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Некоторые вопросы общей теории искусства - 1. Специфика искусства (постановка вопроса)

Author(s): Yuri M. Lotman / Language(s): Russian Issue: 1/1964

Советская эстетическая наука зародилась в борьбе с идеалистическими теориями. Это, определив ряд ее сильных сторон, одновременно обусловило и то, что стремление отгородиться от механистического, вульгарного материализма ощущается в работах советских теоретиков искусства значительно реже. Между тем, от этого страдают не только объективные потребности науки, но и сама задача полемики с идеалистами, сознательно не делающими разницы между материализмом метафизическим и диалектическим. Однако поскольку структурное понимание искусства есть понимание диалектическое, именно критика вульгарно-материалистических представлений об искусстве приобретает для нас особое значение.

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ALTERNATIVA CA GEST ESTETIC

Author(s): Angelina Roșca-Ichim / Language(s): Romanian Issue: 4(41)/2021

The offensive of the theatrical alternative against the closed artistic space in the canons of the realism of the first post communist decade is carried on through its aesthetic dimension. The alternative attitudes, which are increasingly taking place in the scenic landscape of the Republic of Moldova, urge the artists to look for new models of theater organization, new ways of creating performances, to transcend the boundaries between arts, to discover unconventional spaces for playing. It is worth noting, however, that the aesthetic performances of the first shows in the alternative evolutionary route support the political agenda of the time. The revolution in art and the revolution in society go hand in hand, overcoming the artistic and political censorship.

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Author(s): Arthur Danto / Language(s): Bulgarian Issue: 2/2022

In his seminal article “The Artworld“ (1964) Arthur Danto breaks with the neo-wittgensteinian refusal to look for a definition of art, which dominated Anglophone aesthetics in the middle of the 20th century. Turning away from the perceptible properties of artworks, Danto offers a convincing argument for the claim, that artistic theory as well as art history are necessary in order to adequately identify and speak of art. Later developments have led to the formulation of the so called institutional theory of art by the philosopher George Dickie, building on the term “artworld”, the fact notwithstanding that this definition has been refuted. Danto's contribution to art theory has been compared by his successors to a “paradigm shift” in the philosophy of art.

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Fără precedent. Wolfgang Iser despre imaginea imaginată

Author(s): Dorin Ştefănescu / Language(s): Romanian Issue: 19/2015

The interpretation below focuses on one of the most important aspects of Wolfgang Iser’s theory of the esthetic effect: the so called imagined image. Involving the act of reading, these images have a main role in establishing the relations between the textual signs, creating the passive syntheses in which the anticipative vision (the protention) and the remembering one (the retention) are working together. In this phenomenological horizon, to imagine the image means to recreate, to raise the world in the sense of its new unprecedented beginning, as it appears in the hidden structure of a poem.

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Pitanje o stvari: Hajdeger o kategorijalnim bivstvujućima

Author(s): Una Popović / Language(s): Serbian Issue: 36/2021

This paper is about the problem of understanding of non-human beings in Heidegger's philosophy during 1930's. My point is to stress the importance of this problem is in Heidegger's later philosophy, in comparison to his early thought. I will try to show that 'thing' is the main Heidegger's notion denoting categorial kind of beings. I will also present the problem of space as the key perspective for the interpretation of categorial beings. The results of these analyses should enable further and more precise interpretation of particular topics of Heidegger's thought, such as question of artwork, of thing, of building, etc.

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Jedan vid srpskog nadrealizma Dušan Matić 50-ih godina

Author(s): Snežana Nikolić / Language(s): Serbian Issue: 2/2020

This paper focuses on the collection of Matic’s essays, One aspect of French literature (1952), his first published, and overlooked, book that can serve as an indicator of Matic’s thought in this period of its quietness on the Yugoslav literary scene in 1950s. In addition to reviewing the literary-historical context of the essays, the writer’s thought contained in them will be looked at from a poetic and aesthetic standpoint, since the authentic voice of the thinker and poet Dusan Matic, though somewhat programmatic, can be discerned in the margins. In this regard, the aim of this paper is to present the paths of Matic’s literary thought in the 1950s, that is, to mark the key determinants of his poetics in the example of these texts, with special attention on the questions of aesthetic regarding the relation between literature and social reality, as well as on the questions of truth and beauty.

