A „másik” esztétikai jelenléte Hobbes szerződéselméletében

Author(s): Mihály Szilágyi-Gál / Language(s): Hungarian / Issue: 4/2019

In several of his works, Thomas Hobbes contrasts rhetorical and scientific speech. Although in Leviathan his position is changed, Hobbes continues to emphasize the inordinate, excessive nature of rhetorical speech in politics and distinguishes it from sovereign scientifically true and legally correct speech. According to my thesis, both models of persuasion, the rhetorical and the anti-rhetorical model, have an aesthetic character in Leviathan. This fact is evident in the doubling of the person who represents both his/her self and his/her fellow citizens as dependent subjects in their public/political roles. This self-representation as the inherent imaginary act of the political man echoes the rhetorical hierarchy of the difference between the private and the public.

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 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 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 / Publication Year: 2000

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 Phantom of the Centre of the World. A Contribution to the Anthropology of Contemporaneity

Author(s): Zbigniew Benedyktowicz / Language(s): English / Issue: 5/2014

A prereflektív észlelés megnyilvánulásai a festői alkotófolyamatokban

Author(s): Henrietta Horváth / Language(s): Hungarian / Issue: 11/2014

A priori imaginace

Author(s): Mikel Dufrenne / Language(s): Czech / Issue: 2/2015

In this article, Dufrenne argues that imagination need not be only the subjective capacity to invent the unreal (dreams, fantasies), but that it is actually capable of revealing images that bring human beings closer to the hidden plenitude of Nature. Among these a priori images, such as heaven, water, blood, and earth, Dufrenne emphasizes the elementary, power, depth, and purity, which he believes are the most fundamental of them. He considers a potential classification of these images on the principle of ontological quality.

A Process Identity: The Aesthetics of the Technoself. Governing Networking Societies

Author(s): Oana Șerban / Language(s): English / Issue: 2/2016

The main aim of this article is to analyse the relationship between two innovative concepts—the technoself and process identity—from a perspective inspired by process ontology. The working hypothesis is that industrialized and mass societies entered into a post-industrial or informational sphere of capitalism, becoming networking societies—also known as knowledge-based societies—which closely followed their role in approaching the plural identity of the digital Subject and the surveillance practices exercised in its governance as correspondent models for the changes of the current reality. The first section of the article is devoted to research on the technoself, a concept recently introduced by Luppicini in 2013. Criticizing the technoself in terms of process ontology and as a result of digitalization, subjectivity, and technical rationality, I will argue that the constitution of digital subjects, as well as their interactions, should be defined in terms of processes. Therefore, I introduce the concept of process identity—which includes the technoself—and explain how this approach contributes to the development of different research fields (such as speculative realism and object-oriented ontology) and how it affects Floridi’s distinction between digital ontology and informational ontology. The second section focuses on the effects of the digital environment on self-constitution practices and techniques, virtual worlds experiencing what Foucault recognizes as the aesthetics of existence. In the final part, I confront Bentham’s and Foucault’s panopticism, arguing that based on what is accomplished by process identities, networking societies represent societies of control, not disciplinary ones, and consequently this distinction should be applied in governing virtual communities. In the end, I will explain why notions such as digital personae or databased selves are insufficient, and should be replaced by the concepts of process identity and technoself, respectively, in order to improve the models of governing networking societies.

A Renaissance mathematician’s art

Author(s): Ryszard Mirek / Language(s): English / Issue: 1/2019

Piero della Francesca is best known as a painter but he was also a mathematician. His treatise De prospectiva pingendi is a superb example of a union between the fine arts and mathematical sciences of arithmetic and geometry. In this paper, I explain some reasons why his painting is considered as a part of perspective and, therefore, can be identified with a branch of geometry.

A Revisionary View of Texts, Textual Meaning, and Fictional Characters

Author(s): Anders Pettersson / Language(s): English / Issue: 3/2017

Using ideas from John Searle, Roy Harris, Michael Reddy, and Nelson Goodman, I argue that texts, such as they are commonly conceived, lack brute existence. The common idea of texts is a conceptual construction which is useful in practical everyday contexts but not in serious theorizing, where it creates illusions and contradictions. One of these illusions is the idea of an objective textual meaning, a meaning which is “in the text”: what we actually have in the way of textual meaning are the ideas of various persons – authors, readers, and commentators -- about the meaning of the text. When applied to fictional characters, this way of viewing things explains why it makes sense to regard fictional characters as being created and as lacking brute existence.

A SEMIOTIC-AESTHETIC APPROACH TO THE ANALYSIS OF THE PRACTICE OF VERNACULAR ARCHITECTURE IN HUNGARY

Author(s): Imre Gráfik / Language(s): English / Issue: 2/2014

The spatial frame of the investigation is the Carpathian Basin and especially its Great Plain areas inhabited by Hungarian-speaking people; and the period it covers, which can be documented with buildings, is the 150–200 years from the second half of the 18th century to the first half of the 20th century. Examining all the elements of form which played a role in shaping the architectural image of the market town, it can be found that some of them are only barely, while others are very definitely expressions of the semiosis of market town architecture. The criteria of form are suitable for the simultaneous realisation of the following triadic relations: 1) the architectural functions archived through the technical-technological and structural solutions of building practice; 2) meanings related to the communicative nature of architecture; 3) representation of the architectural solutions of aesthetic content accepted by the taste of the community, artistic aesthetics (of architecture). As a final conclusion it can thus be said that a relative and absolute horizontal and vertical dynamics – realised with architectural signs and visually codable – operate in shaping the architectural image of the market town.

