‘They’re Saved from the Blessings of Civilization’. Violence, Law, and Progress in the Westerns of John Ford

Author(s): Casey J. Wheatland / Language(s): English / Issue: 2/2020

This article examines the interrelated subjects of law, violence, progress, and civilization in three westerns from the American film director John Ford. Taken as a whole these three films, Stagecoach, The Searchers, and The Man Who Shot Liberty Valance, equate civilization with the rule of law. Law is necessary to end the cycles of revenge and wanton violence depicted in the first two films. The final film is a meditation on the deliberate and violent elements of law, which must be combined in order to sustain a political community and provide the conditions for material, moral, and intellectual improvement.

“Engelmann Told Me...”: On the Aesthetic Relevance of a Certain Remark by Wittgenstein

Author(s): Joachim Schulte / Language(s): English / Issue: 1/2020

This paper is an attempt at bringing out various aesthetically relevant points alluded to by Wittgenstein in what I call ‘the Engelmann remark’ – a longish manuscript remark written by Wittgenstein in 1930 and painstakingly discussed by Michael Fried in the context of elucidating what is strikingly new in the work of a photographer like Jeff Wall. One part of this paper is dedicated to summarizing and briefly examining the account given by Fried while another part is meant to clarify some of Wittgenstein’s points by way of contrasting their import with the story told by Fried. In this second part Wittgenstein’s late observations on aspect change are used to show in which ways these observations may help us to gain a better understanding of the idea of a specific ‘perspective’ claimed to go with a given work of art.

“Human vs. Machine” Divide is a False Dichotomy. Interview with Dr. Kelly Snook

Author(s): Marija Maglov,Kelly Snook / Language(s): English / Issue: 4/2020

Interview with Kelly Snook by Marija Maglov

“We understand each other, my friend”. The freak show and Victorian medicine in The Elephant Man

Author(s): Małgorzata Bugaj / Language(s): English / Issue: 21 (28)/2019

A large part of David Lynch’s oeuvre centres around corporeal anxieties and grotesque, divergent bodies drawing attention to their own biological nature. One such example is the 1980 feature The Elephant Man, focusing on John Merrick, a freak show performer severely afflicted with a disfiguring disease. The film juxtaposes key characters in the film and moves between their different perspectives: that of Merrick, a freak show performer; Doctor Treves, a man of science; Bytes, an entertainer; and finally, a number of peripheral observers from both the high and low classes of Victorian society. The titular Elephant Man’s disfigured body becomes the object of spectacle both in a freak show and in a medical lecture theatre. This paper compares scenes presenting Merrick’s body as an exhibit and argues that Lynch draws parallels between the domain of sensational entertainment (Merrick as a carnival monster) and scientific analysis (Merrick as a medical specimen). In this way, the film highlights the similarities between the perception of the body in those two seemingly incongruous discourses. I suggest that the exhibition of a monstrous body in The Elephant Man, both in the context of a sideshow and Victorian medical lecture, are consciously theatrical.

„Composing for the films” Theodora W. Adorno i Hannsa Eislera jako krytyczna refleksja o muzyce filmowej

Author(s): Joanna Kwapień / Language(s): Polish / Issue: 3/2020

"Composing for the Films" is a unique book in film musicology. Published in 1947, it was a nearly immediate response to the fast developing Hollywood film industry. Though it was the product of a collaboration between two authors, Theodor Adorno and Hanns Eisler, for many years it was known only under the name of that latter artist. Despite its original concepts, it has never been analysed by Polish scholars.The first part of my paper focuses on the circumstances of writing this book and the history of its editions, which was made complicated by both authors’ difficult political situation. Critical theory, as adapted by Adorno for the study of film music, is the key to the concepts contained in this book. In my article, I distinguish four thematic segments in the authors’ commentary: a) criticism of cinematography as a manifestation of mass culture; b) criticism of composition technique in film music; c) criticism of traditional composition techniques and a discussion of the possible uses of new music in films; d) presentation of the dangers related to the use of new technologies in film music. Such a division of topics makes it possible for me to cover all the aspects discussed by the authors, and related to musicology, philosophy, economy, politics, and sociology. My analyses of Adorno and Eisler’s ideas has been extended so as to include Max Weber’s sociological concepts and Adorno’s notions of the fetish character in music, rationalisation, and regression of listening. I also present a survey of selected composition techniques still applied in film music today, which the authors describe as ‘bad habits in composition’.