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Abstract Expressionism as Anti-Aesthetics

Author(s): Lev Lafayette / Language(s): English Issue: 4/2021

Beginning with a definition of “bullshit” in academic vernacular where standards of verification are broken down, general examples are provided in aesthetics and politics. A highly successful example of bullshit in the art industry is explored, that of abstract expressionism in the US, noting its support from the CIA. Reviewing the context and style illustrates that abstract expressionism is an anti-aesthetic produced by parasites, an easy target for such bullshit manipulation.

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Latviešu komponistu adaptācijas varianti pēckara Eiropā

Author(s): Arnolds Klotiņš / Language(s): Latvian Issue: 42/2020

This article discusses the stylistic and aesthetic transformation of the work of the most prominent Latvian composers, who, as refugees of the Second World War, arrived in Western Europe in 1944 and encountered a different, innovative musical environment there. For those whose creative work in Latvia had been focused on traditional national romanticism, the encounter with musical expressionism and the avant-garde caused a certain shock. The stark differences in style were not only a matter of compositional technique; they also revealed the contradiction between a positivistic worldview and a more adequate musical reflection of the common man during the era. Longīns Apkalns learned from the ideas and style of expressionism most radically, but Alberts Jērums was much more moderate in this respect - he had already approached expressionism during his studies at the Latvian Conservatory. In his studies at the Paris Conservatory (1945-1950), Tālivaldis Ķeniņš studied the traditions of French neo classicism and constructivism. Volfgangs Dārziņš adapted neoclassical trends in combination with Béla Bartók’s interpretation of folklore. Jānis Mediņš radicalized his traditional language of music, but did not abandon the paradigm of the music of romanticism. Similarly, Jānis Kalniņš’ music, even in the pre-war period, was not unfamiliar with the border between romanticism and expressionism. The composers who, with their creative work, chose to serve only Latvian society in exile continued in the romantic style.

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The Tuning of the World in the 20th and 21st Century: Discourses on Sound and Ecology

Author(s): Biljana Leković / Language(s): English Issue: 25/2021

In this paper, I would like to systematize possible areas, disciplines, and practices that deal with sound and ecology. Also, I would like to research their potential in solving global environmental and sonic problems. I would explore this topic with the idea of following the genesis and continuity of the development of ecological thought and practice concerning sound and music: from the concept of acoustic ecology, as a key one, which since the 1970s has brought to the fore the question of the relationship between sound and the environment, i.e., sound in the environment, through other disciplines based on critical thinking about the relation between sound and current environmental problems.

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Socialism with an Occult Face: Aesthetics, Spirituality, and Utopia in Late Socialist Bulgaria

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Socialism with an Occult Face: Aesthetics, Spirituality, and Utopia in Late Socialist Bulgaria

Author(s): Veneta T. Ivanova / Language(s): English Issue: 02/2022

This article explores the unlikely infusion of state-sponsored spiritualism into the materialist ideology of Bulgarian late communism. In the 1970s, Minister of Culture and daughter of party leader Lyudmila Zhivkova initiated grandiose state programs to inject the “occult” into Bulgaria’s national culture, art, science, and even political philosophy. Inspired by her Eastern religious beliefs, she sought to “breed” a nation of “all-round and harmoniously developed individuals,” devoted to spiritual self-perfection, who would ultimately “work, live and create according to the laws of beauty.” How are we to explain such a paradoxical lapse into state-sponsored spiritualism in a milieu dominated by materialism as a philosophy and way of life? How did Zhivkova’s occultism inform and transform Bulgarian late socialism? In pursuit of these questions, the article opens with Zhivkova’s intellectual and political trajectories, especially her spiritual formation, as I see her religiosity as the cornerstone of her cultural theory and praxis. The second part reconstructs Zhivkova’s theoretical apparatus, while the third demonstrates how it was translated into a large-scale aesthetic-spiritual utopia, which posited art, culture, aesthetics, and spirituality as a way to revamp the entire communist project. I contend that as quixotic as Zhivkova’s vision was, her policies contributed to the liberalization of art and culture in a period that has long been associated exclusively with stagnation and decay. In so doing, I demonstrate that impulses to attach “a human face” to the communist project endured even after the Prague Spring of 1968.

