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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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This work emphasizes some theoretical and practical provisions of aesthetic education, which have an important role in the development of visual language of architecture students. The principle of integrating scientific knowledge and creative skills ensures the success of the architecture student, valuing language as a tool used in free expression. One of the solutions refers to the analysis of the architectural context and project development based on visual language skills, and brainstorming, an idea-generating activity, can be taken as a method. Another solution would be to encourage students to take responsibility for the transmission of visual language from the perspective of aesthetic values. Taking on the role of a future architect by developing analytical skills and conveying aesthetic values, the student gains experience in modelling space and effectively conveying visual images of architectural edifices.
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The paper proposes a radical change of focus for understanding the fundamental purpose and value of literary interpretation. It criticises an orthodox view in analytical philosophy of literature, according to which theories of meaning in the philosophy of language, in particular Gricean or speech act or other pragmatic theories, offer the most illuminating way to grasp the relevant principles of interpretation. The argument here is that the application of such theories in this context is not just wrong in detail (this or that theory needs revising) but wrong in principle. The focus is wrong. The importation of philosophy of language distorts the essential character of interpretation, which should be seen as involving not so much meaning as value, not individual sentences but whole works, not obsessed with authorial intention but focused on the protocols of reading
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What does it mean to encounter a literary work of art? When we talk about them, we refer to literary works as characterizable entities. In a genuine encounter with a literary work, instead, our focus shifts to “what it is about”: we bring to mind the intentional objects it invites us to direct our attention to, typically through reading. If what we encounter is a work of art, however, we are invited to do something beyond that even, namely to attune ourselves to disclose something more profound. Through shifting our focus from the individual to the typical and affectively responding to a work’s characteristics, we disclose a qualitative character that presents itself as of general relevance insofar as it characterizes a specifi c kind of thing potentially experienced in the world. Our focus shifts from individual intentional objects, such as a character’s view of her partner as standing in need of salvation, to the kinds of values and things manifested therein, such as the peculiar kind of ambiguity inhering a specifi c kind of commitment. To encounter a literary work of art, I conclude, means to follow the invitation to disclose value essentials, and thus to fi nd a specifi c kind of truth.
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The purpose of this paper is twofold: to argue for the value of (1) social science as part of the intellectual activity of writing (rather than righting) and (2) the practice of fiction to that intellectual activity. Writing is a mode of representation that eludes our complete and objective knowledge and always remains partial and temporary. While righting, in contrast, is concerned with the absolute truth and the revelation of the right answer. This paper argues that writing is a more productive, creative, and necessary way of engaging with reality than righting, and that it can offer insights and perspectives for both theory and praxis. Drawing on Stephen King’s view on writing fiction, this paper will also argue that fiction constitutes a kind of writing and employs a particular form of truth that is conceived as a relation between representation and reality. The paper will conclude by suggesting the need for criminologists—and social scientists more generally—to adopt the perspective of writing to gain a better understanding of the phenomena with which they are concerned.
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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 short story “Theatre 6” is one of three post-apocalyptic short stories included in Sarah Hall’s collection Madame Zero, first broadcast on BBC Radio 4 in 2013. The story is inspired by the real-life case of Savita Halappanavar, who died of septic shock at Galway University Hospital in 2012 because of being denied an abortion on grounds of septic miscarriage. The text paints a dystopian vision of a not so far away future where the Hunter fetal care act legislatively places the life of unborn babies higher than the one of mothers. The protagonists are a genderless anaesthesiologist, Dr. Rosinski, and a nameless patient, brought to a London hospital in septic shock, following a denied abortion in spite of a miscarriage suffered several days before. The time of narration is uncertain; however, the story is generally taken to be placed in a future where present-day anti-abortion tendencies have taken over the British judicial system. The story discusses the being/non-being dichotomy from a variety of perspectives: life-death, moralshypocrisy, religion-secularism, male-female, empathy-bureaucracy, truth-duplicity. The ultimate question the text raises is what or whose life is sacred in a world that has jettisoned all semblance of sanity?
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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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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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