МЕТОДОЛОГІЧНІ ПРОБЛЕМИ АНАЛІЗУ КОДУ І "ПОДВІЙНОГО КОДУВАННЯ" В КОНТЕКСТІ СЕМІОТИКИ, СТРУКТУРАЛІЗМУ І ПОСТСТРУКТУРАЛІЗМУ

Author(s): Olena Aphonina / Language(s): Ukrainian Issue: 1/2016

The research of the most important methodological aspects of cultural codes and the "double coding" in the arts requires the development of adequate and effective conceptual apparatus. Without it, it is impossible to penetrate the essence of the problem, analyze its main aspects and trends of solutions. The need to learn the basic concepts that re-veal the specifics of cultural codes and the "double coding" in the art due to the fact that in the content of these definitions determined by the strategy of theoretical research, the research direction of movement of thought. We must also bear in mind the fact that, in determining the essential concepts as categories, except for decisions purely instrumental objectives defined by the basic outlines of the problem field of study problems, their relationship with other philosophical, aesthetic, cultural and artistic issues and related concepts.Problems of cultural codes and the "double coding" in art are very wide, associated with them issues related to the fundamental relationship in the "culture-art-work-practice". There is nothing surprising about the fact that art, spiritual practice and being there next to each other and is a significant part of the culture. In the analysis of the reality of art each time it is clearly shown that for certain socio-aesthetic forms of interaction with other social phenomena, it can’t exist. On the other hand, in the context of clarifying methodological and philosophical and aesthetic problems of the analysis of codes of culture and "double coding" in the arts important are the practical effect of the double standards to the realities of life and art. Therefore, in this study, the problem of cultural codes and the "double coding" in the art will determine within a holistic understanding of culture.Codes culture is often seen as an intrinsic property of the artistic culture, sometimes the focus is on code-language features imagery in various art forms. The essence of codes of culture consists of separate symbols, signs, pictures, images, ideas, which at first sight independent of one another, and in fact interrelated and mutually deterministic (clear and unambiguous) in the same associative field (Roland Barthes). From a more general point of view of cultural codes are the sign and symbol integrity (visual, iconic, auditory) and the semantics of the content (ideas, emotions, color,sound, movement, etc.). Each of the semiotic and semantic elements of cultural codes play an important and constructive role in cooperation with other conveys the meaning of the code.Code in the culture and its specific form and content, semiotic and semantic transformation occur in the coding process (preservation and transmission of information). Such a process typically can occur within a certain historical time and in a cultural space. The encoding process goes through various stages of development and code acquires new qualities. Here there is a process that can be called a "double-coded" in the art that Charles Jencks described as "playing with semantics and metaphors". Code of culture in the process of artistic creation concentrates artistic achievements and experiences, and in particular the art of code gets emotional expressiveness and aesthetic value.The idea of double coding in this case coincides with a double treatment of signs. In different historical and cultural contexts of conditionality word mark a new (or additional) value is considered and it is the basis of "double coding". Therefore, it is possible and necessary to use the semiotic approach to the study of phenomena and the code of "double coding" in the history of culture. Therefore, semiotics is the basis not only of the theory of culture, but any methodology of cultural studies as cultural studies is the product of self-reflection and self-description of the culture, that is meta-semiotic system. Cultural codes operate as signs of signs, creating texts about texts, and that is a kind of meta-text, based on semiotics of sign systems.In analysis of the code, and "double coding" in the context of semiotics, structuralism and post-structuralism, we can distinguish the basic methodological foundations for the study of these problems. Structuralist and poststructuralist analysis can reveal the concept of "cultural code" through the dual nature of structural relations (oppositions), the opposition, the sign (language) expression meaning. Analyzing the texts of prominent semiotics, structuralist, poststructuralist scientists, we conclude that getting into any kind of art, cultural code can be converted from one form to another, and when changing its structure and the direction it goes from one level to the semiotic coding the other, and here there is a process of "double coding". Then a new system of values, images, signs, symbols needs a new logic of the opening of the "code." Culture Code was in the process of processing, interpretation, reinterpretation, reconstruction, connotations, etc. and it is the subject of research in the postmodern cultural studies and art history.

