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This paper explores the fundamental questions of the film primarily as an aesthetic phenomenon, with an emphasis on the representation of the film. The question of the film to represent and testifies corporeal beauty is seen as a key issue of the relationship of film and subject- historical world, and the relationship between film and the human personality, it’s primarily from the angle of presentation and reception.
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Proceeding from the assertion that a man is “the whole of a human being”, i. e., the ontological symbiosis of man proper and the subject of living (animal) existence, the author claims that the poet is actually a man in the highest — particularly verbal — form of his being. The poet is the subject of being, verbal by its n type and indirect by the manner of its realization. Verbal existence, being out of body, cannot be the subject of scientific knowledge. The type of knowledge that is correct in relation to the person himself, is Philology. The most distinctive feature of Philology is its indirect character. Just as the poet realizes himself and his being as an internal form of the subjects of bodily existence, so philological knowledge of the poet is manifested as an internal form of scientific knowledge about the plot characters and the life event they are living.
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Philosophy of film is a new sub-field of contemporary philosophy or art. Different aspects of the film are analyzed in relation to artistic media.
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The paper discusses and analyzes the specificities of the creative interpretation as a reading comprehension. The creative product, especially in philosophy with a cause, is described as a personal projection of the author in the light of his/her professional background, values preferences, existential psychology. A special attention is paid to the value aspect of the creative process and the role of the author’s attitude within it. The studies in the philosophical-anthropological sphere are debated within the same perspective; the intellectual and the social challenges the author usually meets in this process are discussed.
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The article deals with the universals of the Chinese spiritual culture, their manifestations in aesthetics and various spheres of the artistic life of the Chinese (literature, painting, landscape architecture, music etc.).
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The article investigates the philosophical foundations of creativity Illienko George, one of the brightest representatives of copyright movies. The paper analyzes the ideological basis of experimental cinema artist. His creative method, style, searching in the form and content.
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In this article is examined philosophical-aesthetic and gnosiological sources of American musical minimalism as important direction of structural thinking of the music of the second half XX century.
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The article deals with the philosophic and aesthetic aspects of Taras Shevchenko’s creative power. The author proves that it would be correct to talk not of the world outlook system, created by T. Shevchenko, but of the philosophic and aesthetic basis of Kobsar’s creative activity. This basis produces special artistic images. They are integral, deeply sensitive, moral – all that means pictorial. This line of T. Shevchenko’s art must be continued by the artistic heirs of great Kobsar.The article is dedicated to the 200-th anniversary of Taras Shevchenko’s birthday. The great Ukrainian poet and artist T. Shevchenko had been called ‘Kobsar’ because his creative work was deep-rooted in native culture. He was a people’s writer, painter, master of graphic art. T. Shevchenko described life of Ukrainian people as truly as famous native poets and singers, the so called Kobsars, did. That is why all the generations of Ukrainian people worship Taras Shevchenko.Every Shevchenko’s jubilee makes an opportunity to appreciate his creative heritage again and again, every time from new philosophic and aesthetic positions.So does the author of the article. She offers her own view of the traditional scientific problem: what is the nature of philosophic and aesthetic basis of Taras Shevchenko’s creative activity.As to the scientific literature on the subject, the author does not analyses it deliberately, because of enormous number widely known sources.The tasks of the article are the following: 1) to find out the creative basis of the images in T. Shevchenko’s fine art, i. e.in his painting and graphics; 2) to find out the traits inherent to T. Shevchenko’s mentality in creative work of his followers.The philosophic and aesthetic basis of T. Shevchenko’s creative work was special, i. e. there was no strict logical system in his world outlook, as for example in the German classical philosophy. On the contrary, the philosophic and aesthetic basis of T. Shevchenko’s creative work was rooted in the broad mythical and poetic mentality of Slavic peoples, including Ukrainians, of course. This kind of mentality contained sensuality, intuition; it was full of metaphors, symbols etc. Kobsar’s artistic images were integral, deeply sensitive, moral, i. e. they