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The author argues that modern literary studies and university teaching of literary subjects are tending towards so-called “interesting topics”, which are similar to the popular idea of “interesting men”, who are interested in women, wine and playing cards (respectively, gender and sexual issues, altered states of mind, contingencies). The results of this tendency of popularization are numerous, but all lead to a blurring of the distinction between scholarly works and works of fiction.
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Aim. This paper examines the meaning of The Tower of Babel (1563), Pieter Bruegel’s painting, as a physical, cultural, social, and architectural herald of the modern skyscraper. The interpretation generated will form the background for a contemporary analogy to the modern skyscrapers. These large-scale aesthetic structures, form the sensation of an unnerving lack of space and does not correspond with the existing urban outline. Similar to the tower at the painting, that is a symbol of the lack of connection between nations and peoples, the skyscraper follows in the footsteps of its predecessor that symbolized the confounding of the languages. Methods. Four theoretical approaches will be utilized: (a) Examining the place of the painting within common approaches to the biblical text, based on familiar examples; (b) Converting the biblical story into a painting; (c) Analyzing and evaluating the painting from an aesthetic perspective; (d) In order to overcome the alienation and lack of community we shall utilize the phenomenological notion of place and space, which opens a path to architectural experiencing that promises to connect the individual to the environment, the world, and the community. Results. Pieter Bruegel the Elder’s approach to the biblical story and its artistic portrayal teaches us that The Contemporary Torah (2006, Genesis 11:1-9) is a timeless and universal story that illustrates human pretense, a lack of adequate self-evaluation, arrogance, and stupidity. Conclusion. The artist understood all this very well and possessed the originality and the daring to represent it even in contradiction of contemporary conventions.
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The subject of the article concerns aesthetic and artistic communication. The author assumes that many theories of social communication, as well as pragmatic theories, do not take into account language activities and discourses, the purpose of which is to evoke an aesthetic experience in the recipients. The author refutes such a view, presenting an alternative concept that aesthetic and artistic discourses meet the basic conditions of social communication: they rely on influencing through information; they are intentional; they are realized in interactions at the macro-social level within representative communication. The functionalist theory of culture by Bronisław Malinowski and the concept of aesthetic values by Ivor A. Richards will justify this approach to artistic communication. The author examines artistic discourses due to their synchronic and asynchronous character and proposes a typology of this type of discourses, illustrating particular types with examples from fiction.
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Various forms of the aestheticization of everyday life are found in the multimodal media discourse, which – being strongly embedded in the social, cultural and political context – provides mediatized interpretations of reality. The aesthetic components found in press texts (apart from the aesthetics of verbal communication, in the visual code with the dominant role of photographs and graphics) influence not only the process of creating a press text, bur also its perception. In the paper, these issues are presented from the translation perspective. In the new (Polish) communication space, Russian press texts receive both a new language version and a new graphic design. This appears to be significant when we consider the aesthetic values of the texts and suggestions concerning their interpretation.
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The aim of the article is a media aesthetic analysis of Vladimir Putin’s New Year’s address for 2023. The changes observed in the speech are symptomatic of the transformations within the presidential discourse that occurred during the Russia-Ukraine war. In Vladimir Putin’s address for 2023, language, imagery, and music interact with the senses of the audience and complement each other to reinforce the message. The use of a new spatial arrangement and a change in linguistic aesthetics make the armed conflict central to the entire speech. The address exhibits characteristic features of the current official Russian public discourse: a clear depiction of the enemy, explicit use of Us vs Them and binary oppositions, division of Russian society into loyal citizens and traitors who do not support the offensive in Ukraine, hyperbolization of Western actions and euphemization of military actions of the Russian Federation, and the combination of religious, Soviet, and military symbols.
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In the article, the author discusses the aesthetics of image and comix memes, which are regarded as one of the most indicative trends of organizing the utterance on the net and the most popular mean of expressing oneself in certain communities of cyberculture. Observations of these objects in the communicative environment allowed us to identify a wide range of issues connected to aesthetics of everyday life such as the genesis of the objects, nominations of the units, identification of the sign, motives, social behavior, and cultural and communicative practices, forms of self-expression and pragmatical functionality of the units in global space and in Polish and Russian segments of the Internet.
