth's nocturnal stretches are constantly tending to the impurities of the sunbeam"17. On the other hand, the "sunny anus" that gave the essay its name turns out to be a link between the sublime and the low, a unity of opposites: "The solar annulus is the untouched anus of her eighteen-year-old body, with which nothing so blinding can compare, except the sun, although the anus is night." 18 The sun, therefore, turns out to be both one of the two poles of existence, and something that combines two aspects-conditionally, the limits of the negative and the positive-and this combination characterizes the theory of ambivalence of the sacred in its classical presentation, which the philosopher formally supported until the end of the 40s. 19

Note that the image of the sun for Bataille tends to the negative pole, accumulating everything associated with death, violence and darkness: "...the sun is as shocking as the corpse and the cave gloom."..> Human eyes can't stand the sun, copulation, a corpse, or darkness, but they react to them in different ways. " 20 The same thing will later be characteristic of his concept of the sacred: for example, in a 1937 report to the College of Sociology, speaking of the sacred social core, he states that

15. Bataille, G. "Le labyrinthe", ŒC, t. I, p. 437; Bataille, G. (1937) "La conjuration sacree", Acephale 1: 4.

16. См.: Boldt-Irons, Leslie A. "Bataille's 'The Solar Anus' or the Parody of Parodies", p. 366; Stoekl, A. "Introduction", p. xiv.

17. Bataille, G. "L'anus solaire", p. 86.

18. Ibid, p. 87.

19. See: Robertson-Smith, W. (1894) Lectures on the Religion of Semites, London: Adam and Charles Black; Kurakin D. Eluding the sacred: the problem of ambivalence of the sacred and its significance for the "strong program" of cultural Sociology. 2011. Vol. 10. N 3. pp. 41-70.

20. Bataille, G. "L'anus solaire", p. 85.

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"...it is indeed taboo, i.e. inviolable and also monstrous; it primarily relates to the nature of corpses, menstrual blood and pariahs"; 21 or, in one of his later works, Eroticism (1957): "Sacredness expresses a curse associated with violence" .22
Finally, here we are faced with an idea that we will meet again and again later: This is the idea of the solar subject "erupting" from itself into the world like a volcano: "Yazuviy 23 is thus the image of an erotic movement that breaks open the spirit in order to give the ideas contained in it the power of a shocking eruption."..> So cries love in my own throat: I am Yazuviy, a vile parody of the hot, blinding sun. " 24
This motif of a parodic identification with the sun seems to us to be the most important one here: In fact, it is an identification with the other pole of being, which is also a source of violence that penetrates the world. The image of a" volcanic " subject will still be found, for example, in the iconography of such a sacred Bataevite character par excellence as Acephalus (Headless), sitting or standing on a volcano.25
In connection with the History of the Eye (1927), the only book Bataille published before the Second World War, we should pay attention to three images / concepts that outline the vectors of contact between the sun and the sacred and, again, violence: it is an animal state, an unreality, and a monster (or monstrous presence). It is quite important to determine the genre of this text in this case, and precisely in connection with the image of the sun and its metamorphoses presented in it. This is not a novel in its traditional sense, which was criticized by Andre Breton in the "First Manifesto of Surrealism"26. Roland Barthes suggests considering it a poem-based on the fact that everything that happens in it does not even pretend to be connected with reality-

21. Bataille, G. (1979) "Attraction et repulsion. I. Tropismes, sexualite, rire et larmes", dans Hollier, D. (ed.) Le College de la Sociologie (1937-1939), p. 128. Gallimard.

22. Bataille, G. "L'Erotisme", ŒC, t. IX, p. 43.

23. In the original - Jesuve. This word contains three words at once: Vesuvius, Jesus and "I am" (je suis).

24. Bataille, G. "L'anus solaire", pp. 85-86.

Zenkin S. 25. Konstruirovanie pustoty: mif ob Acefale [Designing the void: the Myth of Acephale]. St. Petersburg: St. Petersburg University Press, 2006, pp. 118-131.

26. Breton, A. (1966) Manifestes du Surrealisme, pp. 11-64. Gallimard.

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stu and the whole thing takes place in the "dark and burning region of phantasms"27. Therefore, the main motif of the text is the transformation of one and the same object, which does not have any original shape, but appears in a number of guises united by a round (ball-or egg - shaped) shape: egg, eye, testicles, and finally, the sun. In the death-filled and erotic imagination of the trio of main characters, they all mix and parody each other, freely moving from one form to another.

The" privileged " position of the sun in the poem consists, in our opinion, in the fact that it is itself and its associated images (its rays, its light or urine). as if they introduce the characters to the IR-or surreal world of their fantasies, dark and overflowing with violence and death. In the scene of breaking into the madhouse (Chapter 4), they see Marcel's wet underwear with traces of a sunspot (tache de soleil). The transformation of urine into light here is one of the associative transmutations characteristic of the text: we have already written above that the philosopher identifies it with impurity. Immediately after this, the characters, following some vague intuition and independently of each other, begin to undress and move from "the real world, where people go dressed" 28 to another, "consisting of lightning and dawn" 29, which can be conditionally identified with the dimension of the sacred.