„Die Dinge singen höre ich gern.“

Eine Untersuchung zum Aspekt der „Ursprünglichkeit“ in Martin Heideggers Dichtungs-Theorie

Author(s): Lajos Mitnyán / Language(s): German / Issue: 3/2020

The question of the following analysis encompasses a subject that primarily refers to Martin Heidegger’s poetry theorem, but at the same time also addresses a general problem of scientific theory, and as such transcends the limits of a Heidegger study. In addition to analysing the questions given by the philosopher, the consequences that arise from the thesis are considered, according to which a specific transition can be postulated between thinking as a discursive cognitive process and poetry as an aesthetic creative process. On the other hand, the present study aims to take account of the controversy that has arisen around Heidegger by assigning his late writings to a grey area of the science and attempting to deny them scientific discourse today.

„Süße des Lebens“, „Schmecken des Schönen“ und höchstes Gelingen. Hêdonê und Eudaimonia bei Aristoteles

Author(s): Ralf Elm / Language(s): German / Issue: 1/2020

The topic of the phenomena joy, lust or pleasure (hêdonê) is repeatedly astonishing and at the same time a quite ambivalent field for Aristotle. His numerous statements about the hedônê made throughout the work, his basic definitions and systematic analyzes, in particular the two so-called pleasure treatises in the 7th and 10th book of Nicomachean Ethics and their consideration in the examination of emotions in the second book of Rhetoric are very stimulating. In my lecture, I would first like to (I) visualize some of the phenomenal diversity that Aristotle had in mind. In a second step (II) I will briefly introduce Aristotle’s engagement with anti-hedonism in his first treatise (EN VII 12-15) and introduce his understanding of pleasure as “unhindered activity”. This is then deepened in the third section (III) with Aristotle’s second treatise on pleasure (in EN X 1-5) and his second suggestion of pleasure as a “perfection that comes to perfection”. That self-referential relationships always play a role in lust and displeasure, for which the elementary corporeality is just as important as the intersubjectivity of friendships (for example, in the context of Aristotle’s political philosophy) is addressed in the final section (IV).

„Изкуствата на тялото“: автор, творба, публика

Author(s): Nikolina Deleva / Language(s): Bulgarian / Issue: 4/2020

The work is devoted to different forms of body art, where the author uses his own body as a material for making art. These art practices are related to questions about their ontological nature and the criteria for defining and distinguishing art and reality, object and subject, author and work of art. An Identification of different components of the art process - author, work, public, as well as the relationship biological–mechanical–virtual have also been considered.

„Сляпото петно“ в индексикалните аналогии на опита

Тезиси към поетиката на разколебания образ

Author(s): Kristian Enchev / Language(s): Bulgarian / Issue: 4/2020

This is a text-experiment of thinking simultaneously intentional implication and transitive intentionality, with a focus on the affective side of perceptions harmonized in subjectivity. Kinesthetic activity is a permanent immanent transcendence. The technique thrown outside is the ‘blind spot’, the ‘point of the gaze’ behind the ‘point of view’. The exteriority of technique is not objective, we touch or see it when we touch or see the image: we see the invisible and touch the untouchable on the surface – this is the contact with the impossible possibility of the image. In technique, recognition and conceding by anonymous others is an inseparable part of our own kinesthetic organization: a permanent, intrinsic transition within ourselves as something other than ourselves. Our horizons of expectations do not remain unaffected by indexical analogies, by the ‘pinning’ of a related to habitually assimilated context ‘blind spot’ in the midst of ‘doing-work-as-if’. The affective tissue that accompanies the indexical analogy in mimesis, inscribes into the ‘scene’ of space the ‘scene’ of its own habitualized space, and thus a change of optics and perspective becomes possible, decentering becomes possible. This decentering makes the image fluctuating by analogy – “indexical analogies of experience” – with the indexical history.