were pictorial. In this aspect T. Shevchenko’s philosophic and aesthetic ideas were similar to the so called ‘philosophy of heart’. The most famous Ukrainian philosopher G. Skovoroda belonged to this trend.Mythical and poetic mood can be found everywhere in T. Shevchenko’s creative works, both in romantic and realistic ones. The examples of that mood are offered in the article. One of them is the following. The most famous T. Shevchenko’s picture ‘Catherine’ shows us what are the abilities of the critical realism when its means are used by genius. The ideas and senses of the artist are expressed in ‘Catherine’ with quantitative factors: narrative elements, signs, symbols, personifications etc. The image of Catherine symbolizes beautiful, frank, oppressed, humiliated Ukraine. An old oak-tree which is painted in the picture symbolizes strength and grandeur of Ukrainian land. Also there is a mill which symbolizes endless rotation of Ukrainian being. Then there is a figure of a people’s representative in the picture. His features resemble the features of T. Shevchenko’s face. We understand that the artist expresses his absolute sympathy for the main character of his picture. There is the only negative character in this creative work. This is a soldier from Moskovia. He had hurt Catherine and was depicted in a caricature manner.‘Catherine’ is a poetic creative work. On the contrary, another example shows keen criticism. The talk is about Shevchenko’s famous graphic series ‘The Parable of the Prodigal Son’. It contains a few pictures in which the author shows different examples of the tragedy of ‘prodigal sons’, i. e. oppressed people in Russia of the nineteenth century. We can find narrative means in this series. In this case we must remember that Taras Shevchenko was a writer first of all. But Shevchenko’s narration was neither boring, nor cold. On the contrary, it evoked sympathy for the above-named prodigal sons. The great Kobsar’s criticism was not criticism for its own sake. Its aim was ideological and sensual renewal of Ukrainian society.In contemporary culture there is an important task to continue and develop T. Shevchenko’s creative ideas. The fact is that most of contemporary artists use T. Shevchenco’s favorite romantic and realistic creative methods for solving that task. These methods are more able to transfer T. Shevchenko’s artistic images into contemporary art than it would do such methods as modernism and post-modernism. Some examples of such romantic and realistic contemporary works made by T. Shevchenko’s heirs are offered in the article. For example, the author of the article names the following Ukrainian artists: sculptor I. Kovaleridse, painters P. Kodyev, G. Melekhov, V. Kasiyan etc.As to the aspect of poetic sensuality there is a kind of spiritual connection between the memory of Kobsar and real contemporary people. ‘Connection of times’ can be realized through objects of culture which are being used for a long time. The famous Peresopnitskoye Gospel is a bright example of this. It was in Taras Shevchenko’s hands, he was delighted with it. Then it was in hands of many people. Psychologists call this phenomenon an ‘effect of hands outstretched’. Contemporary aesthetic science attaches great importance to this phenomenon.Conclusion: 1. Taras Shevchenco’s creative work has deep native philosophic and aesthetic roots. They are mythical and poetic and are as important as strict logical philosophic and aesthetic systems. 2. Kobsar uses romantic and realistic means, which can be qualified as pictorial, i. e. integral, image-bearing, deeply sensitive, moral. 3. Romantic and realistic methods are the most adequate ones in developing T. Shevchenko’s creative heritage today.
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The aim of the article is to deepen the theoretical and methodological concepts regarding the essence of political flash mob (political mob) as a spectacular and game-like variety of political actionism, to define the modern types of political mobs. The research methodology is based on: the model of society of spectacle (G. Debord); the simulation model (J. Baudrillard); the individualized society model (Z. Bauman); the model of society of interactive spectacle (S. Best, D. Kellner) etc. The methodology synthesized the theoretical and methodological concepts of symbolic interactionism, postmodernism and post-structuralism. The scientific novelty lies in the author’s original analysis of political mobs as a spectacular and game-like variety of political actionism technology, which consists of one-time or wave-like conduction of short-term dramatized mass actions according to a pre-agreed scenario. Conclusions. The analysis showed that political mob is a spectacular network interaction, performed on the basis of horizontal social communications. The author defined the following features of political mob: non-institutional character; organization through online resources; spectacularity, pronounced game context; chronometricty etc. There are following varieties of modern political mobs: “silent” flash mobs, online flash mobs (i-mob); wave-like relay and others. It is noted that the vast majority of political flash mobs are peaceful in their nature. It is emphasized that in some countries flash mobs are considered equal to protest actions, such as rallies and pickets, therefore their spontaneous self-organization is forbidden.
