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ЕСТЕТИКО-ФІЛОСОФСЬКІ ОСНОВИ ТАНЦЮ КОНТЕМПОРАРІ

Author(s): Natalia Vladimirovna Fedotova / Language(s): Ukrainian Issue: 1/2023

The purpose of the article is to reveal the aesthetic and philosophical foundations of contemporary dance. Research methodology is based on the analysis of scientific sources related to the topic, the application of cultural optics in the clarification of the aesthetic and philosophical foundations of contemporary dance. Scientific novelty. The main approaches of the aesthetic-philosophical foundations of contemporary dance are revealed, and emphasis is placed on consideration of physicality as a specific feature of contemporary dance. Conclusions. Contemporary dance can be qualified as an intellectual choreographic direction, a kind of tool for self-awareness and self-reflection of modern culture. Physicality is a specific feature of contemporary dance, which is due to the desire to establish connections with historical and cultural transformations of the attitude to the human body. The formation of the aesthetic and philosophical foundations of contemporary dance is based on the ideas and approaches of the founders of modern dance. A. Duncan, D. Humphrey, R. Laban, M. Cunningham, J. Skinner, T. Brown, S. Paxton, D. Zambrano, and others are among the choreographers who started new philosophical currents. Philosophical understanding of dance by choreographers consisted in advocating the ideas of a holistic approach in determining the conditions for the fullness of human existence and in effective experiments of fusion of Zen Buddhism and dance. The priority of universal human values and the importance of awareness of one's bodily existence were proclaimed, and the life-affirming meaning of aesthetic culture focused on the need for harmonious development of the individual. Contemporary dance techniques are aimed to develop somatic experience and human physicality, contributing to the formation of a body-oriented philosophy of dance.

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МУЗИЧНО-ПОЕТИЧНА СИМВОЛІКА POÈME DE L’AMOUR ET DE LA MER М. БУШОРА – Е. ШОССОНА

Author(s): Aliona Milanina / Language(s): Ukrainian Issue: 1/2023

The purpose of the work is to decode the symbolism of the vocal cycle «Poème de l'Amour et de la Mer» by E. Chausson based on poems by M. Bouchor. The research methodology consists in the application of semiotic, comparative, historical and biographical, hermeneutic, as well as structural and functional methods. The specified methodological approach allows us to reveal and decode the symbolism of the musical and poetic text of E. Chausson's vocal cycle based on M. Bouchor's poems «Poème de l'Amour et de la Mer». The scientific novelty of the research lies in the perception of the vocal cycle «Poème de l'Amour et de la Mer» by E. Chausson based on the poems by M. Bouchor as a complex symbolic formation intended for the communication of the recorded, meaningful authorial information. Consideration of this work in the semiotic and information space allows us to identify and decode the symbolism of the musical and poetic text of the work as well as to understand the musical universe of the French composer and his version of symbolism. Conclusion. Analysis of «Poème de l'Amour et de la Mer» proves that the poetic and musical text of the work is saturated with symbols, the decoding of which helps to immerse into and understand the authors’ ideas most deeply. It can be argued that the vocal cycle is inspired by and based on the symbolism of the poetic text, as well as that the composer's interpretation is as close as possible to the aesthetics of symbolism. E. Chausson’s work seems to evoke memories, he knows how to maintain an imaginary, in modern terms, virtual, deliberately ambiguous world composed only of unique fragments, for that reason, the author is constantly in that word as different figures and possible interpretations, which are his inner need. This freedom and independence of mind, to a certain extent, correspond to the mentality of the Symbolists. «Poème de l'Amour et de la Mer» preserves the already existing cultural and musical frameworks, but E. Chausson adapts them to his own requirements and offers a unique version of symbolism, that is, E. Chausson’s universe develops in two parallels: some testaments of the symbolists persist, but the perceptivity passes through the filter of author's beliefs and sensibility.

