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Об однойшекспировской цитате в "Поэме без героя"

Author(s): Marina Grigorievna Salman / Language(s): Russian Issue: 1/2014

The purpose of this article is to explain Anna Akhmatova’s decision to rewrite the following stanza from "Poema bez geroia" (1940–1962): Ne otbit’sia ot rukhliadi pestroi, / Eto staryi chudit Kaliostro/ Za moiu k nemu neliubov’./ I mel’kaiut letuchie myshi,/ I begut gorbuny po krysheI tsyganochka lizhet krov’. The final version of the stanza – Ne otbit’sia ot rukhliadi pestroi./ Eto staryi chudit Kaliostro –/ Sam iziashneishii satana,/ Kto nad mertvym so mnoi ne plachet,/ Kto ne znaet, chto sovest’ znachit/ I zachem sushchestvuet ona. – alludes to Shakespeare’s Sonnet 151. The penultimate line of the final version of the stanza (“Kto ne znaet, chto sovest’ znachit…”) paraphrases the opening line of the sonnet (“Love is too young to know what conscience is…”); the sonnet’s keywords – “love,” “conscience,” “young,” “guilty of my faults” – correspond to the central themes of "Poem without a Hero".

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Globalizacija kao negacija stranca

Author(s): Mile Babić / Language(s): Croatian Issue: 34-35/2004

U ovom radu želim najprije ukratko izložiti današnju diskusiju o globalizaciji, zatim kratki pregled povijesti globalizacije i pokazati da se dosadašnja globalizacija temelji na negaciji stranca, i to na dvostrukoj negaciji stranca: na negaciji stranca izvan sebe i stranca u sebi.

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Filozofsko promišljanje sadomazohizma

Author(s): Iva Šokičić / Language(s): Croatian Issue: 03+04/2014

Sadomasochism is an essential sexually – social phenomen which requires a philosophical analysis of its psychology and praxis and the aim is to approach sadomasochistic sexuality in terms of social philosophy and psychoanalysis. The paper commences with an explanation of its historical development and continues with contemporary theories of power relations and an interpretation of domination and submission as identities. After the introduction into the basic terminology, most of the attention will be focused on the kinds of BDSM relations and positions and relations between inviduals within the S/M dynamics. Since sadomasochism is far more than a sexuality, it shall be emphasized that it is both physically and psychically (pre)conditioned, and refer to the various ways it is possible to conceptually understand and categorize it. Therefore, the conclusion will present essential connections of sexuality and society, the physical and the psychical of the practitioners of this sexuality and finally the difference of experiencing sadomasochism on the BDSM scene and in the context of the contemporary society.

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Treba li braniti društvo?

Author(s): Krešimir Petković / Language(s): Croatian Issue: 04/144/2016

Cet article examine l’utilisation du concept de guerre dans l’oeuvre de Michel Foucault. En renversant la célèbre déclaration de Clausewitz selon laquelle la guerre n’est qu’un prolongement de la politique par d’autres moyens, Foucault parle de manière ambivalente dans les années 1970 de la politique comme d’un prolongement de la guerre par d’autres moyens. Au sein de son analyse des rapports sociaux en tant que rapports de pouvoir, il se sert abondamment des métaphores de guerre telles que la stratégie et la tactique, mais utilise aussi une terminologie de guerre en abandonnant la métaphore. Il se distancie plus tard de ce discours qu’il qualifie de discours historique spécifique qui, de manière rétrospective, est soumis au discours analytiquementplus froid d’archéologie, à savoir, dans le sens foucaldien, à l’analyse dynastique/généalogique du pouvoir nominalement engagé. Il rejette également d’un point de vue normatif la métaphore de guerre dans certains domaines spécifiques, telle que dans sa problématisation du rôle des intellectuels. Cet article se limite à deux buts particuliers. Le but premier est, suivant le genre de l’herméneutique de Foucault, de reconstruire en tentant de classer de manière fidèle les différents genres de discours de guerre présents dans son oeuvre riche et variée. Le but second consiste, quant à lui, à valoriser ce discours d’un point de vue analytique, travail résumé en la question de savoir ce que l’on gagne et ce que l’on perd à travers le discours de guerre dans l’analyse des mouvements sociaux, tout en ayant à l’esprit l’intitulé de Lakoff et Johnson concernant les métaphores conceptuelles, qui, comme ils l’affirment, façonnent notre pensée et nos mondes réels. En d’autres mots, il s’agit de savoir ce que nous a réellement dit Foucault et ce qu’il a vraiment écrit, mais aussi, ce que cela signifie pour nous aujourd’hui au sein de l’analyse de la société et de la politique.

