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The pioneer of abstraction, Wassily Kandinsky (Васи́лий Васи́льевичКанди́нский, 1866–1944), used musical terms as titles for his paintingswith intention to release them from the themes, considering that musicis “the art which has devoted itself not to the reproduction of naturalphenomena, but rather to the expression of the artist’s soul, in musicalsound”. Through his paintings Kandinsky rethought the principles ofmusic. Not a painting, but an another artistic creation, through whichwe are given a chance to cognize Kandinsky’s comprehension of music,is The Yellow Sound (Der gelbe Klang, 1912), a “composition” for stage.It is the paradigm of Kandinsky’s “true stage-composition”, his totallynew view of theatre that consists of three elements – musical movement,pictorial movement, and physical movement, but interwoventogether in harmony that will trigger inner harmony in a spectator.Music for his scenario was provided by the composer Thomas vonHartmann (Фома́ Алекса́ндрович Га́ртман, 1886–1956), and anothermusical version was written by Alfred Schnittke (Альфре́д Га́рриевичШни́тке, 1934–1998 / Der gelbe Klang, 1974). In Concerning the Spiritualin Art Kandinsky presented his theory of colour through which he explainedhis own (synesthetic) view of yellow colour / sound, particularlyin comparison with blue colour, that was “musicalized” through TheYellow Sound. What kind of yellow and blue tone Kandinsky had inmind, and what nuances of these colours did von Hartmann / Schnittkesee / hear? What musical instrument(s) can produce yellow, i.e. bluecolour? Which music scale / tone / interval has yellow / blue tone(s)?Are we able to perceive all the shades of yellow / blue sound?
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The link between silence and death has been a recurring theme of human thought and can often be found in reflections on music. Among many attempts to approach this problem, the author of this paper focuses on those done by Gisèle Brelet and Tōru Takemitsu. The “faithful companion” of music which “perpetually is born, dies and is born again” – this is one of the ways in which French musicologist describes silence. “For a human being, there is always the duality of life and death. Music as an art form always has to connect vehemently with both” – notices Japanese composer, who in another statement combines silence with “the dark world of death”. Interestingly, both Brelet and Takemitsu arrive at the conclusion that such connotations may well be the source of the fear of silence that affects some composers or performers. Despite different contexts, some analogies to their thought – like connecting silence with nothingness and loneliness – may be also found in the Canadian composer Raymond Murray Schafer’s writings, presented fragmentarily in the last subsection. The differences in the notion of the problem between the authors are, moreover, discussed in this paper.
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Discontinuum-continuum: the theory of composition by Julio Estrada. The Julio Estrada’s output is still the unexplored area, what creates the opportunity to study the phenomenon called discontinuum-continuum. During the last 36 years of the creative activity, Estrada has developed several aspects of the macro timbre that integrate several compounds of a composition. In his research, Estrada confronts two different situations in the compositional process: continuous transformation of the sound and chronographical method, using strictly defined recording process in order to receive three-dimensional movements of the sound in the topological order. As a result of existing these two situations, a musical work is impossible to be defined by one technique or musical style. Examination of the theory of composition called discontinuum-continuum allows one to understand a new methodology of musical creation that involves scientific research of the physical phenomenon of sound and introspection of the imagination of the sound.
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The paper offers a new interpretation on Rousseau in the context of Richard Rorty’s concepts on the philosophy of language and the linguistic turn developed at the end of the 20th century. The classical interpretation of Rousseau’s ideas of freedom in view of upbringing as a rule juxtaposes nature and culture. The present paper argues that this opposition can be overcome through the application of the metaphor approach to both upbringing and the value-neutral character of language. In this sense the question to be answered is how the languages of the teacher and of the student co-exist in Rousseau’s ideas and what the mechanism is that turns these languages into means of upbringing. The research employs arguments in favour of the hypothesis that in terms of the metaphor of “upbringing” created by Rousseau in Emile or on Education, the concepts language of nature and language of society overlap.
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The purpose of this article is to draw an overview of a major cause, which, in our opinion, determined, at different times, the emigration processes in the Romanian villages, especially after 1989 - the disorganization of the traditional models. In this approach, we proceeded from WI Thomas's social disorganization theory, which showed that European peasants emigrated from the process of reorganizing their lives on new foundations after many of their traditions had been rejected. Thomas's thesis is of great relevance to the crisis of the Romanian village after 1989, generated by the models of social guidance that destroyed the peasants of the spiritual cadres of life without generating even economic welfare.