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The Cloud Over the Highway. On the Inescapability of Mystical Experience

Author(s): Hans Joas / Language(s): English Issue: 1/2023

Adam Zagajewski’s essays on poets and poetry are interpreted here in the context of scholarly debates about the specificities of mystical experience. From the four criteria the great American philosopher and psychologist William James developed in 1902, “transiency” and “passivity” can be brought together as indicators of what I call the inescapability of mystical experience, while the two other criteria, namely “ineffability” and “noetic quality”, can be treated as what I call the “paradox of articulation”. The essay demonstrates how profound the reflections of the Polish poet on these questions are, how they are related to his views about the possibilities of contemplation and art in view of the history of violence of the 20th century and what they mean for the future of religion. The highly influential narrative of a world-historical process of ongoing “disenchantment” (Max Weber) loses much of its persuasiveness if these reflections are true.

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THE THEOLOGICAL SYMBOLISM OF COLOURS IN BYZANTINE ICONOGRAPHY

Author(s): Ioan Chirilă,Stelian Paşca-Tuşa,Bogdan Şopterean / Language(s): English Issue: 25/2021

Colours have significant importance in Byzantine iconography. They are filled with profound theological symbolism, transcending the everyday dimension of life that envisions only the aesthetic. Thus, to pervade the mystery of the icon, certain elementary notions that enquire the mystical symbolism of colours need to be acquired firstly. These details offer us a much clearer perspective on the theological teaching and message conveyed by the Byzantine icon/picture. Therefore, the present study is aimed to present the theological symbolism of colour, which is intrinsically related to the celestial and divine realities and the mystical take on life. In this respect, we will focus on colours like gold, brass, red, blue, and, of course, white, and black to emphasize the theological connotations that these colours embrace in Byzantine art. This research will refer to certain details from the Holy Scriptures, the mystical vision of Saint Dionysius, the Areopagite related to colours, and the international and Romanian literature on this matter.

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Podivnější než podivné

Author(s): Ondřej Dadejík / Language(s): Czech Issue: 67/2023

The article’s central theme is Vladimír Borecký’s “theory of the obscure,” which is viewed and interpreted from several points of view. Firstly, it is compared from the point of view of philosophical pragmatism, especially from the search for continuity overcoming the dualism of art and life. Secondly, the attention is focused on the dual character of mirroring in Borecký’s key concept. Subsequently, the network of standards, norms, and criteria that a rational critical debate about the meaning and value of the work of these extraordinary figures always presupposes is described. Finally, the author conceptualizes the nature of “strange works” in terms of one of the contemporary definitions of art, the American philosopher Alva Noë’s concept of artworks as “strange tools.”

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Онтология на ценностите. Ценностно разсъждение

Author(s): Silviya Kristeva / Language(s): Bulgarian Issue: 4/2023

The article engages with the contemporary debate on values by delineating two problem lines. In order to have a proper explanation and derivation of values, we must recognize their ontological status, which undoubtedly provides the basis and movement towards an ontology of the spiritual and of valuable in general. This is the direction taken by Baden neo-Kantianism, and here the article traces the transformation of Kant’s apriorism into axiological apriorism. Once the values are recognized in their “realm”, they must be provided with their axiomatics. But the a priori forms through which they become accessible and are embedded in human rationality and human activity are also subject to consideration. For Rickert, one such form is judgment, but this defined a new role for judgment for human knowledge. The highest class of judgment in the Kantian and Hegelian classifications – modality, provides models of transition and structuring of the new a priori form of ratiocination, as a meta-formation, giving access and work to the unconditional and the values in human knowledge.