Механика срещу символика. Генезисът на новоевропейския историзъм

Author(s): Georgi Kapriev / Language(s): Bulgarian

This book interprets, from a philosophical perspective, the changes in the historical thinking of Western European culture in the period of XII-XIII. At that time, under the pressure of the powerful mental and social coups, the process of distancing between the historical and the metaphysical: the separation between the history and the philosophy of history takes place. The naturalization of history and therefore the inevitable favoritism of the methodologies, typical for modernism, are reflected in the positive-mechanistic approach to the "historical". The analysis tracks the transformation of the "searching and viewing" of history, along with the fundamental notions: time, place, image, essence. The new thinking of history produces phenomena that are accepted today as "natural". These include the introduction of history into the corpus of science and the "birth of the author".

Мислам, значи, го мислам другото: Деридовата поетика на гостоприемството

Author(s): Jelisaveta Blagojević / Language(s): English,Macedonian Issue: 2/2004

One of the main assumptions of Jacques Derrida’s philosophy, as well as of deconstruction as a model of thinking closely related to his work, is the attempt to think in paradoxes, in aporiae, to simultaneously think contradictory claims, thus ‘opening’ the process of thinking for the other which is foreign and impossible to the thinking process, to the future and to politics. Nevertheless, such way of thinking always poses a danger, on the one hand, of being used as an instrument for reaffi rmation of the commonsensical rational thought (logical, excluding, embracing, totalitarian) within its own limits, or, on the other hand, of being declared as a theoretically irrelevant, unsuitable in the genre, even apolitical way of thinking. In this respect, every attempt of re-defi ning and/or re-thinking of the concepts shares a similar destiny; just as every effort to bring about changes is void, or to create possibilities for the impossible, for certain indecisiveness, uncertainty and instability – for certain non-knowledge. Such insecurity and uncertainty, such approaching to a certain event can be identifi ed as the other, or as the presence of the other which always implies a risk and which destroys the very essence of ‘I’ of the one who thinks, who believes that he knows and recognizes the law (of thinking). When we comprehend something in its wholeness, we eliminate the possibility of a change; therefore, it is necessary that we do not know, that we take risks and that we have a certain decision about the answer/respond and the responsibility towards the other which is prior to our ”I” in order that a change may happen.[...]

Мислител на иднината

Author(s): Drucilla Cornell / Language(s): English,Macedonian Issue: 2/2004

The article is a foreword for the fourth chapter of Drucilla Cornell's book "The Philosophy of the Limit", which was republished in the Journal.

Мишел Фуко и западната медицина

Author(s): Dmitry Mikhel / Language(s): Bulgarian Issue: 3/2020

The article analyzes Michel Foucault’s philosophical ideas on Western medicine and delves into three main insights that the French philosopher developed to expose the presence of power behind the veil of the conventional experience of medicine. These insights probe the power-disciplining function of psychiatry, the administra¬tive function of medical institutions, and the role of social medicine in the adminis¬trative and political system of Western society. Foucault arrived at these views by way of his intense interest in three elements of the medical system that arose almost simultaneously at the end of the 18th century: psychiatry as “medicine for mental illness”, the hospital as the first and most well-known type of medical institution, and social medicine as a type of medical knowledge focused more on the protection of society and far less on caring for the individual. All the issues Foucault wrote about stemmed from his personal and professional sensitivity to the problems of power and were a part of the “medical turn” in the social and human sciences that occurred in the West in the 1960s and 1970s and led to the emergence of medical humanities. The article argues that Foucault’s histories of the power of medical knowledge were philosophical histories of Western medicine. Foucault always used facts, dates, and names in an attempt to identify some of the general tendencies and patterns in the development of Western medicine and to reveal usually undisclosed mechanisms for managing individuals and populations. Those mechanisms underlie the practice of providing assistance, be it the “moral treatment” practiced by psychiatrists before the advent of effective medication, or treating patients as “clinical cases” in hospitals, or hospitalization campaigns that were considered an effective “technological safe-guard ” in the 18th and most of the 19th century.