Індивідуальний виконавський стиль диригента-хормейстера як предмет теоретичного дослідження

Author(s): Yuliya Sergeevna Tkach / Language(s): Ukrainian / Issue: 3/2018

The purpose of the work is to study the individual performing style of conductor-choirmaster in the aspect of theoretical reflection. The methodology of the study involves the use of a systematic and structural method that allows presenting a system of contemporary performing arts in the unity of the components of a multi-level complex of conductor-choirmaster's activities. The method of analysis and synthesis used in the study of scientific sources for the synthesis of information about the individual performing style. The comparative method is used to compare the theoretical and practical approaches to the identified problem. The scientific novelty of the study is to expand the boundaries of studying choral art as an artistic phenomenon; deepening and structuring of scientific knowledge in the field of choral performance. Conclusions. As a result of the research, the concept of "creative method" and "style" are analyzed; the author's definition of an individual performing style is proposed; the question of collective character of creativity is actualized; the system of interconnection "conductor - choral collective" is presented; outlined the main aspects of the interaction of the conductor and the team: technical, psychological, ethical and aesthetic.

Індивідуальний виконавський стиль диригента-хормейстера як теоретична проблема

Author(s): Victoria Volodymyrivna Shevchenko,Svitlana Albertivna Dobronravova / Language(s): Ukrainian / Issue: 40/2018

Purpose of the Article is an analysis of existing works on the individual performing style of conductor-choirmaster in the modern scientific work, as well as the generalisation of the criteria of the study of the personal performing style of conductor-choirmaster. Methodology. The work used an interdisciplinary approach, through which the analysis of the claimed problem is carried out with the involvement of scientific developments in the field of art history, theory, the practice of performing arts and psychology. Also used general scientific methods: inductive, deductive, hermeneutic. The approach of analysis and systematisation, - to generalise information about the phenomenon of "individual performing style." Scientific novelty of research consists in the systematisation of works devoted to the study of the problem of the individual performing style of the conductor-choirmaster; For the first time in the domestic humanities, attention is focused on the aesthetic components of the personal performing style of the conductor-choirmaster. Conclusions. The individual performing style of the conductor-choirmaster includes a set of "actions", which forms potential opportunities for revealing the internal energy of the conductor-choirmaster, achieving the goal, implementing artistic ideas. In setting the criteria for the individual style of the conductor, the specificity of the own interpretation of the work plays a significant role. The basis of the individual conductor style is the specificity of artistic thinking. It is associated with aesthetic and psychological components, which, in turn, affect the image-emotional and technical-manual interpretation of choral works. All this as a whole is a factor and an indicator of mastery of the conductor-choirmaster.

