60 bananów i 127 trumien Titusa-Carmela

Author(s): Krzysztof Siatka / Language(s): Polish Issue: 217/2016

The works of French artist Gerard Titus-Carmel in the late 1960s and 70s met with great interest in critical and philosophical thinking. Jacques Derrida devoted one of his most important essays, entitled Carthage, to one of Carmel’s works. The cycle of 127 drawings, entitled The Pocket Size Tlingit Coffin, is the documentation of an enigmatic and symbolic box which purpose is not entirely known. The artist used a variety of techniques and drawing manners to create a variation on the image of a strange object every day. In the course of the accumulation of representations, the source of the inspirational cycle has moved away. The series, conceived as a research process aimed at learning nature, could be the destination of a Pocket Coffin, resulting in narrative thickening and, in fact, budding ignorance of the paradigm that was to be resolved, clarified, and explored at the beginning. The Titus-Carmel project, located in the Parisian Pompidou Center collection, is a forgotten example of conceptual flow in visual arts and a very important model of the work that highlights the process of creation over the final physicality of the object. It is a great reflection on the meaning of gestures of repetition, multiplication or reproduction, so important for the philosophy of contemporary art. The Pocket Size Tlingit Coffin inspired Jacques Derrida to create an analogue textbook-diary that in subsequent chapters, written daily with reference to subsequent drawings, deconstructs concepts such as original and copy, the beginning and the end, or imagines possible paradoxes, such as the existence of copies without original, or secondary of the original with respect to the copy. The dialogue of the artist and philosopher is one of the most interesting interdisciplinary speculations in the art of the second half of the 20th century. Both creators have expanded the genre of dialogue and journal to deconstructive method of cognition.

A Constructive and Speculative Case of Bullshit Art: the Etchings of G.B. Piranesi

Author(s): Sarp Tanrıdağ / Language(s): English Issue: 4/2021

This article analyzes the constructive and speculative forms of bullshitting in the art field through the etchings of G. B. Piranesi. In reviewing the historical context and the allegorical and technical aspects of his etchings compared to H. Frankfurt’s definition of bullshit, the study contends these artworks’ propositional and unique rhetorical languages. Consequently, it explores a potential form of bullshit art that is manipulative and fictional but also constructively critical.

A Dialectical Approach to Berleant’s Concept of Engagement

Author(s): Thomas Leddy / Language(s): English Issue: 2/2017

Arnold Berleant shares much in common with John Dewey. His notion of aesthetic engagement, which is central to his philosophy of art, is, like Dewey’s concept of “an experience,” an attack on dualistic notions of aesthetic experience. To the extent that Berleant and I are both Deweyans, we agree that we need to turn from the art object to art experience. Art is what it does in experience. Yet appreciative experience of art cannot happen without, at some point, focusing on the art object as such, and this means bracketing context. Engagement is important, but so too are contemplation, disinterestedness and distance. Contemplation, for example, is a moment both in the creative process and in the process of appreciation. Moreover, following Brand and Gracyk, it will be argued in the present paper that only through toggling between contemplation and engagement can we obtain a full experience of art, nature, or of the everyday.

A Family Meal as Fiction

Author(s): Josep E. Corbí / Language(s): English Issue: 1/2020

Stacie Friend’s theory of fiction departs from those approaches that seek to identify the necessary and sufficient conditions for a work to count as fiction. She argues that this goal cannot really be achieved; instead, she appeals to the notion of genre to distinguish between fiction and nonfiction. This notion is significantly more flexible, since it invites us to identify standard—but not necessary—and counter-standard features of works of fiction in light of our classificatory practices. More specifically, Friend argues that the genre of fiction has the genre of nonfiction—and only that genre—as its contrast class. I will refer to the particular way in which Friend elaborates this claim as the contrast view. I have, nevertheless, the impression that this view unnecessarily narrows down the array of perspectives and attitudes from which we can approach works of fiction. I will thus develop a line of reasoning to the effect that the contrast view should rather be construed as picking out a particular way of relating to works of fiction that lies at the end of a continuum defined by different degrees of reflectivity and estrangement. This implies that the contrast view is false as a general claim about how we experience works of fiction, even though this view may appropriately depict a specific way of approaching such works.

