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Нови романтичари

Author(s): Milan Ćurčin / Language(s): Serbian Issue: 03/1933

Кроз дуги низ столећа, долазило је до судбоносних и катастрофалних поремећаја у људском друштву: пропадала су голема царства, ишчезавале моћне и развијене културе и цивилизације, и долазиле на њихово место друге, искрсавали су на светској позорници небројени народи, да их опет не- стане у крвавим ратовима и револуцијама, — мењала се из темеља целокупна ситуација у равномерном историјском току људскога развитка, и једни основни назори и погледи на свет побијали су и замењивали друге.

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B ruegel według Majewskiego. Literackie i malarskie problemy adaptacji

Author(s): Seweryna Wysłouch / Language(s): Polish Issue: 39/2023

Lech Majewski’s The Mill and the Cross (2011) is a full-length feature film, a screen adaptation of Pieter Bruegel’s painting The Way of the Cross (1564). Majewski proves to be an excellent interpreter of Bruegel’s art, whom he considers a philosopher, an epic, and a poet. He relies on the research of Michael F. Gibson, and in his plotting he draws on a long-standing tradition of literary experience and digital technology (without this, it would have been impossible to faithfully reproduce the overall plan and realities of the painting). Majewski exposes the palimpsest nature of the narrative and shapes the film like a contemporary novel of space. In order to make the ideas of the screened painting comprehensible and to emphasize the fictionality of the depicted world, he introduces various versions of “literature about literature”. In the film, he perfectly integrates painterly features (word reduction, stop motion, long static camera shots) and literary features (the structure of an episodic novel of manners).

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“Death and the Dervish” by Meša Selimović and “The Tree of Dreams” by Fulvio Tomizza as Novels Inspired by the Authors’ Personal Experiences

Author(s): Diana Njegovan / Language(s): English Issue: 18-19/2023

Personal tragedies caused by historical and political reasons are wellknown today thanks to studies of otherness. Although there are already studies that deal with the literary production of Meša Selimović and Fulvio Tomizza, there is no study that attempts to compare their literary works. The analysis begins with similarities in the biographies of the two authors. They were interested in communism, and both authors lost a family member to the regime. Selimović lost his brother, and Tomizza his father. These tragedies inspired “Death and the Dervish” and “The Tree of Dreams”. The two novels, which contain autobiographical experiences, are written in the first-person form of a diary and deal with the relationship between God and the narrator. We expect that a comparative approach between the novels will be useful for further research on the relationship between Italian and Slavic literature and culture.

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Culoarea în arhitectură de la însușire materială la concept cromatic

Author(s): Adrian Petre-Spiru / Language(s): English,Romanian Issue: 15/2023

In an overview of color, in its various forms of appropriation or expression, this is an integral element of the environment, represented by the living organisms of the natural environment and by different man-made creations. Color has always been a key of importance in the evolutionary processes of the human habitat, influencing people’s emotional states from the first forms of shelters to the huge urban concepts. The environment and its diverse colors, with which it naturally appears to us, are perceived by human intelligence through objective or subjective processing and judgment of visual information. This information, complemented by communication, can influence the psyche in the processes of analysis, presentation and objective materialization. The effects are substantially generated by the external appearance of the volume, expressed by colors, with a decisive role for the context of which it is part. This paper studies color as an attribute of the natural environment, but also as an intervention of human activity, truly important to achieve aesthetic or decorative values, but especially to satisfy the needs on whose existence human evolution may depend on. Part of the color study will be approached in a comparative manner, between the natural and urban environment, on various important directions of specific fields, where human decision can improve, alter or destroy the image of the architectural object or the urban one. The relationship between the two environments will also be touched upon, through which the building can achieve a visual and functional connection, integrating sustainably through form, adapted materials and associated colors. This research starts with the study of the psychological effects of colors in the field of architecture, with a focus on the role of the creator to influence the viewer’s perception through the organized and coherent use of a chromatic palette, the ultimate goal being the acquisition of studied ways of applying shades indifferent contexts, through various textures.

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‘Conspiracy against Humanity’: Is Peter Wessel Zapffe an Anti-natalist?

