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The article aims to build a classification of different types of games. Through this immediate goal, it strives to create an ontology of different types of games. In the second, more historical, part of the article, the author shows the relevance and different relations of the game of dice as an application in the field of archeology, probability theory, game theory, conflictology and decision theory. As a result of the discussion, the article presents a hypothesis that Homo ludens originates from Homo sacer.
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The article explores Heidegger`s attempt to overcome aesthetics.
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The article explores Heidegger`s attempt to overcome aesthetics.
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This article is an introduction to a moderately sized study on Spiridon Kazandjieva and Pencho Slaveykov. The author presents a picture of the times in which Kazandjiev lived – times of modernization of Bulgarian literature and culture – and his philosophical views, reflected most comprehensively in his essay “At the Spring of Life” (1923), which was introductory to his eponymous book published in 1937. The philosophical and literary quality of this essay has been insufficiently appreciated; in it, Kazandjiev, influenced by Nietzsche, points out the relativity of knowledge, art, attitudes, public life, thereby anticipating what has emerged in recent decades as a post-modern, or post-metaphysical, philosophy. As for the history of literature, the essay in question is, on the one hand, the foundation and, on the other, the horizon, of Kazandjiev’s philosophical views. Referring to it, we can more easily, and in a well-argued manner, clarify his analyses of Pencho Slaveykov’s philosophical constructions.
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In his famous preface to P. K. Yavorov’s Poems (1904), Pencho Slaveykov wrote that the lyrical character who wanders through emotional, spiritual and mental spaces, as portrayed in the poem “Odd Fellow” in the collection, is a central character in Yavorov’s early lyrics.Each cultural paradigm designates the wandering life according to its own specific axiology.In Medieval Bulgaria, man viewed himself as a wanderer and a stranger on earth. His home, which he has lost, is in the afterlife, with Jesus Christ. During the Bulgarian National Revival, the concept was that the home is built here, in one’s own land, where the native rivers, valleys, and mountains are, where one’s generic universe is – one’s mother, father, brothers. Leaving home represents pain and suffering. The wanderer in foreign places, foreign lands, is a sufferer. Where is man’s home in modern times? It is difficult to say. Efforts to find the home, the road leading to it, and a life of wandering, varied and found different solutions in Bulgarian lyrical poetry in the age following the National Revival – depending on the personal existential ideas and the philosophy of life of the different authors: Nirvana and Death in the case of Mihaylovski; the intoxication whereby life is surmounted in Kiril Hristov; the Island of the Blissful in Pencho Slaveikov, etc.In Yavorov, the wanderer travels to the depths of his emotional, spiritual, and mental world, to the drama of self-knowledge, to the drama of seeking values and meaning that he shall never find.After “The Odd One”, and until his late poetry, Yavorov presented the numerous faces, the psychological and mental capacity of his literary character, who wanders in search of a meaning for himself and for the world.
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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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The article is focused on the dramatic relation between a man and his portrait. In Oscar Wilde’s novel, the portrait plays a leading and decisive role as the objectification of conscience. In the name of beauty and youth impervious to time, a moral transfer of the human conscience is made. Instead of serving as an essential component in Dorian’s life, conscience is translated outside, to the portrait. The drama begins when the portrait begins to live the vice-ridden life of the literary character, while the latter remains eternally young and handsome...
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What is the contemporary notion of beauty? It seems to have vanished from the discourse of aesthetics with respect to art. However, in everyday life beauty is considered easy to define, especially in advertisement of plastic surgery and fitness and wellness institutions. The article deals with the implications of the development of the idea that beauty and health are obtainable through science and high technology.
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The joy of creation plays a crucial role in Nietzsche’s philosophy. The ‘found of joy’ never stops welling up for Zarathustra and the flow is almost too painful for him. The phenomenon of joy in Nietzsche’s work is very complex. Hence, in this paper I will concentrate on the utmost kind of joy that emerges in the end of Thus spoke Zarathustra in the Drunken Song. It is the joy to create a work of art and to integrate even sorrow in this utmost kind of joy. Joy takes place at noon, in the moment when oppositions are in harmony and beauty. In this paper, the aim is to interpret especially the last quote of the Drunken Song, when all joy wants eternity. Eternity is a kind of wholeness that is not similar to absoluteness and only possible in the specific movement of creation. Therefore, joy of creation seems to be the joy of a moment when opposites unite.
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The account of “true pleasure” plays a fundamental role in Plato’s Philebus. It allows to distinguish, within the vast and varied sphere of pleasure, between those pleasures which hinder the realization of the good life and those that promote it and have to be accordingly admitted, alongside knowledge, among the elements of the best life. This paper focuses on a controversial passage (Phlb. 51b3–7), in which true pleasure is said to involve an “imperceptible lack”, which does not cause any suffering, as opposed to the painful lack which accompanies the lower “mixed” pleasures linked to sensible desires and passions. The passage seems to suggest that both false and true pleasure correspond to a general model based on the restoration of an original natural state through the compensation of a lack. I argue that this parallel is only extrinsic, since the nature which is restored is in the two cases of a totally different type. In lower pleasure it is the psycho-physical balance of the organism that has to be restored, whereas in true pleasure the human soul comes closer to its original nature, which was corrupted during incarnation, by perceiving beautiful objects and by acquiring knowledge.
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The essay looks at the few and short, but strikingly significant references that Giorgio Agamben makes to pleasure throughout his work. Starting with an analysis of history, I discuss his critique of the concept of time, which, in his book Infancy and History, culminates with a reflection on the Aristotelian concept of pleasure.
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Review of: Stefan Elezović - Edi Bokun, Čovjek i umjetnost (Srebrenik: Printas, 2019)
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According to Richard Wollheim, pictorial experience is constituted by the sui generis twofold perceptual experience of seeing-in, whose content is (partially at least) conceptual. In this paper, I maintain that if a seeing-in experience is suitably reconceived, Wollheim’s ideas can be justified. I want to claim, first, that a seeing-in experience is the paradigmatic case of a superstrongly cognitively penetrated experience. By ‘superstrongly cognitively penetrated’, I mean: 1) a seeing-in experience is strongly cognitively penetrated; 2) the content of a seeing-in experience in that fold features that experience as a whole, i.e. as regards the temporal entirety of the perceptual process underlying it, for a concept is needed to discriminate the content of the recognitional fold from the content of the configurational fold. Second, I stress that a seeing-in experience is a genuine, though admittedly sui generis, perceptual experience. Hence, its being superstrongly cognitively penetrated does not undermine its perceptual character.
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This article is about punctum – the Latin term that the French literary theorist Roland Barthes (1915–1980) resurrected to describe a phenomenon that haunted him in photography – and the confusion that has surrounded it. Barthes’s initial interest was: what does in fact draw us to photographs? What is it in a photograph that captures our attention, fires up our desire and fuels our interest in a way that other pictures do not? What addresses us, aims at us and strikes us in a photograph? Does it say anything particular about a photograph as such, about our unconditional and uncomplicated relation to it? The article has four main focal points: (1) the genealogy of Barthes’s ideas on photography and the misinterpretation of his book Camera Lucida (where the term punctum is utilised) as solely a reaction to his mother’s death, (2) the confusion regarding the meaning of punctum and the sources of that confusion, (3) the polemic between Michael Fried and James Elkins on Barthes’s theory of photography, especially regarding punctum, and (4) the sense of punctum as something that exposes the parallactic nature of photography – the co-existence of ‘documentary’ and ‘artistic’ perspectives that shifts the object – and its meaning to picture theory.
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