A folytatás TESZT-je

Beszámoló a 11. TESZT fesztiválról

Author(s): Nóra Ugron / Language(s): Hungarian Issue: 2/2018

Zoltán Gálovits, whose long curatorial activity has defined the perspective of the event, resigned this year from his position as the artistic director of the TESZT Festival in Timișoara. Nóra Ugron writes about the fact that this edition continues the perspective of the festival with a more heterogeneous focus and selection of performances, devoting attention to the relation between theatre and society, as well as to experimental theatrical endeavours. In her report Ugron discusses in detail performances Our Class, Queendom, as well as Jami District and A Cloud in Trousers directed by Kokan Mladenovic.

A Forgotten Detail in the Cultural Landscape: a Ukrainian Version of Russian Formalism? National Identity, Avant-garde and Ideology in Literary Discussions in Soviet Ukraine (1920s–1930s)

Author(s): Galina Babak / Language(s): English Issue: 32 (37)/2017

The 1920s in the Soviet Ukraine are characterised by significant variability of views on the meaning, social significance and mechanism of art and literature, however, all this theoretical and practical variety was limited by political restriction imposed by official communist ideology. Avant-garde groups and movements enriched modernist discussions by drawing attention to the fact that the revolution in arts and literature was of the same nature as political and social revolution. Numerous Soviet writers, poets, artists, philologists, etc. (including Ukrainian writers with their own national agenda) took part in these discussions; many of them were members of different literary movements, groups and organisations – and of course they had a different aesthetic orientation. One of the most important topics of Soviet theoretical discussions in the 1920s was the dualism of “form” and “content” in literature and art. Such discussions were held in Soviet Ukraine as well. Even though we cannot speak about “Ukrainian formalism” as an organised and disciplined aesthetic school, it is important to determine the “Ukrainian version” of correlation between universalist ideas of Russian formalism, internationalist Soviet ideology (in relation to the culture), and forming Ukrainian cultural identity.

A JOURNEY THROUGH THE FEMALE GAZE: MEDIA AND ART PERSPECTIVE

Author(s): Polina Tatsenko,Nataliia Tatsenko / Language(s): English Issue: 28/2022

The aim of this paper consists of identifying the specific nature of the phenomenon “female gaze” by discussing several topics from the study area of feminist aesthetics. It is shown that the predominance of the male perspective in the media makes modern society less tolerant towards gender equality, and, at the same time, the patriarchal society imposes gender-stereotyped values. On the one hand, mass media has the power to promote values due to its performativity, but on the other, it can contribute to the destabilization of the established social stereotypes due to the phenomenon of remediation. Besides, mass media can intra-act with the society, which results in the reconstitution of society’s agential reality.

A kép „nyelve”

Author(s): Mónika Jáger-Péter / Language(s): Hungarian Issue: 4/2019

In my paper I wish to prove that the truth of the pictures does not stand in correlation with reality. The picture is not the reflection of everyday things, but a different, truer representation of things. The privilege of pictures stands in their being able to always go beyond themselves. The picture possesses a particular kind of logic, as its delotic logos, that is, its nature of showing the thing itself but from a different perspective as well in the same time, cannot be grasped conceptually or by language translation.

A képfogalom új megközelítési irányainak megjeleníthetősége a médiaelméleti kutatásokban

Author(s): Virág Pusztai / Language(s): Hungarian Issue: 3/2019

The fact that people today live in the fl ow of visual images receiving more and more information from and through them,inspires researchers to redefi ne the concept of image putting more emphasis on its social and communicative functions. As faras either the author’s intention or the outcome is concerned, there are more and more pictures which can not be consideredworks of art, it is obvious that traditional art history can not be the only fi eld of studying images. Modern people’s relation tovisual images, which is mainly infl uenced by the media, alters their state of mind, and numerous issues are to be exposed inconnection with this alteration. This study is aimed at fi nding out what communication and media studies are obliged to doconcerning this so called pictural turn.

