‘Absolute Physical Patterns’ in Nili Portugali’s Holistic Phenomenological Approach in Arts

Author(s): Sylvia Borissova / Language(s): English Issue: 2/2022

The article is dedicated to the Israeli architect Nili Portugali’s holistic-phenomenological approach in the planning process in architecture, the creative process in arts and life as a whole. This approach is based on the British-American architect and design theorist Christopher Alexander’s empirical study on ‘absolute physical patterns’ and the common and ‘entire’ language which the pattern language is. Respectfully, a holistic phenomenology of architecture, organic order, sense of belonging, timeless quality, beauty and the ‘one value’ of the One Self—are integral part of this pattern language.

“Bullshit Art” and Non-Fungible-Tokens

Author(s): Thorsten Botz-Bornstein / Language(s): English Issue: 4/2021

The NFT art world is a mixture of late capitalism and populist aesthetics in which any idea of an “adequate artistic expression” has become increasingly difficult. Beeple’s digital artwork “Everydays: The First 5,000 Days” sold for $69.3. Twobadour, one of the two buyers of the work, thinks that work “is going to be a billion-dollar piece someday.” Until recently, “art” as a vague institution could still provide some landmarks about the ‘how’ of art and the discourse attached to it. Galleries and museums played a role in promotion, which sparked debates, both public and elitist. Curators, who are generally excluded from the financial craze, functioned as gatekeepers. Once NFTs are introduced into a highly speculative art market, any notion of aesthetic “truth” becomes dysfunctional. Authenticity emerges from the Enlightenment tradition for which being authentic meant to be free and autonomous. In the twenty-first century, authenticity needed to be installed in nonmateriality, and NFTs are the latest result of this process. Dematerialization means despatialization. The digitized version of a work is authentic, but authentic has here a meaning different from what it was before. The shift goes hand in hand with the reissuing of authenticity as a highly abstract category that is common in the twenty-first century.

“Engelmann Told Me...”: On the Aesthetic Relevance of a Certain Remark by Wittgenstein

Author(s): Joachim Schulte / Language(s): English Issue: 1/2020

This paper is an attempt at bringing out various aesthetically relevant points alluded to by Wittgenstein in what I call ‘the Engelmann remark’ – a longish manuscript remark written by Wittgenstein in 1930 and painstakingly discussed by Michael Fried in the context of elucidating what is strikingly new in the work of a photographer like Jeff Wall. One part of this paper is dedicated to summarizing and briefly examining the account given by Fried while another part is meant to clarify some of Wittgenstein’s points by way of contrasting their import with the story told by Fried. In this second part Wittgenstein’s late observations on aspect change are used to show in which ways these observations may help us to gain a better understanding of the idea of a specific ‘perspective’ claimed to go with a given work of art.

“I believe a cage is a cage and no one deserves to be put in one”: Animal Liberation in Contemporary Film

Author(s): Danijela Lj. Petković / Language(s): English Issue: 25/2021

The paper analyses diametrically opposite portrayals of animal liberation in four contemporary films (Denis Henry Hennelly’s Bold Native (2010); Kornél Mundruczó’s White God (2014); Chris Renaud’s The Secret Life of Pets (2016), and Joon-ho Bong’s 2017 Okja). The discussion of the films’ “politics of visibility” and its role in animal liberation is informed by the theoretical work being done in the field of critical animal studies (CAS). In CAS, animal liberation, also known as abolitionism, refers to the ethical and political position which rejects all kinds of human use of nonhuman animals; as such, it is at the basis of the animal rights movement and various forms of related activism, primarily the “direct action” of physically rescuing animals from factory farms and research laboratories. Dedicated to animals’ liberty, abolitionism is nonetheless human-centered and is obviously treated as such in Bold Native and Okja, which both romanticize and explore the pitfalls of militant animal rights activism, while deploying the images of nonhuman animals mainly, though not exclusively, as victims. Yet the phrase “animal liberation” in this paper also refers to to the state in which former pets find themselves once they are liberated from generally abusive human ownership. Former pets no longer under human supervision are either ridiculed, as exemplified by Renaud’s “Flushed Pets”, or, as in White God, depicted as monstrous and bloodthirsty. These portrayals, it is argued, convey the danger and threat a liberated animal poses to the anthropocentric order.