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ІМПЛОЗІЯ КУЛЬТУРИ У СИМУЛЯТИВНИХ ВИМІРАХ ПОСТМОДЕРНУ

Author(s): Olga Sukhina / Language(s): Ukrainian Issue: 4/2014

In the article the phenomenon of cultural implosion in the simulative measures of postmodern is explored. This phenomenon appears in the conditions of intensive perception of fictious nature of the sign space which had lost the reality and it bears now the impression of the total simulation that has become a general perception of the world in the modern era. Regarding this fact the necessity of research of the reasons and cultural simulative mechanism has become an important demand. Nevertheless, the theoreticians of postmodern such as G. Deleuze, J. Baudrillard, G. Bataille, J. Derrida, J.-L. Nancy, M. McLuhan, J.Lacan, M. Blanchot, J.-F. Lyotrad, J.Kristeva have been studied this phenomenon, and the problem of simulation remains in the culture of postmodern a question of an urgent importance.The term "implosion" is translated from English as "vybuh" and it is directed inside. We can find the culturological reception of the implosion in the works of M. McLuhan, J.Lacan, G. Deleuze, J. Baudrillard, J. Derrida, J.-L. Nancy, M. Merleau-Ponty, and also N. Mankovska, O. Degtiarova, S. Grofa, K. Raslogova, B. Boruhova, O. Chulkov, V. Bosenko etc. They have extended the ethymological meaning of the phenomenon "implosion", creating its explicative field that remains the basis for discussion. The implosion is presented in the works of M. McLuhan and J. Baudrillard as a non-classical type of aesthetic perception that has appeared as a result of transmission of cultural symbols by means of mass media artifacts. According to surveillance of M. McLuhan the electronic means of communication, which are able to deliver the information with speed of lightening, creates the effect of the explosive compression of not only information itself but also of space and time. It is notable that M. McLuhan appeals to L.Kerroll who has a new perception of space and time of the electronic era. The concept of L.Kerroll has become the basis of G. Deleuzes’ philosophy. G. Deleuze had read in the works of L.Kerroll about terrible "battle of depth" in which the things are totally broken and these things explode us from the inside. G. Deleuze appealed in the work "Marsel Proust and signs" to the art as to the highest form of being, he considered it as a space which contains all times and all forms. This is a space of imaginations and dreams, hallucinogenic visions where time is not only slackening the rhythm, but also changes the vector of its direction.Postmodern art pays attention not by chance on the changed states of consciousness, drugs and psychodelic cultures. G. Deleuzes’ concept of time plurality is outlited in the works of Serbian writer M.Pavych. G. Deleuze explored the cooperation of actual and virtual things on the example of the mirror palace from the movie "Lady from Shanghai" by Orson Uells. It is important that the verges of crystal are distorting mirrors which divide the image into two parts, and it stays in the constant pursuit for itself. Being as a symbol of other existence the mirror shows its range and makes the cooperation and interpenetration possible in the world. The mirror images are the bearers of plural meanings. The researches of M.Bakhtin, S.Kierkegaard, J.Lakan, M. Merleau-Ponty, V. Foucault are concentrated on the perception issue of mirror image. The metaphor of mirror actualizes the culturological discourse of O. Degtiarova who analyses the phenomenon of "mirror imperative" and also historical and philosophical researches of B.Boruhov, O.Chulkov, A.Losev. Implosivness is typical for mirrors, they absorb everything what can be reflected. Therefore, the things and people are the objects of one level and according to it, everything is served for absorbtion.The culture of postmodern, using different mystifications, confabulated the mirror cover, transforming it into phenomenon of screen. That is why, nowadays, the term screen culture is ingrained in the culturology, and that means a complex of characters, created by the law of myth. It offers a new system of cultural coordinates in which the accepted reality is constructed and the adapting of new proposals of informative society had been taken place. As a result the personal ranges are vanished and the spiritual orientations are defined by the range of screen.According to K. Razlogov, the effect of reality of audiovisual character becomes a tool for global adulteration because new forms of screen communication simulate our psychological processes, breaking into our world and making influence on mental structures. J. Baudrillard had spoken about implosive violence which emerged on the global structure of goals demolition and stipulated by excessive social compression. According to J. Baudrillard the implosion can stipulate bad consequences as revolution because of simulation, the agonized reality blocks up the postreality that offers survival among broken pieces of culture.Thus, the recipient of the modern culture gets into aesthetic and cultural trap of implosion that develops the strategy of substitution, imitation, simulation. The implosion transforms unrecognazibly the usual social connections, en-suring the triumph of the sign culture. It is a special type of world perception that affirms neomythologisation of the world by the means of screen culture. As a result the substitution of the reality had taken place by the virtual simulacrum.The results of the research give deeper understanding of implosion, encourage creation of the appropriate reflexive space for overcoming of the modern social and cultural crisis. It is important to speak about an urgent demand of life-asserting creative work in order to preserve personal identity and self-realization in the space of national culture.

