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It has been a long time since the ability to create is not percieved only as the domain of poets and artists, and the eventuality of deliberating over its nature is not restricted only to aesthetics. In the present analyses I would like to show this modern and postmodern variety of the studies on the creatio phenomenon, which today is often to be comprehended as the universal human creativity (described mainly by psychologists and educators). By introducing the fundamental considerations over the traditional and non-traditional definitions and explanations of creativity, this article has to facilitate at the same time the task of raising more specific and detailed issues (which I partly describe in the article “On the main dilemmas of the philosophy of creativity: A synthetic view of the contemporary research” in this volume of Roczniki Filozoficzne).The present introduction to the philosophy of creativity field will be made in three main steps: (1) by evoking some previous philosophical analyses, (2) by describing the traditional and modern ways of defining the concept and (3) through showing the selected psychological theories of the process of creating the new, valuable and original artifact.
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Ako se niži status u ustroju književnog roda i moralna podozrivost koja se tiče učinka romana ubrajaju u opća mjesta kritike sve do kasnih godina 19. stoljeća, tada jadikovke o propasti romana i o njegovoj nemogućnosti pripadaju konstantama moderne povijesti romana.
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In this paper, the meaning that the works of art give to the historical world in which they have been created is discussed, as well as the meaning that the historical world, in which the art works have been created, contributes to the idea and practice of art. In analysis of the key theses in art theory arises the question of status of art in contemporary historical situation in which economic power of cultural institutions determines the basic force of articulation of art.
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The aim of the paper is to show the importance of role models derived from the cinema in shaping identities.The problem is narrowed down to the development of children’s personalities with regard to therole model of a princess created in animated movies produced by the Walt Disney Company. By referringto the concept of narrative identity proposed by Alasdair MacIntyre and to the socio-cognitive theoryof gender identity development, the article shows that fictitious role models have a significant impacton the development of identity. Fairy tales and stories are one of the elements of mediated experiences,through which children learn about their role, their place in life. They are the first narratives that organizethe child’s world, indicating which behaviors are acceptable. When there is no such narrative, when thereis no role model to which one can refer, the children get lost in their roles and expectations of others.Considering the example of the princess role model gives the opportunity to discuss the problem ofdifferences between the image of female characters in films and their equivalent in the entertainmentindustry for children.
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Recently, when philosophy is becoming the field of purely academic interest and is mostly discussedin this environment, there is an increasing need to take it out, beyond the walls of the universities andengage others in the issues.One method might be based on presenting philosophy through phenomena which reach the mass receivers.In this short article I will attempt to prove that hip-hop may be a foundation to discuss philosophydue to the message that hip-hop music carries. This issue is studied with a special focus on ethics as afield of practical philosophy. The first part of the article briefly describes the hip hop subculture. Then itdeals with the recognition of mass art. All of this leads to the attempt to find the common areas of hip--hop and the philosophical thought.
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With the publication of Contact magazine in 1920–1921, American poet William Carlos Williams promoted a distinctive avant-garde literary aesthetic that was centered on “contact”—a concrete connection between literature and the vocabulary, cadence and feel of the everyday language of people. Though initially well received by expatriate authors representing the American avant-garde, Williams’ contact aesthetic was soon eclipsed by T. S. Eliot’s poetry, his magazine Criterion, and its New Criticism methods that celebrated classical allusions and advocated a detachment of texts from their subjects. This aesthetic shift within the modernist literary aesthetic frustrated Williams, who, with the onset of the Great Depression, was convinced that his contact-based aesthetic was an essential response to the times. The result was the revival of Contact magazine in 1932. Though the publication did not last long (only three editions), it did allow Williams to re-establish a distinctive contact-based “other” aesthetic for American poetry that profoundly influenced later American poets and writers.
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The paper discusses essay as a literary genre. Scholars writing about essay (Adorno, Epstein, Solar, Gaudes and Louette, etc.) try to emphasise those points which indicate a specific structure of essay-type discourse and its relationship with, on the one hand, literary genres and, on the other, philosophy. Further discussion focuses on juxtaposing essay and rhetoric, i.e. the way in which essay negates and revives rhetorical procedures, as well as on a complicated relationship between essay and poetry. Accordingly, essay seems to be a genre whose function is cognitive and whose reasoning is defined by means of expression, i.e. style which is the basis of the literariness of the genre.
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Functional theories of art set out to define artworks in terms of certain functions that have to be fulfilled by an object in order for that object to be judged an artwork. Procedural theories suggest certain procedures by which the same object may be judged to be an artwork. The article examines the most famous procedural theory of art – the institutional theory – in the two versions developed by George Dickie. Despite the fact that the institutional theory introduced a social factor as an important element in defining what an artwork is, it has faced many serious objections. )n the light of these objections, it seems that the institutional theory of art is too broad. )n order to avoid a certain number of objections, parts of the institutional theory may be combined with other (functional) conditions in such a way as to arrive at so-called hybrid theories of art. It can be shown that these are more successful than the institutional theory. However, they also elicit some objections.
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Book Review of: Predrag Finci: Estetska terminologija, Izdanja Antibarbarus, Zagreb 2014.