Author(s): Silviya Serafimova / Language(s): English Issue: 1/2024

The main objective of this article is to analyze the reasons behind Thomas Ligotti’s recognition of Peter Wessel Zapffe as an anti-natalist. Specifically, I argue that Ligotti’s focus on Zapffe’s early essay The Last Messiah (1933) alone results in some misunderstandings of Zapffe’s views, which make room for coining him an anti-natalist. These misunderstandings ground associated dichotomies of the type, Ligotti’s misinterpretation versus Zapffe’s theory, such as the dichotomy of self-deception versus heterotelic metaphysical activity of phantasy, as embedded in that of illusions versus fixations, and the dichotomy tragedy versus necessary tragic. Comparing and contrasting Ligotti’s analysis of three examples of Zapffe’s works including The Last Messiah and Fragments of an Interview (1959), as well as choosing one more example – that of Zapffe’s monograph On the Tragic (1941) – I aim to demonstrate why reducing Zapffe’s ideas of the necessary tragic and multifrontal conflicts to anti-natalism per se simplifies the unique philosophical background in which these ideas occur.

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Kjetil Rommetveit (ed.). Post-truth Imaginations. New Starting Points for Critique of Politics and Technoscience

Author(s): Silviya Serafimova / Language(s): English Issue: 1/2024

Book Review: Kjetil Rommetveit (ed.), Post-truth Imaginations. New Starting Points for Critique of Politics and Technoscience. Abingdon: Routledge. 2022, 238 p. ISBN: 978-0-367-14681-8

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Barbarus (ja Semper) ning „modernim ahvisugu” XX sajandi esimese poole haritlasvasakpoolsuse estetistlikust aluspõhjast

Author(s): Aare Pilv / Language(s): Estonian Issue: 1-2/2024

This article explores how the works and activities of close intellectual companions Johannes Barbarus and Johannes Semper reconcile their alignment with a decadent and aestheticist artistic stance with their leftist views (leading to collaboration with Soviet power and the writing of propagandistic poetry). The discussion begins with Barbarus’ poem “Journey” (Teekond), where the individualistic poet contrasts with the “modern apes”, representing progressivist and calculating bourgeois modernity. The article delves into the internal ambivalence expressed in Barbarus’ poetry, revealing simultaneous attraction and repulsion towards large revolutionary crowds; the poet likely perceives the masses primarily as a source of aesthetic sublimity akin to other natural elements. The use of Verhaeren’s name in this poem and elsewhere in the works of Barbarus and Semper is then examined. The second half of the article broadens the discussion, exploring the shared grounds of decadence/aestheticism and utopian avant-gardism – an aesthetic resistance to modern progressivist society that ultimately leads to ideological transformation through the actualization of utopia and the internal collapse of initial aspirations. Barbarus and Semper’s midcentury choices can also be seen as artists’ aesthetic decisions, the fulfilment (but also failure) of aesthetic aspirations originating from decadence. The article concludes with the suggestion that aestheticism rooted in the attitudes of decadence may still be a viable approach to overcome the miseries of modernity – not by merging into revolutionary utopianism, but by assuming the form of “dark ecology”.

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Улога уметности у Платоновој паидеји

Author(s): Mihailo Stojanović / Language(s): Serbian Issue: 40/2023

This article examines the role of art in Plato's model of education, paideia. It compares the ancient Athenian model of education with Plato's innovations, including his emphasis on the pursuit of virtues and the role of the philosopher-educator. Plato's philosophy of art, including the concept of mimesis and its moral implications, is explored, as well as the significance of art education in the development of virtues, censorship, and integration within the broader curriculum. The artist's moral responsibility and relationship with the state are also discussed, along with the potential for artistic reform. Finally, the article critiques Plato's ideas on the sanction of art, including the impact of censorship and contemporary perspectives on the moral and ethical implications of art.