Sunlight - impure, fly - polluted, and blinding - invariably accompanies the characters in the most violent chapters of their imaginary odyssey, set in Spain (Madrid and Seville), and always marks the transition from one world to another, from the mundane to violence and erotic excess. In Madrid, a reference to the" surreal " glare of the sun precedes a bloody feast at a bullfight: first a bull raises several horses on its horns, and then a matador.30 A little later, the bull itself is sacrificed, the "sun monster" - and the deity in this case can be called Simone, who bloodthirsily devours his testicles raw. By committing violence in this way, she "wants to take a place in the sun", and the narrator says: "the solar radiation dissolved us into a kind of unreality that corresponded... ours is powerless-

27. Barthes, R. (1991) "La metaphore de l'oeil", dans Essais critiques, p. 283. Seuil.

28. Bataille, G. "Histoire de l'oeil", ŒC, t. I, p. 28.

29. Ibid, p. 31.

30. Ibid, p. 53.

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31. The demonic glow of the sun becomes as intense as possible in Seville, where the heroes sacrifice a priest: the city is filled with "light and heat that blurred everything even more than in Madrid" 32. So the sun is associated with both forms of violence, which, according to Leslie Boldt-Irons, can be highlighted in the poem: this is the destructive potential, the energy "charge" of human bodies and natural elements, and the splash of energy at the time of murder 33.

The concept of unreality (irrealite) here refers to the underside of reality, a different world, opposed to the ordinary, the area of violence, death and sacrifice. The validity of Bataille's identification of the unreal with the sacred is also confirmed in his posthumously published "Theory of Religion" (D947): here the philosopher writes about the "unreality of the divine world", contrasting the shaky world of the sacred with the stable reality of the world of use, things and labor: "...consciousness, "he writes," is connected with the positing of objects... beyond any vague perception, beyond the always surreal patterns of participation-based thinking. " 34 However, he does not invent this whole concept himself, but borrows it from Emile Durkheim, who, in Elementary Forms of Religious Life (1905), remarks that ...in order to explain how the concept of the sacred could have taken shape under such conditions, most of these theorists were forced to admit that above the reality given to them in observation, a person built a kind of surreal world [un monde irreel], completely filled with ghostly images that stir his spirit during sleep, or monstrous perversions generated under a prestigious but deceptive name. influence of language 35.

Based on this, we can say that Bataille (like, say, R. Caillois and R. Girard) in this matter carefully follows the Durkheimian tradition, while other theorists of the sacred are such,

31. Ibid, p. 55.

32. Ibid, p. 57.

33. Boldt-Irons, Leslie A. (1995) "Sacrifice and Violence in Bataille's Erotic Fiction: Reflections from/upon mise en abime", in Gill, Caroline B. (ed) Bataille: Writing the Sacred, p. 93. London and NY: Routledge.

34. Bataille, G. "Theorie de la religion", ŒC, t. VII, p. 308.

35. Durkheim, E. (2007) Les formes elementaires de la vie religieuse, p. 337. CNRS editions.

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like Mircea Eliade, who considered the sacred to be the "ultimate reality", on the contrary, they take a step away from it 36. The connection of the unreal with violence (which later became the connection of violence with the sacred) is indicated here by another circumstance, namely, that in the French translation of Hegel it is this word - unreality - that serves as the definition for death Bataille writes about this in his later article " Hegel, Death and Sacrifice "(1957)37.

Let us add that in the" Theory of Religion "one of the main concepts associated with the sacred is the animal state (animalite), which Bataille understands as immersion in the world, the absence of subject-object distinction 38. Therefore, in the" History of the Eye", the characters who leave reality become like animals: "Intoxicated and unbridled, Simone and I they released each other and immediately ran through the park like dogs. " 39 "... Simone and I had to run away from the castle through the hostile darkness, like animals - naked. " 40 Later, Marcel takes Simone for a wolf: of course, this illusion is born in her sick imagination, but it is precisely this illusion that is the main content of the poem, even acquiring a certain semblance, if not objectivity, then universality: "This time our personal hallucination developed as limitlessly as, say, the global nightmare of human society with its land, atmosphere and sky " 41.

However, since man has already ceased to be an animal, the return to animality for him means immersion in the monstrosity - a subjectless presence in the world, a synthesis of both. It is mentioned twice in the first part of the poem: "...It was as if I wanted to escape the embrace of some monster, and that monster could be nothing but the extraordinary violence of my movements. " 42..It was as if an invisible monster had torn Marcel away from the bars that her left hand held tightly.:

36. См.: Eliade, M. (1965) Le sacre et le profane, pp. 63-66. Gallimard.

37. См.: Bataille, G. "Hegel, la mort et le sacrifice", ŒC, t. XII, p. 326-345.

