“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.

“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.

“In came the self-evident and luminous little mess”: Ethical Life Writing in Muriel Spark’s Loitering with Intenti

Author(s): Petronia Popa-Petrar / Language(s): English Issue: 37/2021

Starting from a brief examination of Muriel Spark’s position as a Scottish novelist within the framework of her anti-essentialist, anti-authoritative aesthetics, my essay will take a seemingly abrupt, but in fact consequential turn to investigate the complex antinomies involved in her fictional representation of the lives of others. Although at home and abroad she is hailed as Scotland’s most celebrated author of the twentieth century, Spark’s writerly practice consists of regularly dismantling grand narratives or fixed, stable identities, often clashing with more localized or prescriptive views on the social and national functions of narrative. My argument, however, is that it is the very unease of her “Scottishness” that acts as one of the foundations of her literary ethics, embodied in her acute awareness of the antinomies involved in textualizing the lives of others. Spark’s shrewdly metafictional Loitering with Intent (1981) openly thematizes both the obligation, and the risks of telling one’s own and other people’s stories, performing a radical ethics of narrative alterity through its staging of the enmeshments of writing, (auto)biography and experience.

“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.

„A stílus az ember képe.” Autentikusság, stílus, autonómia

Author(s): József Kollár,Dávid Kollár / Language(s): Hungarian Issue: 12/2022

In our article, we argue that, contrary to the essentialist conception of authenticity, it is more productive to view authenticity not as the inner core of the person, the true self, but as public patterns of metaphorical exemplification awaiting interpretation. If, following Goodman and Danto, we accept that authentic style is a metaphorical exemplification, then, based on Rorty’s concept of language and metaphor, we can view style as an exaptation of symbols adapted to specific functions through cultural selection. In our article to support this approach, we proceed as follows: first, using the model of Goodman and Danto, we argue that authentic style can best be captured by metaphorical exemplification, and then show that the metaphorical use of linguistic, pictorial, and other symbols is exaptation. According to our results, the authentic style is the exaptation of symbols adapted to the functions defined during cultural selection. We then clarify the relationship between authenticity and creativity through the concepts of style and manners, and then point out that whether a particular use of a symbol is authentic or not does not depend on whether creative or mechanical mental processes are responsible for its creation. Finally, we examine the relationship between authenticity and autonomy and show that in a cultural milieu that favours autonomous decisions and authentic style, agents that originally created non-authentic symbols can also become authentic symbol users.

„Nicht Jonny, Walzer spielt auf“ Komparativní úvaha nad žánrovými specifiky valčíku v opeře, beletrii a dramatice českého a rakouského fin de siècle

Author(s): Kristýna Celhofferová / Language(s): Czech Issue: 2/2012

The paper focuses on the distinctive features of “waltz” in opera, belles-lettres, and drama of Czech and Austrian fin de siecle. The starting point of the paper is a reflection of waltz reflection in Hofmannsthal’s and Strauss’ opera “Rosenkavalier” and its concept of a Spieloper as a critique of contemporary aesthetism and a reception of this “waltz opera” in the Czech cultural kontext: Zdeněk Nejedlý and Max Brod tried to rethink this opera with regard to the ambivalent innovation of music-expressing facilities and waltz-anachronism. The study in its next step monitors Max Brod’s critical attitudes in the context of his own work. Futhermore, the study compares the use of the waltz in the works of the Austrian context of Arthur Schnitzler, Stefan Zweig and Joseph Roth with works of Jiří Karásek of Lvovice, Julius Zeyer, Jaroslav Kvapil, Josef and Karel Čapeks of the Czech context. In its final part the paper deals with an evocation of jazz adaptations of waltz in late prosaic and essayistic works of Stefan Zweig; finally these works are compared to Ernst Křenek’s opera “Jonny spielt auf” which connects jazz with an escape from the conventional European culture.

„Sám o sobě existuje jen dobrý osud“ Teorie dramatu Antona Müllera v kontextu středoevropské estetiky

Author(s): Tomáš Hlobil / Language(s): Czech Issue: 2/2014

The essay aims at situating the theory of drama formulated in a lecture series given in 1831 by Anton Müller (1792–1843), Professor of Aesthetics at Prague University, within the context of Central-European aesthetics of the day. Therefore, two contemporaneous discussions are outlined to provide a background for the comparison. They are respresented by drama interpetations laid down in aesthetics lectures of Müller’s predecessors in Prague and influential Austrian reflections on drama dating from the first three decades of the nineteenth century. The comparison with the ideas and theories of August Gottlieb Meißner (1753–1807) and Johann Heinrich Dambeck (1774–1820) demonstrates that Müller’s theory of drama was no longer in accordance with Enlightenment drama principles, while the comparison with the then renowned reflections of Joseph Schreyvogel (1768–1832), Heinrich Joseph von Collin (1771–1811), August Wilhelm Schlegel (1767–1845), Karl Wilhelm Ferdinand Solger (1780–1819), Wilhelm von Schütz (1776–1847), Matthäus von Collin (1779–1824), and Michael Leopold Enk von der Burg (1788–1843) exemplifies similarities between Müller’s theory and Austrian, religiously based and spiritually oriented, aesthetics of the time.