A kollektív és a kulturális emlékezet szerepe az önéletrajzi emlékezésben

Author(s): Ágnes Heller / Language(s): Hungarian Issue: 3-4/2019

Előadás az Emlékezet, Identitás, Kultúra. Kulturális örökség, emlékezethelyek, emlékezettörténet című, az MTA Nyelv- és Irodalomtudományok Osztálya, a Filozófiai és Történettudományok Osztálya, valamint a Gazdaság- és Jogtudományok Osztálya által közösen rendezett konferencián. Budapest, 2016. november 9.

A könnyűség súlya, avagy Philétas cipői

Author(s): Elvira Pataki / Language(s): Hungarian Issue: 2/2009

Present-day knowledge about Philetas, the first poietes-grammatikos is extremely scant. According to the only information, which seems rather irrelevant, and which was transmitted by late authors, the poet was extremely thin as a result of his laborious poetical activity. In certain sources (Aelian, Athenaeus) the motif of thinness is completed by a bizarre note: the artist, a leptoteros, had to wear lead weights on his feet against the force of winds. The adjective describing his figure cannot be separated of the primordial aesthetical notion of lepton, and it may suggest a poetological interpretation. In order to support this possibility, the article sheds light on a zoological paradox of Aelien which mentions the peculiar habit of bees, light and musical animals and strenuous gleaners of flowers, who carry stones as counterweight against the winds. The implicit image of a poet as a bee is a traditional metaphor with sacral connotations in the Greek literature, which reappears in the Hellenism. The association of the Coan poet with the bees would fit well into the tradition about the poetry and the creative style of Philetas. He was known to have an ardent interest in the natural sciences (periergos), therefore among his poetical and glossographical fragments more than one item concerning hive, bougony, honey can be found. According to reconstructions, the melissa could have had an important role in his Demeter. On the other hand, the critical announcements of Callimachus and Theocritus on Philetas’ poetry employ the same metapoetical imagery of nature (see the rivalry of the locust and the frog in the 7 Idyll, the opposition of the ear and the oak in the Prologue of the Aitia). The best known work of Philetas, the poem of the alder which is considered as a selfportrait, is based on this as well. Accordingly, the representation of the poet in the anecdote has poetological allusions through the motifs of the slenderness and the counterweights.

A LATE VICTORIAN INTERFERENCE OF GENRES: AESTHETICISM RESHAPING THE FAUST MYTH IN THE PICTURE OF DORIAN GRAY

Author(s): Patricia Denisa Dita / Language(s): English Issue: 14/2019

The theoretician of Aestheticism in English literature, Walter Pater, materializes the principles and concepts of Aestheticism in his novel Marius the Epicurean. His student and follower Oscar Wilde expresses the ideas of Aestheticism in his own novel The Picture of Dorian Gray, which also revives and rewrites the myth of Faust with regard to the character representation strategies in the work. The present study, on comparative grounds of analysis, attempts to reveal the ways in which Wilde’s novel unites in one fictional discourse the principles of an artistic theory with those of a literary myth in order to build a distinct world vision and provide a point of view reified by both an aesthetic and a mythic context.

A Literary Aesthetics of War Crime

Author(s): Rafe McGregor / Language(s): English Issue: 61/2021

In order to develop a literary aesthetics of war crime, I examine the phenomenon of moral immunity in military memoir. Using three paradigmatic examples of memoirs of unjust wars characterised by the routine perpetration of war crimes, I argue that moral immunity is achieved by means of three literary devices: literary irresponsibility, ethical peerage, and moral economy. I then employ the proposed literary aesthetics of war crime to provide an answer to the perennial question of the relationship between literature and morality as well as to two specific instantiations of this question, the value interaction debate in literary aesthetics and the ethics of reading in literary theory. My conclusion is that the literary aesthetics of war crime demonstrates both that there is a systematic relationship between aesthetic value and moral value and that there is no systematic relationship between literary ambiguity and moral uncertainty.

A mainstream vége

Author(s): András Visky / Language(s): Hungarian Issue: 1/2016

From András Visky's report, we can find out that the poetics of the mise en scène is all about ownership and control: the participants of the common creation sacrifice their individual creativity on the altar of the director's art. Nurtured on the spirituality of dictatorship, the ​mainstream theatre has exchanged its public for a virtual community of spectators. Post-mainstream theatre, however, manifests an ever-stronger need for a new intimacy, for the closeness of the other.