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Affected Stories, Sensed Memories, and Documented Voids

Author(s): Carlos Eduardo Lesmes López / Language(s): English Issue: 11/2023

In this article I will refer to a one-time performance piece called ‘Remember by Erasure’ (Lesmes 2020), which explores the relationship between photographs, memories, and the act of narrating the stories behind those memories and photographs. I put this in dialogue with Sarah Polley’s documentary ‘Stories We Tell’ (2012), which follows the filmmaker as she tries to piece together who her late mother was, through the stories and testimonies of her family members. The performance centered on how the act of telling a story, describing a memory, brings it back to life, while the film follows a cacophony of voices to reconstruct the character of Polley’s mother mixed with different techniques (interviews, archive material, staging) to illustrate memory and how this affects the way in which audiences connect to the film. I understand memory as an embodied experience in a relational and affective contact with the world, one that is constantly being reinterpreted and transformed. Relying on the notion of heterochronicity (Karlholm 2017, Moxey 2018) and the Bergsonian understanding of time, I explore how, in both the film and the performance, memories – or the lack of them – time, and narrative interact with each other. I propose the concept of a negative specter of memory, which refers to the things we can only recognize by their absence, the knowledge of the missing part, only possible because it is gone. A void. My goal is to explore how these ideas can have an impact on the possibilities that film and arts offer as ways to explore the relationship between memories, narratives, time, and their voids.

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Lived Experience in the “Naturalistic” Paradigm: Implementing Empirical Phenomenology with Expert Participants for Neurocinematics

Author(s): Jelena Rosic / Language(s): English Issue: 11/2023

When studying subjective reports in neuroscience, data that are more easily quantifiable understandably hold more appeal due to the methodological complexities involved with in-depth approaches (second-person interview techniques and analyses) that require extended training of a researcher but also epistemological regard for the problem. A methodological direction for neurocinematics that could better capture the complexities inherent in the experience of film-viewing is to treat distinct domains of the neurocinematic phenomenon, the film stimuli, related subjective accounts, and their neural correlates as co-constitutive in the data analysis. The present proposal outlines an empirical phenomenology approach in the naturalistic paradigm with film stimuli building on the neurophenomenological ideas of pragmatically approaching the relationship between neurocognitive processes and phenomenological accounts. Using the micro-phenomenological method as a guide, i.e. non-naïve introspection (“becoming aware”) with a trained interviewer, the objective is to emphasize the process of accessing lived experiences for systematic second-person investigations. Such in-depth subjective reports have the potential to yield finegrained descriptions of the participants’ experience related to (free) viewing of films as opposed to relying on naïve introspections (“just ask”) or easily quantifiable assessments that lack complexity (“just look”) and are prone to bias due to the simplification of experience. Building up a case for empirical phenomenology through the methodological demands of its framework, the illustration of the micro-phenomenological method serves to underscore the non-trivial nature of accessing and reporting experience and its role in the neurocognitive domain.

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Shaping Films from the Inside Out: Embodied Mental Schemas in Filmmaking and Viewing

Author(s): Maarten Coëgnarts / Language(s): English Issue: 11/2023

This article aims to highlight the role of embodied mental representations or embodied schemas in both perception and filmmaking/viewing by foregrounding three premises: (1) perception is inferential and relies on prior embodied schemas; (2) filmmakers (authors) do not merely reproduce reality but equally impose body-based schemas onto the parts of a film in order to convey meanings; and (3) these schemas, as presented by the formal design of the work, may enrich the viewers’ experience by allowing them a privileged look into the embodied creative-thinking processes of filmmakers. It will be argued that viewers are prompted to peek into these processes because the representational embodied concepts, as cued by the films, are grounded in shared sensory-motor capacities that scaffold all abstract thinking and reasoning.

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Artistic communication as an object of semiotics and linguistic aesthetics

Author(s): Vladimir Feshchenko / Language(s): English Issue: 3-4/2023

The paper addresses the concept of artistic communication as a type of semiotic interaction in the discourses of art. Semiotic methodologies for modelling the sign and the communicative act, developed in the works of Gottlob Frege, Gustav Shpet, Jan Mukařovský, Roman Jakobson, Juri Lotman, Umberto Eco, Suren Zolyan, and some other semioticians, are discussed with a focus on the models of aesthetic sign and the corresponding models of semiosis in relation to artistic systems. The study focuses on the discourses of verbal art in its various manifestations (poetry, prose, drama, performance, spoken word, etc.) as material for a linguistic analysis of artistic communication. The paper specifically discusses the linguistic representations of artistic discourse within a model of aesthetic semiosis. The resulting model of artistic communication in verbal art is presented as a synthesis of Jakobson’s scheme of communicative act and its important specification in Lotman’s model of “literary communication”. Based on the existing models of sign, semiosis, and communication (taking Jakobson’s scheme as the main framework), a synthetic, linguo-aesthetic model of artistic communication is outlined, considering together the linguistic, semiotic, and aesthetic parameters of the artistic act.

