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The paper deals with the issues related to analysis of some special features inherent in the literary genre of travelogue. The research is focused on the artistic originality of “The Word on the Way” (2010) by Pyotr Vail. The ways of constructing the dialog in the communicative chain, by which the information is transferred from the author to the reader, are studied. Pluralism as the main principle in the organization and structuring of the material reveals the importance of the author’s image in the inner world of the text. The relation between the concepts of “native” and “foreign” is fundamental for understanding the artistic originality of “The Word on the Way”. The originality of this binary opposition in Pyotr Vail’s collection actualizes the significance of the USSR’s role in the process of constructing the world’s history. The author’s attitude to the well-known historical facts appeals to the recipient consciousness, thereby engaging them in active mental activity. In this case, the book lined up a trusting relationship with the recipient. Despite the dominant role of the author where the narrator acts as a slave of the subject, it is necessary to touch upon the process of bilateralism. It promotes the recipient’s living response to the provocations given in the idiomatic statements.
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This paper is devoted to the writing style of Chuck Palahniuk, a modern American author. The writer owes the international acknowledgment to his scandalously famous novel “Fight Club”. He has been named “the king of counterculture” due to the nihilistic themes and motifs used by him. Ch. Palahniuk’s creativity has been often examined in the light of the influence of the romantic tradition; special attention has been paid to the existential problematics, which appears to be the major focus of many of the writer’s novels. Ch. Palahniuk’s most emblematic works, especially his non-fiction book “Stranger than Fiction: True Stories”, as well as the novels “Fight Club” and “Invisible Monsters”, served as the basis for analyzing the author’s creativity in this paper. Ch. Palahniuk’s numerous interviews and the works of a number of American researchers and scholars, who associate Ch. Palahniuk’s creativity with the traditions of the New Journalism, were also considered. The conclusion was made that the technique used by Ch. Palahniuk in most of his works makes it possible to consider them in the light of postmodernism. Minimalism and dynamism are the key features of the writing style of Ch. Palahniuk, which make his works more understandable and attractive to the general public.
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Orhan Pamuk is Turkey’s prominent contemporary novelist and recipient of the 2006 Nobel Prize in Literature. The main theme of his works is the clash of the Eastern and Western civilizations, interaction between cultures and their interpenetration. Russian readers are familiar with O. Pamuk’s novels “The Black Book”, “The White Castle”, “My Name Is Red”, “Snow”, “Istanbul. The City of Memories”, as well as with his short stories and essays. The novel “My Name Is Red” (1998), on which this paper is focused, talks about the penetration of the traditions of European painting into the Eastern art and their influence on Turkish miniatures. O. Pamuk considers the problem of dramatic interaction between the “native” and the “foreign”, shows the painful process of understanding of their own identity by Turkish artists. The philosophical reflections on art, faith, and traditions are closely connected with the detective plot and love story of the novel. The novel has a complex polyphonic structure: it consists of numerous alternating monologues of characters, such as the painted dog, Satan, dead artist, and, finally, the Red – the life-giving and fire-like element and the color which gave the title to the novel. The problems raised in the novel determine its distinct intermedial character. The aim of this paper is to identify and systematize the intermedial components (manifestations of the pictorial and literary interaction) of the novel. The paper is conditionally divided into two parts. The first part analyzes the novel under consideration. The second part of the article is devoted to the intermediality of the play based on O. Pamuk’s novel and staged in 2014 by M. Kal’sin, the director of the G. Kamal Tatar State Academic Theater (Kazan). In our opinion, the intermedial field of the play expands as the rich visual imagery is added to the verbal techniques of thematization of the works of visual art. This includes the accentuated decorativeness of the play seen in the stage design and costumes, images of Turkish miniatures projected on the screen (by A. Votyakov), and creation of characters through choreography (by M. Bol’shakova). It is shown in the paper how the intermedial references in the novel and the play based on it contribute to the main idea, thereby helping to realize the author’s intent by means of different kinds of art.
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In this article, I intend to briefly present Aristotle’s view on metaphors, in general, and then focus mainly on his (implicit) theory of scientific metaphors. There is no doubt that such (short) presentations have already been made. In this context, the originality of my presentation will reside in the different perspective from which I approach the subject-matter. In other words, my aim is to clarify certain aspects of Aristotle’s theory of metaphors, namely those aspects that may seem strange to today’s readers who understand metaphor in a dissimilar way. For instance, one can sometimes notice that the ancient Greek philosopher praises the use of metaphors, while other times he does not agree with their use. I will try to demonstrate that Aristotle is not at all contradictory in his suggestions, if we were to consider the essence of each of the three types of discourse (lógos pragmatikós, lógos poietikós and lógos apophantikós) which the great philosopher always considered.
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Fundamental differences between Kyiv-Pechersk choral style and Western model of performance of religious chants can be considered in various contexts and at several levels. One should take into account diversity of church rules (canon), mentality, even geographical location and physiological capabilities of voices of the singers coming from a particular area. The performance practice is also connected with such factors as cultural traditions, language, way of life and social issues related to faith. It is therefore understandable that, after a short period of a fragile cultural unity of the Church, different traditions emerged. The author argues that the way of singing is directly dependent on the fundamental philosophical and theological ideas, originating from the Church canon. Then, the differences between chant performance in two main branches of the Christian Church seem to be a consequence of the distinct ways in which the theological doctrine, dogma of the Church, the temporal and spatial principles of worship and art developed in Roman Catholic and Byzantine Orthodox traditions. The two different perceptions of communication with God and its influence on church singing are considered by the author as an exemplary case.