“ИСКУССТВО И ЖИЗНЬ”: ЭСТЕТИЧЕСКИЙ ПЛАТОНИЗМ ОСКАРА УАЙЛЬДА

Author(s): Irina Protopopova / Language(s): Russian Issue: 1/2022

The article examines the Platonism of Oscar Wilde, starting from his studies at Trinity College and Oxford, and how it was related to his aestheticism. Plato was one of the key figures for the so-called Oxford Hellenistic movement (1850–70s of the 19th century). In its context, the “Symposium” was read almost as a manifesto of a new aestheticism, an important part of which was homoeroticism. Wilde believed that Plato should be interpreted as a “critique of Beauty” and compared a philosopher of the Platonic school with a poet. At the same time, considering himself a Platonist, Wilde turned Plato upside down. The metaphor of the “Cave” remained relevant to him as well, and the Cave itself was understood in about the same way, viz. as a vulgar sensual life with its senseless utilitarianism, taking shadows for genuine reality. But while for Plato the exit from the Cave was associated with pure comprehension in the rarefied and, most importantly, extra-figurative space of merging oneself with the transcendent, and attaining genuine virtue by this outlook for genuine reality, for Wilde, the beautiful in itself was imagery par excellence (according to Plato, the world of eidolons, the lowest sphere of being), and imagery was art, and the possibility of virtue according to Wilde is precisely fidelity to art.

„Autenticitatea”, de la literar la etic şi înapoi

Author(s): Ştefan Firică / Language(s): Romanian Issue: 17/2014

The debates around “authenticity”, in the Romanian literary criticism, have generally laid stress on such aspects as the narratological, the biographical, the mimetic, or the “poietic” (depending on the contrasting pairs taken into account: narrator vs. character, author vs. character, text vs. reality, author vs. text etc.). Some researchers based their commentaries on an etymological perspective, resulting in the broadening of the concept used and abused of in the interwar Romanian journalism. However, the nuances added by the late 20th c. local literary criticism cannot supply for the centuries of construction / deconstruction / reconstruction of the concept in the history of the European culture. This paper aims to point at a possible bridge between the ethical / philosophical developments of the concept and its use in the current literary discourse. Starting from some theories put forward by Charles Taylor or Alessandro Ferrara, an updated version of “authenticity” could be launched on today’s (literary) market.

„CZUCIE I UCZUCIE CZŁOWIEKA”. UWAGI O ASSUNCIE NORWIDA W ŚWIETLE MŁODOPOLSKIEJ RECEPCJI

Author(s): Hanna Ratuszna / Language(s): Polish Issue: 40/2022

Assunta is a digressive poem showing Norwid’s views on art, philosophy and religion. According to the aesthetic assumptions of Romanticism, art has its source in internal experience, religious experience, and is of a metaphysical nature. Modernist interpretations of Norwid’s works, to which the article was devoted, reveal its metaphysical aspects. Determining the direction and significance of influences becomes an extremely important task. The author of Assunta was perceived at the end of the nineteenth century as a patron of modernism, his name was mentioned together with that of Baudelaire, comments about him appeared in the context of discussions on modern literature, theater and the art of acting. Norwid’s work was in line with the „paradigm of sight-centricism”, the poet did not avoid optical metaphors, he used the poetics of chiaroscuro and space framing, which in Assunt’s poem gained a vertical character. The motives of improvement and growth played an important role in the piece. Reflecting on their meaning allowed to establish the rank of the metapoetic remarks contained in Assunta. The works of Norwid, recalled in the era of modernism, have received many interpretations, including critical ones, based on „troublesome” concealments. Zenon Przesmycki believed that this work was not fully understood, although attempts were made to include it in the aesthetics of modernism. However, it was recognized that it was the missing link in the development of Polish symbolist poetry (it is also worth emphasizing its links with „colorists” – as the Impressionists were called). In Assunta, referring to the Divine Comedy by Dante and Shakespeare’s Hamlet, the contemplative path of knowledge is shown. „Looking to heaven” is therefore a cognitive act in which reason coexists with faith.

„Dühöng a fősodor”. Az Orbán-rendszer populista diskurzusai a populáris zenében

Author(s): Emília Barna,Ágnes Patakfalvi Czirják / Language(s): Hungarian Issue: 30/2022

Our paper looks at the relation between populism and popular music in the context of Hungarian society and politics after 2010. We aim to answer the question of how popular music is able to pave the way for populist discourses, and how this is connected to both musical aesthetic and form, and the economic, social and political embeddedness of musicians. The paper understands populist discourses as part of the hegemony building of the Orbán regime, as an ideological pillar that underpins certain elements of post-2010 governance, while obscuring others. Our analysis is aimed at three songs, namely “Hazatalál” (Finding home) (2018) by Ákos, “Tizenötmillióból egy” (One of fifteen million) (2016) by Kowalsky meg a Vega, and “Akit a hazája nem szeretett” (They who were not loved by their country) (2020) by János Bródy. In addition to analysing the songs as texts, we consider the context of production, distribution, as well as performance, where the capitalist logic of the music industry becomes combined with the assertion of political power. Moreover, we analyse the songs together with the – at times changing – music industry and social position of the musicians. Within the music industry position of the musicians, a dependence on market relations appears together with a closely related reliance on state cultural and media politics.