Монструозни тела и субверзивни грешки

Author(s): Marina Gržinić / Language(s): English,Macedonian Issue: 1/2001

I would like to start with a theoretical-political positioning of feminist theory and practice and subsequently deal with the relationship between philosophy and cyberfeminism. The idea of taking a conceptually specific stand is in order to philosophically identify and articulate a position specific to Eastern Europe. This desire does not grow out of the identity politics game as used by certain feminists to legitimize their right to colonize cyberspace; rather, it is a militant response to this constant process of fragmentation and particularization. Furthermore, I insist on the re-politicization of the cyberworld by taking a stance that is based neither on a geographical space nor on a location on the map of the “New Europe” but is, as E. Said would say, a concept.

Мората на Морија: херменевтика на гротескното искушение

Author(s): Katica Kulavkova / Language(s): English,Macedonian Issue: 2/2004

Several years ago, around 1998, I wrote a poem entitled ‘Temptation’, with a motto taken over from the Old Testament, the First Book of Moses (Genesis) 22:7: “My Father: and he said, Here am I my son. And he said, Behold the fi re and the wood: but where is the lamb for a burnt offering?”1 In that poem I poetically interpreted God’s attempt to test Abraham’s loyalty by putting him in a position to choose between Him – God and his own child, his son Isaac. God Almighty puts Abraham in a grotesque position to give up his son, to forsake his dearest and, which is more, to destroy his dearest, to put him to death, slay him, kill him and burn him with the excuse of (ritual?) sacrifice. The reason for such a sacrifice is God Almighty’s capricious wish to test Abraham’s loyalty to Him, the supreme father, to the law of God. To prove that his loyalty to God is greater and more important than his love for his own child, god-fearing Abraham sets forth on an agonising journey to the land of Moriah, to the woods of temptation, the nightmare of humankind, where he builds the pyre upon which to lay his own son instead of a lamb or like a lamb, and put him to death.[...]

Надживувањето, одложувањето, отскокот

Author(s): Jacques Derrida / Language(s): French,Macedonian Issue: 2/2004

НАРРАТИВ И ЦЕЛЕПОЛАГАНИЕ: СООТНОШЕНИЕ СТРУКТУРАЛИСТСКОГО И ФЕНОМЕНОЛОГИЧЕСКОГО ПОДХОДОВ

Author(s): Evgeniy Sergeevich Maslov / Language(s): Russian Issue: 1/2015

The paper considers the phenomenon of narrative in terms of goal setting. The structuralist and phenomenological approaches to the study of narratives are viewed as complementary. It has been demonstrated that phenomenology is able to inquire into the process of generation and perception of the narrative structure in the individual consciousness (the concept of biographical situation, phenomenology of time), whereas structuralism reveals the results of this process in the structure (the concepts of focalization, point of view, story and discourse). P. Ricoeur and D. Carr (phenomenology) derive the narrative structure from the structure of goal setting; A. Greimas (structuralism) approves that desire is an important principle determining the narrative structure. The structure of goal setting correlates with Ts. Todorov’s idea (structuralism) about 5 elements of the episode. Integrity and completeness as attributes of the narrative and individual event in it are derived from such attributes of goal as distinctness and ability to be a criterion for significance of elements of experience.

Насилството на преправањето: Законот преоблечен во правда

Author(s): Drucilla Cornell / Language(s): English,Macedonian Issue: 2/2004

Настанување-жена од феминистичка гледна точка

Author(s): Suzana Milevska / Language(s): English,Macedonian Issue: 1/2006

The ways in which feminists have been reading Gilles Deleuze’s and Felix Guattari’s work until recently have mostly been limited to criticism or even complete refutation of their concept of becoming-woman. Today, the critical feminist approach towards their work has shifted. It has been somehow enriched by complex and cautious interests in their concepts of rhizomatics, desire, event, and assemblages.