A Musical Analogue with blurred space in My Erhu solo Fireworks

Author(s): Fan Jia,Lee Chie Tsang Isaiah / Language(s): English Issue: 9/2022

This paper discusses my recent erhu solo project Fireworks which is a musical analogue that I analyse using Chuang Tzu’s blurred aesthetics to investigate a musical space between determinacy and indeterminacy in Chinese national music. What is particularly interesting to me about this blurred musical space is that it is not polarised around an idea of ‘the invisible’ or ‘the indefinable’ as pure negative space but can be perceived in a more graduated area between positive and negative, fixed and unstable. Behind this concept of musical space is the creation of an ‘interpenetrated’ identity, a fluctuating boundary between opposing qualities, or the subject’s and object’s identities. In seeking to find structural analogues congruent with the concept of the blur, the challenges and focus of this work rely upon the architecture of ambivalent states, which include string timbre and frequency, the relations of determinacy-indeterminacy, space and spacing architecture, performative indeterminacy and fragments, and silence. This focus of this research into a musical engagement with blurred aesthetics has allowed me to examine how I might approach musical structure, specifically by the framing of events or phenomena, and by expanding my musical language and creative ideas.

A művészet a kultúrán belül és kívül

Author(s): Tamás Seregi / Language(s): Hungarian Issue: 3-4/2017

A művészet fogalmának terjedelméről. Edgar Wind vitája Schleiermacherrel

Author(s): Béla Bacsó / Language(s): Hungarian Issue: 07/2020

Art is inherently suspicious within modern theory, so it is all the more interesting that Edgar Wind relies on one of Schleiermacher’s late lectures, in which the German philosopher discussed the scope, possibility and conditions of art. This study interprets their debate and is aimed at presenting the common and the different elements in the theories of the two thinkers. The concept of “Besinnung” is at the center of the discussion, as it is able to open the ways for taking measure, awakening and disillusionment, while also questioning the feeling of superiority toward the artwork. If we truly understand the work, the measure it imposes becomes imperative.

A nap árnyékában

Author(s): Zádor Tordai / Language(s): Hungarian

After the communist system has collapsed, the socio-political and economical situation has changed in Central and Eastern Europe. In his essays Zádor Tordai is focusing on the analyses of the socio-political results of the system change in Central and Eastern Europe and its interpretation – from the view of a philosopher.

A Naturalistic and Behavioral Theory of Aesthetics

Author(s): Fracnis Mechner / Language(s): English Issue: 1/2019

Aesthetic reactions occur when cognitive and affective elements interact, in diverse arts.Affective elements result from past Pavlovian conditioning events and other sources.Compounding raises these effects to the level of aesthetic reactions. Properties of domains in which aesthetic reactions occur are identified. Cognitive ability is selected phylogenetically by the discernment of beauty. Aesthetic reactions help maintain competencies like language, conceptualization, and abstract thinking.

A New Type of Subjectivity in the Works of Dmitry Prigov

Author(s): Natalia Artemenko / Language(s): English Issue: 98/2020

The article dwells upon the issue of a subject intrinsic to the art of the 70s and 80s of the 20th century, it elicits the reasons determining the problematization of “the Self” category inherent in the aesthetic program of the Moscow Conceptualism, preeminently with regards to the works of Dmitry Prigov. “The crisis of the language describing ‘the Self’” has been considered as discrediting the dominant discursive models, disabling the possibility of individual expressing. Within the first part of the article we problematize “the Self” category inherent in the aesthetic program of the Moscow Conceptualism, examine the dominant discursive models and denote the crisis of the language describing “the Self.” The second part is devoted to the issue of “the personal consciousness” coming into being within the aesthetic program of Moscow Conceptualism. The Self is considered as a “category of categories” in dichotomy between “the collective” and “individual” ones. Finally, the third part represents the analysis of a subject of the aesthetic activity. “An imaginary personality” intrinsic to the works of Dmitry Prigov is considered as a subject of “a gnoseological game.”