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Filmed in 1986, the film "Offering" is the spiritual testament of its director Andriej Tarkowski. The represented world (reality, destinies of the heroes) is a symbolic relationship to the mystery of human life whose viewer is deeply moved. We show the means by which the "Offering" can reveal the experience of the sacred.
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The article poses the question of „boundaries“ of life. The term life refers to that which is organic, and to culture (society) which has its own „life expectancy“ aswell. Discourse on life of the cultures is relevant to their own relation to life, and hence for the bioethical question. The author begins with thesis that every culture forms its own relation towards biological life and other cultures, setting therefore the different boundaries during the course of history. Boundaries refers to limitations of life conditions of the animal world, but also to limitations of human’s life – freedom inside the culture and freedom of autonomic progress of the cultures (societies). Limitations of life are not lessening within democratic society. In that context, three theses are being explored: (1) Thanks to the science and technique, boundary of life becomes movable, so that man lives longer. At the same time, cultural imperialism shortens or jeopardizes life of many cultures (societies); (2) The degree of the control over life (by ecological conditions and social conditions) is being increased. The most powerful are those techniques and large international systems which prescribe regimes of life as limitations of life. (3) Global ecosystem is maintained thanks to the numerous ecosystems being intertwined. It tends to preserve its structure and stability (laws of ecodynamics opposite to law of thermodynamics – entropy). The consequences of boundaries are (1) man’s physical and mental accommodation to systems of life control in everyday life, in function of accepting the prescribed limits; (2) minimizing of the cultural diversity and global social imbalance; (3) inquiring and critique of the state of the society (system), instead of questioning the society (system) as such.
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Tko je Michel Houellebecq? Čovjek koji zavidi mladim proleterima koji su mu iz okrutnosti kamionom ubili korgija no koji sam ne može ubiti pticu za ručak. Odgovor nije pogrešan. Ponudit ću ipak nešto opsežniji. Houellebecq je čovjek koji od depresije, alkoholičarskih povraćanja i ironiziranja vlastitih seksualnih neuspjeha, završava u istini svojih propalih ljubavi da bi našao Ljubav. Baš tako patetično pisanu, velikim početnim slovom. Houellebecq je deklarirani nevjernik koji u konačnici, tek s malim zrnom soli, nudi neuvijene kristološke alegorije. Pretočen u njegovo pisanje, svijet mu nudi božanske znakove koje, sasvim u skladu sa žanrom negativne teologije, ne može takvima priznati. Barem ne ispočetka. Na kraju mu se pak čini da o tim znakovima treba biti izričit. [...]
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U predgovoru svojoj knjizi Erotizam Georges Bataille već u prvoj rečenici kazuje: »Ljudski je duh izložen najčudnijim nalozima (aux plus surprenantes injonctions). Neprestance ga je strah sebe sama. Užasnut je vlastitim erotskim uzbuđenjima (mouvements). Svetica se zgrožena odvraća od sladostrasnika: ne zna za jedinstvo (l 'unite) što povezuje njegove sramne (inavouables) strasti s njezinima«. Bataille zato ište upravo to jedinstvo, odnosno traži onu temeljnu silu koja leži u svakom pojedincu i čeka na čas svoje realizacije. Naziva je »sveti eros«. Posrijedi je eros koji spaja ne samo žive nego i život i smrt. [...]
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Derridina dekonstrukcijska metodologija nije htjela biti ni metodička ni logička , no viđena pobliže, unatoč tomu, hodila je stanovitim svojim putem i prolazila kroz stanovite postaje. Prva je dekonstrukcijska etapa započela sredinom šezdesetih godina 20. stoljeća objavljivanjem knjiga Pisanje i razlika, Glas i fenomen i O gramatologiji. Posrijedi je dekonstrukcija filozofije kao metafizike prisutnosti, odnosno relativizacija svih tradicionalnih pa i modernih filozofskih pojmova, a ishodište je Heideggerovo mišljenje bivstvovanja. Derrida se pritom trsi prikazati da Heidegger bivstvovanje izjednačuje s prisutnošću (prisutnog), zbog čega još uvijek ostaje unutar metafizičkog polja što ga inače kani napustiti. Mišljenje bivstvovanja kao mišljenje prisutnosti, odnosno čiste prezencije, još se uvijek zatiče bivstvovanju u značenju Izvora/Iskona i Temelja. Do izvornog, punog bivstvovanja, prema Heideggeru, trebao bi nas dovesti čisti materinji jezik svojom pra-iskonskom riječju. Jezik je u tome smislu kuća bivstvovanja. [...]
