Cookies help us deliver our services. By using our services, you agree to our use of cookies. Learn more.
  • Log In
  • Register
CEEOL Logo
Advanced Search
  • Home
  • SUBJECT AREAS
  • PUBLISHERS
  • JOURNALS
  • eBooks
  • GREY LITERATURE
  • CEEOL-DIGITS
  • INDIVIDUAL ACCOUNT
  • Help
  • Contact
  • for LIBRARIANS
  • for PUBLISHERS

Content Type

Subjects

Languages

Legend

  • Journal
  • Article
  • Book
  • Chapter
  • Open Access
  • Philosophy
  • Aesthetics

We kindly inform you that, as long as the subject affiliation of our 300.000+ articles is in progress, you might get unsufficient or no results on your third level or second level search. In this case, please broaden your search criteria.

Result 4441-4460 of 4643
  • Prev
  • 1
  • 2
  • 3
  • ...
  • 222
  • 223
  • 224
  • ...
  • 231
  • 232
  • 233
  • Next
“Herkesin Kutusu” Christopher Nolan Sinemasında Öznel Bilgi Meselesi

“Herkesin Kutusu” Christopher Nolan Sinemasında Öznel Bilgi Meselesi

Author(s): Ridade Öztürk / Language(s): Turkish Issue: Sp. Iss./2022

“Do we perceive the world as it is or does our personal experience shape our perception of the world?” is an important question in philosophy. A fundamental philosophical problem is whether the subjective experience can be accepted as a form of knowledge for epistemological justification. Two films written and directed by Christopher Nolan; Following (1998) and Memento (2000) can be viewed as presenting a commentary on the relationship of epistemological knowledge to subjective experience. Memento presents a character who has an extremely short-term memory and therefore constantly loses all the inventory accumulated by his personal experience. He is deprived of any means for self-knowledge from subjective experience and therefore, according to Nolan, he cannot know epistemological value regarding his exterior world. In the Following, Nolan proposes that a person’s subjective experience is a very important form of knowledge for getting to know that person. The characters in the film go into other people’s houses to experience their lives and therefore get to know who they are. The characters try to access their most personal belongings which they hide from others and therefore which most symbolize such experience. In the film, this idea is presented as “everyone has a personal box”. This brings an opening for Wittgenstein’s “beetle in a box” argument and the notion of “qualia” to be included in this discussion. These notions refer to the nature of subjective experience as well as allowing for new questions of epistemological inquiry on this relationship. Building upon this context, this article will present a philosophical discussion of Nolan’s view on subjective experience and his suggestion that epistemological knowledge depends upon subjective experience.

More...
“İktidar Duvarlarını Yıkmak: Agnès Varda Sinemasında Heterotopya Mekân”

“İktidar Duvarlarını Yıkmak: Agnès Varda Sinemasında Heterotopya Mekân”

Author(s): Esma Sarman / Language(s): Turkish Issue: Sp. Iss./2022

Place is the existence form and scene of social relations. Place is directly involved in the production process, changes with the society, and cannot be thought of as a structure that consists of emptiness, is exhausted, comes to an end, or has no meaning other than exchange value. On the one hand, place becomes a product that contributes to the maintenance of the status quo shaped by power, the repetition of domination and heteronormative patterns, and the strengthening of hegemony. It is not only related to its social reproduction but also the systematic production of gendered practices and power relations. Gender is constructed through spatial relations and place is gendered. In his studies on place, Michel Foucault “places power against humanism that connects the subjective experience of man to the nature and consciousness of the individual, and on the other hand, tried to analyze the historical ruptures shaped by subjective experiences in the context of place”. He put forward the idea of creating new places, the theory of heterotopia, as a way to erode and destroy the power-subject relationship that creates atomized individuals in modern life. This study is through Agnès Varda’s film “Sans Toit Ni Loi”, which finds the equivalent of the thinking and production relations that dominate the production of place in traditional cinema, breaking the established codes and creating an alternative cinema world; Henri Lefebvre’s production of place, inheriting Michel Foucault’s theories of heterotopia, examines heterotopias as places of otherness. The places in the movie Sans Toit Ni Loi have been effective in creating a sample for the concept of heterotopia and determined the nature of the discussions about the places of otherness. In this context, cemetery heterotopias on the perception of place changing over time old age as deviation heterotopia, and mirror heterotopia as a place without place examined through film. The aim of this study is to show the places of otherness that Agnès Varda presents to the audience through her cinema, who rebels against the domination of place shaped by power and to shed light on the possibility of another place.