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This article seeks to outline the polemics on the relationship between language and dialect and between language and social inter-action, and to present, in an analytical, synthetic and comprehensive manner, some theoretical models that provide explanatory patterns regarding the way in which language, as the basis of culture, is influencing how we relate to objective reality. First we will make a conceptual distinction on the relationship between dialect and language, we will review the philosophical premises of the issues addressed, after which the emphasis will move on the analysis of the language from four distinct paradigmatic positions: evolutionary, relativist, interactionist and constructivist.
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This study explores how the West defines the East in the works of Tzvetan Todorov and how the definition of the West itself shifts with the discovery of the New World in the XVI century. We will take as an example the impression of French travelers in Bulgaria in the XIX century in order to show that the image of the East gets often misunderstood by the West. With the discovery of America, the definition of what West means changes. These definitions are fluid and modifiable and are essential in order to understand how later historical interactions between East and West are carried out.
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The article offers arguments for the compatibility of specific types of internalism and externalism in epistemology through a comparative analysis of the approaches based on their aims of investigation. Such compatibility is viewed as possible after the oppositional differences that are related to the elements of justification, are overcome. In this regard, the question about the agents of knowledge is answered, with reference to the thesis about the irreducibility of the internalist condition of reflexive access. Considerations of conceptual clarity and succession are raised with regard to the externalist condition that removes the epistemic arbitrariness in the founding of beliefs.
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The article explores the relation between education and learning as a means of its implementation and the new type of socio-historical inheritance at the end of the twentieth century, related to changes in the nature of scientific knowledge itself. In the emerging new pedagogical paradigm, the main task is the transition from a center of knowledge to culture-friendly learning, the intellectualization of the learning process, but also its euro-denomination, is becoming more and more intense. It raises the issue of changes in values and new cultural realities in the process of communication, which builds a new type of the whole personality whose mentality unites culture and education. Innovative approaches to humanistic pedagogy and practice are aimed at developing the principles of developing learning, collaboration and creativity.
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The paper uses the concept of microenvironment both literally and figuratively, as a targeted focus of the scientific research on delimited spaces. And the human space is the entire world of both cultural meanings and physical factors, landscapes and systems which constitute the “nest” of the human species. The point is that though there are microenvironments, the human space is more than the ensemble of all their types. Thus, the core of the paper structures around the manners in which both the scholars and the large public in different positions treat these two hypostases of space. The present situation of the treatment of space has its origin in both the different scientific traditions of the concept of space – transposed into “worldviews” (something more than philosophy) and the social relations with their constructions of practical and conceptual order. Accordingly, the paper highlights some aspects in the evolution of scientific boarding of space: especially the research of matter-energy-information as underpinning the representations of space, the objectivity and the constructed character of space, space as a receptacle or as a relation, and also continuity and discontinuity in/as space. The scientific approach of space has erased the speculative philosophy as source of knowledge about it, but this scientific approach took place after the development of philosophical speculative theories about space. The “science of space” has arrived to the demonstration of the inexistence of a unique space for all the living beings – and in some respects, for humans – and at the same time to the dialectics of objective measurements and treatment of the subjective spaces. The main concepts through which people envisage space are nowadays those related mainly to environment, to ecology. They are confronted with anthropocentrism, but first of all with the difference between the advances in the present science and, on the other hand, the inertia of practical treatment of space. Concerning science, the research of both microenvironments (of different sizes) and the ecology of Earth shows the necessity of coherent global policies in order to slow the various crises of the human space: it’s too late to stop them; but not because of objective natural logic of the processes related to space, but because of the socially induced postponement. The present crisis of the human space is so huge that one speaks about the end of the human species. The critique of this theory shows that the future is open, but at the same time that today more and more people search for and experience new ways of life. The necessity of these ways is deduced not from ideal social models but from scientific research. Therefore, the problems of space are under the sign of time, even more clear, of emergency.
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The NOEMA Journal continues to publish, in a series, the book THE SECRET OF GENIALITY (Yerevan, Armenia, Noyan Tapan Printing House, 2002) by our colleague Robert Djidjian, not only because we all must know the philosophical research and creation (in our domain of epistemology and philosophy of science and technology) from a wider geographic area than that provided by the established fashion in virtue of both extra-scientific reasons and a yet obsolete manner to communicate and value the research; but also because the book as such is living, challenging and very instructive. The title of the book is suggestive enough to make us to focus on an old age question: the dialectic of the insight, of the discovery, its psychology moving between flashes of intuitions and cognizance stored in memory, and its logic of composition of knowledge from hypotheses to their demonstration and verification. The realm of science is most conducive to the understanding of this dialectic and the constitution of the ideas which are the proofs of what is the most certain for humans: the “world 3”, as Popper called the kingdom of human results of their intellection, and though transient and perishable in both their uniqueness and cosmic fate, the only certain proof of the reason to be of homo sapiens in the frame of multiversal existence. Therefore, creation is the secret of the human geniality, and how to create science is a main part of this secret.