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Децентрирање света после колонијализма: стратегије супротстављања од краха цивилизаторске мисије до успона новог оријентализма

Author(s): Zoran Ćirjaković / Language(s): Serbian Issue: 3/Spec/2016

The author analyzes the contribution of postcolonial studies to the resistance to Western hegemony, decentralization of the world colonized by Eurocentric ideas and subjectivization of non- Western communities. The emphasis is on Postcolonialism as fiercely disputed platform, a kind of „theoretical location“ of resistance, and the ways in which it contributed to demystification and challenged the Western privilege in the neocolonial world. Considerable attention has been paid to poststructuralism and ambivalent attitude towards marxism, including the reasons why Marxists have been trying to discredit and even „bury“ postcolonial studies as an enemy and an accomplice of the capitalist domination. It is pointed out why the postcolonial insights should be seen as complementary to the marxist’s ones, which have usually been made with disregard for key cultural factors. To illustrate the size of the challenge today, the paper gives a brief overview of the ways in which Orientalist binaries have been being relegitimized and Western interventions framed as rescue missions. The author points out that colonialism should also be viewed as „colonialism of the mind“ and that the struggle against neocolonialism is always „internal“ in non- Western societies, requiring a permanent confrontation with autocolonial actors. Special attention is paid to the dilemmas and disputes regarding essentialism, a shadow that hangs over postcolonial insights and their applicability in the meaningful politics of subjectivization and resistance. Further on, in the context of the enduring financial crisis and the „Global War on Terror“ the main challenges to already established and institutionalized postcolonial critique have been reviewed. In the final part of the paper, the author stresses the contribution of postcolonial studies to the understanding of various consequence of liminal position of the Balkans and points to their importance for fledgling resistance to the neocolonial interventions in the region.