More...
“YouTube’da Nietzsche Üzerine Bir Kısa Film İzledim”: Dijital Karşılaşmalar Çağında Sinema Deneyimi

“YouTube’da Nietzsche Üzerine Bir Kısa Film İzledim”: Dijital Karşılaşmalar Çağında Sinema Deneyimi

Author(s): Sinan Vardar,Harun M. Töle / Language(s): Turkish Issue: Sp. Iss./2022

Internet and internet-based applications have now become a part of our daily lives. Within the framework of this technological life we have experienced, our watching habits have also undergone a transformation. Today, digital encounters that we experience in internet-based social media and video sharing platforms, whether as academic or leisure activities, also shape our relationship with movies. Our practices of watching movies, interpreting and sharing the information we have gained from these processes with the relevant people come into existence under the conditions of this digital environment. All these issues deeply affect all moviegoers in general and “cinephiles” in particular, which we can describe as passionate moviegoers. The activities and digital encounters of cinephiles, who consider thinking, talking and sharing about movies as a passion, are now being experienced in virtual environments such as social media, blogs and websites. This study is based on Fáuston da Silva’s short film Meu Amigo Nietzsche [My Friend Nietzsche] (2012), which is encountered when searching for “Nietzsche” on YouTube as part of an academic research. The protagonist of the movie, Lucas, embarks on a new adventure by meeting with thinkers he does not know in his relationship with Nietzsche’s book Also sprach Zarathustra [Thus Spoke Zarathustra] (1883), which he finds in the context of the randomness of life. This adventure of the little hero has similarities with our discovery of movie productions that appear on the screens of our devices connected to the internet, and our meeting with directors, cinemas, genres, heroes, stories and narratives that we have never met. From this point of view, the findings related to the problems of watching, participation, sharing, criticism and encountering the new generation cinematic experiences on platforms such as YouTube, which emerged with digitalization, are discussed through the approaches presented in the fields of philosophy, sociology, cinema, architecture, communication history and cultural studies. In this context, for the understand the habitat of the new cinephilia, we use the approaches which presented by Joseph Carl Robnett Licklader, Hubert L. Dreyfus, Marshall McLuhan, Sherry Turkle, Henry Jenkins, about interaction between the internet, virtual world and smart machines. We made benefit of approaches of David Lyon, Gary Marx, Shoshane Zuboff, Giovanni Sartori, Stefan Aust and Thomas Amman, in order to make sense of the history of electronic and digital surveillance systems that threaten the Internet’s free world, and the cyber policy. In order to understand the culture of cinephilia, new cinephilia and the history of the transformed cinematic experience, we included the approaches of Siegfried Kracauer, Susan Sontag, Girish Shambu, André Gaudreault and Philippe Marion and discussed these approaches comparatively.

More...
Фатима Риза-Заде (Сайях), исследовательница Достоевского

Фатима Риза-Заде (Сайях), исследовательница Достоевского

Author(s): Zeinab Sadeghi Sahlabad,Oksana A. Kravchenko,Alina A. Shuldishova / Language(s): Russian Issue: 4/2021

The article is devoted to the biography of the Soviet-Iranian researcher F. Riza-Zade, also known as F. Sayyah, and her studies of Dostoevsky’s literary heritage. A number of archival materials that reflect the professional and friendly relations of F. Riza-Zade in 1929–1930s have been introduced into scientific circulation. A review of the articles “Dostoevsky and Modern French Literature (On the Influence of Dostoevsky)” and “Dostoevsky in Western Criticism,” as well as the preface to the Persian translation of Dostoevsky’s novel White Nights, published in Tehran, has been carried out. It is noted that the researcher’s works have laid the foundations of Soviet and Iranian comparative studies: Dostoevsky’s work was interpreted in the broad context of French literature, German philosophical and aesthetic tradition and Iranian cultural symbols of good and evil. The key methodological principles of F. Riza-Zade are analyzed: the focus on sociological criticism of the Pereverzev school, a cultural and aesthetic approach to the analysis of genre problems, tendency towards self-sufficiency in literary research and rejection of philosophical speculation. The conclusion is made about the importance of the works of F. Riza-Zade in the study and popularization of Dostoevsky’s work and in the fostering of Russian-Iranian cultural ties.