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Given Kant’s claim that the moral value of an action depends on whether the will is determined „objectively by law and subjectively by pure respect for this practical law” (AA 4:400), this research is focused not on the usual a priori objective derivation of moral principles in thesis/in hypothesis, but on their subjective application in concreto. In other words, the paper examines how human beings, as sensuous beings, are affected by the principles of their own practical reason. Kant states that human beings can’t understand how they are motivated by a moral law because it is inexplicable to the human mind how an intelligible cause (law) produces a sensuous consequence (respect) that, whether we like it or not, find in the soul. By denying the possibility of (objective) knowledge of the source of the feeling of respect from the “thirdperson perspective”, Kant makes room for the phenomenology of this feeling and shows how the subjective experience of coercion of the will by the reason of the moral law looks like “from the first-person perspective”
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Taking into account the intriguing fact that Kant in his Critique of Judgment, when the category of sublime in arts is concerned, mentions the examples of the sublime in art just in the field of fine arts, specifically – architecture, and only in the context of mathematically sublime, author organizes research in this text in two directions, i.e. raises two important questions: 1 ) What are the possible philosophical reasons why Kant does so and 2) Is it, if at all, and by what means, possible to discuss dynamically sublime in the fine arts.
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In the Renaissance period, melancholia emerged as a dramatic cultural phenomenon among the intellectual and artistic elites, with a locus in elegy it gave form to the Renaissance poetics of loss, pain and shedding of tears, expressing essentially the fantasy about death as a prerequisite for revival. Te possibilities of confronting the threats of death were being found in its very nature whose inherent ambiguity was determined by the principles of Tanatos and Eros. Te creative act of the troping of elegy proved to be an efective literary and musical strategy for the transcendence of death including the procedures of homeopathization, pastoralization, heroization and erotization of elegy. Te elegiac tropic transcendence of death found its most complex expression in the madrigal which in turn added to its basic polyphonic procedure the opposing stylistic elements of the pastoral genres (canzonetas and villanellas) or heroic solo or choral recitations and it consequently acquired a hybrid form in the last decades of the 16th century, and thereby proved to be a cultural trope itself. Te aim of this article is to examine the musical implications of the tropic strategies of facing death within Francesco Petrarch’s, Torquato Tasso’s, and Batista Gurini’s poetic models of the art of loving death, using the remarkable examples of the Italian madrigal practice of the late Renaissance.
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Giere’s analysis of the epistemic role of fiction in science and literature is the representative of antifictionists. Our research finds the three inconsistencies in his main paper regarding the comparison of fiction in scientific models and literary works. We analyze his argument and offer our solution to the issue favoring the perspective of fictionalism. Further, we support a typological differentiation of false representation in science into fictional and fictitious. The value of this differentiation we demonstrate by giving the example of digital organisms in system biology. The paper aims to help better understanding of fiction in science and to avoid the oversimplification of literary fiction.
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According to Aristotle, one of the necessary, although not sufficient, conditions for a good and happy life is the possession of virtue. A person who possesses virtues never wants something that is bad, but only what is good, and in that way she is free from internal struggle. Such person is formed through good habits. In Huxley’s dystopia, individuals are shaped by genetic selection and behavioral conditioning to want only what is good for the state, its peace iand prosperity, and thus to want what is good for themselves. The goal of this paper is to examine the differences between Aristotle and Huxley. In the first part of the paper I will discuss different techniques of character formation in Aristotle and those described in Huxley’s dystopia. In the second part of the paper, I will address the question why Huxley’s world does not appeal to us, even though everyone in it wants exactly what they should want. In the Brave new world Huxley portrays the world that is built around the assumption that for a person to be happy it is enough that they want what they can achieve and get. For Aristotle this is not enough. In addition to it we need to study the ultimate nature of the world. That Aristotle’s position is more likely to be the case is indicated by contemporary research in psychology.
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In his book Pragmatist Aesthetics: Living Beauty, Rethinking Art, American aesthetician Richard Shusterman examines numerous objections to various forms of popular art. The paper deals with the extent to which Shusterman’s defense of popular art is concerned with whether the work of this kind can be experienced aesthetically. Since the aesthetic experience of popular art is not the main theoretical motive underlying the objections analyzed by Shusterman in this book, the paper presents the reasons why such an interpretation of his aesthetics of popular art would contribute to the understanding of his defense of this kind of art. After considering various objections to popular art, to which Shusterman responds by analyzing the production and reception of popular music, the paper concludes that most of Shusterman’s defense of popular art is directly or indirectly based on the view that popular music can be experienced aesthetically, since popular music compositions fulfill all the conditions required for the experience of this kind.