38. Bataille, G. "Theorie de la religion", ŒC, t. VII, pp. 291-296.

39. Bataille, G. "Histoire de l'oeil", p. 30.

40. Ibid, p. 32.

41. Ibid, p. 33.

42. Ibid, p. 16.

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we saw her fall backward in unconsciousness."43 The philosopher points out that this presence is not born anywhere except in the human body and as a result of the violent destruction of its inherent subjectivity, when it begins to seem that not the person himself, but someone or something else, another, owns his body.

The concept of the monster is repeatedly found in Bataille's texts both in the late 30s and later. In The Sacred Conspiracy (1937), the manifesto of the Acephalus secret society, he writes of this conceptual character: "It merges into a single eruption of Birth and Death. He's not human. But he's not a god, either. He is not me, but much more than me: his belly is the labyrinth in which he has lost himself, in which I wander with him, and in which I recognize myself as him, i.e., the monster."44 The monster here is thus a man lost in the labyrinth of being. In the above-mentioned essay "The Labyrinth" (1935-1936), Bataille describes this event as the destruction of the individual in favor of the universal: "...every isolated fragment of the universe invariably appears as a particle capable of becoming part of a composition that transcends it. Being exists exclusively as a whole made up of particles. " 45 Later, in the Theory of Religion and Eroticism, Bataille would also use the concepts of continuite and intimacy to denote this state of immersion in the world, and both of them describe precisely the sacred state of subjectless immersion in the world whole. The connection between the sacred and the monstrous is also confirmed by the fact that already at the end of his life, in the Trial of Gilles de Rais (1959), Bataille calls the marshal-killer himself a "sacred monster" (monstre sacre): "Both in his crime and in his firm, pious humility, he felt that he belonged to the sacred world, which It seemed to him that he always had to support him. " 46
Icarus and Van Gogh: Sun, violence, victim

The image of the sun is further developed in a number of articles by Bataille for the magazine "Documents", where in 1929-1930 he was engaged in the study of the sun.-

43. Ibid, p. 31.

44. Bataille, G. "La conjuration sacree", p. 4.

45. Bataille, G. "Le labyrinthe", p. 437.

46. Bataille, G. "Le Proces de Gilles de Rais", ŒC, t. X, p. 277.

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this is the post of executive secretary. Here he publishes provocative texts with anti-aesthetic content, presenting, as the advertising prospectus stated, "facts that are most disturbing - facts whose consequences have not yet been determined in advance" 47.

"The eyes can't stand the sun, or copulation, or a corpse, or darkness, but they react to them in different ways, "Bataille wrote in The Sun's Anus. It is impossible to look at the sun, but if you take the risk, it appears in a nightmarish blood-red appearance (because it shines through closed eyelids from pain): this, in fact, is the "fact", the consequences of which were not determined in advance and which the philosopher undertakes to determine. The idea of the monstrous transformation of the sun and its bifurcation is most clearly expressed by him in the essay "The Rotten Sun", dedicated to Picasso: "How old is the sun (the one that is not looked at) it is so perfect in its beauty that what is looked at can be considered horribly ugly. " 48 And a little further: "The myth of Icarus from this point of view is particularly expressive and accurate: it obviously divides the sun in two - what shines at the moment when Icarus is gaining altitude, and what melts the wax and contributes to the fact that it fails and falls screaming, approaching the sun. it's too close. " 49 In fact, there is not one contrast, but two: the first refers to the distinction between the sun that is not looked at and the sun that is looked at, and the second refers to the ambivalence of this second sun, which attracts and destroys. Bataille compares this view to the experience of a man who, during initiation into the Mithraic mysteries, is thrown into a pit covered with a fence of rods, then a bull is slaughtered over him: the initiate is thus covered from head to toe with blood and shocked by the sounds of the beast's agony. The dying bull at this moment symbolizes the sun, as if radiating pure violence in the form of a crimson glow. Obviously, we are talking about a sacrifice in which the sun participates itself and encourages it to do so.

47. Cited in: Leiris M. From Bataevsky's impossible to impossible Documents / / Ultimate Batai. St. Petersburg: St. Petersburg University Press, 2006, pp. 54-62.