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The Cosmos as the Hierarchy of Self-Similarity of the One: Plato’s Doctrine of the Beautiful in the Light of the Theory of Fractals

Author(s): Nadezhda Zudilina / Language(s): English Issue: 4/2023

The introduction of the intensiveness (depth) axis, orthogonal to the extensiveness (length–width–height) axis makes it possible to consider the beautiful Cosmos as the hierarchy of resemblances of the One, on the basis of the diaeresis of line proposed by Plato in the dialogue The Republic. Each line segment obtained as a result of diaeresis is designated by one (1), zero (0) or a numerical combination consisting of ones and zeros. One (1) is assigned the value “intensiveness”, and zero (0) is assigned the value “extensiveness”. Through the application of the intensiveness and extensiveness axes, the interpretation of the segments on each of the levels of the diaeresis of line along the intensiveness axis is given. The One (1=⟂) on zero level of diaeresis is beyond the dialectical opposites, but nevertheless beautiful Νοῦς (Nous, the Cosmic Mind) is Its likeness. On the first level of the diaeresis, both the intensive (1, or point), as the representation of the mental (Nous), and the extensive (0, or line), as the representation of the material, are derived from the One (1=⟂). Nous is purely intensive. The intensive is the same (τὸ ταὐτόν). The mixture of the same and the other (τὸ ἕτερον) is the similar (τὸ ὅμοιον). The similar is “…infinitely fairer than the dissimilar” [Plat. Tim. 33b]. The structuring of the other (as the dissimilar) by Νοῦς (as the same) leads to the creation of true likeness (εἰκών), the beautiful Cosmos, which can be represented by the scheme of the diaeresis of line. The result of the diaeresis of line is a fractal – a self-similar object, each part of which repeats the whole on a reduced scale. Thus, the scheme of the diaeresis of line represents the fractal hierarchy of the Cosmos. Since fractal is self-similar, the hierarchy of the Cosmos is the hierarchy of self-similarity of the One. The diaeresis of line represents the similarity to the One, i.e., self-similarity of the One on each of the levels of the diaeresis of line along the intensiveness axis. Any similarity is self-similarity of the One, and for any existing object, the similarity to the One-Good is true similarity to itself/oneself. Since the One is the source of the Beauty of the Cosmos and of every object in the Cosmos, the condition for preserving or returning beauty to the resemblances is to remain similar to or become similar to the One.

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Естетика на концепта

Author(s): Poullo Oconne / Language(s): Bulgarian Issue: 4/2023

The article analyzes Plato's theory of form, set forth in The Republic and critically developed in Parmenides, through the idea of conceptual morphism, the study of relations between incompatible categories and the articulation of existing coherent connections between them. Man’s fluid ability to create a common synthetic image, a picture of everything, even incompatible from a linguistic and categorical point of view, is a starting point for considering the concepts of hyperdynamics (according to Aristotle’s formulation of essence set forth in Categories) and virtuality; and accordingly to this – to construct a definitive concept of resonance. The aesthetics of the concept is seen precisely as a resonance of reality’s capacity for hyperdynamics and the human mind’s capacity for virtuality.

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SPORT AND ART - ABOUT THE AESTHETICS OF SPORT

Author(s): Denisa Elena PETREHUŞ / Language(s): Romanian Issue: 28/2022

It has been said that even sport can be considered art, the eighth art ... H. Lenk even published a work entitled "The Eighth Art", advocating an incorporation of sport among the arts. In the same vein, establishing that since ancient times sport has been considered "a kind of art", the Greek philosopher Nikos Nissiotis emphasizes the artistic nature of sport. Neighborhood, even kinship, no doubt exists between the arts.

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THE PROBLEM OF AESTHETICISM IN THOMAS MANN’S ”DEATH IN VENICE”

Author(s): Ingrid Cezarina-Elena Ciochină / Language(s): Romanian Issue: 31/2022

Thomas Mann's short stories from the beginning of the 20th century bring into discussion the problem of aestheticism, as was also emphasized by literary criticism, but also a certain perspective on a neoclassical ideal. The epic of small dimensions (the sketch, the story, the short story) characterizes the beginning of the 20th century, being focused on social observation, psychological analysis, symbolism and the fantastic. "No one remains unchanged after going through a process of self-knowledge", says Thomas Mann. Thus, in his writings he attempts a deepening, a highlighting of everything that self-knowledge means and produces.