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TOWARDS A METHODOLOGY FOR INTERPRETING VISUAL IMAGES AS CYBERNETIC SYSTEM: LACAN AND DELEUZE

Author(s): Cecilia Inkol / Language(s): English Issue: 1/2023

This exposition endeavors to outline a theoretical framework for a methodology to interpret visual images that draws on cybernetics, semiotics, psychoanalysis and philosophical ideas. Using images, aesthetics and artistic practices as a means of generating new understanding requires translating, deciphering and interpreting those artistic products and/or processes. How can one decipher the system of visual language that underlies artistic productions? I suggest that cybernetics is requisite for such an endeavor. Cybernetic theory is the science of relations within a system, taking as its problematic the relation between a system and its productions or output; in some instances, it studies how the productions of a system influence the system itself. This exposition endeavors to articulate aesthetics or artistic works in terms of a visual language and as a cybernetic enterprise in the context of art-based research by drawing on the ideas of Lacan and Deleuze. For Lacan, aesthetics exists as a primary mode of discourse for the articulations of the unconscious, as evidenced in images in dreams, art and fantasy. Lacan is renowned for his dictum that the unconscious and its productions are structured like a language, but the kind of structure of meaning at work in the unconscious is less related to the structural grammar of a natural language than the syntax of mathematics and cybernetics. Drawing on Lacanian dream analysis, I evince how such an approach could be applied to aesthetic phenomena. Deleuze presents a semiotic theory, a theory of signs which evinces the generation of novel meaning in the unconscious; it can be said to be cybernetic in the way that it exists in a state of continual evolution, the output produced by the system engendering transformation in the system itself. Deleuze offers a framework for how the work of art or aesthetic phenomenon can be translated into new knowledge through the process of entrainment with signs.

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INTERPRETING JOHN IRELAND’S BALLADE

Author(s): Julian Hellaby / Language(s): English Issue: 1/2023

A handful of John Ireland’s works have become relatively popular and these have tended to attract the label “English pastoral”, a stereotype which does not reflect the range of genres, styles and emotions that can be found in the composer’s œuvre. The Ballade of 1929 is a case in point exploring, as it does, an array of moods, topics and emotions that are a long way from pastoralism, and it also features a structural economy and directional intensity which place the work in the tradition of 19th-century musical narration. It thus presents itself as a richly-endowed vehicle for both conventional and hermeneutic analysis, raising a number of research questions: how do structural and hermeneutic analyses interrelate? What role do topics and the composer’s biography play in the musical narrative? How do the foregoing questions relate to a performance of the work? Answers to these questions form the substance of the article which concludes by offering thoughts on how the various strands may be projected in performance. The article is illustrated with extracts from the author’s own video recording.

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Razumijevanje koncepta sakralne umjetnosti i načela vrednovanja sakralnih umjetničkih djela

Author(s): Muhammed Ali Abadi,Rejhan Parišan / Language(s): Bosnian Issue: 32-33/2023

Art has been a mean for material declaration of belief since the beginning of human history. Therefore, the most obvious place for declaration of spirituality and sublime identity of a man that emerges from religion can be looked for in hidden layers of art. The main question here is which art piece can be considered as a substantial place of declaration of spirituality and holiness, as well as a question: in accordance to which foundations these pieces can be valued and one piece can be considered more successful than another. The first part of this work is dedicated to a general analysis of arts that are related to religion, and, taken into consideration the method of documented research of library – on the basis of the common differentia of all definitions – definition of the most valuable sacral art that is related to religion. Influential factors in this art are briefly explained in the continuation of this paper, such as position of an artist as a creator of a piece of art (or a mediator in creation), as well as the process of shaping it. Finally, the role, main objectives and the creative act of sacral art in an intellectual's thinking are analysed. A framework of five tables that represent objectives of sacral art that can be criterion for position and value of sacral art piece in this field has been presented, taking into consideration the fact that value of every thing can be seen on the basis of its significance in terms of achieving its objectives.