48. Bataille, G. (1930) "Soleil pourri", Documents 3: 173-174.

49. Ibid, p. 174.

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However, Bataille now connects the sun with violence, mainly directed against the one who creates it, and in connection with this, the image of a rooster appears in the text, which already appeared in a similar context in the "History of the Eye": ...the terrible crow of a rooster, especially at sunrise, is always accompanied by the cry that it makes when it is cut. We can add that the sun in mythology is also denoted by a man who cuts his own throat, and, finally, by an anthropomorphic creature without a head.50
Here the moment of a rooster crowing as a greeting to the sun and the moment of violent death merge together. The association of the rooster with a mysterious headless creature, which is not difficult to recognize as the future Acephalus, seems all the more remarkable because it alludes to the way in which these birds are slaughtered, that is, to the cutting off of the head, and also to the characteristic feature of their death-namely, that for some time after the blow they are killed, they the bodies are still functioning somehow, running back and forth and drenching the ground with blood: thus death is interwoven with life, and the existence caused by their union can be called ecstasy. However, for Bataille, it is not so important that someone else actually cuts the rooster, since symbolically it is killed by the sun and it kills itself, as subsequent comparisons indicate. The Rooster and Icarus in the essay thus become conceptual characters, carrying the idea of a solar subject who is also the object of his own violence; his subjectivization looks like an elevation to unimaginable heights - and a fall into the deepest abyss, which the philosopher calls unheard-of violence (violence inouie) .51 At the same time, the sun becomes an ambivalent "engine" of this double event.

In the essay "Sacrificial self-mutilation and the severed ear of Vincent Van Gogh", the thinker continues to develop the same topic. He begins with a story about a young artist, Gaston F., who in 1924 bit off his finger - according to him, because he had accidentally bitten off his finger.-

50. Ibid.

51. Ibid, p. 173.

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chino glanced at the sun and received this order from him 52. He goes on to write about Van Gogh's own obsession with images of the sun and sunflowers - and withered ones, with which he apparently identified himself and for the sake of which he cut off his ear with a razor. One young woman, while in a mental hospital, was ordered by a divine figure in flames to cut off her ears, but when she could not find sharp objects, she almost tore out her eyes instead. Bataille defines all these cases as manifestations of the spirit of sacrifice, which, because of its complete decline in our time, finds expression almost exclusively in the sphere of mental disorders. The philosopher examines various forms of initiation mutilation - for example, circumcision, pulling out teeth, or cutting off a finger-and discovers their hidden meaning in projecting the "I" outside, in forcibly withdrawing from oneself and violating the integrity of one's own body in order to transform one's own being: "The breaking of personal homogeneity, the throwing away of a certain part of oneself, which is violent and tormenting in its essence, seems inextricably linked with the expiation, mourning or revelry that is openly caused by the rites of entry into adult society"53. A person who does this becomes like the sun, which continuously sacrifices itself, as if ripping out organs from his body and throwing them away from him in the form of sun rays, light and heat. Here, for the first time, Bataille clearly identifies the sacral sacrifice with the gift: se detruire for him is se donner and vice versa, i.e., to destroy oneself in a certain sense means to give oneself.

Another intuition that appears in the text for the first time and on which Bataille will later place special emphasis is the idea of sacrificial indistinguishability. Its main meaning is that in the context of sacrifice, the deity, the sacrificer and the victim are connected with each other up to almost complete fusion and appear as if a single being. Prometheus, for example, in this sense is one with Zeus and with the divine eagle that torments his liver:

52. Bataille, G. (1930) "La mutilation sacrificielle et l'oreille coupee de Vincent Van Gogh", Documents 8: 451.

53. Ibid, p. 457.

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The roles are usually divided between the human incarnation of God and his animal avatar: sometimes a person sacrifices a beast, sometimes a beast-a person, but it is always a question of self-mutilation, since the beast and the person form a single being. The Orelbog, identified in the ancient imagination with the sun, the eagle, which alone is able to directly contemplate "the sun in all its glory", the icaric being that goes in search of the heavenly fire, is, however, nothing but the one who mutilates himself-Vincent Van Gogh, Gaston F. 54

This concept implicitly contains the idea that distinguishes Bataev's interpretation of sacrifice from any other: there is no addressee and addressee. The sacrifice is offered not to someone from someone, but just like that, because at the moment of giving, the divine object to which the person aspired merges with him, and therefore disappears altogether. As the source of this idea, the philosopher himself cites the work of A. Hubert and M. Mauss " Essay on the nature and functions of sacrifice "(1899); and their influence on him can be traced very clearly. For French sociologists, sacrifice is primarily an act of destruction, the complete or partial destruction of an offering that changes the status of the donator. Through the mediation of a religious professional, the priest, a mysterious connection arises between the deity, the sacrificer and the victim:"In him (the sacrificial pillar - A. Z.) this communication is expressed even more clearly than in the priest, this fusion of the gods and the sacrificer, which will become even more complete in the sacrifice." 55 The most difficult term to translate here is communication, which we interpret asmessage and which also means communion, communion, and connection; attention should be paid to it because in the late 1930s it will also be actively used by Bataille 56. And then we read: "As a result of this convergence, the sacrifice, which already represents the gods, begins to represent the sacrificer. It is not enough to say that it represents him; it is identified with him. Две

54. Ibid, p. 459.

55. Mauss, M., Hubert, A. (1899) "Essai sur la nature et la fonction du sacrifice", Annee sociologique 2: 29.

56. On this concept in Bataille and its relation to the sacred, see: Hoffmann, S. (2011) "Le sacre chez Georges Bataille", Communication, lettres et sciences du langage 5(1): 7281; Stronge, P. (2006) " In the Name of All that is Holy: Classification and the Sacred", eSharp 7 (7) [http://www.gla.ac.uk/research/az/esharp/issues/7/].