More...
ФАХОВА ПІДГОТОВКА МАЙБУТНІХ МАЙСТРІВ СЦЕНИ ЯК АКТУАЛЬНИЙ НАПРЯМ КОРПОРАТИВНОЇ КУЛЬТУРИ В ІНФОРМАЦІЙНОМУ ПРОСТОРІ

ФАХОВА ПІДГОТОВКА МАЙБУТНІХ МАЙСТРІВ СЦЕНИ ЯК АКТУАЛЬНИЙ НАПРЯМ КОРПОРАТИВНОЇ КУЛЬТУРИ В ІНФОРМАЦІЙНОМУ ПРОСТОРІ

Author(s): Maryna Tatarenko,Olena Mykolayivna Kosinova / Language(s): Ukrainian Issue: 4/2020

The purpose of the article is to investigate the features of professional training of stage specialists in the context of the development of corporate culture in the information space. The research methodology provides a comprehensive approach using analytical, systematic methods, comparative, which allows to identify the main features and professional competencies that need to be mastered by students as masters of the stage in the development of the information society. The scientific novelty of the work lies in the actualization of professional aesthetic and stage competencies and skills of students of creative specialties, given the entry of the educational process in the information-oriented context of the development of artistic professional education. Conclusions. As a result of the research it was established that the educational and creative process involves the acquisition of aesthetic knowledge by students and the formation of relevant beliefs, needs, interests, habits, skills and abilities in accordance with the demands of the modern information society. The article reveals the concept of aesthetic education of students of art freelance as a purposeful and systematic process of formation of aesthetic concepts, tastes and ideals, attitude to the profession, to nature and art, to society and life, to communication and relationships, development of creative component of professional activity. The value aspect of the new paradigm of creative education directly determines the main tasks and directions of reforming creative education in Ukraine. This applies both to the main goal of the education system (creating conditions for the development and self-realization of each individual as a citizen of Ukraine) and the fundamental principles and priorities of creative development of stage masters.

More...

ФЕНОМЕН “ГЕНІАЛЬНОСТІ” В МИСТЕЦТВІ (синергетичні моделі)

Author(s): Viktoriya Volodymyrivna Poliuha / Language(s): Ukrainian Issue: 2/2018

The purpose of the article is a comprehensive, synergetic analysis of the phenomenon of “genius” in art. Methodology of the research is due to the multidisciplinary approach, which involves the use of general scientific methods of analysis, synthesis and synthesis of the phenomenon of “genius” in the context of understanding the synergetic models in psychoanalysis, ideology, pedagogy, philosophy with art; semiotic and anthropological approach to comprehension of synergetic models, allowed to consider the interconnection and transformation of the phenomenon of “genius” and its expression in art. The scientific novelty lies in a new perspective on the study of synergetic models of the phenomenon of “genius” as a polysymmetric definition in the aspect of anthropological measurement of art. The new is the comprehension of anthropological problems, tendencies, and aspirations to reveal the creative potential of the individual. Conclusions. The study of the phenomenon of “genius” in art led to the isolation of synergetic models associated with the understanding of the creative personality as a manifestation of a particular worldview, a way of interaction with reality, the ability to reveal, express and convey to the world. The conceptual orientation to solving a given problem is reduced to the assumption that mental non-standard, disturbance of equilibrium at any personal level is manifested in an artistic act, where genius is controlled insanity and the ability to express exits beyond the standard or fatigue actively.

More...
Феномен авторсько-виконавської постнеокласичної творчості як наукова проблема (діалектично-творча колізія «автор–артист»)

Феномен авторсько-виконавської постнеокласичної творчості як наукова проблема (діалектично-творча колізія «автор–артист»)