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Religion is one of Flaubert’s favourite topics. We have tried to examine his own attitude towards religion and, more importantly, towards faith itself and his own faith, relying on his Correspondence. His letters give us the insight which only a lucid reader could derive from his works, due to his aesthetic presuppositions and his famous impas- sibilite. Although some of Flaubert’s arguments may seem contradictory, his deep appre- ciaton of religious feeling can be easily recognized. Flaubert’s fierce critical attitude stems from his strong disapproval of all dogmatic discourse and of clerical ignorance. Furthermore, his scepticism proves the necessity of facing contemporary intellectual and spiritual challenges which the Church of his time would rather ignore.
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The development of meanings similar to philosophical ideas is revealed in the first chapter of “Eugene Onegin”. A.S. Pushkin based them on the complex and contradictory relationship between the protagonist and the way of his life. Onegin’s dependence on the latter and attempts to assert his individuality in the whirlwind of everyday life give rise to a number of artistic problems, which are close to philosophical reflections on the meaning and purpose of human existence, happiness and its sources, true and false values, as well as their ability to fill life with genuine or illusory sense. The paper proves the thesis that such artistic and philosophical ideas organize the internal artistic unity of the first chapter, turning it into an exposition of “Eugene Onegin” as a philosophical novel.
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In the article the author made an attempt to analyze the stages of Contemporary Dance (new trend in modern dance) that arose on the basis of modern dance, reveal the characteristic features of this style as a means of choreographic and aesthetic outlook of young people of our time, to evaluate the application in Contemporary-Dance choreographic practice of contemporary choreographers.
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на книгата на Вяра Попова "Фотографията като път(уване) към..."
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Actuality of consideration consists in finding main characteristic of determination idea "symbolism" in the fine art in conception of Fr. Shlegelya in the context of determination his cultural sence from positions of modern researches. Stage of scientific study of the problem: working and analysis of idea "symbolism" in the context of conception of Fr. Shlegelya enganged S. S. Averincev, V. V. Bichkov, M. Lifshic, O. F. Losev, S. Sicheva, Y. Popov and others. Purpose of the article: through the prism of critical analysis explore the basic ideas of Fr. Shlegelya regarding the concept of symbolism in a fine art, which expounded in his labours from different periods. Frederic Shlegel is one of the leaders Jena's romantics – in his aesthetically cultural reasonings, which are on fundamentally based on the principle of fragmentation, went out from the dominating time of the ancient culture's rise and comparing it with modern culture. Shlegel, in contradistinction to radical statements of Goethe, who believes that "classic – a healthy, romantic sick" [1, 427], doesn't resort to radical conviction of modern, romantic, and sees in it the potential source of futher historical development of culture. Not coincidentally in his essays "Description pictures from Paris and Netherlands" he marks that "culture in each her part can only join the part, which has already created" [4, 238], thus underlining irreversibility of interconnection and interconditionality of different cultural and historical periods of human development. At the same time formation and development of culture in general and philosophy, in particular, is unfolding be-tween the ideal and the real oppositions, which are also used by Schelling in "Philosophy of art", that are correlated in Schlegel with mind and universum. Like the ideas of Shelling, who argues about detection prototype, ideas – divine – in symbolic images of art [3, 70], Schlegel determines the symbolic nature of art, which consists of ideas-symbols by which the human discovers the hidden contents of this world. Giving main attention in the labours to research literary-poetic works, Schlegel also applies to the analysis of fine art, which examines in indissoluble unity with all other spheres of artistic activity. Thus poetry plays the role of the so-called universal universality, inherent in any other art, including fine arts, which should in its inner essence be poetic. In opinion of Schlegel, painting must contain the spirit and the letter, that – poetry. "The artist must be a poet, but a poet not in words, but in paints" [4, 244]. Turning to the analysis