Інкультурація – естетичний вимір

Author(s): Olena Solodilova / Language(s): Ukrainian / Issue: 1/2015

A study of youth aesthetics is a necessary component of inculturation modern personality. The process of inculturation is seen through the communion of man to the study of arts and direct participation in the aesthetic activity, which involves the training of aesthetic assessment and imposition of aesthetic judgment. Responsibility to society and nature, professionalism and personal attitude to the objects actually define a new perspective on education and formation of the person, human activities put forward by one of the first places in the productive and social sectors of society, philosophy, aesthetics and culture. Culture is linked by numerous ties with the aesthetics. As a system that teaches human basic aesthetic categories, it enables today's youth to join the established cultural traditions, to become the bearer of a certain lifestyle, knowledge systems and values. The study of aesthetics is developing a tolerant attitude to the world as a unity of diversity, and aesthetic perception of reality allows for a more qualitative assessment of the potential of culture. The aesthetic understanding of reality means, first of all, aimed at improving the process of inculturation of the person: the development of feelings, emotions, figurative and associative thinking, artistic and creative abilities, aesthetic taste education to meet the needs in the development of cultural values, mastering the skills of analyzing works of art, an aesthetic exercise assess their artistic features, the formation and the statement of aesthetic judgments, etc. General cultural competence, which is acquired by the individual in the process of inculturation, is referring to the mastery of them large enough amount of knowledge and social experience through practice. Entry into the culture, development of its values allows the individual to shape the development of the emotional sphere of the person, of high aesthetic value, creates conditions for the improvement of the art of dialogue with various representatives of the society, presentation of results of the activity. This process allows not only to study the creative activities of individual members of different cultural epochs and aesthetic style, but also to take part in the cultural and creative activity. Examples of such activities may be projects aimed at the study of the aesthetic heritage of culture of the city, province, country, etc. In the process of self-study individual learns not only to create a separate product form of art, but also to give him aesthetic appreciation on the part of the structure, content, design, ie to implement features of aesthetic evaluation in full. The method of self-attraction to cultural and creative activity helps to develop the individual's ability to selfassessment, to interact with other members of society without conflicts, the culture of dialogue and presentation of results of individual activity. This allows the individual at the time of the study of aesthetic values, not only to improve their own culture, but also to take part in the inculturation of other representatives of culture during a demonstration of the creative developments. Involvement in the process of inculturation of the individual aesthetic values gives a great opportunity for self, self, self-creation of the individual, especially in moral and aesthetic terms. That aesthetic activity is aimed at creating an aesthetic object. It is based on a long, hard work, self-restraint, to compare its quality with the ability of others to overcome itself and achieve new results. The process of inculturation involving aesthetic resources involves modeling of situations in life in which a person is. Aesthetic activity of an individual is always emotionally saturated, which accelerates the action of the psychological mechanisms of adaptation of man to the environment, with the active position aimed at increasing personal status. During the self-identification of aesthetic activity to meet certain aesthetic needs of people, it has a permanent character and is a periodic attempts to find the individual in the socio-cultural environment of their own kind and take yourself to them. In today's society there are new value system that encourage the development of aesthetic activity of the individual, mass of different types of art, becoming relations between the aesthetic and the political, economic and cultural life of society. In the process of inculturation takes aesthetic representation of attitudes of various segments of the population. In the culture of post-industrial society the concept of beauty often gets relative and do not always become a prerequisite for the individual identity in the culture. Aesthetic inculturation can manifest itself in its visible forms of merchandise. Aesthetic inculturation should give the opportunity to enter the inner nature of man an aesthetic object. It is based on a long, hard work, self-restraint, to compare its quality with the ability of others to overcome itself and achieve new results. The process of inculturation involving aesthetic resources involves modeling of situations in life in which a person is. Aesthetic activity of an individual is always emotionally saturated, which accelerates the action of the psychological mechanisms of adaptation of man to the environment, with the active position aimed at increasing personal status. During the self-identification of aesthetic activity to meet certain aesthetic needs of people, it has a permanent character and is a periodic attempts to find the individual in the socio-cultural environment of their own kind and take yourself to them. In today's society there are new value system that encourage the development of aesthetic activity of the individual, mass of different types of art, becoming relations between the aesthetic and the political, economic and cultural life of society. In the process of inculturation takes aesthetic representation of attitudes of various segments of the population. In the culture of post-industrial society the concept of beauty often gets relative and do not always become a prerequisite for the individual identity in the culture. Aesthetic inculturation can manifest itself in its visible forms of merchandise. Aesthetic inculturation should give the opportunity to enter the inner nature of man an aesthetic object. It is based on a long, hard work, self-restraint, to compare its quality with the ability of others to overcome itself and achieve new results. The process of inculturation involving aesthetic resources involves modeling of situations in life in which a person is. Aesthetic activity of an individual is always emotionally saturated, which accelerates the action of the psychological mechanisms of adaptation of man to the environment, with the active position aimed at increasing personal status. During the self-identification of aesthetic activity to meet certain aesthetic needs of people, it has a permanent character and is a periodic attempts to find the individual in the socio-cultural environment of their own kind and take yourself to them. In today's society there are new value system that encourage the development of aesthetic activity of the individual, mass of different types of art, becoming relations between the aesthetic and the political, economic and cultural life of society. In the process of inculturation takes aesthetic representation of attitudes of various segments of the population. In the culture of post-industrial society the concept of beauty often gets relative and do not always become a prerequisite for the individual identity in the culture. Aesthetic inculturation can manifest itself in its visible forms of merchandise. Aesthetic inculturation should give the opportunity to enter the inner nature of man.