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personalities merge with each other"57. The meaning of the rite is to establish contact between the profane and sacred worlds in order to consecrate the donor, and it even seems to sociologists to be a kind of trick, since at its end everything must return to its usual places. They therefore point out that the position of the donor " ... becomes ambivalent. He must touch the animal in order to remain one with it, but he is afraid to touch it because he risks sharing its fate. " 58 So far, we have seen an almost complete correspondence of this scheme with Bataevs, but here, finally, we meet with a serious discrepancy: since Bataios is primarily interested in cases of self-sacrifice, when the sacrificer is initially a victim, his fusion with the deity seems to the philosopher final and irreversible, he cannot but share the fate of the victim and not be destroyed. "Hubert and Mauss neglect here the examples of the 'sacrifice of god', which they could have borrowed from the examples of self - mutilation and only thanks to which the sacrifice loses the character of empty antics," the philosopher notes.59 Jean-Michel Aymone points out that Bataille also completely rejects the moral side of the issue, which Hubert and Mauss insist on, in favor of the totality of victim violence.60
In his essay on Van Gogh, Bataille introduces for the first time the heterogeneous/homogeneous opposition, which for several years will act as an invariant of the sacred / profane, but then will give way to it: the source of the first concept in the first pair, most likely, is precisely the definitions of the sacred in Durkheim 61 and Rudolf Otto 62. So far, the philosopher defines the heterogeneous only in relation to a single individual: the meaning of self-mutilation is to alter the nature of the human being,

57. Mauss, M., Hubert, A. "Essai sur la nature et la fonction du sacrifice", p. 128.

58. Ibid.

59. Bataille, G. "La mutilation sacrificielle et l'oreille coupee de Vincent Van Gogh", p. 458-459.

60. Heimonet, J. -M. (1987) Mai a I'oeuvre: Georges Bataille et I'ecriture du sacrifice, p. 30-31. Marseille: Parentheses.

61. Durkheim, E. (1975) "Cours sur les origines de la vie religieuse", dans Textes, t. II. Religion, morale, anomie, p. 95. Minuit.

62. Otto, R. (1920) Das Heilige, ss. 28-34. Breslau, Theodor von Haring.

63. The semantics of this word include the negative connotations "distortions", "perversions", "changes for the worse", which are well consistent with Bataille's words.-

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a violent rupture of his personal homogeneity, which means the integrity of his body. "Heterogeneous elements" arise as a result of transmutation of the homogeneous by separating it from the former whole: This is how food and vomiting relate, for example. Sacrifice, therefore, appears as a transformative rejection of something already appropriated by a person or society-but in a modified and sacred quality. Paradoxically, the self-sacrificer who erupts from himself, like a volcano, is captured by some force "that can devour" 64-and becomes absolutely free, first of all from himself.

It is obvious that although the article discusses many topics, the image of the sun occupies one of the central places in it and repeatedly arises in connection with the violence created in order to get acquainted with its burning being. Let us repeat: Van Gogh here is not a real person, but a conceptual character designed to express this idea. Eight years later, Bataille devotes another article to him, "Van Gogh Prometheus" (1938), in which he sums up his thoughts on this subject. If earlier the artist was only likened to the sun, now he pulls it out of himself in the image of an ear: "The sun is nothing but radiation, an enormous loss of heat and light, a flame, an explosion; but it is removed from people who can safely enjoy the serene fruits of this great cataclysm." 65 If earlier the sun and the earth seemed to the philosopher to be more or less parallel to each other, though unstable poles, between which everything that exists is tossed, now he finally becomes a dualist and opposes them as waste and accumulation, as life established in death and its pathetic semblance, solid and calm. Here we come very close to the concept of the sacred set forth in the "Cursed Part", because it is the unproductive waste of energy and one's own essence that becomes the main property of the sacred in this work. Bataille calls the existence of the sun a dancer, but his dance is a dance of violence (danse violente), plunging into ecstasy, intoxicated with death. Therefore, " Vincent Van Gogh belongs not to the history of art, but to the bloody myth of our existence as human beings. He's at-

Dictionnaire Le Robert pratique (2011), p. 40.

64. Bataille, G. "La mutilation sacrificielle et l'oreille coupee de Vincent Van Gogh", p. 459.

65. Bataille, G. "Van Gogh Promethee", ŒC, t. I, p. 498.

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it is one of those rare beings who, in a world enchanted by stability, hibernation, suddenly reach that "boiling point" without which everything that aspires to remain becomes insipid, unbearable, decadent"66. This "boiling point" is the exit from oneself, which we spoke about earlier in connection with the transition to a new state of consciousness. surreal world, monstrosity and solar subject.

