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The pioneer of abstraction, Wassily Kandinsky (Васи́лий Васи́льевичКанди́нский, 1866–1944), used musical terms as titles for his paintingswith intention to release them from the themes, considering that musicis “the art which has devoted itself not to the reproduction of naturalphenomena, but rather to the expression of the artist’s soul, in musicalsound”. Through his paintings Kandinsky rethought the principles ofmusic. Not a painting, but an another artistic creation, through whichwe are given a chance to cognize Kandinsky’s comprehension of music,is The Yellow Sound (Der gelbe Klang, 1912), a “composition” for stage.It is the paradigm of Kandinsky’s “true stage-composition”, his totallynew view of theatre that consists of three elements – musical movement,pictorial movement, and physical movement, but interwoventogether in harmony that will trigger inner harmony in a spectator.Music for his scenario was provided by the composer Thomas vonHartmann (Фома́ Алекса́ндрович Га́ртман, 1886–1956), and anothermusical version was written by Alfred Schnittke (Альфре́д Га́рриевичШни́тке, 1934–1998 / Der gelbe Klang, 1974). In Concerning the Spiritualin Art Kandinsky presented his theory of colour through which he explainedhis own (synesthetic) view of yellow colour / sound, particularlyin comparison with blue colour, that was “musicalized” through TheYellow Sound. What kind of yellow and blue tone Kandinsky had inmind, and what nuances of these colours did von Hartmann / Schnittkesee / hear? What musical instrument(s) can produce yellow, i.e. bluecolour? Which music scale / tone / interval has yellow / blue tone(s)?Are we able to perceive all the shades of yellow / blue sound?
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The link between silence and death has been a recurring theme of human thought and can often be found in reflections on music. Among many attempts to approach this problem, the author of this paper focuses on those done by Gisèle Brelet and Tōru Takemitsu. The “faithful companion” of music which “perpetually is born, dies and is born again” – this is one of the ways in which French musicologist describes silence. “For a human being, there is always the duality of life and death. Music as an art form always has to connect vehemently with both” – notices Japanese composer, who in another statement combines silence with “the dark world of death”. Interestingly, both Brelet and Takemitsu arrive at the conclusion that such connotations may well be the source of the fear of silence that affects some composers or performers. Despite different contexts, some analogies to their thought – like connecting silence with nothingness and loneliness – may be also found in the Canadian composer Raymond Murray Schafer’s writings, presented fragmentarily in the last subsection. The differences in the notion of the problem between the authors are, moreover, discussed in this paper.
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Discontinuum-continuum: the theory of composition by Julio Estrada. The Julio Estrada’s output is still the unexplored area, what creates the opportunity to study the phenomenon called discontinuum-continuum. During the last 36 years of the creative activity, Estrada has developed several aspects of the macro timbre that integrate several compounds of a composition. In his research, Estrada confronts two different situations in the compositional process: continuous transformation of the sound and chronographical method, using strictly defined recording process in order to receive three-dimensional movements of the sound in the topological order. As a result of existing these two situations, a musical work is impossible to be defined by one technique or musical style. Examination of the theory of composition called discontinuum-continuum allows one to understand a new methodology of musical creation that involves scientific research of the physical phenomenon of sound and introspection of the imagination of the sound.
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The paper offers a new interpretation on Rousseau in the context of Richard Rorty’s concepts on the philosophy of language and the linguistic turn developed at the end of the 20th century. The classical interpretation of Rousseau’s ideas of freedom in view of upbringing as a rule juxtaposes nature and culture. The present paper argues that this opposition can be overcome through the application of the metaphor approach to both upbringing and the value-neutral character of language. In this sense the question to be answered is how the languages of the teacher and of the student co-exist in Rousseau’s ideas and what the mechanism is that turns these languages into means of upbringing. The research employs arguments in favour of the hypothesis that in terms of the metaphor of “upbringing” created by Rousseau in Emile or on Education, the concepts language of nature and language of society overlap.
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In this paper I shall try to present the role of analytical tradition in the development of Bulgarian philosophical thought – the critical attitude to it, the acceptance of its results of importance and the sizing of its typical problems. My main thesis is that at present the ideas and problems of analytical philosophers going through a veritable revival in my country.
