Razgovor Emmanuela Fayea s Philippeom Lacoueom-Labartheom, Pascalom Oryjem, Jeanom-Edouardom Andréom i Brunom Tackelsom
Emmanuel Faye's interview with Philippe Lacoue-Labarthe, Pascal Ory, Jean-Edouard André and Bruno Tackels
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Emmanuel Faye's interview with Philippe Lacoue-Labarthe, Pascal Ory, Jean-Edouard André and Bruno Tackels
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The paper analyses the category of neo-catastrophism. Postmodern society has launched the mechanisms of self-destruction which are now working not only in interpersonal and communicative relationships, but also in the realms of axiology, ethics and even ontology. According to the author, the main aspects of Jean Baudrillard’s and Jürgen Habermas’ philosophy can be interpreted as containing such neo-catastrophic message. However, as the forerunner of neo-catastrophism in philosophy the author points out Stanisław Ignacy Witkiewicz (Witkacy), especially his theory of metaphysical feelings and their disappearance in mass society. Stanisław Ignacy Witkiewicz, known among the philosophy critics as neohumanistic catastrophist, has foreseen many categories which are typical for Habermas’ and Baudrillard’s writings. The neo-catastrophic mechanisms has a serious consequences for the condition of postmodern subject, the more so because the main part of the neocatastrophism is the strong conviction that there is no escape. The author, besides the main thesis mentioned above, highlights some common features between Baudillard’s and Habermas’ conceptions.
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The paper focuses on the metaphor of existence as a way of philosophical talking about life. Metaphorology was introduced by Hans Blumenberg (1920–1996), one of the most important and innovative thinkers of the 20th century. The works of Blumenberg fall generally within the category of the hermeneutics of metaphor. It is, for him, the question of substituting the study of the more hidden work of metaphors, symbols, and myths for the traditional history of concepts and doctrines. One can say there are two inextricable elements of Blumenberg’s thought: (1) a theory of nonceptuality as essential to philosophizing and (2) an exploration of culture understood as humanity’s unceasing attempts to relieve itself of the weight of the absolutism of reality. Metaphors play an important role in the philosophical language: they are not impediments to clear thinking and clear expression, but rather they are images, iconic constants used by philosophers. Metaphors are able to grasp the reality better than philosophical concepts. According to Blumenberg, metaphors are a kind of reality models, the work of human imagination. One of such models is the metaphor of seafaring/shipwreck and the present article focuses on multiple actualizations of the metaphor in Blumenberg’s philosophy
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The paper deals with the national and gender specificity of Jelena Dimitrijević’s travelogues. This specificity is significantly caused both by the phenomenon of women travelling, its literary representation (the female author achieves a special status leaving her home as the place prescribed by the patriarchal culture to women) and her own Balkan culture identity. Dimitrijević’s texts are analyzed here in connection with the concept of the Balkan orientalism and the theory of nomadic subject. The paper considers the explicitly transnational character of Dimitrijević’s writings.
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The review of: - Wolf-Dieter Hauschild, Lehrbuch der Kirchen- und Dogmengeschichte, - Band I: Alte Kirche und Mittelalter, Gütersloch 1995, ss. 694.
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In a global and multilingual society, indubitable is the importance of a reflection on the Self and the Other as defined by language. This interdisciplinary study aims at investigating, the narrative reinvention of the theoretical principles involved in the definition of the anthropological identity as expounded by Francesco Remotti. Specifically, we analyse a centenary trend in European literature identifying a peculiar form of multilingualism with the non-human and the lack of identity. From Dante’s Inferno to Joyce’s The cat and the Devil, the netherworld, its inhabitants and captives are characterized by the use of several (usually not intelligible) languages. According to this literary cliché, while the clarity and precision of a single language contributes to define a human identity, the plurality of languages is often a sign of a lost identity and of not being human anymore. It is not by chance that the verses of Dante ‘There sighs and wails and piercing cries of woe/ […] Strange languages, and frightful forms of speech,/ words caused by pain, accents of anger, voices/ both loud and faint’ are echoed in Primo Levi’s If This Is a Man. Multilingualism is the central point in Levi’s memories from the time spent in a concentration camp where ‘languages absolutely not understandable [...], the orders shouted in languages [we] were not able to recognize’ and the ‘endless Babel where everyone is shouting’ symbolize the lost human condition. Both the damned souls and the prisoners of the camp are not human anymore because they have lost their language and, with it, their identity. In our study, the comparative and hermeneutic analysis of the narrative and lexical choices adopted to represent multilingualism in European literature reveals a strong connection between human identity and the purity of language intended as a manifestation of human rationality. On the contrary, a number of recurrent diegetic choices and figures of speech seem to define the non-human as a multilingual world characterized by sighs, wails and strange languages, like the Bellsybable of Joyce’s devil.