Нашето красиво бъдеще

Author(s): Pravda Spasova / Language(s): English,Bulgarian Issue: 4/2017

What is the contemporary notion of beauty? It seems to have vanished from the discourse of aesthetics with respect to art. However, in everyday life beauty is considered easy to define, especially in advertisement of plastic surgery and fitness and wellness institutions. The article deals with the implications of the development of the idea that beauty and health are obtainable through science and high technology.

Неомарксистичка мисао о држави

Author(s): Tijana Perić / Language(s): Serbian Issue: 1/2013

The concept of the state from the perspective of Neo-Marxism is analyzed in this paper. Neo- Marxism as a substitute theory of Marxism has continued to nurture the Marxist concept of the state with varieties which deserve a separate analysis. In Neo- Marxism there is no consensus on a unified theory of the state, but it is present tensions between the two theoretical positions, which are the starting premise of the limb. Instrumentalism, embodied in Ralph Miliband’s work is based on the paradigm of the modern state as the state in a capitalist society, and it is positioned in the background of society. In contrast to this position, structuralism of Nikos Pulancas gives priority to the structure and stresses that the modern state is nothing other than a capitalist state. Pulancas pleads for a semi- autonomous state position, which ultimately keeps the class determinism.

Неотрадиціоналізм у контексті української постмодерної культури: спроба інтерпретації

Author(s): Olena Vyacheslavova / Language(s): Ukrainian Issue: 4/2010

In present-day Ukrainian history of literature and criticism in context of analysis of postmodern condition formed the ensured interpretation of neo-traditionalism as artistic position which remains outside of postmodern creative work. Philosophic reflection of peculiarity of Ukrainian postmodernism allows to correct this condition.

Об однойшекспировской цитате в "Поэме без героя"

Author(s): Marina Grigorievna Salman / Language(s): Russian Issue: 1/2014

The purpose of this article is to explain Anna Akhmatova’s decision to rewrite the following stanza from "Poema bez geroia" (1940–1962): Ne otbit’sia ot rukhliadi pestroi, / Eto staryi chudit Kaliostro/ Za moiu k nemu neliubov’./ I mel’kaiut letuchie myshi,/ I begut gorbuny po krysheI tsyganochka lizhet krov’. The final version of the stanza – Ne otbit’sia ot rukhliadi pestroi./ Eto staryi chudit Kaliostro –/ Sam iziashneishii satana,/ Kto nad mertvym so mnoi ne plachet,/ Kto ne znaet, chto sovest’ znachit/ I zachem sushchestvuet ona. – alludes to Shakespeare’s Sonnet 151. The penultimate line of the final version of the stanza (“Kto ne znaet, chto sovest’ znachit…”) paraphrases the opening line of the sonnet (“Love is too young to know what conscience is…”); the sonnet’s keywords – “love,” “conscience,” “young,” “guilty of my faults” – correspond to the central themes of "Poem without a Hero".