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Bolest u procjepu biologije i kulture

Author(s): Darija Rupčić / Language(s): Croatian Issue: 03/143/2016

The intention of this paper is to highlight and reflect on the development of a tradition that considers the importance of cultural influences on health and illness. Delicate balance between illness and culture is what constitutes the elusive truth of illness and post-modern understanding of the illness as biocultural phenomenon in biocultural model. Using authors such as Michel Foucault, Hans-Georg Gadamer, Ivan Illich, David B. Morris and others helps to bring out the intricate, complex and subtle link between illness and culture. Scientifically based biomedical model, outdated in its Cartesian-mehanicistic conceptual scheme but growing in popularity at enormous speed, considers illness as an object and body as a mechanical machine. Although it did bring prosperity and eradicated many diseases, it offers us an alternative path to a new and still uncertain understanding of illness as transformable process, resulting as the intertwining of culture and biology. By putting an emphasis on this narrative, we will critically overview the existing dominant biomedical model of illness and we will consider the possibility of introducing a new biocultural model of illness expanding the existing biomedical model. The expected contribution of this work will go towards the possibilities of theoretical and practical foundation and a search for the possibility of the different pluriperspective and multidimensional approach to illness and health.

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Historia i struktura. Problem uprawomocnienia

Author(s): Andrzej Leder / Language(s): Polish Issue: 22/2016

In his text the author is defining the conflict of the structuralist and historicist – synchronic and diachronic thought – described by de Saussure – as a development of two different ethical axioms in the field of social philosophy. He tries to show, how each of this axioms can generate a different ontology of social being. Applying some elements of Deleuzian thought the author analyzes the theoretical position of the two ethical axioms. Then, on the fundament of the Lacanian, and more generally poststructuralist thought he tries to give a draft of a theoretical space in which such a change of ethical positions would be possible. He develops thus a new philosophy of symbolic fields.

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Structuralisme en archéologie

Author(s): Aleksandar Palavestra / Language(s): French Issue: 2/2009

Although, back in the 1970s, Edmund Leach threatened archaeology that he will ‘poison’ it with structuralism, his structuralist work did not have that far reaching impact on the changes of archaeological interpretative paradigms. The reason for that is – on the one hand, structuralists’ lack of interest in diachronic interpretation, and on the other, the concept of the universal structures of mind for which upcoming poststructuralism did not have much interest. To be fair, there are some rather interesting structuralist interpretations in archaeology (even in the Serbian one) mostly based on the application of binary oppositions. However, in the broader context, structuralism, work of Levi-Strauss, and de Saussure linguistics in particular, enabled archaeologists to understand material culture in a semiotic field – as a study of signs and contexts of meanings. In other words, objects in archaeology, under the influence of structuralism, have been seen as organised in the wider systems of signs (organised in binary oppositions, but not necessarily) with particular meanings. One of the problems of this semiotic, structural approach in archaeology is that it automatically equates material culture and language, which is highly problematic, since meanings in material culture are rarely arbitrary in the way that it is the case in a linguistic relation between signifier and signified. Poststructuralism, theory of practices and poststructuralist critique of scientific positivism had much higher impact to archaeology, especially postprocessual one.

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À propos du concept de l’oubli de Lévi-Strauss. Structure de communication perturbée et styles de pensée dans la Serbie en transition

Author(s): Dragana Antonijević / Language(s): French Issue: 2/2009

This paper starts with Levi-Strauss’s semantic concept that consists of oblivion, misunderstanding, indiscretion and nostalgia. Through his analysis of North American and Greek myths, Levi-Strauss concluded that "semantic filed of oblivion" has an important meaning especially in the construction of particular rules and rituals; or, in other words, it has an important part in the introduction of culture to the nature of cognitive and social processes. After the introduction of concept Structure of disturbed communication and some corrections to the Levi-Strauss’s concept, I start with the proposition that the period of transition represents unstable and ‘slippery’ time in which society negotiates different meanings. That is the time when different styles of thoughts, represented by different and powerful groups that have an impact on current social, political and ideological processes, compete with each other fighting for supremacy. Their field of communication can be seen as a field of "disturbed communication", which in the final instance has a normative function: to reinforce and regulate certain attitudes, ideas and knowledge. This is achieved through the narratives which symbolise a community of newly established order in the moment of its supposed socio-historical stabilisation. Finally, combining two different theoretical models – Levi-Strauss’s one described above with Greimas’s ideas about structures of modes of veridiction, this paper predicts chances of particular paradigmatic forms of thought in transitory Serbia to became dominant modes of thought, despite of their current low visibility in the public sphere. In mythical terms, it seems though that their domineering efforts are predetermined to success or fail, since they position themselves according to the laws immanent to these structures themselves, which on their part a priori position these structures as powerful or powerless, influential or non-influential communities of thought.

