KNJIŽEVNE REVOLUCIJE: NASLIJEĐE AVANGARDE U HRVATSKOJ KNJIŽEVNOSTI
Tribune of the Croatian Foundation for Science (19. September. 2019) - Faculty of Philosophy, Zagreb
More...We kindly inform you that, as long as the subject affiliation of our 300.000+ articles is in progress, you might get unsufficient or no results on your third level or second level search. In this case, please broaden your search criteria.
Tribune of the Croatian Foundation for Science (19. September. 2019) - Faculty of Philosophy, Zagreb
More...
Począwszy od Pitagorasa, poprzez Platona i Arystotelesa, starożytna teoria estetyki muzycznej akcentowała szczególne znaczenie piękna muzyki w perspektywie etycznej, zarówno w wymiarze osobistym, jak i społecznym. Muzyka spełniała istotną funkcję w wychowaniu młodzieży według szlachetnego ideału kalokagatii. W ten sposób stanowiła ona niezbędny element antycznej paidei, formując moralny charakter człowieka oraz uzdalniając go do kontemplacji piękna. Antyczna wizja estetyki muzycznej stała się bliska chrześcijańskiemu ujęciu tego zagadnienia. Charakterystyczna dla filozofii starożytnej koncepcja etosu muzycznego wywarła wpływ nie tylko na kształtowanie się teorii muzyki w następnych wiekach, ale na rozwój całej kultury europejskiej. Myśl filozofów antycznych nie straciła swej aktualności. Wskazuje także nam, że nie można ograniczać dzieła wychowania jedynie do aspektu praktyczno-technicznego, gdyż pomijając wyższe zdolności duszy, nie osiągnie się właściwego celu edukacji, jakim jest moralna dobroć i prawość człowieka.
More...
The author of this essay has used the Babel Tower to get closer to the evocative nature of language. Reflection on the symbolic, metaphoric and idiomatic nature of the Babel Tower is developed by following the turn to aesthetics in religious studies, as well as researching the theme posed by Paul Ricoeur on the relationships between philosophy and religious language. Ricoeur’s ideas on the creative nature of language are disclosed by pointing to the differences between the religious and poetic language, as well as his analogous positing of architecture and narrativity. The phenomenological aspect is emphasised by reminding of Ricoeur’s and Ingarden’s aesthetic affinities. For both of them, not only the critique of Edmund Husserl’s transcendental idealism is important, but also the analysis of Kantian philosophy. Moreover, both are careful readers of Aristotle, notably Poetics. As the Babel Tower so the Notre-Dame de Paris are rich sources of sedimented meanings both on the level of aesthetics and religion or religious language. Paul Ricoeur by elaborating the study of Bible, as well as Aristotle has revived a philosophical discussion and has become influential in areas somewhat distant of his direct interests, namely, aesthetics and theology.
More...
Any interpretation of Kierkegaard’s relation to art must account for the contradiction that he both dedicated extraordinary attention to aesthetics and condemned it as the lowest of the stages of existence. This article attempts such a task in three steps. First, it examines Kierkegaard’s notion of beauty as the sensuous embodiment of ideas, a conception he shares with his Danish and German contemporaries. Second, it shows how Kierkegaard follows Hegel in taking this definition to also impose precise internal and historical limits on art. Finally, the paper suggests that Kierkegaard conceives of the religious as a way to overcome these limitations and provide an alternative way to justify the absolute value of immediate experience.
More...
This article investigates the literary weight of Søren Kierkegaard in modern theatre, and particularly his influence on Eugene O’Neill, the canonical American tragedian. My main hypothesis is that O’Neill, in the construction of his dramatic characters and in the technique of writing, owes a lot not only to August Strindberg – as he declared himself –, but also to Kierkegaard, through his own (re)readings and through the crucial influence that Kierkegaard has had on Strindberg, Ibsen and Nietzsche. In this regard, the strange and obscure relation between woman and truth, anxiety and mourning is examined via three types of femininity: Nina Leeds (from Strange Interlude, 1928) who, in search of her femininity, fears losing what she could never have had; Lavinia Mannon (from Mourning Becomes Electra, 1929) who, as the ancient Antigone, commits herself to a form of death-in-life, beyond the generic guilt without sin. Lastly, Mary Tyrone (from Long Day’s Journey into Night, 1940), a substitute of the playwright’s mother, the most anguished woman of O’Neill’s feminine characters, is a living dead who prematurely began the mourning for her not-ended-life, since commemoration is associated with the utmost painful.
More...
›Possibility‹ is the prerequisite for the existence of an object. The study of ›possibility‹ is a consideration of its historical-philosophical background, cultural context and subjective issues. In his studies (especially in his works prior to 1918), Lukács discussed the ›possibility‹ of aesthetics and different genres of art, concerning the relationship between people, society, artworks and the lost totality. This article starts from ›possibility‹ in the works of Lukács, concentrates on the context of the development of different genres, and primarily draws on the example of drama in order to interpret and explain the role genres played in offering the solution to the break-up of the totality.
More...
Novalis formulated the imperative that the life of a canonical human being must be symbolic. A novel made by us should be life. Friedrich Schlegel added that every educated person contains a novel inside him, but does not need to write it. Those who do, however, publish themselves. But can life be shaped into a novel? Georg Lukács’ volume of essays entitled "Soul and Form" revolves around this question. The first part of this article is also devoted to this question. The second part attempts to provide an answer to this question by pointing to the ›artist’s novel‹ as the decisive link between art and life. The concluding, third part of the article illustrates the significance of the artist’s novel with the example of Michel Houellebecq’s "Map and Territory".
More...