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Uvodne naznake o gnostičkim temeljima umjetnosti i ljepote u islamu s osvrtom na Mesneviju

Author(s): Šahram Pazuki / Language(s): Bosnian Issue: 32-33/2023

Unlike the manner in which a large number of researchers comprehends beauty and art in Islamic thought, there is also an aspect of thought and knowledge on beauty and art in Islam that is, of course, different than what was known as „aesthetics“ in the West since 18th century. The foundations of art and beauty in Islam are completely gnostic and follow the spiritual perspective of Muslims in relation to reality, existence, man and the world. Therefore, they can only be comprehended by entering the sphere of Islamic gnosis and penetrating into its essence. The most important pillars of these categories are: beauty of God, reflection, level of ihsān, comparison and level of non-existence and non-art. One of the most important gnostic pieces which, both succinctly and in detail, indicates to the all of the above-mentioned categories is Mathnawi. This paper will, referring to Mathnawi, explain the gnostic pillars of beauty and art in Islamic world, and, as an example, review two different types of art – poetry and painting.

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Analiza refleksije Rumijevih kodova i imaginarnih slika u filmu Velika riba (Big Fish) pomoću teorije intertekstualnosti

Author(s): Faršad Ferešte Hekmat / Language(s): Bosnian Issue: 32-33/2023

This paper analyses the manner in which movie, as an audio-visual text, borrows codes from literature. Narratives from movies, as well as any other text, are always based on previous narratives. No new narrative can be created on a screen without using previous narratives. According to the author, mystic and mythological thoughts and ideas of East, especially symbols and concepts that can be found in poems Diwani Shems and Mathnawi by Rumi, are being considered in pretext of Big Fish movie, and before that in the Big Fish novel by Daniel Wallace on which Burton based his movie.

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Somaesthetics and Embodied/ Enactive Philosophies of Mind

Author(s): Stefano Marino / Language(s): English Issue: 2/2023

In this article I focus on Jerold J. Abrams’ recently edited volume on Richard Shusterman’s somaesthetics and I assume as a starting point the concept itself of soma, widely cited and examined in various contributions collected in Abrams’ book. Then, I speciﬁcally concentrate my attention on one of the essays, the one authored by Stefán Snævarr, which connects in an interesting, original and sometimes also challenging way Shusterman’s thinking to some questions that have characterized the current debates in the ﬁeld of the philosophy of mind. On this basis, in the ﬁnal part of my short essay I try to offer some provisional remarks on the potential and mutually enriching dialogue between Shusterman’s somaesthetics and embodied, extended and enactive approaches to perception and mind, such as those, for example, of contemporary theorists like Andy Clark, Shaun Gallagher and Alva Noë.

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Transﬁguration, Art, Pathicity. Somaesthetics Reconsidered

Author(s): Alessandro Nannini / Language(s): English Issue: 2/2023

In this discussion piece, I will comment on the collective volume, edited by Jerold J. Abrams, Shusterman’s Somaesthetics. From Hip Hop Philosophy to Politics and Performance Art (2022). I will articulate my reﬂections around three main themes, which intersect the theme of several of the essays of the volume: I will ﬁrst of all consider the concept of transﬁguration, commenting upon the difference between Danto’s hermeneuticist perspective and Shusterman’s somaesthetic reinterpretation, with special regard to his performative experiment, the Man in Gold. Secondly, I will turn to a possible consequence entailed by this reinterpretation concerning the relation between aesthetics and art. Finally, I will turn to the controversy between somaesthetics and pathic aesthetics, and comment on a possible way to reconcile some elements of both, starting from the condition of the suffering body.

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Barthold Heinrich Brockes’ Physico-Theology of Smell

Author(s): Frank Krause / Language(s): English Issue: 1/2024

Studies on the signiﬁcance of olfaction for philosophical aesthetics are justiﬁably interested in innovative literary explorations of links between aesthetic values and olfactory perceptions. In this context, the early Enlightenment poetry by Barthold Heinrich Brockes has remained neglected: literary historians rarely pay attention to his approaches to smell, and the few pertinent studies appeared in German only. This article introduces the English-speaking public to the valuation of smell in the theological aesthetics of Brockes’ poems, and it concludes with a sketch of his contribution to the tradition of modern cultic smelling, in which the olfactory and the aesthetic are variously intertwined. He thematises smelling as an emotional climax of human relations to external nature which are validated by a sacred essence of the experiential world, the awareness of which can be conjured up through innerworldly poetic thought. This interpretive pattern of olfactory culture has remained relevant to the present day.

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