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Kako »govoriti religiju« ? O religiji? Napose o određenoj religiji, danas? Kako se usuditi o njoj govoriti napose bez straha i drhtanja na ovaj dan? I tako malo i tako brzo ? Tko bi to mogao biti bestidan pa pretendirati na to da je tu posrijedi tema koja je istodobno i prepoznatljiva i nova? Tko bi mogao biti toliko tašt da na temelju nje sroči kakav aforizam ? Da bi se imalo hrabrosti, arogancije ili prijeko potrebne vedrine, možda je učas potrebno pretpostaviti časovitu apstrakciju, apstrakciju svega, ili gotovo svega, stanovitu apstrakciju. Možda valja krenuti od najkonkretnijeg i najpristupačnijeg, no isto tako i od onoga najnapuštenijeg apstrakcije. [...]
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This article explores the development of the conceptual foundations of the social concept of global constitutionalism. It is proved that the evolution of ontological principles in global constitutionalism is due to a system of processes: 1) the convergence of neoliberalism and neoconservatism, due to the gradual washing out of the philosophical core in them, its replacement by political technologies that justify the practice of satisfying the interest of political classes and population groups; 2) the formation on a planetary scale of a single global governing class headed by a single system of elites; 3) the formation of a single financial and economic basis for further globalization of socio-political and state-legal development in national states; 4) the formation of a single general goal of the global governing class, which has a purely practical (rational) nature, subject to the logic of preserving power and property in the hands of global governing elites — the preservation and development of the world capitalist system. Thus, global constitutionalism acts as a social concept that justifies the globalization of the socio-political, state-legal, financial and economic structure of national states and societies, filling it with content. It substantiates the position that the social concept of global constitutionalism in the ontological, epistemological, methodological and axiological terms has incorporated the most rational concepts and constructs not only from neoliberal and neoconservative, but also from national socialist (Nazi) and fascist social concepts. Examines the impact on the evolution of the ontological principles of social concept of global constitutionalism content of the ontological principles and other social concepts. It substantiates the position that the ontological perception of the world picture in the framework of the social concept of global constitutionalism as a whole is built on the basis of neoliberalism and neoconservatism that prevailed in the Western world, being the most rational systemic updating of their principles. The goal of research: to investigate the genesis of the ontological principles in global constitutionalism. Subject of research: theoretical content and stages of development of ontological principles in global constitutionalism in relation to its social essence.
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Purpose of Article is to obtain cultural knowledge about the light and the darkness as keys of transcendence within the scope of “Being in Collapse” by K. Jaspers. Methodology. The methodology of the study includes applying axiological, semiotic, hermeneutic, phenomenological and theological methods. Methodological instruments of cultural studies allow revealing metaphorical, myth and poetic potencies of the light and the darkness in the anthropological discourse of the Orthodoxy in semantic, transcendental parallels with the “Being in Collapse” by K. Jaspers. Scientific Novelty consists in determining the role of the light and the darkness as the sense modeling and seminal elements of the sacral field of asceticism which, appealing to the ideological web of the keys, outline variability in perception and realization of transcendental reality by an individual. Interpretation of symbolism of the light and the darkness in relation to existential “being in the collapse” opens the prospect of expanding and deepening analytical possibilities of cultural studies in philosophical and anthropological discourse. Conclusions. Comparison of the semantic meaning of the light and the darkness with “Being in Collapse” by K. Jaspers allowed to identify the ways of forming a special type of transcendent personality. Study of semantic formants of the light and the darkness in the ontology of transcendence through the lens of realities of ascetic deeds allow us to reveal the features of formation not only of the ascetic consciousness but also of the Christian religious culture as a whole.
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Purpose of Article. The article substantiates the psychological type classification based on universal ontological grounds, and demonstrates an ability to scan psychic characteristics of an individual. Thus, the mentioned idea provides an effective interaction of practices based on the psychoanalysis and art therapy. The certain claim opens the space for the actual interaction of psychoanalytic and art-therapy practices. Methodology. The methodology of the study applies methods of classification and typological analysis as well as integral and symbolic-numeric approaches. Their application allows to reveal the disadvantages of the existing quantitative classifications of psychological types and to offer the universal and qualitative ones instead. Scientific Novelty. The scientific novelty of the article is presented through the fundamentally new method of psychological types classification practice. The approach appeals to the conglomeration of objective psychic modes that form a certain psychological type (altogether there are 16 of them, which are systemically represented). In addition, the logical justification for the selection of mental functions, which are taken into account in the proposed qualitative classification, is provided for the first time. As a result, each person appears as a carrier of an exclusively individual set of specific mental qualities, unique as to their "bouquet," which can be "woven" from objective data, rather than reflections of a psychoanalyst. Conclusions. Only by using a qualitative classification of psychological types, psycho- and art therapy-related practices will develop a strong paradigmatic basis, thus, combining their actual ontological aspects in harmonious coherence, and allowing to accelerate the psychodiagnostic process radically. At the same time, from the scientific and theoretical perspective, the developed method will open new channel of the essence of man as a cosmic phenomenon realization.