Author(s): Ivan Jerghijev / Language(s): Ukrainian Issue: 1/2020

The purpose of the article is to investigate one of the most important problems of the theory and aesthetics of music - the author-performer’s creativity as a process and the result of two different types of activity, correlation between the direction set by an author and the author-performer’s initiative as an artistic interpretation of his own composition. The methodology of the research is based on interdisciplinary approaches since the study and constitution of the author’s musical creativity as a phenomenon of modern culture raises many problematic issues, which cover wide horizons of cultural and artistic fields. The author uses classical methods that are effective for art history research: analytical, audio-visual, comparative, etc. The scientific novelty lies in the fact that the problem of an author’s game-interpretation of his own musical work, or self-interpretation has never been the subject of special research in philosophical, psychological and musicological discourse. Conclusions. As a result of the research (a discourse analysis of existing literature on this problem, a survey of music authors, analysis of author’s own author-artistic creativity, etc.) it was found that the ambivalence of a collision of author-artistic creativity exists on the verge of composer’s and performer’s thinking, respectively - the musical language of an author and the musical statement of an artist, and is solved by the means of partiality, partial "bifurcation" of the creator-performer’s personality, who himself completes his (work) in many renewed interpretations. For the practical solution of the problem under study, it is important that the author understands the endpoint (terminus ad quem) of his creative product, which he needs to reach as an artist - spiritual perception, aesthetic impression of the viewer-listener from the complete meaningful form of the author's musical performance in the artistic version.

More...
Феномен золотого перетину та специфіка його застосування в обробках та аранжуваннях Станіслава Павлюченка

Феномен золотого перетину та специфіка його застосування в обробках та аранжуваннях Станіслава Павлюченка

Author(s): Oleksandr Magalis / Language(s): Ukrainian Issue: 32/2017

Scientific observations by historians, philosophers and art critics testify that humankind has been staying for a long time in the permanent endless state o f the search for certain ideal and harmonic balanced form in the outer nature space. Music is the best matter for studying a golden cross-section phenomenon. A dimension of music is the most straightforward building element being known to humankind for making whatever construction of different forms. It is a most flexible and as a result of cover lacking is amenable to any changes without exerting any resistance.

More...

Феномен контамінації у європейській художній культурі XVI – початку XVII століття

Author(s): Oleksandra V. Tykha / Language(s): Ukrainian Issue: 4/2011

The article is devoted to understanding the phenomenon of contamination in the artistic culture of Europe XVI – early. XVII century. Based on the definition of "contamination" played a gradual "erosion" aesthetic and artistic principles of a particular artistic movement.

More...
Феномен традиції в акварелі крізь естетику музики

Феномен традиції в акварелі крізь естетику музики

Author(s): Nataliia Mykolayivna Veligura / Language(s): Ukrainian Issue: 32/2017

The goal of the research: to trace the features of watercolor painting through the prism of the historical formation of traditional techniques, to carry out a comparative analysis of the watercolors as music of painting, to reveal the definitions of the phenomenon of traditions in modern watercolors. Methodology. The research methodology formed taking into account the put purpose, that allows to use methods: cultural and historical, analysis and synthesis, comparatively stylistic, associative and broad analogies, comparatively descriptive, extrapolations. The scientific novelty is to reveal the definition of the phenomenon of the tradition that has been historically formed in terms of the modern watercolors, as well as a new look at the watercolor painting as a frozen music that has become shaped and continues to sound in the works of masters through the centuries.

More...

Феномен целостности как определяющая доминанта в композиторском творчестве С. Танеева (На примере хорового цикла "двенадцать хоров а cappella для смешанных голосов" ор. 27)