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The article opens the question of the perception of the relationship between art and capitalism in the contemporary era. This complex problem is treated from two angles of observation, which seem to be in a contrasting relationship. The first interpretative emphasis is placed on Adorne’s aesthetic theory of the mediation of art and society, while the other is summed up in Mikelsen’s theory of the effects of non-philosophical contemporary art which, in fact, conquers the position of power in the context of neoliberal capitalism with its empiricism. The article examines both these approaches, given their basic intentions, ranges and possible outcomes.
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The paper presents a phenomenological approach to Andrić’s novel The Woman on the Rock. Using phenomenological method, author investigates spectrum of philosophical motives which exist in this novel that has apparent philosophical significance – psychagogy of visual beauty, platonic motive of conflict between psihe and soma, necessity of body decay process and decay of corporeal beauty, key motives of Plato’s erothology and identity problem, i. e. the hermenutics of the self and alterity.
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In his lauding review of Dimitrije Matić’s (1821–1884) History of Philosophy (largely based on А. Schwegler), published in 1865 in the journal Vila, started and edited by Stojan Novaković (1842–1915), Alimpije Vasiljević (1831–1911) assessed the pattern of the book as one of the latest and best in the field. In his critical reaction to Vasiljević’s review, Milan Kujundžić (1842–1893) challenged his assessment. For the generation of the United Serbian Youth, Hegelianism was unacceptable for two reasons: because of increasingly influential positivism (naturalism) and scientism, and because of the strengthening of the ideology of Greater Germany with which it was equated. Both Vasiljević and Kujundžic were liberals. Their debate, however, was harsh and long, and the intellectual public followed it with “particular attention”. They polemicized about, inter alia, the actual philosophical relevance of the issue of idealism vs. materialism. Even though the debate showed inconsistencies and contradictions in argumentation, it led to independence in problem formulation and solving.
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In the ’Third Sketch for a Manifesto of Affirmationist Art’ (’Troisiéme esquisse d’une manifeste de l’ affirmationnisme’), Badiou brings together the concepts of Universality, the Senses and Duty in Art. The author will try to reassess the concept of Duty in Badiou’s conception of Affirmationist Art, examining the problems of, 1. How is an Emancipatory Art possible in the context of the anti-humanist condition? and 2. What is the ontological and epistemological status of an in-humanity as a fundamental presupposition of human emancipation in Art? It will be argued that the artistic formalization of the Subject(s) – which is ‘impersonal and singular’, as Badiou asserts – would not be possible without any human participation in the process of subjectification towards human emancipation. The author will demonstrate how it is possible to think the concept of Duty in the aesthetic realm, on the basis of Badiou’s presupposition of the Subjective Universality of Art and Župančić’s reading of Lacanian theory.
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Roman Ingarden (1893–1970) is a representative of the phenomenological trend in philosophy. He pursued his ontologic interests in his fundamental treatise Das literarische Kunstwerk that was the starting point for his studies of other areas of art including music. For Ingarden, direct musical experience is a starting point for philosophical reflection, which should be free from any theoretical prejudice. He considers the essence of the musical work in such dimensions as ontological, the work’s structure, its perception and axiology (aesthetics). Ingarden formulates a thesis about a single layer of the musical work, an aspect which distinguishes music from other works of art. A musical work is for him a purely intentional object, whose origins spring from creative acts of composers and whose ontological basis rests directly in the score.
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This Opinion Article highlights three sets of important implications of the very recent work by C. Firestone and B. Scholl on the encapsulation of visual perception: (a) methodological implications, especially with regard to experimental areas of cognitive science, such as cognitive social psychology; (h) implications of interest to philosophers of mind, some of whose more extravagant recent claims have been based on the assumption of "top-down" cognitive effects on perception; and (c) implications that challenge some recent work in philosophical and psychological aesthetics regarding art expertise, as well as defend the logic of A. Danto's theorizing from attacks that are based on the assumption of "top-down- cognitive effects.
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A critical note on Christopher Bartel and Jack M. C. Kwong, ‘Pluralism, Eliminativism, and the Definition of Art’, Estetika 58 (2021): 100–113. Art pluralism is the view that there is no single, correct account of what art is. Instead, art is understood through a plurality of art concepts and with considerations that are different for particular arts. Although avowed pluralists have retained the word ‘art’ in their discussions, it is natural to ask whether the considerations that motivate pluralism should lead us to abandon art talk altogether; that is, should pluralism lead to eliminativism? This paper addresses arguments both for and against this move. We ultimately argue that pluralism allows one to retain the word ‘art’, if one wants it, but only in a loose, conversational sense. The upshot of pluralism is that talk of art in general cannot be asked to do theoretical and philosophical work.
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