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Clarifying Power, Domination, and Exploitation: Between “Classical” and “Foucauldian” Concepts of Power

Author(s): Tibor Rutar / Language(s): English Issue: 2/2017

The paper examines two ubiquitous concepts of power: the “classical sociological” concept which draws on Max Weber’s definition of power, and the “Foucauldian” concept which stems from Michel Foucault’s genealogical works. Three main theses are argued for. First, the two concepts are not, in most respects, as radically different as it is usually claimed. It is demonstrated that both can make room for different sources of power, for understanding power in a non-reified way, for the fact that power is rarely completely centralised, etc. Second, in those respects in which the two concepts actually differ, the classical view of power is more convincing and useful than the Foucauldian one. It is demonstrated that the Foucauldian view is implicitly positivist in the normative domain and thus unable to differentiate between power and domination, and that it succumbs to errors of methodological holism (i.e. undertheorising agency). Third, it is argued that the classical sociological view allows to analytically distinguish between power, domination and exploitation. These three categories are shown not to be synonymous and to carry with them importantly different sociological implications. It is demonstrated that exploitation cannot merely refer to any process of unpaid appropriation of surplus as obvious false positives are generated from this definition. Nonetheless, such appropriation is the fundamental characteristic which differentiates exploitation from domination (but not power itself), and this reveals an important sociological implication for the dynamics of struggle of the exploited against exploitation in contrast to the struggle of the dominated against the dominators.

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Digital postmodernism

Author(s): Mariusz Pisarski / Language(s): English Issue: 3/2017

The article attempts to highlight a major aesthetic shift that is taking place in electronic literature: born-digital literary production written and read on computers and smartphones.A large proportion of recent e-literature is not only disseminated via social networks but its form and content is increasingly being shaped by Facebook, Twitter and their preferred communication formats (tweets, posts, statuses). The experimental phase of electronic literature when contemporary writers were establishing their identity by relating their poetics and ideologies to those of the modernist avant-gardes of the 20th century (a trend labelled by Jessica Pressman as “digital modernism”) is giving way to a more ludic approach where e-literature is seeking out a larger audience via social media and in the language of social media (a tendencyI call “digital postmodernism”). In the process, the scale and scope of a single work is being further compressed and the human author is being accompanied by non-human agents(network algorithms, bots). Is literature still literature, or perhaps – in this context and point of view – should we treat it as post-literature?

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Filozofski i religijski (ne)sporazum

Author(s): Spahija Kozlić / Language(s): Bosnian Issue: 1/2017

If it is to be judged by Anaxagoras through the phenomenal view of what is noumenal or hidden (opsis adelon ta fainomena) it could be preliminarily concluded that in the same (in this case belief) we have a subjective perspective which is almost impossible to objectify if we do not abandon our own horizon (“look into the sky”). Accordingly, an interesting range is visible: from different modes of belief to unbelief and from ritual-religious to irreligious attitudes. The modern age, also called postmodern, is full of such (micro) theological reflections of the humanworld- absolute relationship. For philosophy such situation is particularly challenging; in contemplating the evidently growing religiosity and its dispersion it is imperative to post- metaphysically reexamine the foundations of classical ontology increasingly accused of being closed, dogmatic and conceptually exclusive.