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Dante Gabriel Rossetti started working on his poem “Jenny” almost a decade earlier than his painting, Found. Although both of his works are about the issue of the fallen woman, “Jenny” particularly stands out as it reflects the poet’s conflicting attitude towards the issue of the fallen woman which sympathises and condemns the fallen woman at the same time and unravels the male hypocrisy that was prevalent during the Victorian Age. Caught in the middle between a wish to represent the condition of the fallen woman and fearful of Victorian outcries of censorship, Rossetti reduced Jenny to an object of pure speculation with her silence and inaction. Subjecting Jenny to the speculations of the male gaze and authorial power throughout the poem, Rossetti shows that his poetic persona is not actually that different from the conventional representatives of patriarchy. Hence, the aim of this study is to discuss the problematic stance of Rossetti’s poetic persona, who, despite the fact that he continuously emphasises his disinterest in sensual delights and expects praise in return, is yet typically reflective of Victorian patriarchal hypocrisy with his relentless comparisons initially between himself and Jenny and then his cousin Nell and Jenny.
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Branach-Kallas situates the concept of trauma in the context of World War I. She discusses cultural trauma theory, illustrating its basic characteristics with examples from the cultural history of the Great War. The article also analyses the representation of individual and cultural trauma in selected British and French novels by Louisa Young, Pat Barker, Marc Dugain and Pierre Lemaitre. The central figure of the facially disfigured soldier becomes an epitome of individual and cultural trauma, inspiring a critique of the nation-state and an exploration of (post)modern identities.
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Filozofski, "žensko pitanje" (da upotrijebim ovo staro, krajnje neprikladno određenje) se ne može riješiti niti pomoću nove simbolizacije ženskosti niti uzdizanjem žene u entitet koji se opire simbolizaciji, u "nedjeljivi ostatak" procesa simbolizacije. Ovim drugim putem krenuo je Schelling, koji je "znao da izraz 'žena' ne može poteći iz načela. Ono što ne može tako poteći, treba opisati." Schellingov proboj iz logičke strukture stvarnosti (koju se može predstaviti kao idejni sustav) u Realno primordijalnih nagona (gdje nema dedukcije, može se tek ispričati priča) - i.e. njegov pomak od logosa ka mythosu - je dakle objava Ženskog.