Інтердисциплінарні аспекти дослідження камерно-інструментального мистецтва в контексті куль-турологічної доктрини сучасного музикознавства

Author(s): Anastasia Igorivna Kravchenko / Language(s): English / Issue: 3/2017

The purpose. The article is devoted to the theoretical crystallization of methodology and the discovery of the semiological significance of culturological art criticism in the complex study of the chamber art of Ukraine. Methodology. Methods of historiographic, chronological analysis and interdisciplinary approach have been applied. Scientific novelty consists in the categorical crystallization of the methodological foundations of culturological art criticism and the definition of perspective tasks of understanding the chamber art of Ukraine in the discourse of the semiotic paradigm of culture of late 20th and early 21st centuries. Conclusions. The analysis of the special literature reveals the importance of comprehension the chamber art in an integrated way based on the strategy of culturological art criticism, which includes the integration of historical-style musicological analysis and systemic-semiotic, hermeneutic methodological approaches of a wide range, namely, the application of research instruments of the philosophy of music, musical textology, semiotics, aesthetics, intermedial theory and cultural hermeneutics. Taken together, this lays the foundation for a new cultural doctrine of contemporary musicology that leads to a comprehension of the historical, cultural, semiotic and intermedial problems of chamber art in the context of the universalistic aspects of postmodern culture. From this perspective, the need for aesthetic, philosophical and cultural studies of the chamber art of Ukraine in terms of solving the following urgent problems: the definition of the characteristics of the sign-intonation traditions of the chamber ensemble and the disclosure of their semiotic significance in the development of the musical culture of Ukraine in the postmodern era; the study of the intertextual and intermedial aspects of logic and the semiology of the creative process; the formation of the aesthetic-hermeneutic concept of modern chamber performance in the semiotic context of a new system of artistic communication based on interactivity and intermediality.

Інтерпретація традиційної української вишивки в сучасному професійному панно

Author(s): Olga Mykolayivna Kaleniuk / Language(s): Ukrainian / Issue: 4/2018

The purpose of the research. Decorative and applied art as a kind of fine arts goes beyond the structure of its kind as it includes instrumental decorative works that perform high-esthetic or decorative function. The main aim of the article is to prove the expediency of the usage of embroidery as a traditional kind of Ukrainian decorative and applied art in the context of modern professional panneau. The studies in this field lead to the rethinking of the art heritage, popularize Ukrainian national embroidery, motivate the young generation of artists to use traditional methods and techniques in modern art projects. Research methodology is based on the application of general and special methods of scientific knowledge, the use of historical-logical, analytical, comparative, descriptive, systematizing methods, the reception theory, semiotics analysis. Scientific Novelty. The article includes the analysis of transformation of panneau’s decor in Ukraine during 20th - the beginning of the 21st century. The traditional and modern methods of forming of modern panneau are analised. There were differentiated achievements of professional Ukrainian and foreign artists, teachers and students of Ukraine’s art institutions, whose textile works are connected with the usage of embroidery. It was stated, that the main tendencies in the structure of modern panneau are as follows: different compositional and spatial searching, an endeavor to combine volumetric and ornamentally flat forms in one composition; wish to go out and deformate the object’s form; innovative searching in usage and transformation of different techniques according to a definite inner idea; an implementation of various decorative and applied forms and the addition of painting origin to them. Decorative techniques of traditional Ukrainian embroidery, that have broad perspectives to be used in modern decorative panneau were described, namely: tambourine suture, “kozlyk”, different kinds of loop seams, art and decorative plain seam, steam seam, cross stitches and their variations, lacing, cutting, holing. Besides, intentionally constricted fragments of composition, сhaotic stitching, overhanging threads are used in morern panneau. Conclusions. It is proved, that the works of modern Ukrainian decorative-applied artists are oriented on the synthesis of materials and the transformation of traditional embroidery techniques in a decorative panneau, and a search for different combinations of this technique with other materials. The analised experience is a powerful factor of well-being of embroidery in the context of modern art tendencies.

Інформативність екслібрису: естетичні аспекти

Author(s): Tatyana Safonova / Language(s): Ukrainian / Issue: 1/2011

The article looks into aesthetic aspects of internal and external links of the artistic-visual information of the exlibris using the examples from Ukrainian and foreign artists.