Імітація та наслідування: сутнісні розбіжності в предметному змісті та особливостях формування культуротворчого процесу

Author(s): Tetiana Ihorivna Sovhyra / Language(s): Ukrainian Issue: 1/2022

The purpose of the article is to conceptualize the phenomena of imitation and replication and to identify the distinctive features of these processes using examples of cultural practices. The influence of these processes on the cultural progress of mankind is comprehended and the results of such manifestations are analyzed. The research methodology is based on an integrated approach and relies on analytical (when analyzing philosophy, art history, cultural literature on the subject of research) and comparative (when elucidating the distinctive features of imitation and replication and the cause-and-effect relationships of these processes in the course of the cultural development of mankind. research methods. The scientific novelty of the article lies in the fact that for the first time disagreements in the subject content of the concepts of imitation and replication are clarified and the difference in the features of these processes is analyzed. Conclusions. It was revealed that, despite the etymological relationship between the concepts of imitation and replication , in practice, these two phenomena mean different things. Imitation often involves the deliberate copying of the external features of an object, phenomenon, or movement to reproduce an introduction to deception or to bring the features of this object or phenomenon closer to the reproduced original. On the other hand, replication is not always deliberate and conscious, its results are caused by a complex association of ideas and testify to the manifestations of a long process of aestheticization. It has been proven that it is precisely in the long “nozzle” (repetition) of certain customs of technological means and tools that the reason they, initially strange and unacceptable, become pleasant, expected, and necessary. Deliberate imitation or subconscious replication of the necessary form of another object or animal movements to achieve their goals are ways to implement the artistic process, as a result of which new work is created.

Чувството за красота

Част І. Природата на красотата (откъс)

Author(s): George Santayana / Language(s): English,Bulgarian Issue: 1/2020

This text is part of George Santayana’s central aesthetic opus, The Sense of Beauty, and presents three paragraphs from Part I. The Nature of Beauty. The main topics covered in the paragraphs are, in successive order: the argumentation of the philosophy of beauty as a theory of values, the difference between aesthetic values and moral ones, and a narrower definition of beauty.

ЧУТО-ВИДЯНО

Author(s): Ivan Marazov / Language(s): Bulgarian Issue: 26/2022

The article aims to compare the creative principles of the epic and that of archaic art. The standard repeatable vocabulary of folklore and art is determined by the use of object and action formulas and themes, as well as rhythm and symmetry in the composition. In this way content is condensed and the whole myth can be read / remembered. For the initiates in the language of mythological thinking, figurative hints are sufficient to reproduce a mythological situation. As in myth and ritual, cosmogony is realized through naming, so in art the world is created through obtaining an image. The article draws analogies with Balkan folklore, as well as Greek, Vedic and Celtic mythology.

Шелинг – от логос към мит

Author(s): Iliana Ilieva / Language(s): Bulgarian Issue: 4/2021

This article aims to analyze the beginning of the transition from logos to myth. To incorporate the religious into his Enlightenment philosophical system, Schelling presents a reconstruction of myth. The conceptions of the religious consciousness of the Self from antiquity as presented. The myth embodies cultural reality and the history of self-consciousness, an idea that was later considered by Mircea Eliade. Myths evolve in parallel with human evolution. The need for the development of abstract thinking and the complex social environment presuppose the new mythology. Christianity in history appears as part of the mechanism of human development, which generally symbolizes the transition from mythology to Christianity. Theology must abstract mythologies from the purely divine, but together they participate in the formation of human consciousness.

Шепотът на огледалото във фантастичния свят на българския диаболизъм

Author(s): Ivanka Stapova / Language(s): English,Bulgarian Issue: 4/2018

The article is focused on the metaphorical nature of the mirror, and its presence as a demonized object in some short stories by Bulgarian diabolists