Обрі Бердслей і "Смерть Артура": підрив вікторіанського природного ладу

Author(s): Olexandra Dovzhyk / Language(s): Ukrainian Issue: 1/2013

As Michel Foucault made clear, the nineteenth century bourgeois society had been involved in the processes of optimizing, controlling, intensifying its productive and reproductive forces. On the one hand, phenomena that contributed to the development of capitalism were marked as ’natural’ and ’healthy’. On the other hand, those trends of thoughts, forms of art, and everyday practices that transgressed the convention were defined as ’unnatural’, ’degrading’ and ’morbid’. Unsurprisingly, the works of a Victorian Decadent artist Aubrey Beardsley were regarded by contemporaries as ’unhealthy’ and ’artificial’. In order to argue that moral panic was caused by Beardsley’s ironic undermining of the Victorian ’natural order’, the essay examines how the artist represented nature in his first commissioned work, designs to the Morte Darthur, revealing the subversive potential of its ’essentially decorative’ and ’grotesque’ approaches. Beardsley’s illustrations were compared with the prints of William Morris’s Kelmscott Press, and, in fact, became a distorting mirror of the latter’s Pre-Raphaelite ideology. While Morris opposed mass reproduction which ruined the ’natural character of works’, ’Le Morte D’Arthur’ was reproduced by photo-mechanical means. Besides, Beardsley included arresting anachronisms to his drawings thereby parodying Pre-Raphaelite attention to authenticity of costumes and historical landscape. He also introduced a number of characters that were absent from the primary text. Thus, the presupposed ’natural’ correlation of text and image was neglected. We refer to Aubrey Beardsley as to a disciple of Post-Romantic revolt against nature. In the Morte Darthur designs, the artist represents nature defeated both on the level of content (numerous depictions of walled gardens, pierced shrubs, etc.), and on the level of form (so called ’reduction of nature into the pattern’). By deforming and restructuring natural objects, his grotesques mock at presumption of coherence of the world. Therefore, the natural origin of Victorian binary codes is challenged, the foundation of Victorian ideologies in nature, undermined. As structuralist studies of ’primitive’ thinking argue, existence of dichotomies is necessary for construction of cosmological myths that aim to inscribe principles of the functioning of the Universe into an intelligible structure. As might be expected, speakers of Victorian decorum named Beardsley’s drawings ’unintelligible’ and ’repulsive’. For the most part, the artist refused to maintain conventions and beliefs that enabled normative operation of the late Victorian bourgeois society. Moreover, his art strategy constituted a threat to the Victorians’ ’ontological security’ in Giddens’s sense of the term, that is, the ’shared framework of reality’ which preserves community members from facing the reverse chaos, and conceals the fact that natural knowledge about reality ’lacks foundations’. Accordingly, Beardsley’s transgressive drawings that blurred the boundaries of this secure ’framework’ were unbearable for the ruling culture.

ОЗНАЧИТЕЉ И ОЗНАЧЕНИ У ДЕ СИГНАТУРА РЕРУМ ЈАКОБА БЕМЕА

Author(s): Radovan Popović / Language(s): Serbian Issue: 124/2008

Das Grundanliegen dieses Aufsatzes ist, aus einer Synthese mehrerer theoretischer Auffassungen verschiedenen von ausgehend Autoren, die Grundlage für einen analytischen Zutritt zum Werk Jakob Böhmes zu schaffen. Durch die Kontextualisierung der Böhmes Auffassungen im geistesgeschichtlichen Zeitraum, für den das analogische Denken eigentümlich ist — im Unterschied zum diskursiven Denken — Böhmes Begriff der Schöpfung ist wie ein unaufhörlicher Prozess der Konotationsherstellung bestimmt. Wie auch jeder Bereich des Seienden nur deutet auf das wirklich Seiende hin, es wird in diesem Text für Böhmes ontologische Hierarchie das Syntagma vestigiale (Spur-) Struktur benützt, das von dem Spurbegriff in der Jacque Derridas Theorie herrührt. Die gesamte Wirklichkeit im Böhmes Werk formiert sich in zwei Gestalten: in vertikal-hierarchischer (die Stufen der Wirklichkeit) und horisontal-funktioneller (konkrete Zusammenhänge, in denen sich die Momente der Vertikalstratifikation äussern). Auf Böhmes Gottesbegriff wird Jakobsons analytische Formel von Fonem angewendet, die aus differentiellen Einheiten aufgrund des Prinzips der Binaropposition konstruiert wird. Die Schöpfung ist eigentlich ein freier ilokutorischer Akt, durch den sich der Gott im obengenannten Konzept der Wirklichkeit ausdrückt. Insofern repräsentiert die Wirklichkeit nach Böhme eine strukturierte Aus-sage Gottes in der Welt. Böhmes Schrift De signatura rerum ist zur Analyse gewählt, weil sie für die analogische Denkart repräsentativ ist, also kurzgefasst enthält sie alle wichtige Aspekte Böhmes Kosmologie. Der Autor dieses Aufsatzes findet, dass der hier angewendete Zutritt, obgleich noch unvollkommen entwickelt und etwas inkoherent, legitim auf andere Autoren, die dem Renaissance geisetsgeschichtlichen Paradigma angehören, angewendet werden kann.