In Lukács’ early work, the concept of form is very concretely linked to modern man’s aesthetic experience of loss around 1900 and any attempt to update it hinges on the question whether Lukács’ method can be applied to the present at all. This article undertakes such an application of his method by relating two core concepts from "Soul and Form" – bourgeoisie and sentimentality – to three ›neighbourhood novels‹: R. Schamoni’s "Große Freiheit", H. Strunk’s "Der goldene Handschuh" and H. Fichte’s "Die Palette" all deal with extremely marginalized groups in society, and the question arises whether Lukács’ categories are helpful in describing the form chosen in each case.
More...
In this paper I present a thorough examination of Laszló Ravasz’s publications from the period 1901–1903, when he was a student of the Protestant Theological Seminary and the State University of Cluj/Kolozsvár. In this period, he shows signs of uncertainty whether to become a Reformed minister or a journalist, novelist, or critic. This period of life of a student is typically characterised by an interest in almost everything. He writes more than forty poems, short novels, theatrical critics, but most often he relates about the student life in the magazine Kolozsvári Egyetemi Lapok. He attempts to follow well-known journalist of his time. His descriptive writings demonstrate how good a writer he was already in the early years of his career.
More...
The article examines the various conceptions dealing with the interrelationship between genius and psychical disorder. These conceptions were developed by three most influential representatives of psychopathology: Moreau de Tours, Lambroso and Nordau. The article highlights the peculiarities of these authors’ theoretical and methodological approaches, their views on the problems of artists’ creative potential and the process of artistic creativity. The focus of the article is on: the connections between these authors and the earlier non-classical tradition of the philosophy of art, the critical discussion of principal ideas and theoretical and methodological attitudes, and the relations with other influential theories that deal with psychopathological problems.
More...
The article analyzes the artistic style, poetics, and main creative tendencies of Jonas Daniliauskas, one of the most prominent representatives of the current Lithuanian National School of Painting. The peculiarities of his creative method are focused on the patriarchal traditions of rural Lithuanian folk culture. His favorite themes of painting – man and nature, the change of seasons, wildlife, female bodily beauty, love – are discussed in detail. The text focuses on the role of the world of memory and memories in the development of his style of artistic creation and the uniqueness of the means of artistic expression. Based on the analysis of specific works of art and the predominant plastic properties of artistic expression in them, the article shows that the subconscious sublimation of childhood memories and spontaneous images, and the emotional intensity of survival of the color phenomenon are of exceptional importance in the paintings of our unique master. In the article, Daniliauskas is treated as one of the most flamboyant of the Lithuanian painters, capable of expressing his emotional relationships with the world by the vivid play of colors.
More...
The article presents a philosophical reconstruction of the views regarding consciousness expressed by the main character of Dostoyevsky’s Notes from the Underground. The man from the underground is found to be an innovative creation when compared with Julien Sorel, the main character in Stendhal’s The Red and the Black. The original idea that consciousness is an illness is theoretically elaborated through a close analysis of the text; the article also draws on philosophical fragments found in Dostoyevsky’s manuscript. The article stresses that this concept is in contradiction with the spirit and letter of the Cartesian tradition; the hypothesis is advanced that this is due to the radically different principle of philosophizing applied here: Cogito ergo sum is replaced by Credo, ergo est. The article present a number of oppositions: consciousness vs. human nature; consciousness vs. image; consciousness vs. living life; the thesis put forward is that the image is a basic instrument of consciousness in Dostoyevsky’s world. Finally, the article raises the problem as to the novel as a philosophical genre and highlights the role of the writer as the founder of this genre.
More...
In his book Symbol and Ritual (1967), Victor Turner demonstrates how archaism, and particularly the rituals of tribal society, are able to explain some aspects of social processes in modern Western societies. With regard to the discussion on colors in the book, of specific interest is the derived primary chromatic triad (white-black-red), presented as pairs of dyads combined with an invisible third member. In Vedantic Hinduism, Turner finds a similar symbolic functioning in the color-guni relation. He thus expands the temporal continuum (from the Archaic period to the Middle Ages), supplementing it with a spatial continuum, that of ancient Eastern culture, which corresponds geographically to the Far and Middle East. The three most ancient colors (white, black and red) are thus analytically deduced and harnessed in the two dimensions.
More...
The article presents a short study on the theoretical, historical, philosophical, aesthetic and essential connection between play and visual art. The connections established between them are based on some fundamental trends in the field of gamification. The article gives examples of successful gamification in the field of art as well as systematized information on some functions, factors, tools and materials that teach effective gamification on the field of visual arts in the context of modernity.
More...
Talk to anyone who met Mark Verlan and they will have a story to tell. Like that time when the famous Swiss curator, Harald Szeemann, travelled to Chișinău just to meet him and offer him the opportunity to exhibit his work in BLUT & HONIG (Blood and Honey), a retrospective hosted by the Vienna Essl Collection. During the time that Szeemann spent in Chișinău, Verlan was nowhere to be found, but 25 of his paintings (more than any artist’s present at the exhibition) made it to the retrospective. His friend and fellow artist Pavel Brăila recalls that, at the same exhibition, someone asked Verlan why he did not speak English and the artist sarcastically replied: “It was already difficult for me to learn Russian.”
More...
André Bazin’s notion of cinematic realism has been either denigrated as “naïve” or been deformed to fit lines of thought in film studies that are at variance with the nature of his thought. However, as this article shows, there are strong influences of what one might call “archaic thought” in Bazin’s conception of realism. However, there is another influence on his thought: a substratum of Hegelianism, which often ignored in the reception of his work, contributing to its misrepresentation. At the end, we conclude if we forfeit this residual Hegelianism, not only we can have a better grasp of what realism truly is, but we also can have a more synchronous relationship between cinema and other art forms.
More...