Author(s): Nataliia Shvets / Language(s): Ukrainian Issue: 35/2015

The article deals with the research of S. Tanieyev's creative thinking, peculiarities of his individual style, specific ways of ideas' implementation both together with one of the leading trends of the time and the concept of barocco integrity. The whole set of technical means, composer's mastery, were subordinated to the logic of conceptual thinking, his thought flow from understanding general consistencies to its partial manifestation, realisation of dialectical interaction between general and single. The main purpose of the article was to study those moments which underline the legal right to use the notion integrity of composition in relation to the cycle. The sequence of rhymes built up by S. Tanieyev and written in different years, is an evidence of a certain idea, the scales of which are much wider than ideologic and figurative content of each poem. Common aesthetic requirements, their philosophic deepness, allegory, contextual connections shown in thorough development of imaginary themes, definite plot ties, and, finally, compositional conformities of a massive concept were of great importance in the process of selection. Chosen by S. Tanieyev logic of literature texts, which became a so called libretto or. 27, stipulated musical and dramatic regularities of a massive composition in many areas. Each of the sections differs in its type of figurativeness, logic of dramatic development, peculiar principle of uniting into microcylce. The first section – expositionative: it has its bright composition and dramatic logic according to which two main moods are composed by the principle of contrast and continue on a new level. Chorus "Ruins of the tower" – is undoubtedly the climax of this microcycle, dramatic top synthesising both contasting beginnings in their development: philosophy, deepness driven to dramatic, pathetic sound (main theme) and lyrics in active appearance (episod F-dur). The second section is a new type of the microcycle, significantly different from the previous one in a number of marks. Firstly, there is a new kind of figurativeness – the sphere of heroism, struggle, dramatism with the preservation of philosophic deepness of the saying. Secondly, this group of choires is organised into a different composition in comparison with the first one due to a different principle of contrast raised in it. If there was a rotation of choires of different figurative content in the first microcycle, in the second one they are groupped in reverse correspondence, which gave symmetry, roundness of the composition. Contrast in the second microcycle is not sush a defining principle of dramaturgy as it used to be in the first one. What is place forefront is the principle of eventness, thorough development of dominating figurativensss. And this is the third and most important factor of differences between the first and the second sections. Dynamics of the second section, developments of the main dramatic spheres, the stage of overcoming of counteraction in the zone of golden cross section are pointed to the third section of the cycle, which became the stage of utmost importance in understanding of what happened, generalization with the use of large scale images and demonstration of the new balance of power after climax. Chorus groupping in the section is expository: not a contrast rotation as in the first one, not a reverse and symmetric disposition as in the second one, but a contrast combination of large layers: two chorus embedding a wide range of lyrics are opposed to two heroic and dramatic sheets. Shaping the concept of the work, selecting definite texts for the third section the author includes leading intonational complexes into new scope – large, endless spaces of universal scale, terrestrial and cosmic, material and immaterial, liberating from habitual, concrete essence, overcoming final, limiting, frail in eternal, over extreme limit, immortal, opening the way to renewal, human's feeling as a part of the world. Concentration of through themes and images, philosophic deepness and inclusiveness of poetic allegories informs the poems of the last section about the meaning of conceptual conclusion, final of the whole composition

More...
Феноменалност и материалност при Кант
6.00 €
Preview

Феноменалност и материалност при Кант

Author(s): Paul de Man / Language(s): Bulgarian Issue: 27/2021

This text is a part of De Man’s later book Aesthetic Ideology that was assembled and published after his death. The text is a scholarly paper where the author examines Kant’s Analytic of the Sublime (Critique of the Power of Judgement), viewed in the context of transcendental philosophy and its relations to metaphysics and ideology. In De Man’s account Kant appears to hassitate between two trends. He is constantly divided between the strict transcendentalist writing that is characteristic of the mathematical sublime, and, on the other hand, the ideologized presentation of dynamic sublime that depicts intimidating objects that are nevertheless contemplated from a safe place. Kant uses different rhetorical techniques to get out of the above mentioned difficulties, thus providing abundant material for the rhetorical analysis of De Man. What De Man considers to be still valid today in Kant’s analytics, is the so called by the theorist himself „material vision“. It refers to the statement of Kant that sublime contemplation has to see objects as they are – without their conceptuaization. What we see here is the programme materialism of De Man, which he did not manage to develop due to his untimely death.

More...
ФЕНОМЕНОЛОГИЧЕСКИЙ ТРАНСЦЕНДЕНТАЛИЗМ И ПОЭТИЧЕСКОЕ ВИДЕНИЕ: КОНЦЕПЦИЯ
ПОЭТИЧЕСКОГО ЭЛЕМЕНТА
МАРКА РИШИРА.
ПРЕДИСЛОВИЕ К ПЕРЕВОДУ
СТАТЬИ МАРКА РИШИРА
«ФЕНОМЕНОЛОГИЯ ПОЭТИЧЕСКОГО ЭЛЕМЕНТА»

ФЕНОМЕНОЛОГИЧЕСКИЙ ТРАНСЦЕНДЕНТАЛИЗМ И ПОЭТИЧЕСКОЕ ВИДЕНИЕ: КОНЦЕПЦИЯ ПОЭТИЧЕСКОГО ЭЛЕМЕНТА МАРКА РИШИРА. ПРЕДИСЛОВИЕ К ПЕРЕВОДУ СТАТЬИ МАРКА РИШИРА «ФЕНОМЕНОЛОГИЯ ПОЭТИЧЕСКОГО ЭЛЕМЕНТА»