Cognition as religious ecstasy

The last question that we will discuss in connection with the role of the sun in Bataille's early texts, and which we have already partially addressed, is its role in Bataille's treatment of the themes of cognition and the knowing subject. The idea that the sun is blinding is not so much an empirical fact on which Bataev's philosophical mythology is based, but rather a polemical reference to the epistemological metaphors that are classical in the Western tradition. 67 To understand the connotations with which this idea is loaded, it is necessary to turn almost to the very origins, namely, to Plato. Cognition for him corresponds to vision, and the light of the sun is a symbol or sensual expression of the idea of good. As Heidegger points out in his commentary on the cave myth, the sun for the ancient philosopher is not a work of human hands, but a general principle that makes things visible. 68 However, Plato already suggests the possibility of being blinded by the light of truth: ...if you force him to look directly at the light itself, will not his eyes ache and he will not quickly turn away to what he can see, thinking that it is really more authentic than the things that are shown to him? < ... > And when he came out into the light, his eyes would be so struck by the radiance that he would not have been able to discern any of the objects of which he is now being told the authenticity of 69.

66. Ibid., p. 500.

67. See Derrida, J. (1967) L'ecriture et la difference, pp. 117-119. Seuil.

Heidegger M. 68. Uchenie Platona ob istine [Plato's Teaching on truth] / / Istoriko-filosofskiy yezhodnik, 1986. Moscow: Nauka, 1986. pp. 259-260.

Plato. 69. Gosudarstvo 515 e / / Platon. Collected works in 4 vols. Vol. 3. Moscow: IF RAS, Publishing House "Mysl", 1994. p. 351.

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Further, the philosopher writes that for direct contemplation of the sun, a habit is necessary, which is achieved through asceticism: a person must learn to look at shadows, then at reflections in water, at things at night and at the moonlight. Both the sun and the good here are limits, but it is not only possible to reach them, but also necessary. Bataille opposes this idea: for him, it is impossible to look at the sun directly, you will never get used to it, you will not learn, such a look destroys the one who is looking. However, it is only such knowledge, which necessarily sacrifices the knower, that he is ready to recognize as a value. In addition, not only is knowledge blinding, but there is essentially nothing to know, since the world is known only in its totality, which implies the inclusion of the subject in its seamless fabric. In other words, when there is a knower and the known, knowledge does not occur, and when it does, it shrinks to absence, because it turns out that there is no one to know and nothing to do. If for the earlier Western philosophy to look at is to know something as an object, then for Bataille to look at the sun is to become the sun, and to look at it is to be it. Bataille would later develop a similar epistemology in Inner Experience: just as perfect sight is blindness, absolute knowledge is ignorance.70 The concept presented above can thus be considered as anticipating the later Batai epistemology, since the philosophical aspect in it is still difficult to separate from the mythological and literary ones.

The connection between the sun, the gaze, and the victim was also clearly shown in his meditations on photographs of the" Chinese execution", or" death of a thousand wounds " - linchi. In imperial China, it was practiced at least until it was formally banned in 1905, and consisted of gradually cutting off parts of the victim's body until death from blood loss.71 According to S. Zenkin, in the late 19th and early 20th centuries, photographs of this execution became a common visual object of mass culture in Western Europe: linchi was constantly mentioned in novels, encyclopedias, and ethnographic publications.72 Several of these images

70. Bataille, G. "L'experience interieure", ŒC, t. V, p. 54.

71. For more information, see Bourgon, J. (2007) Supplies chinois. Bruxelles, La maison d'a cote; Brook, Т., Bourgon, J., Blue, G. (2008) Death by a Thousand Cuts. Harvard University Press.

Zenkin S. 72.Obraz, naraz i smert (Georges Bataille and Roman Bart) [Image, Story and Death (Georges Bataille and Roman Bart)]. 2013. N 123 [http://magazines.russ.ru/nlo/2013/123/4z.html, accessed from 30.08.2017].

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In 1925, Bataille received from his psychoanalyst, was excited by them, and since then he has often referred to them, mentioning them in "Inner Experience "(1943); "Guilty" (1944) and in "Tears of Eros" (1961), and in this latter book photos are included among the illustrations. the philosopher called these photos for his life defining-and this was a year before his death 74.

When analyzing the question of the place of photographs of the "Chinese execution" in Bataille's texts, it is necessary to take into account that in connection with them he speaks about two different moments: about the ecstasy that the victim experiences, and about the affective reaction of a person who looks at her suffering captured in the photo. This effect of state translation, which removes the distinction between the subject of the gaze and its object, he denotes by the already familiar concept of communication. Meditation on this photo, presumably, was thus the same sacrifice for the author, removing the distinction between themselves, other people and the rest of the world.

In truth, Bataille does not deny that a significant proportion of the" ecstasy " on the unfortunate man's face should be attributed to opium, which he was drugged with in order to prevent him from losing consciousness. 75 In this statement, he follows Georges Dumas, author of A Treatise on Psychology (1923), who studied the effect of pain on his facial expressions. 76 However, when the philosopher writes about the unbearable pain and religious experience that he sees in the victim's expression, it is primarily about her gaze: physical suffering in it is as if expressed through blinding by the sun and is inextricably linked with it. "Since then, I have been obsessed with this image of torment, both ecstatic (?) and unbearable."77.