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In the paper is considered the history of philosophy and philosophers in Veliko Turnovo before the official foundation of our Faculty of Philosophy. Some their advantages are commented from the point of view of the present-day philosophy.
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This study explores how the West defines the East in the works of Tzvetan Todorov and how the definition of the West itself shifts with the discovery of the New World in the XVI century. We will take as an example the impression of French travelers in Bulgaria in the XIX century in order to show that the image of the East gets often misunderstood by the West. With the discovery of America, the definition of what West means changes. These definitions are fluid and modifiable and are essential in order to understand how later historical interactions between East and West are carried out.
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The article explores the relation between education and learning as a means of its implementation and the new type of socio-historical inheritance at the end of the twentieth century, related to changes in the nature of scientific knowledge itself. In the emerging new pedagogical paradigm, the main task is the transition from a center of knowledge to culture-friendly learning, the intellectualization of the learning process, but also its euro-denomination, is becoming more and more intense. It raises the issue of changes in values and new cultural realities in the process of communication, which builds a new type of the whole personality whose mentality unites culture and education. Innovative approaches to humanistic pedagogy and practice are aimed at developing the principles of developing learning, collaboration and creativity.
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The article answers the question: “How does the agathos of Dasein-psyche and Dasein-Intelligent-Matter come into being?” or “How does the meaningful-presence of Dasein-psyche and Dasein-Intelligent-Matter come about?” The author turns to the philosophy of Plato and Heidegger and presents Dasein-psyche as an elementary structure or a Dasein-Intelligent-Matter actor. The Dasein-psyche’s meaningful presence is significantly conditioned by the focus and limits of the arete potency, set by Dasein-Intelligent-Matter. The anthropologization of Dasein transforms the individual discourse and a way of life in accordance with the arete potency. The arete potency is the source of Dasein-psyche’s meaningful presence. The anthropologization of Dasein sets free arete, providing the transforming of the arete existentials potency into the energy of Dasein-psyche’s meaningful presence. The disclosedness of arete is an “ideal” state of the Dasein-psyche sustainable development and prosperity, the agathos of Dasein-psyche and Dasein-Intelligent-Matter.
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In this article, I intend to discuss the Arendtian conception of culture. In her influential essay “Crisis in Culture: Its Social and Its Political Significance,” Arendt argues that culture is at risk of disappearing under conditions of modernity. In her view, modernity is the age of mass society that leads to the destruction of culture and the development of mass culture. This is the situation Arendt has in mind when she speaks of a “crisis in culture,” a situation she describes as worldlessness. Culture, according to her, is a phenomenon of the world. Because of this conviction, argues Arendt, culture has a closer relationship to politics. The article is divided into two parts. In the first part, I explore Arendt's critical reflection on the modern attitude to culture. In the second part, I examine her analysis of the relationship between culture and politics. Throughout these parts, I suggest a reading of Arendt that illustrates her understanding of culture based on the authority of Greek and Roman thought and Kant’s Critique of Judgment.
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The main purpose of Helena Barbara Balcerek’s article is to present an original project aimed at the amplification of both the language potential (communication competences) and the literary-cultural potential of sixth-grade primary-school students. The project’s method consists in problem-based learning which integrates literary-cultural content-oriented teaching and language education (including rhetoric) with educational and prosocial processes. Reflections yielded by an in-depth analysis and interpretation of texts used in the project as well as discussions concerning the problem of human values and needs lead, as it turned out during the project’s execution, to ecological issues and climate challenges facing the contemporary world. A large group of students have come up with practical ideas as to the use of available resources as means to resolve the climate crisis and to undertake pro-ecological actions.
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Through a critical analysis of J. Morawiecki’s Szuga. Krajobraz po imperium [Szuga. Landscape after the Empire], Paweł Rogalski ponders a number of questions: Does Russia still exist in the 21st century in the imperial discourse? Has the superpower paradigm, as a certain manifestation of anarchy and a fallen myth, not already been ruined or exhausted? Is the empire an episode necessary historically to balance forces in a global crisis? Is the war in Ukraine (2014 and 2022) perhaps the “new-old” founding murder of the Eastern civilization, incorporating the model of the Russian empire? Does ideology as a glue, instead of positively constructing the subjectivity of the community, contribute to building a new, dangerous phantasm of the empire? In this context, the travel narrative authenticates the message by reaching abandoned and blurry places, where the encountered human subject generates not only events and adventures, but is a record of ideological traces left on the body and the psyche. As Czesław Niedzielski wrote: “In all varieties of reportage prose, the identity of the speaking subject and the author (regardless of the form of the reporting) is one of the basic premises determining the documentary and, most of all, the authentic qualities of the genre”.