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BRITISH AESTHETICISM

Author(s): Maria Cristina Fulop / Language(s): English Issue: 32/2023

Aestheticism was a counter-movement to the Victorian industrialism in mid-19th century. It has its roots in the Pre-Raphaelite movement and poets have been frequently labelled with both terms. Its central tenet is the cult of Beauty and the theory argued that the primary function of art was to elevate aesthetic standards, tossing off the idea initiated by Ruskin and Arnold that art should serve a higher moral or societal purpose. Artists draw inspiration from the past, either Hellenic, medieval or Renaissance and their symbolism. British Aestheticism is characterized by its heavy use of symbols, sensuality, suggestion rather than declaration, and synesthetic effects. Decadence and early symbolism are both linked with the late age of artistic development. Dante Gabriel Rossetti, Algernon Charles Swinburne, Walter Pater, and Oscar Wilde are all significant figures in British aestheticism.

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MOŻLIWOŚĆ INNEJ JAWY UKRYTY WYMIAR POETYCKIEGO ŚWIATA GÉRARDA DE NERVALA

Author(s): Hanna Ratuszna / Language(s): Polish Issue: 2/2022

Gérard de Nerval is a poet whose work exerted a signifi cant infl uence on the achievements of Polish modernists. One of the authors who, in creating her fi ctional world, used a similar narrative method to that applied by Nerval, was Maria Komornicka. What connects the works of the two artists is a melancholic worldview, in which an anamorphic vantage point plays an important role. Characteristic of the 19th-century vision-centeredness, the fi gure of anamorphosis makes it possible to investigate numerous philosophical contexts, as well as the problems related to the aesthetics of lack and to the “fl ickering” of the “I.” In the article, an analysis of the anamorphic images included in Nerval’s poem is complemented by a refl ection on Komornicka’s work Biesy. The juxtaposition of the texts so removed in terms of the time of their origin makes it possible to grasp the importance of anamorphic imaging in the process of shaping the 20th-century aesthetic discourse.

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W (HISZPAŃSKIM) POTRZASKU PROBLEMATYKA WOLNOŚCI W PROZIE ALEJANDRA CUEVASA

Author(s): Katarzyna Gutkowska-Ociepa / Language(s): Polish Issue: 4/2022

The article describes the theme of freedom as it is developed in two recent works by Alejandro Cuevas, a Spanish writer born in Valadolid in 1973. The works in question are a novella Mariluz y el largo etcétera of 2018 and a novel Mi corazón visto desde el espacio of 2019. The text is divided into three parts. In the introductory one, the concept of freedom is described in the context of ratiovitalism and the idea of circumstance as developed by José Ortega y Gasset (“I am I and my circumstance; and, if I do not save it, I do not save myself.”). Cuevas’s literary strategy is interpreted by reference to Samuel Beckett’s play Eleutheria of 1947, where freedom appears a passive and aboulic condition. The central part of the paper is focused on the interpretation of the motif of freedom in Cuevas’s works, specifi cally exploring the needs of their main protagonists (a 32-year old male “I” and a 36-year old female called Mariluz who has a doctorate but is incapable of fi nding a job matching her skills and thus of providing for herself) as juxtaposed with the pre-existing “circumstance” of their lives. The analysis of the motif in question is conducted with a view to Milton Friedman’s concept of the of the dependence of individual freedom on the way the political and economic community is governed. Thus the paper also scrutinizes how the workings of various types of freedom in the toxic local communities in the plutocratic Spain are refl ected in Cuevas’s fi ction, pointing to the instability of the Spanish job market and in particular to the precarious professional circumstance of the well-educated X generation, whose members not infrequently majored in the humanities, including language and literary studies. Cuevas shows the acute disillusionment of those who have decided to dedicate their lives to art and culture. In the concluding part of the paper the process of problem solution on the part of Cuevas’s protagonists is reconstructed in terms of an “exercise in freedom,” which consists in expanding their intellectual universe so that, despite the oppressiveness of the outside world, they are capable of choosing the shape of their own freedom, adopting, in a way, the attitude of Victor from Beckett’s Eleutheria.