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The article concerns the rule-following paradox, which, according to Saul Kripke, was formulated in “Philosophical Investigations” (PI) by Ludwig Wittgenstein. The article indicates that an interesting starting point for the discussion of the paradox may be the concept of structure from Principia Mathematica and used in the Tractatus. It makes it possible to show how extracting a set of rules and a set of actions designated by them (which together form structure) can lead to paradoxical consequences and difficulties, as well as to identify three sceptical clues based on famous paragraph 201 of the PI. These are: (1) An action can be coordinated with a rule only for a finite number of steps. (2) A specific rule can be coordinated with any action. (3) A specific action can be coordinated with any rule. In order to analyse the first of them, the author evokes Wang’s finitism paradox. The second and third clue refer to the semantic difficulties identified by Saul Kripke in his famous book Wittgenstein on Rules and Private Language and to the problem of recognition of the sign, which Kripke does not mention and which makes the scepticism of the clues more radical. Wittgenstein’s paradox was already implicitly present in the transcendental philosophy of Immanuel Kant, as well as in the later discussions on the foundations of logic and mathematics — in the works of Ernst Schröder and David Hilbert, who pointed out the necessity of the principle of recognition of the sign as a kind of protection against doubt. Although transcendental philosophy, from its Kantian origins, was to be an alternative to both skepticism and dogmatism, transcendentalism is not the only possibility to escape the paradoxical sceptical consequences that Wittgenstein presented. Another solution may be to reject the distinction between rules and actions.
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Trauma is a notion whose perception in the psychoanalytic discourse has undergone dynamic changes, starting from the transfer of this concept to the psychic ground, through the conceptualisation of its impossibility of being shared, ending with Bracha L. Ettinger’s intervention. The aim of this paper is twofold: to track these changes and to (re)define the potential of the trauma discourse(s). After the analysis of main assumptions concerning the psychic wound in the thought of the fathers of psychoanalysis, the author proceeds to the branch of trauma studies influenced by the Holocaust, so as to finally introduce Bracha L. Ettinger – a clinical psychoanalyst, theoretician, artist, feminist and member of the Second Generation after the Holocaust – and her matrixial theory. As the author endeavours to demonstrate, this thought provides us with the tools to rethink the shape and possibilities of the trauma discourse.
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The paper focuses on the problem of constitution of our cognitive experience. Two approaches to this problem proposed by Ernst Cassirer and John McDowell are central for the analysis. Both authors use Immanuel Kant’s theory of cognition as a foundation for their own conceptions und they develop their independent interpretations of it according to the traditions they belong to. Although McDowell’s interpretation emerged within analytical philosophy, we can see similarity with Cassirer’s theory. Comparative studies of these theories will point out the convergences and divergences between them.
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This paper analyzes the theory of provocative pessimism, as displayed by the Finnish philosopher Georg Henrik von Wright, which concerns, among many other issues, the justification of what he defines as environmental hysteria. By exploring the genealogy of the ‘tragic contradiction’ between knowledge and acting in von Wright’s sense, I outline how some of the problems regarding the negative consequences of sustainable development find their similar interpretation in the works of some of the most prominent Norwegian philosophers and environmental activists such as Hartvig Sætra, Arne Næss, Sigmund Kvaløy and Gunnar Skirbekk. Regarding the impact of sustainable development on environmental politics, some concerns about the need of improving quality of life, as represented by von Wright, Kvaløy and Skirbekk are explored. Last but not least, I investigate how von Wright, Sætra, Næss, Kvaløy and Skirbekk find the roots of (provocative) pessimism in the increasing challenges to our human condition
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The author analyzes the process of formation of a new political regime under the conditions of genesis of global information society. Considered in the article are virtual mechanisms, methods and ways of social government by ruling elites in the new historical epoch. Special attention is paid to the complex, contradictive character of the revolution in communications, reforming the process of alteration of the world socium, greatly influencing the character of formation of the new political regime. Object of the research is the emerging of netocracy as a new class in the net society.
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This article tries to show the phenomenological sense of the Arendtian investigation on the human life and to what extent it is constituted as a postmetaphysical philosophical anthropology, an interpretation that would be closely linked to her notions of action and identity.
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A film idea and its realization are creating a potential field of relationships and interactions in which there are two worlds, the world of the cinema and the world of the individual experience, and every film is a reality. An objective reality in documentary movies is reconstructed in a film reality and meets individual worlds of authors, characters and viewers through the ability of each person (including any spectator) to understand himself/herself, others and the world.This is an opportunity to see the world through the eyes of others, but also we turn our attention inward. The documentary approach implies much stronger impression of authenticity of the worlds, characters, stories, also feels strongly about the truth in the concrete form of the image and evaluates the artistic message as an existential standard.
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The article succinctly presents the functions of Philosophy in Bulgarian high school education. These functions include: 1) exercising of linguistic competencies and clarification of verbal behaviour as to help students construct and apply criteria for meaningful statements; 2) when Philosophy is practiced in a dialogical format it serves as a precondition for learning argumentation, justification, and gives one better ability to change their position on the basis of a rational inquiry; 3) аs a social discipline, Philosophy develops the communicative abilities of the students and serves as a unique cultural technique. The text follows the descriptions of these crucial functions and is partly based on direct observations on the current educational status quo in Bulgaria.
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The article focuses on the problems of religious and national identity, as well as on the ways and means of their formation through periodic printing in the 1850s and 1860s. The analysis is influenced by Eric Erisson’s ideas of identity-building and typology proposed by Manuel Castells. The majority of the empirical textual material concerns issues of the struggle for an autocephalous Bulgarian church during the Revival, which implies a wider involvement of the problems and conceptual tools of theology and church history. The author uses the theoretical basis of literary history and the history of journalism. The conclusion is that the cultural attributes of confessional identity are based mostly on the idea of equality
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