Опит за разглеждане на менталните болести през въпроса за същността при Фотий

Author(s): Katerina Georgieva / Language(s): Bulgarian Issue: 22/2016

The mental illnesses, their development and their consequences have been a subject of keen interest from ancient times until this day. This text provides us the opportunity to take a look at this matter through the perspective of the concept of essence through explication of some views on it. We would elaborate several of the beginning with the teaching of the Church Fathers and ending with the modern psychoanalytic view on illnesses of the soul and their relationship to the essence concept. The work examines four main views on the essence and on the problem how and to what extent the essence itself could be affected by mental illness. Of particular importance to the study is Aristotle's concept „mερική ουσία“, as well as the criticism on that view provided by Photios I of Constantinople.Taking into considerations the views of both Aristotle and Photios the paper examines the construction and the deconstruction of the subject through the link between the mental illness and the essence.

ОТ БИОПОЛИТИКИ К ПРЕКАРНОСТИ КОММОДИФИЦИРОВАННЫХ ТЕЛ, ИЛИ АПОГЕЙ ПЕРФОРМАНСА

Author(s): Yuliia Vasylivna Meliakova,Svitlana Borysivna Zhdanenko,Eduard Anatoliyovych Kalnytskyi / Language(s): Russian Issue: 4/2021

The article presents a philosophical study of the social, political, legal, labor, cultural and anthropological status of a person in modern conditions of informatization, economic liberalism, limited employment, post-democracy, visual culture and a pandemic. The growth of the precariat is regarded as a catalyst for the movement of opposite vectors: the activities of the power and the performative actionism of political subjects. As the optimal integrative tactics of a person of late capitalism, his bodily and spiritual self-exploitation is considered.

П. А. Флоренский и его статья «Обратная п ерспектива»

Author(s): V. V. Ivanov,A. Dorogov,Boris Uspenskij / Language(s): Russian Issue: 1/1967

Автор предлагаемой статьи Павел Александрович Флоренский (1882 - 1943) - выдающийся ученый, работавший как исследователь в самых различных областях знания (математика, техника, философия, лингвистика, материаловедение, искусствознание, литературоведение, фольклористика, энергетика и др.). Его работы (опубликованные в свое время лишь частично) охваты ¬ вают большое количество теоретических проблем - чрезвычайно актуальных для нашего времени - и представляют собой большую познавательную ценность. Еще в 10-е - 20-е годы П. А. Флоренский пришел ко многим идеям, которые значительно позднее - вновь сформулированные - стали основными в кибернетике и семиотике. Его идеи дискретного и структурного пространства-времени, подкрепляемые глубокими конкретными исследованиями физических полей и различных структур вещества - с применением геометрических (топологических, в частности) и аналитических методов - па широкой экспериментальной базе, его идеи противопоставления эктропии («Логоса») - энтропии («Хаосу»), прямо предвосхищающие мысли Н. Винера о соотношении информации и энтропии, представляют огромный интерес (см. статью «П. А. Флоренский» в Энциклопедическом словаре «Г ранат», а также библиографические дополнения редакторов русского перевода кн. А. Моль, Теория информации и эстетическое восприятие, М., 1966). В 30-е годы Флоренский отчетливо формулирует намеченные им в связи с занятиями электротехникой еще в 20-х годах (но опережающие основные кибернетические результаты 40-х годов) идеи моделирования решения математических задач на специализированных электрических устройствах (см. его статью «Физика на службе математики» в журнале «Социалистическая реконструкция и наука», 1932, № 4).