Цветан Тодоров и Станислав Лем: Едно продуктивно недоразумение

Author(s): Miglena Nikolchina / Language(s): Bulgarian Issue: 1/2020

Цветан Тодоров, роман

Литературата и литературните източници в почерка на изследователя

Author(s): Stefano Lazzarin / Language(s): Bulgarian Issue: 1/2020

Цивилизаторската мисия на изкуството

Author(s): Valentin Angelov / Language(s): Bulgarian Issue: 5/2021

There are many artists, as well as theoreticians too, who regard art not only as knowledge, but as possibility for change our material environment, but also our social relations. The last assertion is an utopia, but it has many followers.

ЦИКЛІЧНІ ФОРМИ У ТВОРЧОСТІ АНАТОЛІЯ ГАЙДЕНКА: ЖАНРОВО-СТИЛЬОВІ ОСОБЛИВОСТІ

Author(s): Andrii Yeriomenko / Language(s): Ukrainian Issue: 42/2022

The purpose of the article is to reveal the aesthetic, genre and style constants of Anatoly Haydenko's creative activity. The methodological basis is the basic principles of the theory of knowledge (objectivity, scientificity, historicism, integrity, interconnection and interdependence of phenomena and processes of reality); the main provisions of systemic, axiological, art history, competence, and cultural approaches as a methodological way of studying composer activity; conceptual provisions of the theory of professional compositional skill. The scientific novelty lies in the fact that, on the basis of the composer's personal statements, his aesthetic position regarding the purpose of art is highlighted; by analysing scale-compositional, technical-performance and genre-stylistic features, A. Haydenko’s narrative works are systematised. The intonation, textural, compositional, and dramaturgical features of the composer's music are revealed based on analytical observations of a number of opuses. The evolutionary trends and genre-intonation system in A. Haidenko’s accordion work are characterised. Conclusions. A. Haidenko's fairy tale concerts and sonatas demonstrate the composer's demonstrative interest in images of the distant past, the desire for a national certainty of sound, reliance on folklore sources, presented both in the form of quotations and intonation or harmonic elements assimilated in the author's text. Another trend in A. Haidenko's work was marked by the concerto for accordion with orchestra "Ecce homo!", which clearly shows the composer's desire to expand the figurative and stylistic horizons of music in the direction of the European coordinate system.

Цирк як предмет гуманітарного наукового аналізу

Author(s): Elena Pozharskaya / Language(s): Ukrainian Issue: 8/2017

The paper pays attention to the activation of circus art studies, due to turbulent processes in culture and social life of contemporary society and the demand for the circus as a social institution and as spectacular forms of popular culture. Purpose of the article is to reveal the state of scientific development of the issue of a circus as a cultural phenomenon. Methodology. Research methodology is to use a multidisciplinary approach based on the principle of comparative studies, providing comparison and interpretation of philosophical and aesthetical, historical, cultural, anthropological, social and cultural aspects of the study of art and a circus as a synthetic form of art. Scientific Novelty. The author analyses the state of scientific development of issues of the circus as a cultural phenomenon and reviews the list of identified issues, researched by Ukrainian and foreign scientists in the twentieth century. Conclusions. The author notes the following statements: the need for further study of circus arts, including cultural analysis of issues such as cultural specificity of the circus, its relationship with the artistic context and determination by social, historical, aesthetic factors, new forms of creativity in the circus, the specific features of its functioning in mass culture and the consideration of circus art as a factor of cultural diplomacy.

ЧАРЛИ ЧАПЛИН У ДЕЛУ БОШКА ТОКИНА

Author(s): Ivana Miljak / Language(s): Serbian Issue: 2/2013

Boško Tokin wrote about the work of Charlie Chaplin primarily from the aspect of visual characteristics, mime and gestures and his conclusions regarding those elements of Chaplin’s art differed from the opinions of French film aestheticians. Tokin observed the genre particularities of featured dramas in the same way as other authors that wrote about Chaplin: Alexander LEJTES and Eldar Ryazanov.