A Structural Study on the Image of the Turk in the British Caricatures

Author(s): Evrim Ulusan Öztürkmen / Language(s): English / Issue: 91/2017

The main tool of the caricature is the “line”. The line on its own, the characteristics of the line such as being horizontal, vertical, or diagonal and its figural characteristics such as being circular, curved, diagonal, or zig-zag create different associations and semantic fields in the mind. While the line in the caricature is processed with such tools as color, texture, shadow and perspective, it creates a discourse consisting of verbal and visual patterns. In this research, the following questions were sought to be answered by examining six cartoons published in England in the magazine Punch during World War I: What kind of image of the Turk do the lines in the England caricatures create? What kind of relationship is there between the visual content and the verbal content of the caricature? What are the concepts that make up the positive and negative contents of the images of the Turk?

A szépség és a szörnyűség

Author(s): Gizella Horváth / Language(s): Hungarian / Issue: 10/2017

A THEORETICAL APPROACH TO THE RELATIONSHIP BETWEEN ART AND WELL-BEING

Author(s): Anna Mundet-Bolos,Nuria Fuentes-Pelaez,Crescencia Pastor / Language(s): English / Issue: 56/2016

The aim of this review was to explore, through a systematic search of the literature, the relationship between art and well-being and the key elements involved. A relevant conclusion drawn from our findings is that participation in an artistic activity encourages personal well-being because it permits a direct and sincere connection with the individual’s emotions. Such a process implies a threedimensional strengthening: social (I am in a relationship); emotional (I am well); and cognitive (positive thinking). Another conclusion is that whilst many of the studies are relatively recent, the positive relationship between art and well-being is well supported by the literature. Further research is required, however, to provide greater validity to our findings.

A.G. BAUMGARTEN’DA DUYUSAL BİLGİNİN BİLİMİ OLARAK ESTETİK

Author(s): Nesrin ERTÜRK / Language(s): Turkish / Issue: 7/2016

A. G. Baumgarten grounds the aesthetics of which he was the founder on widely poetic and rhetoric in his “Aestetica” (1750/58). Nevertheless, what is significant here for him is to validate the individualist right of “sensitive knowledge.” The word “aesthetics” (αíσυŋгηικόç) here is strictly attached to its basic meaning which is “related to sense and perception,” and “sensually understandable.” The aesthetics of Baumgarten is the philosophy of sensual knowledge and perception, and its sensitivity cannot be perceived as the material of outer stimulation and logic; contrarily, it sincerely sees it as a special genre of the knowledge. Hence, the aesthetics is defined as the “science of sensitive knowledge.” With this study, it has been targeted to draw a general outline of Baumgarten’s aesthetics understanding by discussing the basic chapters of “Aestetica.”

ABBASQULU AĞA BAKIXANOVUN YARADACILIĞINDA CƏLALƏDDİN RUMİ İRSİNİN ƏKSİ

Author(s): Vüqar İsmət Teymurxanli / Language(s): Azerbaijani / Issue: 3/2009

Makale, ünlü sufi ve düşünür Celalaeddin Rumi’nin XIX yüzyıl Azerbaycan düşünürü A. Bakıxanov’la ilgili edebi konuların ilmi tahlilini konu edinir. Yazıda, Azerbaycan’dakı ilim adamları ve eleştirmenlerin konu ile ilgili düşünceler üzerinde durulmuş, A. Bakıxanov’un eserlerinde Mevlana’dan yapılmış alıntılar tespit edilmiştir. Her iki düşünürün eserlerinde konu, yapı ve didaktik amaç bakımından benzerlikler araştırılmıştır. Manevi sansür karşısında Bakıxanov’un Mevlana sanatından nasıl faydalandığı üzerinde durulmuştur.

ABİDİN ELDEROĞLU RESİMLERİNDE ESTETİK VE DENEYSEL AÇIDAN BOŞLUK DOLULUK

Author(s): Mustafa Cevat Atalay,Mustafa Diğler / Language(s): Turkish / Issue: 19/2016

The aim of this study is to analyze the paintings which belong to Abidin Elderoğlu since 1950 and to render by assessing the rate of Vide Et Plein in the selected works. Abidin Elderoğlu is one of the prominent artists of Turkish Painting Art with an innovative and distinctive point of view in his period. The artist, who stands for and indicates that the primary concern of art thinking is invariably the innovation, has made many significant contributions concerning intellectual and application of Contemporary Turkish Painting Art by leading his life in bringing out works of art. In an attempt to provide abstractness in his paintings, Elderoğlu has based upon and composed the effectiveness of plastic constituents such as color, style, clear obscure, half-opasity in parallel with application according to the functions. The artist, who has been influenced by the works of art produced earlier in the places where he has lived, has come up with innovative works of art by representing the syntheses of East and West in his own painting style. The painter, notable to be influenced by the art of Far East and Asia, has put through composition in which he has made a reference to art of calligraphy and lyric abstraction resembling patterns. Adopting an abstract expression in painting art, Elderoğlu has organized the rhythmic form of music and the roles of plastic constituents according to his intellectual design. Abidin has comprised works not directly influenced by the plastic form of calligraphy but put together in novice. In this study as a method, the artist Abidin Elderoğlu will be analyzed in terms of literature. Besides, the design properties of his five works which he produced after 1950 and which represent the abstract form of calligraphy will be explained. In the other part of this study, the rates of Vide Et Pleinof the compositions in the selected works will be analyzed by means of digital photogrametri and the findings will be interpreted by way of data set concerning the aesthetics and schematic aspects.