Further, Bataille writes not only about the victim herself, who looks at the sun, but also about himself, who turns his eyes away from her death as from the blinding sun:"...fear hides me from myself, as if I wanted to look directly at the sun and quickly turned my eyes away. " 78 Here again, violence is compared to the sun, it makes the person looking at it merge with it and experience pain.

73. Surya, M. (1992) Georges Bataille, la mort a l'œuvre, pp. 116-118. Gallimard.

74. Bataille, G. "Les Larmes d'Eros", (EC, t. X, p. 627.

75. Ibid., p. 626-627.

76. Dumas, G. (1923) Traite de psychologie. P.: Alcan.

77. Bataille, G. "Les Larmes d'Eros", p. 627.

78. Bataille, G. "L'experience interieure", p. 139.

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However, when the philosopher does decide to look at the victim, she begins to look at him and include the beholder in her own state: "... he communicated to me his suffering, or rather the excess of his suffering, and this was what I really longed for - not in order to experience pleasure in it, but to destroy in oneself all that is opposed to destruction. " 79 A similar construction can be found in The Guilty Man, whose key concept is friendship - in other words, the continuous communication between two beings: "It was not God that I chose as my object, but a man who was condemned to death by a young Chinese man [ ... ] With this unfortunate man I was bound by the bonds of horror and friendship." 80 It is important for us here that the message, as an energy field that destroys subject-object distinction and fuses the viewer with what he is looking at, is connected with the sun and expressed in religious metaphors.

In conclusion, we should mention another Bataev idea of the turn of the 20s-30s, the very existence of which may indicate the epistemological nature of the concept of the sun. We are talking about the parietal eye (ilil pineal). It is very likely that for some time the philosopher actually believed in the presence of this hidden sense organ in humans - the eye, which is located on the top of the head and constantly contemplates the sun, but later began to perceive his previous views in a more symbolic way.81 He even planned to write a book about it, of which only two complete texts and three small fragments survive. In them, too, we see the identification of the gaze with being: this eye does not just contemplate the sun, but connects the person to its burning essence: "... it opens and becomes blinded as an extermination or as a fever that devours the creature, or, more specifically, its head, it plays the role of a house fire; the head, instead of locking up his life as one locks money in a safe, he squanders it without counting. " 82 If anyone wanted to ask, what happened to the head of Acephalus, one of the many correct answers would be: it burned up, ignited by the parietal eye, although the image of the head in flames, of course, is also paro-

79. Ibid, p. 140.

80. Bataille, G. "Le coupable", ŒC, t. V, p. 283.

81. Bataille, G. "Le Jesuve", p. 14-15; Surya M. Georges Bataille, la mort a Vceuvre, p. 140.

82. Bataille, G. "L'oeil pineal (1) ", ŒC, t. II, p. 25.

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diynym periphrasis on the halos of Christian saints and Indian deities. Although Bataille does not write directly about this, various researchers agree that this eye must necessarily be blind - because this is the price of permanent contemplation of the sun.83 This interpretation is also supported by the fact that the philosopher writes about his father in one of the records of his dream: "I imagine that because he is blind, he also sees the sun as a blinding red" - that is, as the parietal eye constantly sees it.84 The meaning of this fantastic sense organ, then, is not to see anything, but to communicate to the whole human being the sacred ecstasy of identification with the object of sight, which has already ceased to be such.

The sun in the composition of the sacred

A direct transition to the idea of the connection of the sun with the sacred through the concepts of waste and sacrifice, outlined in Bataev's post-war writings, is his article "Celestial Bodies" (1938). In this text, Bataille invites the reader to look at his own existence from the point of view not of eternity, but of the universe: it seems to him that the earth beneath him is motionless and stable, he himself seems to be firmly on his feet and therefore has the right to consider himself the crown of creation. In fact, everything is exactly the opposite: our planet, the sun, the galaxy and the whole universe are rushing with great speed somewhere in the distance, and all its elements are spinning wildly around their axis; it is noteworthy that Bataille describes the "movement of everything" described by him as violence rapide and mouvement explosif, i.e., as a violent, fast and explosive movement 85.

It is the sun for Bataille that is at the center of the processes of universal destruction: "Such a star as the Sun, the core and center of the system to which it belongs, radiates, i.e. continuously casts in the form of light and heat, a part of its substance into space (it is quite possible that a significant number of races of the-

83. See, for example: Fokin S. Filosof-vnez-samo. p. 72; Evstropov M. N. Georges Bataille: opyt bytiya kak kritika ontologii [The Philosopher-outside-himself]. 2011. N 344, pp. 51-52.