Author(s): Roman Sokolov / Language(s): Russian Issue: 1/2016

More...
Феноменология музыкального понимания: случай рок-музыки

Феноменология музыкального понимания: случай рок-музыки

Author(s): Elena Kosilova / Language(s): Russian Issue: 2/2022

The article deals with the problem of understanding the meaning of music on the example of rock music. The purpose of the article is to find a criterion for such an understanding. For this purpose, the question is considered as to what musical meaning is. Since rock compositions usually have a short length and one explicit melody, it can be said that musical understanding is the grasping of this melody. The question arises as to what it means to grab a melody, and whether it means the ability to sing it. Not necessarily, it turns out — rather, it means capturing its pattern. The idea that music is a language is rejected: music does not have external meaning. The article discusses several examples of the “translation” of one melody into another style or mode. In such a translation the hyletic data changes, but the pattern remains. This is associated with the preservation of musical meaning and musical thought. The most important criterion of musical understanding is the existential experience of the melody. To understand music, to grasp its meaning, the listener must be open, that is, be ready to perceive music as an aesthetic object. At the moment of listening, music is a saturated phenomenon, because it completely fills its horizon. Any other, alternative music is impossible. The problem of corporeality in the perception of music is examined. It is especially important in rock music, which usually has a clear rhythm. The pattern of the melody also has a spatial character, which refers to corporality. Here we can talk about a certain “resonance” of external music with the inner musical world of the listener.

More...
Феноменология на въображението
3.00 €
Preview

Феноменология на въображението

Author(s): Silviya Kristeva / Language(s): Bulgarian Issue: 2/2022

The phenomenology of imagination must be built on the becoming of the specific phenomena produced by the creative power of the imagination. Here the imagination is established as an autonomous faculty with its own region, and the constitution of its phenomena aims to build the art image. The genesis of the art image is defined in the conditions of Kant’s productive synthesis, carried out on autonomous procedures and rules, and the steps in the generation of the art image in the pure continuum of intuition are traced. The objective modes in the work of the imagination are subdivided into real, on depiction and generalization of external reality, purely fantastic, on an entirely artistically generated world, and hybrid, which always mixes elements of the real and the fantastic. As a telos of the art phenomenon, the relation towards the Absolute Ideal of Beautiful is stated, which relation is understood by Husserl as “setting the norm” of ideality for the art object.

More...
ФЕНОМЕНОЛОГИЯ ПОЭТИЧЕСКОГО ЭЛЕМЕНТА

ФЕНОМЕНОЛОГИЯ ПОЭТИЧЕСКОГО ЭЛЕМЕНТА

Author(s): Marc Richir / Language(s): Russian Issue: 1/2016

Translation from French

More...
ФЕНОМЕНОЛОГІЯ ТВОРЧОСТІ У ЦИФРОВУ ЕПОХУ

ФЕНОМЕНОЛОГІЯ ТВОРЧОСТІ У ЦИФРОВУ ЕПОХУ

Author(s): Yuliia Vasylivna Meliakova,Eduard Anatoliyovych Kalnytskyi,Inna Igorivna Kovalenko / Language(s): Ukrainian Issue: 1/2020

The paper aims to discuss the features of art practices and the specifics of art work existence in the digital culture paradigm. The research methodology is determined by the heuristic potential of art and cultural philosophic studies in digital culture combined with the communicative and existential analytics. The characteristics of author’s individual art strategies in the interactive locus of existence is the scientific novelty of the work and allows us to conclude that the interactive media landscape has considerably changed the configuration of art work in culture. Being the projection of the digital ontology of reality and having received unlimited access to communication, an artist primarily demonstrates creative workflow, provides information on the creation and his or her own quasi-existence, avoiding similarity and anonymity. Sometimes process documentation is more important than art itself and it can replace an artwork. Contemporary art is represented not only by finished products (“objects”), but also by relations (the frequency of participatory practices, performance, life experience of the epoch when the artwork was created). These relations enable to implement new rationalization. Owing to the above practices, an artist and a viewer are both actively involved in the creative process of converging design, content and logic of artwork development. The contemporary reality is mediated not only by transcendent or language, but also by new media (partially linguistic, partially pragmatic), being merely fiction, or construct. This is the way of representation that has fulfills a serious ontological function: the subject existence as a homo mediatus is verified by his or her presence in the network. Accordingly, artist’s creativity, as well as his internal world, will be perceived if he is proactive in digital culture.