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Bog i metafora

Author(s): Aras Borić / Language(s): Bosnian Issue: 1/2017

The essay discusses the structure of the postmodern world and the possibilities of its expression in conditions where the world itself and the language of the world are no longer near and close. Thus divinity in the postmodern world appears as a kind of «dwelling» in a language in which God´s inexpression and immeasurability actually reveals His existence and His greatest potential. In this sense, the metaphor becomes the «highest» metaphysics, the «method» of mysticism, in which different religious cultures and traditions define their contents.

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Tarkovski: İçsel Uzamdan Gelen Şey - Slavoj Zizek: Kitap İncelemesi

Author(s): Çiğdem Aslantaş / Language(s): Turkish Issue: 4/2017

Var olduğunun farkında canlılar olma bilinci, insanoğlunun omuzlarına birçok sorumluluk yüklemektedir. Var olmanın ve yok olmanın arasında yaşam olarak tanımladığı alanda sıkışıp kalma hali ise, bireyin inceleme/keşfetme dürtüsünü öncelikle kendisine yöneltmektedir. Önce insan olmayı anlama ve tanımlama aşamalarını, sonrasında ötekini tanımlayıp ayrışma süreçlerini, ardından da göreceli bağımsızlık aşamalarını geçmektedir. Aslında ruhun ve bedenin tüm bu geçmekte olduğu gelişimler paralelinde, birey içinde bulunduğu evrenin sadece gidenlerin bıraktıklarından ibaret olması gerçeğiyle yüzleşmekte ve bu kalıntılar belirsizlikliği zemininde kendine başlangıç/son gibi belirli ya da tanımlı noktalar çıkarmaya çalışmaktadır. Bu aşama beraberinde bireye zaman olgusunu da düşünmeye sevk ettirmektedir. Çünkü tüm bu sorgulamalar ancak lineer olarak algılanabilen ve saatler gibi insanoğlunun yaratmış olduğu maddi unsurlar ile kontrol edilmeye çalışılan zaman olarak adlandırdığı durumla birlikte anlamlı olmaya başlamaktadır.

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Теоретичні основи дослідження коду в культурі і "подвійного кодування" у мистецтві