ШЛЯХИ ПОЕТИЧНОЇ САМОРЕАЛІЗАЦІЇ ФУНДАТОРА УКРАЇНСЬКОЇ МОДЕЛІ ФУТУРИЗМУ МИХАЙЛЯ СЕМЕНКА

Author(s): Svitlana Kholodynskaya / Language(s): Ukrainian Issue: 35/2019

The purpose of the article. To keep the track and systematize the examples of drastically critical attitude of literary community to the creative work of Ukrainian futurism model founder, basing on publications concerning M. Semen’ko’s poetry, as well as estimate their objectivity, considering the current understanding of culture formation logics within the 20th century. Methodology of the study provides for the application of such main principles as personalization as a structural element of biographical method. The article includes theoretical futurists’ texts, as well as examples of their poetry, memoirs and reminiscences. All above mentioned strengthened deeply methodological basis of the study. The scientific novelty of the study is defined with reconstruction of polemics occurred among the Ukrainian culture representatives at the beginning of the 20th century. Conclusions. 1. It is emphasized that poetsfuturists’ experiments were not supported by local literary elite, so ‘Ukrainian futurism model’ established under the terms of drastic criticism of the first M. Semen’ko’s poetic challenges by M. Yevshan and M. Zerov.

ШЛЯХИ РОЗВИТКУ ХУДОЖНЬО-ЕСТЕТИЧНИХ ОРІЄНТИРІВ В УКРАЇНСЬКОМУ ТЕАТРІ

Author(s): Oleg Danchuk / Language(s): Ukrainian Issue: 1/2014

Speaking about the ways of the development of the artistic and aesthetic guidelines in the Ukrainian theater means to speak about the role of the administrative building in its development.The theater managers should not only identify, but also form such ways, as satisfaction of aesthetic need of the creative group, on the one hand, and on the other, provide the need for theater and art performances of the audience, so the average citizen of Ukraine. One can find the resultant in this situation only less than one condition: if the theatrical market in Ukraine is colourful and rich in a variety of artistic and aesthetic concepts and experiments, only it is in this sense, the role and the importance of theater management will be crucial. And not only that managers should ensure the financial health of the troupe, but the manager of the theater has to determine the creative direction of art search of the theater staff, to provide staff, its own niche in the theatrical process of Ukraine. And so the question of repertoire policy is to form the creative, artistic and aesthetic principles of the creative group. It should be the focus of management theatrical business.The theatrical activity is diverse, rich and very responsible. The modern theatrical process and trends are conclusive. Therefore, the question of the theatre and expert aspect of the problem can not be excluded. The manager of the theatre and theatrical practice are a part of a unified phenomenon that can be defined as a modern Ukrainian theater process and they complement each other.The Modern Theatre of Ukraine – multi-vector and in the fullness of repertoire, and in the principles of artistic transformation of life. So such approach in the Ukrainian theatre provokes the search and the emergence of new principles of theatrical activities, the new management theater tasks. It gives its universality and independence from certain aesthetic principles of the particular theater.In spite of the multi-vector of the modern Ukrainian theatre, some managers of the modern theater remain captive to the old ideas in the modern theatre process.The main task of any manager is to build a new theatre, to show the new artistic ways, to give a new breath to that has already happened and what is known.Every of creative personalities according to his strength and capabilities should create a national art space.Such activity is particularly useful to people now, in the time of national revival.The experimental years were not marked with festive splendor; they were concentrated on hard work, intensification of cultural and artistic life in terms of democracy, transparency and moral insight.However, if the theatre is ready today to fulfill its mission responsible? The theatre figures think, argue and they are seriously concerned and worried:• It is clear that the further development of theatrical culture will be determined by social impulses, the activity of social forces;• It is clear that we need fresh, not played repertory and artistic ideas for a modern audience, who compares the content of the work in the perception of real life and the relevance of the day;• There is no doubt that the stage speech of the last years became boring, but we don’t have new; so we need transition to a new aesthetic quality;• We agreed that the theater criticism needs to learn performing deeply, consistently, balanced;• We need to improve the methods of theatre management.The management of the theatrical production has its own specific features. However, we can not ignore the irrefutable fact that there are certain laws which determine the features of the sociocultural dimensions of modern theatrical process. But the main factor of successful theatrical activity is the necessity of consideration of the latest features of the modern theatre with its purposefulness and innovations. The neglect of such features threatens the transformation of theatrical process in the ordinary theater production. Then the creative artistic principles retreat for the tenth plan, which inevitably leads to the degradation of the group and slides to the ordinary of working abroad, and loss of audience.The theater manager must act as an art analytics. So the main subject is not to find money, but the analysis of the circumstances such as social, political, economic and art. The organizational outlook can save the theater (if it is correct), but it can disadvantage (if it is incorrect). That’s why every theater manager should be a creative person who has not only to know and admit certain artistic theories and positions, but also be able to direct the theatrical group to the advanced principles that will determine the fate of the theater arts in the future.