ІСТОРИКО-ФІЛОСОФСЬКІ ЗАСАДИ УКРАЇНСЬКОГО АВАНГАРДИЗМУ

Author(s): Yaroslava Demydenko / Language(s): Ukrainian / Issue: 4/2013

The article is dedicated to the phenomena of avangardizm in the context of historical and philosophical period of the end of the XIX – beginning of XX century. Innovative developments in the visual art were in every age, but in the art of the beginning of twentieth century the term "avangardizm" was established. He had to perform the function of negation values of classical art. Young artists-rebels sent their grievances against Impressionism. They did not like passive perception of the world in the works of the Impressionists. They need activity, directing her to refuse reality as fixed by defining an object of art. In accordance with the rejection of previous aesthetic ideals changed and the method of these artists. They abandoned the realistic method, based on the reflection of reality and began to develop their techniques. A close acquaintance with the avant-garde convinces us that this is not only outrageous, authors intentions are extremely serious. As a special human activity avangardizm had a significant impact on the culture of the twentieth century. As noted A. Bila, avangardizm as a discursive phenomenon has not been subject to systematic analysis in ukrainian science yet. The first attempts of the reception on avangardizm made M. Sulima, D. Nalyvayko, G.Verves G., O. Ilnytskyi, S. Pavlychko and M. Shkandrij. Avangardizm as an artistic and ideological movement interested most Ukrainian researchers not directly, but often in the context of changes in creative thinking and intercultural relations. Avangardizm – a concept that has a wide range of interpretations includes a variety of areas and aspects. Essential for this course was aimed at a transformation of reality. Art claimed to create a social ideology that argued to new values of perfectionism. Evaluation of aesthetic innovation allows us to understand the features social dynamics, identify significant values of the age. Analysis of the cultural component of the artistic avangardizm needs to understand not only the aesthetic problems of our time scheduled on the verge of past centuries as part of the phenomenon, but also to clarify the important value priorities of socio-cultural transformations. Research studies philosophy of this period shows that the formation of philosophical schools and movements of the second half of Nineteenth century dependents on the specifics of the development of European classical rationalism. Classical philosophers were convinced that the mind is the best tool for converting human life. Knowledge and rational knowledge considered the main force that will solve all the problems of the individual and humanity as a whole. Knowledge must be clear, precise, given in a logical system. Then it will match the surrounding world, which, according to the classical view of the world, is in the internal order. Philosophical rationalism believed that not only the problems of the world of knowledge, but also questions about God, faith and religion can be interpreted rationally. It was expected that the principles of reason can be the basis of morality, politics, and freedom, that these principles should create an ideal state. But the French Revolution, prepared by the ideas of the Enlightenment, questioned the correctness of the doctrine of rationalism. It is obvious that the development of enlightenment, the progress of knowledge and science is not the way to solve the "eternal" problems of social development. Instead of optimism coming a doubt of the ability of the mind. Trend to limit the mind emerging in the framework of the classical philosophy. For example, Kant denied the possibility of knowing the mind "thing in itself", Fichte declared the idea of the priority of practical (moral) reason over theoretical, Schelling considered higher resolution of the mind is not rational and theoretical thinking but intuition. Thus, comprising both internal and external conditions for the emergence of postclassical philosophical systems. The beginning of the twentieth century as a special spiritual phenomenon marked similarity of situations in science, art, politics, technology, and natural deep ideological crisis, the emergence of the theory of relativity, watching Christian moral relativism. Avangardism art tried to express this crisis state of the world and find grounds for optimism. Thus, the avangardizm – is a reaction of artistic and aesthetic consciousness on a global change in the cultural and civilizational processes caused by technological progress of last century. Formation of avangardizm associated with the rejection of positivism in aesthetics and realism in art. Teaching postclassical philosophy of Schopenhauer and Kierkegaard to Nietzsche and Bergson had an influence on the avangardizm. The philosophical ideas of Freud, founder of psychoanalysis largely manifested influence of the art of the early twentieth century. At the turn of the century, in European intellectual circles appeared suitable conditions for the development of psychoanalysis and art of artvangardizm. We can notice the fact that, in Europe increased activity and tension in the spiritual and social life, the desire for change. At the same time psychic energy accumulated inside the human mass, which reached a certain critical potential, needed release. In the art it is expressed in the origin and emergence of new styles. Thus, the avant-garde is the continuation and development of philosophical and aesthetic ideas of the nineteenth century, while it is also the plane of the emergence of new research twentieth century. Avangardizm phenomenon common to all transitional stages in the history of culture, individual art forms. However, in the twentieth century avangardizm gained global significance powerful cultural phenomenon, encompassing all more or less important events, marked a new transition.