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Oni što prate opskurne spiritualno-kozmološle spekulacije zasigurno su čuli za najpopularniju temu iz te oblasti: kad se tri planete (obično Zemlja, Mjesec i Sunce) poredaju duž iste ose, dešava se neka velika kataklizma, poredak univerzuma se momentalno poremeti i ravnoteža se mora ponovno uspostavljati (kao što se navodno trebalo desiti 2012.). Ne vrijedi li nešto slično za godinu 2017., koja je trostruka obljetnica: 2017. ne obilježava se samo sto godina od Oktobarske revolucije, nego i 150 godina od prvog izdanja Marxova Kapitala (1867.) i 50 godina od takozvane Šangajske komune kad su, na vrhuncu Kulturne Revolucije, građani Šangaja odlučili doslovno slijediti Maov poziv i izravno preuzeti vlast, svrgnuvši vladavinu Komunističke partije (zbog čega je Mao žurno odlučio ponovno uspostaviti reda, poslavši vojsku da zgazi Komunu). Ne obilježavaju li ova tri događaja tri faze komunističkog pokreta: Marxov Kapital naznačio je teorijsku osnovu komunističke revolucije, Oktobarska revolucija bila je prvi uspješan pokušaj svrgavanja buržoaske države i izgradnje novog društvenog i ekonomskog poretka, dok Šangajska komuna važi za najradikalniji pokušaj neposredne realizacije najizazovnijeg aspekta komunističke vizije, ukidanje državne vlasti i uspostavljanje direktne narodne volje, organizirane kroz mrežu lokalnih komuna…
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This article deals with probably the main problem in Czeslaw Milosz’ writing - the problem of reality. The two main points one can see clearly - the unmetaphorical style of writing and attention to the individual, concrete thing. Milosz give priority to reality, but not to speech (even poetic speech) while most poets give priority to speech. Therefore, his world-view can be characterized as more phenomenological than hermeneutic. Milosz holds an aristotelian-thomistic tradition and gives preference to substance but not to metaphor.
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This article deals with the problem of meaning in the language of theology. The author’s considerations are based on methods of analytical philosophy, especially on the insights of Bertrand Russell. The Thomistic concept of God is shown as problematic and the possibility of speaking about God as being determined by human epistemological conditions. Speaking of Unknowable God presupposes the use of apophatic language. However, Aquinas’ theory of language lets him solve the dilemma which arises between affirmative and negative theology. The way of speaking about God proposed by Aquinas is analogy, which enables him to establish a kind of harmony between doctrinal and mystical aspects of theology. At the end of the article, the hypothetical character of existential propositions concerning God in Aquinas is investigated.
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The article deals with the problem of meaning in the language of theology. The author’s considerations are based on methods of analytical philosophy, especially on the insights of Bertrand Russell. The Thomistic concept of God is shown as problematic and the possibility of speaking about God as being determined by human epistemological conditions. Speaking of Unknowable God presupposes the use of apophatic language. However, Aquinas’ theory of language lets him solve the dilemma, which arises between affirmative and negative theology. The way of speaking about God proposed by Aquinas is analogy, which enables him to establish a kind of harmony between doctrinal and mystical aspects of theology. At the end of the article, the hypothetical character of existential propositions concerning God in Aquinas is investigated.
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The purpose of the article is studying of the symbolism of the characters’ transformation in Lesya Ukrainka’s drama-extravaganza "Forest Song" in the axiological dimension and connection with the issue of the work, various characters and relationships, in particular, between Mavka and Lukash, and their tragic love. The methodology of the research is based on the use of a set of methods: analysis and synthesis – for studying the state of scientific development of the topic; cultural and structural-semiotic – for the reconstruction of the mythopoetic model of the world; structural, systemic, comparative – for the identification of symbolism in the characters’ transformation; axiological – for the review of the valued content of the neoromantic ideal of a human. Scientific novelty of this work provides the deepening in the closure of the culturological paradigm of the work the symbolic meaning of the image reincarnation and modeling the picture of human existence as a powerful source of energy for artistic influence on the recipient, in the study of its symbolism as a complex branched system of culturological expressions. Conclusions. In "Forest Song" the world of a human and the world of nature Lesya Ukrainka interacts on the philosophical level of values interplay, which was formed under the influence of existentialism. The main conflict of the work is epistemological, generated by the contradictions of the human’s knowledge of the world and himself. Introducing the romantic Mavka to the sphere of life with its drama and tragedy, penetrating to the depths of the characters’ subconsciousness, the author directs the recipient to the ideals that embody the wisdom of the ages. At the same time, Lesya Ukrainka addresses to the symbolism of the heroes’ reincarnation, synthesizes symbols, concepts, mythological and fairy-tale images from the real space of the action to the cosmic scale in a complex way, which ensures "Forest Song" versatility, the basis of which is determined by the interaction of the worlds (human and nature), and values.