Што би рекол Делез? Изведбите на Тања Остојиќ и постидентитетската мисла

Author(s): Bojana Videkanic / Language(s): Macedonian Issue: 1-2/2008

Talking about identity in the age of globalization seems both redundant and necessary since identity has taken on such a prominent position in mainstream culture and politics. However, far from identity battles of the twentieth-century in the West, or ground zero of culture wars, nowadays identities are at the forefront of what many argue is nothing more than radical reification of categories, of recirculation and brining back to the master-fold of identity and oppression by using identity to create new niche marketing groups (such as gay or Black-oriented magazines,) to pit one identity against another, or create temporary reversals of roles within the same system of master-narratives. Most recently, it is the American elections that have show us, on a daily basis, how widely influential are the so-called politics of identity, and how highly problematic and ambiguous they can become.

Эвалюцыя індывідуальнага стылю у творчасці Леаніда Дранько-Майсюка

Author(s): Lûdmila Sinʹkova / Language(s): Belarussian Issue: 4/2012

The motives of beauty are the most important in the works of L. Dranko Maysyok (born 1957). The poet refers to all reflected objects in an aesthetic way. The connection between the aesthetics of the Baroque and European Secession of the 1920s can be found in the style of L. Dranko Maysyok. The irony and sarcasm appeared in his artistic speech in the 2000s. However, in general, L. Dranko Maysyok remains a supporter of the aestheticization of nature, culture, love, history and patriotic feelings.

Эксперименты композиторов эпохи русского авангарда в области синтеза искусств

Author(s): Marina Leonidovna Zaytseva / Language(s): Russian Issue: 04/2016

The article scientifically substantiates the features of avant-garde art that is aimed at finding synesthesian community of art languages and aesthetic transformation of reality. It identifies the main features of the Russian avant-garde composers Mikhail Matyushin’s and Alexander Mosolov’s experimental creativity. It is proved that the dominant feature of their work is the creation of a new model of art that brings together all types of human exposure and returns the fullness of perception and cognition.

Экфрастический код романа Леонида Леонова «Пирамида»

Author(s): Alexander A. Dyrdin,Julia V. Zhukova / Language(s): Russian Issue: 1/2022

The purpose of this article is to study the transformation of plots and motifs of visual art in “The Pyramid” (1994), the last novel by L. Leonov. The authors take a closer look at various types of ekphrasis: mimetic, unattributed and zero type. The theoretical framework for the analysis of the novel’s narrative space in ekphrastic terms includes the works of L.G. Geller, N.V. Braginskaya, J. Heffernan and other Russian and foreign philologists. Based on the idea of the dialogical nature of the concept of “ekphrasis,” the authors of the article consider the ekphrasis of the “The Pyramid” in a broad sense, as a means of concentrating the artistic, visual and philosophical context, inherent in the very nature of interaction between different types of art. The hermeneutic method is used achieve the set objectives, allowing to reconstruct the meanings of the ekphrastic fragments of the novel in the context of the phenomena of the global and Russian culture. Along with the alternation of dialogues and monologues of the implicit author and characters, direct and modified pictorial allusions are Leonov’s leading methods of text generation. Inheriting the traditions of Russian classical literature that tends to inexpressible, the writer integrates images of spatial arts, architecture, and painting into the text of the literary work. The narrative principles of “The Pyramid” are largely determined by the correlation of the author’s reflexive thought with precedent phenomena, the symbolic content of paintings by P. Brueghel, I. Repin, V. Perov, A. Durer’s engravings, temple frescoes, Russian icon painting. This allusive series is contingent on Leonov’s aesthetic preferences. It is on this basis that the ekphrastic code of the work is formed. It expresses the semantic and poetic harmony of the visual and verbal principles of the author’s thinking.

Эстетическая функция, норма и ценность как социальные факты

Author(s): Jan Mukařovský / Language(s): Russian Issue: 1/1975

Трактат, который мы предлагаем здесь в виде книги, был уже частично опубликован в журнале «Sociální problémy » (год изд. IV, 1935), куда под названием «Эстетическая функция и эстетическая норма как социальные факты» вошли две первые его главы. Последующие две главы - третья и четвертая - впервые выходят в этой книге. Однако разновременность опубликования и возникновения отдельных частей работы не означает некоей р аздвоенности ее содержания. Понятия эстетической функции, нормы и ценности так тесно связаны, что, по сути дела, представляют собой лишь три разных аспекта эстетического; поэтому рассуждение о любом из них без двух остальных неизбежно было бы неполным. Тем не менее каждое из этих понятий имеет свою специфическую проблематику; этим определяется трехступенчатое построение исследования (четвертая глава носит резюмирующий характер).