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Purpose of the article is to outline the discursive dimensions of modern visual research in the context of interdisciplinary methodology. Methodology. The general scientific and interdisciplinary methods of research are used: analysis and synthesis, induction and deduction, comparison, generalization, formalization. The discursive basis of interdisciplinarity is the cultural-theoretical approach, which establishes deep relationships between different subject areas, in which specific aspects of the problem are studied. Scientific novelty. It has been defined that visual culture and corresponding discourse determine a whole range of cultural artifacts and scenarios, serve as a sign of the degree of human ontology in culture and its identity changes, becoming markers of the emergence of new textuality forms. Discursive dimensions of visual culture act as strategies for its development. Conclusions. Post-present undergoes total changes in textuality, due to which the problem of systematization of discursive research of visual culture in interdisciplinary contexts arises. In connection with changes of values in the culture, which affect the changing of modes of vision, its discursive dimensions are formed (cultural-traumatic, physicality, identity, ethnic-regional), which determine the prospects for its development. A promising task is to establish common patterns of leading discourses in changing the textuality in the direction of archaism as the primary level of representativeness.
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The purpose of the work is to substantiate the methodological possibilities of cultural studies as post-nonclassical knowledge in the study of anthropological problems, as well as to identify methodological approaches that correspond to the modern strategy of scientific comprehension of man. The methodology of the research is based on paradigm as a meta-methodology of cultural knowledge, the manifestation of which is discursive variability and interdisciplinary integrity. Structural-functional and phenomenological methods have become key ones to the study of this problem. To change the interpretation of stable semantic constants from positions of post-non-classical knowledge, methods of semiotic analysis and deconstruction are involved. The scientific novelty of the work lies in the definition and disclosure of the essence of methodological approaches, that reveal the specificity of human cognition in the context of the culturological scientific paradigm. Conclusions. Culturological comprehension of a person can be carried out from the standpoint of the following approaches - universalist, individualized and activity-oriented. The approaches identified in the research are an effective methodological tool for cultural science. Synthesis of the proposed approaches makes it possible to identify the relationship between the corresponding levels of development of culture and humanity, culture and man of a certain historical epoch, culture and personality.
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The purpose of the article is an interpretation of the famous Platonic myth about a cave from the perspective of the critical images rethinking in the context of their accentuation during the millennial development of the humankind culture as well as in acquiring the corresponding term for the designation of the modern style. Methodology. The choice of research strategies in identifying the features of changing key periods has determined the application of the systemic and integrated approach and contributed to the comprehension of value-based social and cultural imperatives within the historical development of humankind. The implementation of the semiotic and functional procedures is formed due to the identification of iconic connections between the symbols of the Platonic myth within the time-separated periods. The use of comparative and heuristic research methods helped to identify structural models reflecting the features of the functioning of culture at its various stages. Regarding the particular context, we use the prognostic aspect of the study, which involves understanding of new symbols that reflect social relations and cultural and artistic forms of modern information and technological civilization. The use of the mentioned methods of research contributed to obtaining their theoretical results. The scientific novelty of the study lies in the formulation and development of an actual topic, which within the scientific dimension has not received comprehensive and objective coverage and is being investigated for the first time. The research proves the idea that consists in the fact that the results of understanding of the images of the Platonic myth serve to build a new reading of the ways of development of human civilization, as well as to determine the value-based categories of the modern hyper-informational society. Conclusions. The development of the human culture demonstrates a tangible link of contemporary worldview landmarks with unique opportunities for technical innovation, which requires the introduction of new terminology. Also, it is noted that the Platonic myth of the cave arises with the appropriate marker, the polysemy of which made it possible to identify critical moments of the historical and cultural development of humankind and formulate appropriate definitions. The neuro art term is proposed which accumulates modern artistic means, reflected in a combination of unique expressive possibilities of sound, image, and text, which project a particular idea into the human subconscious with the help of various means of modern technology. Thus, a new reality of human existence arises - neuroscreens with the domination of political and economic interests, activating manipulative schemes based on eidetic means of representativeness. It is stated that the Platonic eidos discovers internal versatility, is the categorical structure of medieval and modern philosophers, correlates the artistic, historical processes of different periods, and therefore fully corresponds to the definition of contemporary style as eidetic.