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Uses and Abuses of Modern Pornography: Pornography as Aesthetic, Ascetic, Anesthetic

Author(s): Ben Muratovic / Language(s): English Issue: 1/2023

How should we evaluate the modern day use and abuse of pornography? Modern day video pornography has the hallmarks of film and cinema industry (lights, cameras, sets, actors, etc), but common sentiment is that it doesn’t deserve the status of being called "Art". An exploitative media that gets a bad review may get labeled as “trauma” or “torture porn.” Calling something pornographic indicates that the creators of a media had poor taste. In the section titled “On the Sublime ones” of Thus Spoke Zarathustra (Z II), Nietzsche states “But all life is disputing of taste and tasting!” Nietzsche concerns over taste are directly related to his effort to maximize the role of aesthetic judgments in all parts of life. As the early Nietzsche states in the Birth of Tragedy (BT §5) “…the existence of the world is justified only as an aesthetic phenomenon.” A Nietzschean investigation into the purpose of modern pornography requires a perspectivist and not a moral assessment. Kant’s Critique of Judgement reflected on the topics of both aesthetics and teleology, suggesting the question of aesthetics must include a concern over purposiveness. Thus, what is the purpose of pornography? How does it juxtapose to the actual act of sex itself? To Erotic art? Is it akin to the violent Ancient Greek Doric Frieze? Lastly, in a civilization where pornography is of easy access to all, does this take away the prevalence of sex itself? This paper attempts a Nietzschean investigation on the subject and will touch on the themes of gender, domination, sublimation, and the consumption of media.

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Analyzing contemporary image of the Olympic city Sarajevo: Modalities, Meanings and Negotiations

Author(s): Erna Husukić,Emina Zejnilović / Language(s): English Issue: 1-2/2023

This work examines the visual identity of the city of Sarajevo, the host city of the XIV Winter Olympic Games 1984. It aims to question the role of the Olympic signs and symbols today, which do not solely exist as just visual interpretations but are set in the context of meaning – systems in a contested environment of post-Olympic, post-war, and divided city . By doing so, it looks closely at the concept of the Olympic city as a constructed visual identity, with particular emphasis on the analysis of the (in)consistency of the constructed city’s image in the period after the Games. It puts focus on the Olympic Games, not just as a large-scale, cross-cultural event, but also as a visual event and experience, where there is a wealth of information to be explored by evaluating its “visuality” and outlining the numerous ways in which the vision is formed. Applying the central contention that all signs and symbols have the potential to make some meanings available and rule out others, this work identified a set of factors that determine Sarajevo’s image. This leads us to the conclusion that an immense effort is being put into conceptually creating and aesthetically communicating the host city’s desired visual identity. To comprehend today’s image of Sarajevo as an Olympic city one must gain insight into the complex realities of national identity, the economy, and political and cultural influences.

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The Concept of Homage in VAL’s E-temen-an-ki Project

Author(s): Gabriela Smetanová / Language(s): English Issue: 1-2/2023

The text is devoted to one of the eight projects of the Slovak art-architectural group VAL, active in the 1970s through the 1990s, the work of which falls into the category of visionary architecture. The following study is part of a broader historical-architectural research project involving VAL, one of the aims of which is an attempt to formulate an original conception of the group and to explore the possible development of their architectural thinking over time. Using the selected project E-temen-an-ki – Sheraton Hotel Babylon, it explores one of the characteristic motifs of the group’s work, which is the concept of homage, and the way it is grasped and manifested in the project.

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SEHEN UND GESEHEN WERDEN. MENSCH-TIER-VERHÄLTNIS ZWISCHEN WIRKLICHKEIT UND ILLUSION IN DAVID WIESNERS BILDERBUCH „FLOTSAM“

Author(s): Qingyu CAI / Language(s): German Issue: 42/2022

The picture book Flotsam depicts a boy who meets animals at a beach and finds an analog camera as flotsam, with which he discovers a peculiar underwater world. In the book, human-animal- relations are reflected dialectically in the context of visual perception with art, namely photography and fine arts, as well as literature, being used as the medium of reflection.