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In this paper, the concept of solidarity will be introduced as voluntary cohesion, mutual help and support not only within a loose group, but, above all, within the whole human race. Tischner wants to help contemporary man because he is aware that contemporary man has entered a period of profound crisis of his hope. The reflection on solidarity and hope in the philosophy of Tischner represents a neuralgic point which has its justification in Christian thought. Hope is the prospect of something better which, together with mutual support, removes both fear and isolation, and brings about the development of both the individual and the community. The deepest solidarity is solidarity of conscience. The community of solidarity differs from many other communities precisely because it is “for him” that is fundamental. It is only on this foundation that the community of “we” grows.
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This article tested a widespread belief that by working in groups distance education students achieve cognitive goals of learning, and develop their social competencies and skills. The subject of the study was the achievements of 655 bachelor and master degree students enrolled in 22 on-campus and blended learning units offered within 2 university courses, full-time and part-time, during and after the COVID-19 pandemic, i.e. in the academic years 2020/2021 and 2021/2022. An instrumental case study was carried out: the grades students obtained for individual work were compared with grades obtained for work done in pairs and groups of threes within the same courses. It was found that a statistically significant difference did not exist. But the highest grades (on average 83.81) were obtained by students who had worked individually, and the lowest (81.64%) by those who had worked in groups of three. The highest grades were obtained by the final-year students. They showed an understanding of the assessment criteria and the ability to follow such. Also, they wanted to pass on the first attempt in order to have time to prepare for the final examination. International students were reluctant to work in groups. They focused on achieving good grades and preparing for the thesis due to the time limits of student visas and the unrest caused by the war in Ukraine. First-year students who had no experience in adhering to the assessment criteria and problems with communicating due to isolation caused by the pandemic obtained the lowest grades.
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This article attempts to show if the entire story of the Vālmīki Rāmāyaṇa is perhaps a narrative which is a subtle depiction of the interplay of the three guṇas of sattva, rajas and tamas which are cardinal principles in the ontology, cosmology, psychology and soteriology of the Sāṅkhya-Yoga system of classical Hindu philosophy.
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Review of: Cătălina-Ioana Pavel, Acolo unde se naște musonul. Un an în regatul zeului Parasurama, Cluj-Napoca: Editura Casa Cărții de Știință, 2023
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Review of: Sarvani Gooptu, Knowing Asia, Being Asian. Cosmopolitanism and Nationalism in Bengali Periodicals, 1860–1940, South Asia edition, New Delhi: Routledge, 2022, 276 pp., ISBN: 978-1-032-33229-1.
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Kinga Wyskiel’s article concerns the issue of gender in science fiction stories by Julia Nidecka. The following stories have been analysed and interpreted: “Wilki na wyspie” [Wolves on the Island], “Taśmy prawdy” [Tapes of Truth], “Kwiaty w bukiecie” [Flowers in a Bouquet] and “Goniący za słońcem” [Chasing the Sun]. Wyskiel considers two dominant strategies for the representation of femininity in these stories and focuses on Nidecka’s images of the woman scientist and the mutant woman present in them. Wyskiel also points out that gender is an a priori category in Nidecka’s future worlds and that, consequently, the construction of those worlds has been based on the gender matrix.
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This article is about philosophy as a path, leading man, a civilised being, to re-establish communication with what Gilles Deleuze calls “primordial nature.” This foundational phenomenon, being the primary reservoir of life energy, underpins the existence of the human civilised world. However, by the same token, this phenomenon, since exempt from conditioning and subject to no restrictions or constraints, can disrupt the functioning of this world. Thus, disengagement from primordial nature is the fundamental purpose of the existence of civilization. Unfortunately, its development over time excessively diminishes that connection, deepening alienation, frustration and aggression in social life. I will undertake to demonstrate that the practice of philosophy can be one of the basic ways of coping with that inevitable civilisational impasse.
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