Author(s): Olena Aphonina / Language(s): Ukrainian Issue: 2/2015

The article considers the features of the code in the culture and the "double coding" in art. Based on analysis of the codes of culture and "double coding" in the art in the context of semiotics, structuralism, post-structuralism and cultural hermeneutics defined research methodology. It is an attempt to systematize the individual characteristics of "double coding" in art. Particular attention is paid to "the code in the culture", which is seen as a sign or a system of signs with a double nature. The ratio of the sign and the code in the context of semiotics and structuralism is developed by the founder of pragmatism, Charles Sanders Peirce, the American philosopher, logician, semiotician, mathematician and scientist, classifying marks for a three stage system (sign-icons, mark index, sign, symbol) and the basic properties of signs – informative. The code itself is characterized by a double relation to the object that it represents. Communication marks the object is a prerequisite for the existence of the mark. Since the mark means that an object is the act of determining the essence of their relationship. For Peirce the "object" is the "sign of the object," this is the ambivalent attitude to the sign at all. The issue of "double coding" appears in the analysis of issues of postmodern art and related to the specific works of art that appear in this period of Transavantgarde and postmodernism. Although the origins of the study of the phenomenon of culture and art can be found at the beginning of semiotics and aesthetics as a general linguistics. The concept of "double coding" for circulation in the culture enters the American architect and critic Charles Jencks. In the article "The rise of postmodernism architecture" (1975), he writes that "double coding" is a simultaneous appeal as to the masses, and professionals ". In 1996, the critic formulated the thirteen principles of postmodern architecture, but we focus on the common points for different kinds of art that reflect the essence of "double coding". So, first of all, postmodernism and "double coding" serve as a characteristic of a particular way of perception of the world, a certain mentality, attitude and formation evaluation. Experience in postmodernist texts emerged from the cultural codes, which include artistic styles, traditions and formulas, rhythmic patterns, musical intonations. This eclectic mix of artistic creativity in the French theorist Jean Lipovetsky is defined as the main feature of postmodernism and the "double coding" in relation to the past and present, tradition and innovation, modernity and postmodernity. The cultural code and the problem of "double coding" are interpretive model of culture Frederic Jameson, in which the story in general, and the text in the story are kinds of textcentrism as a sequence of characters codes. In developing this concept F. Jamison examines the various texts of culture: architecture, beautiful, cinematic. Code-story activates and updates the text in the system of art culture, moreover, it is also the key to the interpretation and decoding. In the interpretation of F. Jameson, the attitude to the past takes on the value of parody, which he calls "pastiche" (the word invented Adorno) which includes imitation (mimicry) of another style. Pastiche, as a parody, maintains the distance to the artistic technique or style that you want. In contrast to the parody, according to F. Jameson, pastiche is a neutral practice of mimicry, without the satirical impulse and laughter. American researcher believes that the non-historical movies can be interpreted as a pastiche. Another mechanism of establishing the foundations of a "double coding" is "intertextuality" as a strategy in relation to the past cultural heritage and cultural codes. It creates conditions for the existence in the postmodern art of the phenomenon of "double coding" that support the concept "polyphonic novel" Bakhtin, mosaics of quotations and intertextuality Yu. Kristeva, the synthesis of cultural codes R. Barth. Receptions of intertextuality illuminate a new attitude to the problem of tradition and innovation, showing her ambivalence and ambiguity hidden meanings. In intertextuality the poetic and artistic languages undergo a double reading. As a result, semiotic, structuralist, and the method of analysis poststructuralist cultural scientific hermeneutics can identify the main approaches to the study of the "code" of culture and "double coding" in the art: 1. From the standpoint of semiotics "code in culture" is seen as a sign or a system of signs with a bright example of the language. Furthermore, the code-sign can be a model for consideration of varieties of sign systems – mythology, the Bible, graphic symbols, musical scores, choreography, visual art, signs, fashion and etc. 2. Poststructuralist and structuralist analysis allows to reveal the concept of "cultural code" through the dual nature of structural relations (oppositions), the opposition, the sign (language) expression meaning.

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Montajın İmkânları ile “Kaosu” Düşünmek

Author(s): Süleyman Kıvanç Türkgeldi / Language(s): Turkish Issue: 2/2016

How can a movie think about the flow of time? On the infinite complexity of causality; decisions, accidents, "ifs", sometimes moments when we are not aware, in short how does cinema think about the chaotic uncertainty of time? The main purpose of this paper will be to think about a pure thought of a ‘‘whole’’ regarding the conception of chaos, which transcends social roles and hundreds of factors establishing our identities, and then try to trace these ideas in cinema. While cinema is showing the uncertainties in our lives, it will create other qualitative leaps. That is precisely why cinema is not a collection of images that does not have any material weight. A film carries the latent powers of “thinking” that is waiting to be transformed into infinite things. This paper will discuss the question above in the context of cinema’s montage element.

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Problemi postmoderne etike

Author(s): Asim Mujkić,Jasminka Babić-Avdispahić / Language(s): Bosnian Issue: 01+02/2015

Authors attempt to identify a set of ethical problems which, according to their opinion, sigificantly undermine the domination of modern normative as well as applicative models to include even ‘the death of ethical’, or the replace¬ment of ethics with esthetics. Lévinas’ reflections on the Face of the Other, or Derrida’s reflections on the meaning of death for ethics announce, as authors suggest, ‘the ethical turn’ within the confines of Postmodern philosophy that had occurred during 1980’s. After the analysis of Lévinas’ ethics and its fun¬damental terms such as Face-to-face, and responsibility, authors forcus on the Neopragmatist ethics of Richard Rorty in order to introduce specific ‘anglo¬phone’ view of Postmodern philosophy. In its final part, on the basis of Fou¬cault’s theory, authors introduce distinctions between ‘normal’ and ‘abnormal’, and genetic technology.