More...
Феноменът „съвременно изкуство“: дефиниция, легитимация и особености
3.90 €
Preview

Феноменът „съвременно изкуство“: дефиниция, легитимация и особености

Author(s): Nikolina Deleva / Language(s): Bulgarian Issue: 2/2021

The topic of this article is the phenomenon of contemporary art. The author discusses the questions as to what is contemporary and what art is today, as well as the distinction between art and life, fiction and reality. The article addresses the question as to who/what legitimates art as existence.

More...
Фентъзи елементи на надреалното в четирилогията Землемория на Урсула ле Гуин
3.90 €
Preview

Фентъзи елементи на надреалното в четирилогията Землемория на Урсула ле Гуин

Author(s): Silviya Kristeva / Language(s): Bulgarian Issue: 2/2021

This article aims to trace the relationship between the magical and fantasy; the author begins by analyzing the two main components, “magical” and “real”, as they interact in the building of a whole, full-blooded fantasy world. We will follows how this exceptionally interesting and “explosive” combination works in Ursula Le Guin’s masterpiece, The Earthsea saga. In order to present the exceptional scale of the Earthsea world, we will distinguish the innovative fantasy elements developed by Ursula Le Guin. We will focus on how the magical is built over the real and how it complements and conceptualizes the model of a world, bringing it to a certain nature-related and magical type of fantasy. We discuss how the world boundaries are determined by the ontological model of two worlds: between the magical and the non-magical underground forces of darkness and nothingness; between the world of the living and the anti-world in the realm of the dead.

More...
Фигурата на гения: варианти на граничност
3.90 €
Preview

Фигурата на гения: варианти на граничност

Author(s): Sylvia Borissova / Language(s): Bulgarian Issue: 5/2020

The word ‘genius’ has a particularly strong aura in the so-called ‘star age of geniuses’ (I. Passy) – during those memorable for modern Western aesthetics three decades from the late eighteenth – early nineteenth century, when in the face of Kant and the early Romanticists both an unprecedented flowering of the creative individuality with its endless labyrinth of inner worlds and attention to it were observed. Over time, the word ‘genius’ enters everyday language, which enriches the layers of its meaning. The pledge of this article is to typologize the basic nuances of the philosophical-aesthetic concept of genius, which means: to outline the main types of borderness of genius as an aesthetic figure.

More...
Result 4441-4460 of 4643
  • Prev
  • 1
  • 2
  • 3
  • ...
  • 222
  • 223
  • 224
  • ...
  • 231
  • 232
  • 233
  • Next

About

CEEOL is a leading provider of academic e-journals and e-books in the Humanities and Social Sciences from and about Central and Eastern Europe. In the rapidly changing digital sphere CEEOL is a reliable source of adjusting expertise trusted by scholars, publishers and librarians. Currently, over 1000 publishers entrust CEEOL with their high-quality journals and e-books. CEEOL provides scholars, researchers and students with access to a wide range of academic content in a constantly growing, dynamic repository. Currently, CEEOL covers more than 2000 journals and 690.000 articles, over 4500 ebooks and 6000 grey literature document. CEEOL offers various services to subscribing institutions and their patrons to make access to its content as easy as possible. Furthermore, CEEOL allows publishers to reach new audiences and promote the scientific achievements of the Eastern European scientific community to a broader readership. Un-affiliated scholars have the possibility to access the repository by creating their personal user account

Contact Us

Central and Eastern European Online Library GmbH
Basaltstrasse 9
60487 Frankfurt am Main
Germany
Amtsgericht Frankfurt am Main HRB 53679
VAT number: DE300273105
Phone: +49 (0)69-20026820
Fax: +49 (0)69-20026819
Email: info@ceeol.com

Connect with CEEOL

  • Join our Facebook page
  • Follow us on Twitter
CEEOL Logo Footer
2023 © CEEOL. ALL Rights Reserved. Privacy Policy | Terms & Conditions of use
ICB - InterConsult Bulgaria core ver.2.0.1219

Login CEEOL

{{forgottenPasswordMessage.Message}}

Enter your Username (Email) below.

Shibbolet Login

Shibboleth authentication is only available to registered institutions.

Please note that there is a planned full infrastructure maintenance and database upgrade of the CEEOL repository.
The Shibboleth login functionality is temporarily unavailable.
We apologize in advance for the inconvenience and thank you for your kind understanding.