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Determining the structuring models of communication in the plane of cinema art – the paradigms of communication in the field of art that mediate not only the interactions in the ‘author-film-audience’ relation but also function as implicit premises, both in the creation of a film and the establishment of its expressional, emotional and meaning consistency, and in its being perceived, experienced and understood by each separate viewer, as well as by the audience as a whole – would contribute to the restored legitimacy of cinema as an art in the current informational and cultural contexts.
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Through a critical analysis of J. Morawiecki’s Szuga. Krajobraz po imperium [Szuga. Landscape after the Empire], Paweł Rogalski ponders a number of questions: Does Russia still exist in the 21st century in the imperial discourse? Has the superpower paradigm, as a certain manifestation of anarchy and a fallen myth, not already been ruined or exhausted? Is the empire an episode necessary historically to balance forces in a global crisis? Is the war in Ukraine (2014 and 2022) perhaps the “new-old” founding murder of the Eastern civilization, incorporating the model of the Russian empire? Does ideology as a glue, instead of positively constructing the subjectivity of the community, contribute to building a new, dangerous phantasm of the empire? In this context, the travel narrative authenticates the message by reaching abandoned and blurry places, where the encountered human subject generates not only events and adventures, but is a record of ideological traces left on the body and the psyche. As Czesław Niedzielski wrote: “In all varieties of reportage prose, the identity of the speaking subject and the author (regardless of the form of the reporting) is one of the basic premises determining the documentary and, most of all, the authentic qualities of the genre”.
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In this paper, the concept of solidarity will be introduced as voluntary cohesion, mutual help and support not only within a loose group, but, above all, within the whole human race. Tischner wants to help contemporary man because he is aware that contemporary man has entered a period of profound crisis of his hope. The reflection on solidarity and hope in the philosophy of Tischner represents a neuralgic point which has its justification in Christian thought. Hope is the prospect of something better which, together with mutual support, removes both fear and isolation, and brings about the development of both the individual and the community. The deepest solidarity is solidarity of conscience. The community of solidarity differs from many other communities precisely because it is “for him” that is fundamental. It is only on this foundation that the community of “we” grows.
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This article tested a widespread belief that by working in groups distance education students achieve cognitive goals of learning, and develop their social competencies and skills. The subject of the study was the achievements of 655 bachelor and master degree students enrolled in 22 on-campus and blended learning units offered within 2 university courses, full-time and part-time, during and after the COVID-19 pandemic, i.e. in the academic years 2020/2021 and 2021/2022. An instrumental case study was carried out: the grades students obtained for individual work were compared with grades obtained for work done in pairs and groups of threes within the same courses. It was found that a statistically significant difference did not exist. But the highest grades (on average 83.81) were obtained by students who had worked individually, and the lowest (81.64%) by those who had worked in groups of three. The highest grades were obtained by the final-year students. They showed an understanding of the assessment criteria and the ability to follow such. Also, they wanted to pass on the first attempt in order to have time to prepare for the final examination. International students were reluctant to work in groups. They focused on achieving good grades and preparing for the thesis due to the time limits of student visas and the unrest caused by the war in Ukraine. First-year students who had no experience in adhering to the assessment criteria and problems with communicating due to isolation caused by the pandemic obtained the lowest grades.
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This article attempts to show if the entire story of the Vālmīki Rāmāyaṇa is perhaps a narrative which is a subtle depiction of the interplay of the three guṇas of sattva, rajas and tamas which are cardinal principles in the ontology, cosmology, psychology and soteriology of the Sāṅkhya-Yoga system of classical Hindu philosophy.
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Review of: Cătălina-Ioana Pavel, Acolo unde se naște musonul. Un an în regatul zeului Parasurama, Cluj-Napoca: Editura Casa Cărții de Știință, 2023
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Review of: Sarvani Gooptu, Knowing Asia, Being Asian. Cosmopolitanism and Nationalism in Bengali Periodicals, 1860–1940, South Asia edition, New Delhi: Routledge, 2022, 276 pp., ISBN: 978-1-032-33229-1.
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Kinga Wyskiel’s article concerns the issue of gender in science fiction stories by Julia Nidecka. The following stories have been analysed and interpreted: “Wilki na wyspie” [Wolves on the Island], “Taśmy prawdy” [Tapes of Truth], “Kwiaty w bukiecie” [Flowers in a Bouquet] and “Goniący za słońcem” [Chasing the Sun]. Wyskiel considers two dominant strategies for the representation of femininity in these stories and focuses on Nidecka’s images of the woman scientist and the mutant woman present in them. Wyskiel also points out that gender is an a priori category in Nidecka’s future worlds and that, consequently, the construction of those worlds has been based on the gender matrix.
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