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The purpose of the article is to consider the phenomenon of death in an existential dimension, which is one of the most important determinants of human behavior and ways of self-determination of his being by a person. Methodology. The article deals with the phenomenon of death in the context of the search of authentic existence by a person. The fear of death is described as emotion which is important to avoid dangers, so the authors used hermeneutical methodology and anthropological integrative approach while doing the research. This topic has been most elaborately developed within the framework of the philosophy of existentialism, where it is believed that just the realization of the finiteness of a human life contributes to the search of meaning of life and urges a person to various attempts to overcome the fear of death, in particular, through the appealing to transcendental as one of the methods available in modern western culture. Within this culture, death brings to mind the usual way of human existence and is viewed as a certain testing. Sientific novelty. On the basis of a comparative analysis of various levels of human existence (biovital, psychovital, existential, and social), a generalization is made on the specifics of the existential level, where there is a "breakthrough" to the transcendental, "true" existence of a person. It has also been proved that the collision with death, as well as any phenomenon in the human world, is, in fact, ambivalent, and therefore it can cause various reactions from resistance and rejection to approval and cultivation. Conclusions. The authors conclude that the inevitability of death together with the uncertainty, which becomes a characteristic feature of the era of postmodernism, gives rise not only to fear but also to an intensive and powerful internal work that raises it to the level of transcendence. The fear of death is also interpreted as the result of a person's inclination to escape from freedom resulting in alienation from true being.
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The purpose of the study. This paper aims at exploring myth as a phenomenon of culture. Methodology of the study. The authors have used anthropological integrative approach, semiotic method of representing myth as a language of culture, as well as phenomenological method. The scientific novelty. Myths provide meaning and purpose to all elements of culture. Myth underlies cultural reality – it is a core of culture. If we imagine culture as an onion comprised of different layers (the “onion” model of culture), then myth is the center of it – it is a core beyond articulation. It generates our beliefs and assumptions that are rarely explicated, however these beliefs and assumptions shape both the structure of personality and culture. They are taken for granted, but support any culture. They manifest themselves in an explicit form in values, purposes, goals, strategies and philosophies, which motivate us and shape our reality. Conclusions. Mythology is one of the ways to comprehend and interpret the world around us. Its basic concepts are the “world” and “human”. Through the lens of these concepts, people realized their destiny in the world and formed life attitudes during the early stages of human development. Giving place to philosophy and science, mythology has not lost its important place in human history. Mythological narratives were borrowed by many religions. In recent decades, representatives of literature and art have intentionally used myths to express their ideas. They have not only rethought ancient myths, but have created new mythological symbols. Nowadays, an interest in myths and mythologies has dramatically increased, and it is not by chance. The famous researchers of the primitive cultures and mythologies as the ways of mastering and interpreting the world have demonstrated the creative power and heuristic potential of myths that will be manifested in the future.
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The purpose of the article is to determine the cultural and aesthetic problems of the formation of a communicative environment as a factor in the harmonization of the globalization problems of our time. Methodology. The methodological basis of the study is the dialectical principle of cognition, systemic, sociocultural, historical approaches, fundamental provisions of the theory and history of culture. Common scientific and interdisciplinary research methods are used: analysis and synthesis, induction and deduction, comparison, generalization, formalization. The scientific novelty of the results is to identify the key problems of perceiving the subjective dimension of culture in the space of the modern communicative environment. Conclusions. The aesthetic-ecological dimension of cultivating and communicating provides an opportunity to move away from excessive metaphors and see the culture in its constitutive subjective principles of human identity. It is noted that the categorical list of descriptions of the perception of the aesthetic environment cannot be purely psychological, it is not an instrumental means of feeling the harmony of the substance. Thus, the lifelike creative stream that permanently updates the planet, man and its non-aggressive activity, amateur activities translate the aggressive element of the interaction of actors of globalization processes into a phase of harmonious unification of efforts. Aesthetic images of selfdetermination on the brink of their implementation require to play as a substantive leak when the game plays in people as a harmonizing turn of the essence.