84. Bataille G. "[Reve]", Œ, t. II, p. 10.

85. Bataille, G. "Corps celestes", ŒC, t. I, p. 515.

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the energy thus wasted is born out of the continuous internal destruction of the star's very substance)"86. Mimicry of natural science discourse with a full set of references to scientific works can hardly mislead us here: it is all about the same thing - about the sacrifice in which the sun brings itself, generating life from self-mutilation, violence and death. Still, the sun is contrasted with the cold and miserly earth, which should move from accumulation to waste and learn to give itself away, joining in the joy of the day star: "In loss, people can rediscover the free movement of the universe, they can dance and whirl in intoxication as liberating as the intoxication of huge clusters of stars, but in a violent they are forced to realize that they are breathing in the power of death"87. Thus, the life of the universe is permeated by death, and the sun itself shines with its light: this is the final conclusion of Bataille, to which he went for a long time and which he will always repeat in the future.

In Bataille's later writings, which interest us, the connection between the sun and the sacred is built up thanks to these two concepts: sacrifice and spending. The text of Frontiers of Usefulness, an unfinished and unpublished early version of The Cursed Part, which Bataille worked on in 1939-1945, begins with an impressive description of the permanent self-waste of the sun, which gives itself to all things and at the same time dies, as if sacrificing itself to it. Sometimes the text repeats "Celestial bodies" almost verbatim: "... solar radiation is a continuous discharge into space of a part of its substance in the form of heat and light (the energy thus wasted is obviously due to the internal destruction of its substance)"88. Sacrifice, permanent self-destruction, is the main principle of the existence of the world: "The tenderness of the starry night, the torn majesty of the nebulae, are full of the purifying beauty of sacrifice." 89 This universal destruction, however, has a "luxurious" excess that has no meaning outside of itself and marks self-waste-light, glory, and radiance. It is self-waste that serves as the foundation of the sacred world and the meaning of sacralization;

86. Ibid, p. 517.

87. Ibid, p. 720.

88. Bataille, G. "La Limite de Futile", ŒC, t. VII, p. 187.

89. Ibid, p. 190.

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let us add that the description of the Earth as "cold", "stingy" and "greedy" for energy permeating the cosmos, where a person is doomed to eternal labor, service and all sorts of measuring of benefits, is consistent with his ideas about the profane state. On the one hand, the sun sacrifices itself, and on the other hand, any person or god who follows its example becomes the sun. Sacred spending therefore has a cosmological, social, and personal meaning. As the "Cursed Part"says:

The source and basis of our wealth are given to us in the rays of the sun, which wastes energy-wealth-gratuitously. < ... > In the general boiling of life, the tiger is the point of the highest intensity, And this intensity really ignited in the distant depths of the sky, from the energy of the sun that destroys itself 90.

As the ideal of a sacrificial society, Bataille would lead the Aztecs from the beginning of the 1930s until the end of his life in 1962, and the sun to which and for which they sacrificed would remain mainly in his analysis: "The sun itself was in their eyes the personification of sacrifice. It was a god who looked like a man. He turned into the sun by throwing himself into the flames of a bonfire " 91. The connection between the sun and the divine sphere here transcends the ethnographic description and expresses the personal position of the philosopher. A quote from the Theory of Religion can also be cited as proof of this:

Sacrifice is as incendiary as the sun, slowly dying in its wasteful radiance, whose brilliance is unbearable to our eyes, but it is never separate and in the world of human individuals calls for the universal denial of individuals as such.92
Here we see the same meaning of desubjectivation, which we drew attention to at the very beginning of the article and which was and remains for the French thinker one of the main meanings of the sacred and, somewhat more broadly, of religion in general.

90. Bataille, G. "La Part maudite", ŒC, t. VII, p. 36, 40.

91. Bataille, G. "La Part maudite", p. 52.

92. Bataille, G. "Theorie de la religion", ŒC, t. VII, p. 313.

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Let's sum up the results. We have shown that the sun in Bataille's early texts of the 20s-30s serves as a conceptual metaphor, in the sense of the immediately preceding his theory of the sacred. On the one hand, this concerns the philosophical intuitions associated with it: it belongs to one of the two ultimate poles of the world order; it is theoretically ambivalent, but tends to the negative pole; it is associated with a specific concept of the subject who makes a way out of himself in favor of the totality of existence in unity with the world whole. This concept also corresponds to Bataev's ideal of cognition, which, as we have suggested, is formulated in a polemical dialogue with the Western philosophical tradition and consists in identifying the knower with the known. On the other hand, the sun is associated with a number of clear concepts that also precede the sacred or capture its later meanings: it is an animal state, the unreal, monstrosity, the heterogeneous/homogeneous opposition, violence, change, and, finally, most importantly, waste and sacrifice. All this allows us both to conclude that the significance of this image and its associated conceptual structures has been seriously underestimated so far, and to confirm our assumption about its connection with the sacred, which allows us to better understand its genesis and meaning in Bataev's work.

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