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The article explores Heidegger`s attempt to overcome aesthetics.
More...(Бележки за явяванията на Писмото)
This paper sets itself the task to delineate an “aesthetic” approach to reading. It takes as a point of departure two intertwined themes in Kant’s third Critique: 1) the “disinterested” aesthetic attitude, and 2) the as-if character of aesthetic entities. These define two extremes of reading: per diletto on the one hand and logos-minded reading on the other. This makes it possible to offer a phenomenologo-hermeneutical “history of reading”, which is staged here by the author in the form of a three-act comedy. From this perspective, the present article portrays reading itself, starting from pre-modernity, when it was marked by reading in, then passing through modernity (for which reading of is relevant), only to reach, at present, an actualist contemporaneity, whose all-embracing oblivion assumes the form of deliberate copy-paste reading.
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This article addresses the issue of how moral philosophy and social sciences can play a role in defining visions of a better future for humanity. The author analyzes Hilary Putnam’s relevant ideas in this respect, including the possible impact of knowledge obtained through literature in this process. The article emphasizes two aspects of Putnam’s discussion. First, the author focuses on what underlies the current inability of social sciences and practical reasoning to perform their proper visionary functions. Second, the author presents certain potentially interesting consequences of Putnam’s ideas on errors in practical reasoning, which are applicable to a classical debate in this field.
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The article proposes a new, “ontological”, interpretation of Pencho Slaveykov’s anthology On the Island of the Blessed. This is Slaveykov’s obsessively Nietzschean book, and hence is analyzed in terms of fundamental modes of Nietzsche’s internally changeable philosophy (transformed by Slaveykov in the anthology) such as perspective, interpretation, play, mask. The article analyzes the changeability of the Self and the subject, which is fundamental to the changeability of the universal poetic subject of the anthology, embodied by Slaveykov, who unfolds in a multiplicity of real poetical presences in the text.
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The article is focused on the specific veneration that the Bulgarian poet and philosopher Yanko Yanev felt for Nietzsche, in memory of whom, in 1926, he published a book entitled Antichrist, conceived, planned and written to express Yanev’s complete agreement and identification with the German philosopher. In the book, Yanev lends the aura of divinity to Nietzsche. The article points out that this book was preceded and followed by other works specifically devoted to Nietzsche and discussing the impact of the latter’s legacy on the world many years after his death.Yanev’s early philosophical-poetical works, published in the journal Listopad, present this Bulgarian author in a way that has led him to be viewed, by the public at that time, as a sort of Nietzsche of the Balkans. Interpretations of Thus Spoke Zarathustra are central to Yanev’s thought. But even in his earliest works devoted to Nietzsche, certain discrepancies between Yanev and his favorite author begin to appear. The shade of difference stems from the fact that Nietzsche is very definite in his anti-Christian assertions, while the Bulgarian author does not seem aware that he is going beyond Nietzsche’s stark negation and is in fact seeking a synthesis of contraries – in the terminology of Dostoyevsky (another author whom Yanev holds in reverence), a synthesis of the Divine-Human and Human-Divine. We see this gradually deepening change in Yanev’s articles in the newpaper Pryaporets in the late 1920s and early 1930s. In other words, regardless of what Yanev’s initial intentions might have been, the “prestigious connection” expressed by this Bulgarian reading of Nietzsche’s works consists, in fact, of a synthesis between the Nietzschean Übermensch and the Christian God-Man.
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The article compares P. Slaveykov, Y. Yanev and E. Popdimitrov in respect to the relation between philosophy and art (literature). Pencho Slaveykov begins with the philosophy of Nietzsche, but remains entirely in the context of literature. Conversely, Yanko Yanev begins with poetry, but remains entirely in philosophy, while Emanuil Popdimitrov combines both in his works. This thesis is illustrated by an analysis of Popdimitrov's philosophical views and poetical works.
More...Пенчо Славейков и Николай Райнов
Undoubtedly, the perception of Nietzsche’s work by philosophers belonging to other nations and cultures is a particularly popular topic in world history of philosophy. Numerous studies have recently been devoted to Nietzsche’s influence on the spiritual traditions not only of Western and Eastern Europe but also of America and Asia. The Nietzsche Style is a challenge, equally in its provoking ideas, its “non-academic discourse” and with regard to its translation. This article aims to outline the general reception of Nietzsche’s ideas in Bulgarian culture seen through the various Bulgarian translations of Thus Spoke Zarathustra
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The article is built around three themes: a focus on the problem of the divided personality and the destructive role of the double; a few remarks on the figure of the devil; and several illustrations related to the split personality, taken from works by Bulgarian diabolists. The author’s theoretical analyses of the divided personality in Bulgarian literature, especially as depicted by the Bulgarian diabolists, are supported by the works of Vladimir Polyanov and Svetoslav Minkov, who are the main writers pertaining to this literary current
More...Из Smarra, or The Demons of Night
The text, which includes translated excerpts from Charles Nodier’s novel Smarra, or The Demons of Night, attempts to present a reading of the fantastic world depicted by Nodier interpreted through Sartre’s essay “Aminadab, or The Fantastic Considered as a Language”: it covers the whole universe and cannot remain at the level of the event. It represents the inverted image of the union between soul and body, and the rebellion of the tools against the goals. This inverted world amounts to a different way of seeing our human reality
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The objective factor in this article, which is related to a famous scientific study, applies a theoretical and practical perspective in order to analyze the impact of the showcase as part of visual merchandising and design, and precisely where a connection is made between the client and the fairy tale. Folktale components and archetypes, used in designing showcases, send messages that have an impact on the behaviour of consumer groups, and guide their practical use in visual communication. Scenes from famous fairy tales, recreated in showcases, are a mixture of different realities in terms of faces, prototypes, geography, language, shapes, magical tools and the imagination of the designer. They represent a successful advertising strategy and approach to the consumer groups, whereby a clear and apt form of communication is created. The task of folktale characters is to achieve a symbiosis between the customer and the popularity of the brand.
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