of painting works, Schlegel presents himself as a supporter of the "old painting", considers the last real painters Titian, Corregio, Andrea del Sarto, Giulio Romano and others. In futher it becomes the impetus for the formation of the new trends in fine art, directed to return the lost authenticity and primary cleanliness in painting, and leads to the brotherhood of "Nazareyci" and "Pre-Raphaelite", which rod principles are a return to the ideals of art period before Raphael. Turning to the analysis of portrait genre, philosopher comes to the kind of symbolic understanding, marking that "Raphael and Leonardo – gave example of a completely another kind of portrait, which I would call a symbolic" [4, 232]. In the opinion of Schlegel, they transferred not just an appearance of a person, they transferred its inner essence, the spirit, which becomes manifested symbollicaly in the face. Schlegel also classifies exactly historical painting to the category of symbolic, marking that there is no other genres except historical, except for historical. In his deep persuasion, an artist who fully realized calling, aims symbolic disclose the secrets of divine meanings in their writtings, so everything else be-comes secondary and auxiliary. Schlegel's appeal to the national roots of culture and art is presented as an important point in his considerations. In the deep conviction of philosopher, "painting must be absolutely individual, and, therefore, the national" [4, 240]. Thus he pays attention to national variety of European culture, which consists of the large number of original, unique and individually painted cultures.
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The modern Ukrainian aesthetics has been thinking about the experience of postclassical theoretical-aesthetical schools of France, needs a dialog between Ukrainian and French scientists. The article is devoted to the analysis of French aesthetics of the XX сentury, especially to their phenomenology and structuralism.
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The purpose of the article is to reveal the specifics of the formation of free jazz, emphasizing its essential features and outlining the ways of interaction with other areas of musical art, which are manifestations of freedom of the direction. The scientific methodology involves the use of a comparative method to illuminate the features of the appearance of free jazz stylistics in the works of various musicians. The use of analytical and systematic approaches is appropriate for the selection of the essential features of the direction and their generalization. Scientific novelty. The features of free jazz as a direction corresponding to the aesthetics of postmodernism are revealed. His ability to interact with academic and ethnic music is underlined. From these areas, free-jazz borrows nonconventional ways of sound production, techniques of the game, tools, and principles of composition arrangement. Conclusions. Free jazz is one of the promising trends in contemporary musical art. His essential features are the desire for freedom - in a modal, rhythmic, structural relation. An extremely large influence on the formation of free jazz improvisations was academic music. It is the interaction with the avant-garde musical culture that introduces jazz in the rejection of tonality as such that it can be replaced by polytonality, atonality, or even elements of serialism. An important feature of free jazz is the desire to reveal the freedom of the artist, which can be manifested in the total improvisation of works, borrowing elements of ethnic music, actionist, and performance. Often, free-jazz is perceived as a piece of protest music that is acutely social in nature and directed against the policies of individual leaders or parties.
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Purpose of the research. This work studies the specifics of the interpretation of the piano expressiveness by E. Varese that occupied such an exceptional place in the classical music of the previous stage and extremely critically but still used in the work of the author of "Ionization". Scientific Novelty. The research reveals not only the restrictive attitude towards the expressive possibilities of the piano, but also essentially clavier attitude related to the neoclassical aspirations of the twentieth century orientation of E.Varese. Conclusions. There is also a clear tendency to consider the futuristic discoveries of sonoristics in autonomy from the ideological and political "shade", emphasized by Marinetti's group in due time. However, by the middle of the twentieth century it turned out to be a semantic anachronism, uninter-esting in use in artistic and musical content, autonomized into meaningful clavier-percussion effects of the emblematic works of the maestro.
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