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Теоретична позиція Ролана Барта в контексті французької естетики: 50–70-і роки ХХ століття

Author(s): Ekaterina Irdynenko / Language(s): Ukrainian Issue: 2/2013

In the article the aesthetical and art research of well known French postmodernist Roland Bart, which reflect, first of all, the early period of his creativity are described. Roland Bart during certain time was the head of the movement of "new criticism". Among R. Bart's aesthetical and art practices we will emphasize his interest to a wide range of the questions connected with a problem of art creativity which is both philosophical, and aesthetic, both art criticism, and ethical, and – it is clear – psychological. The position of the theorist is analyzed against his general theoretical installations and in the ratio with the main tendencies of development of the French aesthetics of the 50 – the 70 th years. It is worth to write, that Barthes's ideas and his approach to writing evolved over the course of his career, and critics often discuss his works in terms of four stages in his critical thinking. In the first stage of his career, Barthes, influenced by the ideas of Sartre and Karl Marx, demonstrates a strong interest in issues of language, its relationship to historical and social context, and its relationship to power. In these works he developed his notion of écriture, the aspect of discourse in which the author's social and historical context imbues his or her writings with unintended meanings that are revealed in structural analysis. In Mythologies Barthes analyzed aspects of contemporary French culture–for example, advertising, travel guides, and professional wrestling–to explore ways in which they support a bourgeois worldview. The next phase of Barthes's career, which also marked the high point of Structuralism in France, is a rigorously theoretical one and includes his famous 1964 essay "Eléments de sémiologie" (published in English as Elements of Semiology). Encompassing the ideas of Saussure, Roman Jakobson, and other noted linguists, Barthes theorized about the role of language versus that of speech. To Barthes, language is based on an abstract set of rules and conventions regulating verbal and written communication, whereas speech refers to individual instances of how that language is used. The third phase of Barthes's career, influenced by French theorists Jacques Derrida and Julia Kristeva, marks a shift in his thinking from Structuralism to Post-Structuralism in the 1970s. In such works as S/Z and The Pleasure of the Text, Barthes stresses the idea that literary texts contain multiple and shifting connotations, and are therefore open to a number of possible interpretations. He also distinguishes between "readerly" and "writerly" texts: the former refer to common areas of knowledge and accommodate traditional interpretation, while the latter are more open and invite the reader to fill in gaps and make intertextual connections in the process of reading. The final phase of Barthes's career, which includes his autobiography, Roland Barthes (1975; Roland Barthes by Roland Barthes), as well as A Lover's Discourse, Le chambre claire (1980; Camera Lucida), and Incidents (1987; Incidents), is a more personal one. In these works, Barthes writes about his diverse intellectual interests, from literature to travel, and photography, in a more meditative and introspective style.

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ALWAYS ON THE RUN: THE VICISSITUDES OF REALISM IN HUNGARIAN CRITICISM

Author(s): Sándor Hites / Language(s): English Issue: 2/2014

In this article I offer an overview of the ways in which the term realism has been understood and used in Hungarian literary criticism, from the introduction of the term into Hungarian discourses in the middle of the 19th century to the post-1989 period, when the term had to grapple with the legacy of its appropriation by the Socialist regime. I examine three specific junctures in the critical trajectory of Realism: the introduction of the term in the 1850s, the uses and abuses of the term by Marxist ideologues, and finally the aversion towards the term that emerged in the post-Socialist era. In addition to examining pivotal moments in the history of this critical concept in Hungarian literary discourse, my inquiry also offers a critical perspective from which to consider an enduring anxiety concerning the achievements, past and future, of Hungarian literary culture, an anxiety that finds expression in a symptomatic concern with the ways in which tendencies in Hungarian culture do or do not relate to cultural developments outside of Hungary.

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