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The purpose of the article given studies is a trailing of profound relationship to the leading notion of art studies and philosophic- religious sense mortgaged in numerology and other symbology of genre-technique indications of the music. Methodology of the study emerges the hermeneutic accumulation in the work of A.Losev, E. Wilson-Dickson, in musicology - a developments B.Asafiev, B.Yarustovskiy and others. The hermeneutic cut of art-studies analysis, with a handhold on historian-stylistic, sоcio-culturology principles in comparison of semantic position to epochal filling forms the concreteness of the applying methods of the cognition of the brought forth theme of the study. Scientific novelty of the work is defined by originality to ideas of the collation of value philosophical-religious generalizations, in tradition A.Losev and B.Asafiev, and factors of the form in artistic buildings. Is it for the first time attention to semantic parallels of the beliefs about epochal change the form from the Middle ages before New time - in development position to music sociology, as they are declared in work A.Lunacharskiy, T.Adorno, B.Asaiev, L.Mazel, and other prominent researchers of art, leaving on the hermeneutic factors of the incidence of the sense artistic-formal quality of the expression. Conclusions. The total of the offered review is, first, understanding that that music contents and sense concentrated in the symbology of the music forms - as invoiced wholeness which presents the unity of the expressive facilities in general, and as structured concreteness of the forms-schemes to compositions. The semantic essence and the first, and the second related religious, philosophical ideas, given birth history condition, which become nourishing headwaters and for epochal determined music buildings that are to say obviously their genetic alliance. Secondly, music sociology, as one of leading discipline to hierarchies forming in culturology of musics, contains hermeneutic component, which forms the foundation of the music semiotics, music semioties, music hermeneuties as such as a whole, jointly teachings about music contentrichness and music image, which were in the highlight classical musicology past two centuries.
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Purpose. Based on the example of the autobiographical memoirs "Notes on my Life" by Volodymyr Pukhalsky, a renowned pianist and teacher, one of the founders of professional musical education in Ukraine, the founder of the Kyiv Piano School and educationalist of the second half of the 19th and the first third of the 20th century, the authors sought to feature an essential characteristic of being of an artistic personality in the context of memorial cultural studies. The reminiscences of the artist serve as an important marker of cultural identification. The methodology of this study is based on the application of techniques of memorial cultural studies (the technique of memorial psychoanalytics and the theory of active memory culture). This methodology makes it possible to reconstruct the past, to simulate the past in the present day, and to determine the key trends in development of domestic culture. Scientific novelty. This study of the memoir heritage of V. Pukhalsky in the context of cultural studies is the first opportunity to address – using the set of concepts of memorial cultural studies – to the problem of culture of recollections. Conclusions. The works of Volodymyr Pukhalsky may be treated as a genre modification of the literary form of "notes" used to depict a reflecting mind. The narration is presented by a self-conscious narrator, who has regained his self-comprehension and strives to preserve it and to realize himself in the flow of culture.
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The purpose of the study is to identify the content and characteristics of Sufi poetry and its influence on the culture of the Middle East in particular and the world in general. The methodology of the research is based on the complex use of methods of analysis, synthesis and generalization that made it possible to characterize Sufi poetry in the diversity of its content and style. Historical and retrospective methods provided disclosure of the peculiarities of poetic searches of Sufi philosophers through specific examples. The scientific novelty of the study consists in an integrated approach to the analysis of the heritage of the Sufi poets-philosophers, based not only on genre and stylistic characteristics, but also on meaningful and philosophical interpretations. Conclusions. The Sufi poetry has had a significant influence on the development of the socio-political thought of the East, full of deep philosophical content, unique style and rebellious spirit. It has left a profound sense in the world culture and has become the heart of the culture of the Middle East
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Purpose of the Article. The purpose of the article is to clarify the place of the spiritual song in the genre system of sacred music of the main Christian denominations based on the analysis of the basic definitions of the spiritual song genre in various national traditions. The research methodology consists of a combination of comparative, historical, cultural and musical-liturgical methods, with the help of which the spiritual song was described as a component of the genre system of the European liturgical musical tradition from the Middle Ages to the present. The scientific novelty of the work lies in the fact that for the first time in Ukrainian science, based on the characteristics of the definitions of the genre of the spiritual song in different national traditions and confessional centers, national and confessional features of the genre system of European sacred music were highlighted. Conclusions. The genre of the spiritual song throughout the history of Christian music has been interpreted in different ways. In early Christianity, the spiritual song was interpreted as a poetic fragment of the biblical text, which came on behalf of the Old Testament or New Testament characters. This tradition has been preserved in Western Christian and Eastern Christian hymnography. In the late Middle Ages in Western Europe, the genre of spiritual songs transformed. The term «song» («cantio») began to denote musical and poetic works of the strophic form written in Latin, and later in national languages, which performed the paraliturgical function, but over time became the central musical and poetic genre of the liturgy of the Western rite, radically changing it genre system. In the Ukrainian-Belarusian lands, under the influence of the Western liturgical tradition, the term «song» as a musical and poetic work of a strophic form became the basis for defining the genre in all Christian denominations. In the Russian spiritual-song tradition, which was fundamentally different from the Ukrainian- Belarusian lack of long-term connections with the Catholic culture, the musical and poetic works of the strophic form were called psalms or spiritual verses.