Частичност, цялост и изкуство

Author(s): Nikifor Avramov / Language(s): Bulgarian Issue: 4/2020

The text examines the categories of partiality and wholeness in light of art and its adequate understanding. The categories are understood not simply as describing certain objective state, but also as orientations in worldview and interpretation which assume their own objectivity. The essence which defines the orientation and its objectivity we identify through the referring to the metaphysical consciousness term “spirit”. We relate the categories to accompanying concepts, among which the concepts of chaos and order.

ЧЕЛОВЕК И СУДЬБА В ДРАМАТУРГИИ Ю. О’НИЛА

Author(s): Sergei Mikhailovich Pinaev / Language(s): Russian Issue: 2/2014

The article considers the idea of the conflict between man and fate, and describes the nature of the tragic as the most important aesthetic category in O’Neill’s main dramas. The work is focused on the problem of fate and the evolution of this concept. In O’Neill’s early plays, it transforms from inscrutable behind-life forces to an internal entity associated with subconsciousness, family connections and genes. In his late plays, fate is represented by society hostile to man. However, O’Neill believes that fate can never defeat human spirit.

Черното в живописта на авангарда

Author(s): Valentina Ganeva / Language(s): Bulgarian Issue: 3/2003

Читатель в сознании автора: проблема монологического и полифонического сознания

Author(s): Aleksandr Feduta / Language(s): Russian Issue: 2/2005

The article deals with the typological "author and reader" relations during their period of development from classicism to romanticism, describing the author's intentions in relation to the reader in relation to various readers' perceptions. The author consciousness is explored as "monologue" and "polyphonic". It is established that in the first case the author refuses principally the dialogue with the reader, demanding that the author fully trust and refuse to consider his authority. In the second case, the author acknowledges the equality of both his and the reader's ethical and aesthetic experience and, therefore, engages in dialogue with him at the same level as hears the "voices of the various readership groups" and responds to them in his own text.

Човекът - изваден наново

Author(s): Enyo Stoyanov / Language(s): Bulgarian Issue: 12/2022

The text offers a review of Prof. Miglena Nikolchina's monumental study "God with Machine: Subtracting the Human", dedicated to fundamental theoretical conceptualizations around anthropological issues. The review dwells in particular on the central conceptual paradox outlined in Prof. Nikolchina's book, namely the double determination of man as "a being who wants to be human" and “being who does not want to be human”

Човешката мярка като академичен етос

Отзив за юбилейния сборник „Социологията като граждански ангажимент“, посветен на 65-ата годишнина на професор Петя Кабакчиева, София: Универс

Author(s): Snezhana Popova / Language(s): Bulgarian Issue: 11/2022

A collection of works ‘Sociology as a civic commitment’ dedicated to the 65th anniversary of Professor Petya Kabakchieva, (Sofia, St. Kliment Ohridski University Press, 2022) contains articles and studies written by established Bulgarian sociologists and social scientists and their younger followers. Compilers of the collection are Maya Grekova, Mila Mineva, Lea Vaysova and Dimitar Blagoev.

Чоловіче академічне виконавство 1950–1970-х рр. (на прикладі творчої діяльності М. Апухтіна, А. Бєлова та Г. Баукіна)

Author(s): Liudmyla Ivanivna Vyshotravka / Language(s): Ukrainian Issue: 4/2021

The purpose of the article is to study artistic processes among ballet performers in the 1950s – 1970s on the example of the creative activity of Nikolai Apukhtin, Anatoly Belov, and Gennady Baukin. The methodology of the work includes the use of the following research methods: general historical, comparative, analytical, dialectical, systemic, etc. The scientific novelty of the publication lies in the fact that it first explored the professional culture in the field of male classical performance of the first half of the twentieth century on the example of the stage achievements of N. Apukhtin, A. Belov, and G. Baukin. Conclusions. The artistic contribution of the ballet premieres of the 1950s – 1970s. in the development of Ukrainian classical choreography on the example of the creativity of dancers N. Apukhtin, A. Belov, and G. Baukin, consists in the following: 1) a significant increase in the professional culture of performers due to the complication of the technical component and improvement of the actors' acting skills; 2) the creation of highly artistic images in ballets of the Soviet classics (B. Asafiev, R. Glier, A. Kerin, S. Prokofiev, A. Khachaturian, M. Chulaki, V. Yurovsky, etc.) and choreographic performances on national themes (V. Homolyak, K. Dankevich, G. Zhukovsky, V. Kireiko, N. Lysenko, A. Svechnikov, M. Skorulsky, B. Tishchenko, etc.); 3) transfer of professional experience in the process of pedagogical work to subsequent generations of Ukrainian dancers.