Історична динаміка музичного інструментарію в контексті концепції тембрового простору

Author(s): Eugen Kushch / Language(s): Ukrainian / Issue: 27/2015

Historical dynamics of musical instruments in the context of the timbral space concept Musical instruments occupies a peculiar place in the culture – between tools (used to produce sound) and magical artifacts. Our goal is to look at the instruments with interdisciplinary positions, try to identify the inherent logic of development in terms of technology and media philosophy. The tasks that we try to solve in this paper are following: determine the cause of immobility of classic musical instruments, that has not undergone significant changes over the last century; provide periodization of the history of musical instruments with respect to the change of the signification mode and the formation of the Cartesian (critical) subject; detection of the axiological "core" of classical music instruments – a problem that became actual with the advent of electronic sounds and dichotomy "synthetic / natural". Note that our position requires for sources, clearly beyond the musicological discourse (J. Baudrillard, M. Foucault, M. McLuhan, R. Debre, L. Manovych, B. Groys, etc.). One view on immobility of traditional instruments relative to other forms of technology associated with known conservatism of musical culture, which protects its own material basis of too abrupt modifications.

აღმოსავლური რენესანსი, საქართველო

Author(s): Aleksei Losev / Language(s): Georgian / Issue: 21/2020

Aleksei Losev, The Oriental Renaissance, Georgia; From the book – Aleksei Losev, Aesthetics of the Renaissance, Moscow, “Mysl”; pp. 23-37.

ფრანგული თეატრით შთაგონებული ქართული პიესები (ადაპტაცია 1880-1920 წლების ქართულ დრამატურგიაში)

Author(s): Rusudan Turnava,Nino Gagoshashvili / Language(s): Georgian / Issue: 20/2/2019

In the 19th c. translation of plays by European playwrights and their inclusion in the repertoire of the Georgian theatre was regarded as one of the significant directions, as this was a useful process of mutual acquaintance and exchange of values. “Translated literature is a treasure for intellectual progress and success of every people”, – well-known Georgian publicist and literary critic Petre Umikashvili noted, – “We partake of the success of the intellect of the world, its intellectual life, we adopt its education, partake of and sympathize with its joy and pain”. The viewpoint of Ilia Chavchavadze, Akaki Tsereteli, Valerian Gunia and others Georgian writers of that period concerning translations and adapted works are in full harmony with the modern criteria, such as: the translator’s creative talent, a good command of both languages and maximum approximation of the translation with the original. According to Valerian Gunia, adaptation of other authors’ works is an even more difficult process and, in addition to the above-mentioned the qualities, the author of an adaptation “must have the knowledge of life and human beings, sense of moderation, critical mind and aesthetical taste, he must study the laws of the stage and art of drama. Adaptation of a play is the same as writing of a play; often it is easier to compose a new play than to adapt a play in a proper and artistic manner.”

حكاياتُ شوقي الشِّعريَّة في ضوء نظريَّة التَّلقِّي الأستاذ المشارك الدكتور: أسامة اختيار

Author(s): Ousama EKHTIAR / Language(s): Arabic / Issue: 11/2016

This research tackles the poetic tales in Ahmed Shawki’s poetry in terms of reception theory. This theory comprises readers’ perception of literary texts. One of the objectives of this theoretical approach is to examine the horizon of expectation of the reader, either explicit or implied. We have studied the horizon of expectation of the explicit reader in the following points: Rhythmic expectation, Linguistic expectation, and Dramatic expectation. We have also got to know the aesthetic distance between the literary text in anecdotes and explicit reader. We have examined the hidden references to the implied reader in terms of the social and political reality in poetic tales. Then we have got to know the anecdotes in deep linguistic structure of the signs of the implicit reader capable of signing the literary text. We hope this study accomplish important results including the relationship between the reader and the text.