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AYDIN UZKAN’IN DİSTOPYA ŞİİRİNE BİR BAKIŞ: DİSTOPİK UNSURLAR ve İMGENİN KURULUMU

Author(s): Yakup GELİR / Language(s): Turkish Issue: 59/2023

Dystopia, which is the opposite of utopia, referred to with pessimism and negativity, has a wide meaning. The concept, which expresses the concerns of the individual about the time, the world, life and the future, focuses on the suppressed, limited, and unfreedom life of human beings. As a general framework, while dystopia is shaped by a pessimistic view of the future, it also deals with the negativities woven by the current conditions. Dystopia, which describes both the present and the future with negative lines, takes its place with different forms of expression. The concept, which is seen in different fields from literature to cinema, has a different position in the literary field. The expressive ability of the literary field, its imaginative richness, the diversity of meaning possibilities, its strong relationship with imagination, its premonitions about the vision of the future open a wide field for dystopia. Literary areas where dystopia is told and fictionalized, especially in novels and short stories, draw attention. Along with these, it is witnessed that dystopia is seen in some texts in poetry. One of the contemporary poets, Aydın Uzkan's poem Dystopya can be given as an example. Everything from the title of the text to its narration and from its imaginative expression to its fiction coincides with the concept of dystopia. First, after the definition of life, the outer world and other meaning patterns move around the concept. Each expression; A responsibility that overlaps with the previous and next statements, gathers the mana units around dystopia, and reveals the dystopian elements. This dystopian poem, created by dystopian elements, expands and contracts throughout the text. These dystopian elements, which spread the meaning to the environment as it expands and deepen the meaning when narrowed, constitute the strongest aspect of the text. In particular, the imaginary narrative, on which dystopian discourse is loaded, makes the text alive as content and provides different meaning possibilities to the text every time it is read. In this study, it is aimed to reveal the dystopian elements in poetry, to analyze the atmosphere of meaning they create and to determine the image.

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Ko je zapravo varvarogenije?

Author(s): Dragan Prole / Language(s): Serbian Issue: 37/2022

The article examines the artistic appearance of Ljubomir Micić, a professor of philosophy who unusually early leaves the scientific field for which he was educated and rejects the civil service. Micić's notion of barbarogenius was interpreted through the constitutive imbalance between national and international. The generality and supranational character of the New Man most often failed to amortize national particularity, and even less to offer a solution for all national difficulties and challenges. Contrary to common interpretations, the author argues in support of the thesis that Micić's concept of barbarogenius does not have any national cultural peculiarities. Therefore, there is nothing specifically Serbian or national about him that could be offered internationally, exchanged or made international. The reasons are found through a comparative reading of some ideas of romanticism in relation to the early avant-garde movements. Figures that Micić explicitly uses: heroism of spirit, goodness of heart, purity of soul, immediate humanity, are too formal and general, more at the level of ideals and programs than experience and reality. After all, each nation could attribute them to itself. All cultures cherish examples of kindness, self-sacrifice, extraordinary gestures of humanity with special care. Hence, barbarism is everyone's and no one's.

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Filozofski prilozi u Glasniku Jugoslovenskog profesorskog društva u periodu između 1930. i 1941. godine

Author(s): Damir Smiljanić / Language(s): Serbian Issue: 37/2022

Before the outbreak of the Second World War, Glasnik Jugoslovenskog profesorskog društva (Courier of the Yugoslav Professors’ Association) was the main pedagogical organ in the Kingdom of Yugoslavia. The author’s intention is to show how the status of philosophy as a subject in secondary schools was considered at that time. The perspective of the so-called work school, its view on the teaching of philosophy, and the philosophical character of its assumptions will also be taken into consideration. At the end of the article, the focus will be both on the demand for didactic adequacy of the education received by future professor candidates at the Faculty of Philosophy, and on the pressing problem of their unemployment. It will be shown that this problem was of great social importance, and that it has not been solved even to this day.

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