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Purpose of the Article: reviewing theological work of Cyril and Methodius and defining foundations of the leadership of the Bulgarian nation in the Slavic areal in mastering Eastern Orthodoxy. The methodological basis of this work is provided by intonation concept of music represented by I. Liashevsky[7], BorisAsafyev’s follower in Ukraine. And also, by theoretical findings of the Bulgarian scholars P.Angelov, Georgi Bakalov and R.Grudev[1; 4], who stressed upon the inalienability of the nation from the religious in art. Scientific novelty: originality of the angle at which theological teachings were studied in generalized information regarding the history of Bulgarian art. Conclusions. The «Solun Brothers» embraced the ideas of early Christianity which did not know schisms and which allowed for a broad tolerance of various Christian denominations. Two lines in Saint Cyril’s theological teaching – intellectualism of missionary work and veneration of martyrdom and feat in the name of Faith – became especially prospective for the Bulgarian statehood and Eastern Orthodoxy. Especially impressive in the history of Bulgaria was the most vividly expressed patriotic combative spirit of Orthodox monasteries, which became outposts of the nation’s resistance to the Ottoman onslaught. This patriotic idea of monastic Service was a doctrine of Bulgarian Orthodoxy’s statehood foundations.
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The purpose of the article emerges the illumination an символистских aspect of the method creative activity G.Maler and B.Ljatoshinskiy - on material instrumental party "Canto about the land" of Mahler and piano parties of the cycle on verses of chinese poets of Ljatoshinskiy. The methodology of the work is intonation concept of the music of the school of B.Asafiev in Ukraine, in riverbed which is developed analytical, style-comparative, history and hermeneutic methods of the study. Special attention is spared works J.Cassou, F.Claudon and D.Androsova, in which is emphasized symbolism forming композиторского of the сomposer approach named master. Scientific novelty of the work is determined by independence of the theoretical interpretation individually-style position of named authors, as well as that for the first time in specified foreshortening are considered named compositions austrian and ukrainian composer. Conclusions. Symbolism aspects of the creative method of G.MahlerA and B. Ljatoshinskiy come to light distinctly, first, sense of the address itself to chinese classical poetry, which reproduces manner of the old Europe of statically-contemplative, normative-aesthetic comprehension of the world - in his perfection and distress status (refer to presence and beside Mahler, and beside Ljatoshinskiy presence "leit-tonality of XX cent." in the manner of abutments by E-f/Fis). Pentatonic becomes the peripheral sign of the music entailment to chinese poetry, sooner with general-symbolism, old-church coloring of un-semitone mеlоdies. Secondly, instrumental parties "Canto about the land" of Mahler and piano parties of the cycle on versus chinese poets of Ljatoshinskiy demonstrate the person of the sort linearization invoices, categorically defending from hоmоphone-harmonic design of the compositions european classicists New time, approaching linear-heterophonic buildings chinese of theatrical instrumentalism.
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