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The purpose of the article is to specify the essence of the biographical approach, to reveal its role in interpreting material and spiritual achievements of the mankind and to establish its significance in the discourse of artistic country studies on the basis of thorough analysis and summary of the works in the spheres of sociology, culture and art studies. Methodology of the research consists in implementation of analytical, culturological, historical, axiological and systematic methods in order to reveal the sense of the biographical approach in the discourse of artistic country studies. Scientific novelty. The authors of the article specify the essence of the biographical approach, provide arguments in favour of its efficiency in culture interpretation and substantiate its importance for realizing the achievements of artistic country studies. Conclusions. Analysis of the works dedicated to the issue of biographical approach enabled the authors to ascertain that it is a specific scientific trend aimed at the study of anthropological processes, the basis of which is the ontological chronicle of a particular person, projection of their inner world, methodology of studying personal experience and fixation of this experience in history with the purpose to understand the very essence of the civilization. The direct object of the approach mentioned above is the description of an individual‘s life and creative functioning from the moment of birth to death, and its subject is a social and artistic situation that gives certain meaning and ideological wholeness to human existence. Chronicle is a portrait of the epoch, which reveals conceptual principles of certain age. Highlighting the world outlook of a creative personality, the biographical approach interprets the person‘s existential ideas, discovers their relations to the events of social and political life, as well as material and spiritual achievements of the mankind. Paying attention to the major events in the chronicle of an artist, modern art studies reconstruct and interpret the sense of the previous epochs and helps to find the sense of the person‘s life. Biographical approach as a way to study the artistic culture of the region promotes discovery of the peculiarities of its development within certain period, finding the ways to transform material and spiritual spheres and acknowledgement of the postulate that history is created by people and the process of art formation in the region depends on activities of its prominent figures.
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Kada se tvrdi da je "svijet" danas izgubio mjeru i razlog vlastite nesvodljivosti prodorom planetarne tehnike uobičajeno se dodaje da je u nadoknadu za taj gubitak dobio nešto novo. Jednoznačno se iskazuje da je ta "novost" rezultat napretka i razvitka modernoga znanstveno-tehničkoga odnosa spram bitka.
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The subject of this paper is Charles Morris’ semiotic theory that has as one of its major projects the unification of all sciences of signs. However, since the above project has proven to be unsuccessful, we will try to examine here the reasons that led to this. Accordingly, we will argue that to transcend the particularities of individual disciplines that he wanted to unify, Morris had to make certain ontological assumptions, instead of theoretical and methodological ones, that they could share. However, because the ‘sign’ as an ontological category could in our view only be established if we follow the principles of the pragmatic philosophical tradition, we will try to show that the reasons for this failure should be primarily sought in different effects that consistent application of the pragmatic principles has in each of them (primarily in linguistics and the philosophy of language). On the other hand, this should enable us to draw several important conclusions regarding Morris’ project: namely, that his failure does not have to mean giving up semiotics as a potentially key discipline in approaching some fundamental philosophical problems, but also that it would demand return to the original semiotics developed in Peirce’s works.
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The objective of the article is to demonstrate the paradox of the spread of the Homeric epics: having been created by the descendants of the Achaeans in exile three or four centuries after the Trojan war, they became widespread among all of the Greekspeaking world, i.e. mostly among those who destroyed the Achaean civilization forcing the heroes' descendants into exile. The author poses a question: why do the Greek tribes, who have driven the Achaeans out and took their territory, accept a story of the Achaeans' great past as their own? To answer this, the article suggests a hypothesis that on a profound level the Iliad contains a philosophical idea of the world unity. This idea is not terminologically defined in the epics, however, it is presented as a philosophy-of-law concept of responsibility for one's own decision (free will). This answer is based on analysis of the long similes in Iliad and the instances of interrelation of gods and men and the decisions made by the former and the latter out of their free will.
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The article is devoted to the study of ontological, aesthetical and anthropological features of visual communication in Plato and Thomas Mann. I compare T. Mann’s Death in Venice artistic conception with the philosophical understanding of the image, contemplation, beauty and Eros of Plato, primarily in the dialogues Phaedrus and Sym-posium (with some reference to F. Nietzsche and the film by L. Visconti). The author ex-plores the specifics of the visual-plastic worldview and the contemplative cognition of being, determined by the erotic foundation of the aesthetic contemplation of the human image as phenomenal manifestation of truth, fundamentally different from the one re-vealed in speech communication, and even capable of being autonomous from it, and represents the philosophical and artistic phenomenology of the development, transfor-mation and implementation of such consciousness. The role of Athens and Venice as particularly significant historical-cultural topoi of visual communication is specially emphasized.
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