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Kasni Maurice Blanchot, taj najzagonetniji kritičar i teoretičar dvadesetog stoljeća, prijatelj Bataillea i Lévinasa, koji je, pored ostalih, nadahnuo Derridu, Foucaulta i Barthesa, vjerojatno je najpoznatiji po svojim »filozofskim« čitanjima modernih pisaca kao što su Hölderlin, Mallarmé i Kafka, kao i po svojim »književnim« meditacijama o misliocima kao što su Hegel, Heidegger i Lévinas. Manje je poznato da je napisao dva, iznenađujuće pristrana, teksta o Andréu Bretonu i nadrealizmu za koja se može reći da opisuju ponešto neodređen dug onome što je nazvao »prijelomna uloga koju je (nadrealizam) imao u francuskoj književnosti«.
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Tematem artykułu są uczucia w estetyce Franza Brentana. Niniejsze opracowanie dzieli się na dwie części. Pierwsza dotyczy określenia, w jaki sposób podmiot dozna-je piękna. Podstawową rolę w doznawaniu piękna odgrywa specyficzne uczucie na-zywane przez Brentana słuszną radością. Pozostaje ono w silnym związku z innymi uczuciami, takimi jak słuszna preferencja oraz uczucie zmysłowe, a także z określoną grupą przedstawień. Drugą część artykułu stanowią zagadnienia z zakresu twórczości artystycznej. Zadaniem tej części rozważań jest nakreślenie warunków sprzyjających twórczości artystycznej, ze szczególnym podkreśleniem procesów psychicznych zachodzących u artystów podczas powstawania genialnych dzieł sztuki. Zjawiskiem psychicznym stanowiącym podstawę twórczości artystycznej okazuje się w estetyce Brentana uczucie estetycznej wrażliwości.
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Pierwszy polski akademicki estetyk –Józef Kremer–propagował w swym wydawanym od 1843 roku monumentalnym dziele Listy z Krakowa estetykę heglowską w reinterpretacji platońsko-teistycznej. Praca ta była pierwszymsystematycznym wykładem estetyki w języku polskim. Podobnie jak Hegel, Kremer wspierał swymi poglądami estetycznymi sztukę akademicką. Pod wyraźnym wpływem Kremera pozostawał najwybitniejszy krytyk artystyczny tamtego czasu – Lucjan Siemieński, publikujący swe krytyki w krakowskim „Czasie”, a potem młodszy o pokolenie filozof i estetyk warszawski – Henryk Struve, który w latach siedemdziesiątych osiągnął pozycję głównego autorytetu w dziedzinie poglądów na temat sztuki i wartościowania dzieł sztuki, w szczególności dzieł współczesnych.
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Niniejszy artykuł dotyczy metafor przestrzennych występujących zarówno w wizualnym, jak i literackim oeuvre Williama Blake’a. Owa złożona metaforyka nierozerwalnie związana jest z jego oryginalnym systemem kosmologicznym, korespondującym z koncepcją człowieka jako kompletnej jedni, poniekąd wtopionego we Wszechświat –homo maximus. W Blake’owskiej mitologii Urizenowi –figurze satanicznej, wielkiemu Architektowi, przeciw-stawia się Urthona –boska Wyobraźnia, siła kojarzona z poezją i intuicją.Autorka opisuje owe znaczące Przeciwieństwa (Contraries), włączając je w kontekst pojęć takich, jak diaboliczna (?) symetria, Newtonowska grawitacja (związana już choćby etymologicznie z powagą –łac. gravitas), transgresyjność (a road of excess...) czy wreszcie liminalność. Co więcej, wskazuje na szereg paradoksów znamionujących Blake’owski system, stworzony wszak przez człowieka wielowymiarowego, buntownika i outsidera. W obszar swych rozważań autorka włącza między innymi odniesienia do filozoficznych koncepcji Victora Turnera, Lamberta Wiesinga i Jeana Baudrillarda.
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Interview with Luc Tuymnas by Žarko Paić
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Na početku eseja o strateškoj upotrebi retorike vrijeđanja u nadrealizmu Kirsten Storm piše: »Ako sabranu dokumentaciju nadrealizma uzmemo doslovno, možemo samo zaključiti da se grupa sastojala od lutajuće bande ubojica, mučitelja djece i sjekača ženskih očnih jabučica. « U svojoj težnji da riječi nadrealista shvati doslovno, Jean Clair u knjizi O nadrealizmu u svjetlu njegovih odnosa s totalita rizmom i vrtećim stolovima posreduje nam sliku pokreta koja nije daleko od maločas opisane.
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Budući da je glazba pradavna i temeljna ljudska aktivnost, njezin opstanak nije u pitanju. Mnogi mislioci 18. stoljeća smatrali su da je ona izvorni oblik jezika, podrijetlo govora. Postoji li pitanje opstanka, ta da se to odnosi na zapadnu umjetničku glazbu ili ozbiljnu glazbu, ono što se naziva »klasičnom muzikom«.
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In this paper a study byKrsto Hegedušić for his fresco Golgota in Croatian national sanctuary in Marija Bistrica has been analized. Study was made in 1944. in it’s fully coloristical shine and realized a few decades later, in 2008. by painters- restaurators couple Eugen Kokot and Egidio Budicin. The reason why Krsto Hegdušić didn’t finish the fresco himself remains unkown. Some of the challanges that followed Hegedušić on the way to complete the fresco have been described in this paper. He has been inprisoned a couple of times, because of his political views, but he never gave up on his thesis. His art can be followed from his arrival in Hlebine, little village in Podravina, that for ever remained written in his heart. While he resided in Paris, he saw new opportunities, so as he came back, he got involved in the ‘‘Zemlja“ art association, and was one of the most prominent members. Krsto Hegedušić left his signatures on the walls as well, and one of his most representative wall painting is surely Golgota.
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