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PRVNÍ SLOVENSKÝ HOROR? PROCES ZŽÁNROVĚNÍ V NÁRODNÍ KINEMATOGRAFII

Author(s): Marek SLOVÁK / Language(s): Czech Issue: 02/2021

This study deals with the genrification process on the example of the Slovak feature horror films of the last two decades. The text is based on the semantic-syntactic-pragmatic approach of the genre theorist Rick Altman. The article thus differs from the previous studies about Slovak genre creations because these focused on the pre-revolutionary period and the creators associated with it (Juraj Herz, Jan Švankmajer), neglected aesthetic analysis in favour of a pragmatic one, and paid attention only to academically recognized genres (social and historical drama). This study analyzes the non-textual level (promotion, reception) and the texts (semantic genre elements, syntax) of six selected works – Nič nekrváca večne (Nothing Bleeds Forever), Socialistický Zombi Mord (Socialist Zombie Massacre), Spiknutie (The Conspiracy), Zlo (Evil), Attonitas, Trhlina (The Rift). The analyses show that, through a phase of peculiar adjectives, and despite its hybridization, horror has become a well-established category, recognized by various groups of people. Despite its solid position, however, it remains a marginal genre due to its production, distribution, and aesthetic exclusivity.

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UMELECKÉ A ESTETICKÉ VÝCHODISKÁ FILMU JÁNOŠÍK (1921)

Author(s): Juraj ONIŠČENKO / Language(s): Slovak Issue: 02/2021

This study focuses on the first Slovak feature-length film Jánošík (1921) by the Siakeľ brothers. It conducts a historical analysis of the birth of the film and its anchorage in the socio-cultural context. At the turn of the nineteenth and the twentieth centuries and in the first quarter of the twentieth century, there were two crucial works that influenced the Jánošík film. Firstly, it was the novel Jánošík, kapitán horských chlapcov, jeho búrlivý život a desná smrť (Jánošík, the Captain of Mountain Lads, His Tumultuous Life, and Horrible Death, 1894) written by Gustáv Maršall-Petrovský. Although the film makers openly declared that the screenplay, written by Jozef Žák-Marušiak, was based on this novel, it is obvious that the plot of the film does not agree with that of the novel and that its other influential source was Jiří Mahen’s play Jánošík (1910), whose plot was adopted by the film a lot more prominently. Nevertheless, the author traces several common elements in the film and the novel, which he finds in the specific modernistic element in these two adaptations of the legend of Jánošík.

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The Aesthetic Component in Early 20th Century Urban Plans of Rijeka

Author(s): Nana Palinić / Language(s): English Issue: 8/2020

The aesthetic component, together with the ethical as well as the technical-functional, is an integral part of the creative process of urban planning – that most complex form of architectural design. Throughout history, it has been more or less present, depending on various factors – the current architectural and artistic theories, natural, social and political context, the aesthetic attitude of the author – architect and planner. Aristotle’s view that cities must be safe but also happy places for their inhabitants, and that urban forms are not only a matter of technology but also of art in the highest and most complete sense, was the basis of architectural ethics and aesthetics, which the creative genius followed and developed through plans, projects and final urban forms – buildings, streets, and squares.

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Feeling Colder: Ecology, Aesthetic and the Design of the Man-made Environment in the Early 1970s

Author(s): Manuel Rodrigo de la O Cabrera / Language(s): English Issue: 8/2020

The environmental paradigm has resonated in architecture since we began learning about the magnitude of climate and socioeconomic change and its repercussions on the world. We now know that we have entered a new geological era, the Anthropocene, in which human beings have definitively incorporated themselves as another force shaping the terrestrial ecosystems. Faced with this challenging ecological context, the environmental paradigm in architecture is often presented in relation to designs that are defined in terms of efficiency and sustainability. However, its potential is significantly diminished when limited to this purely instrumental perspective. The ecological challenge not only compels us to seek out correct scientific indicators, but – as Bruno Latour points out – to also question at an existential level, “what does it mean to be morally responsible in the time of the Anthropocene?” In this context, the contribution of art is necessary to bridge the gap, or “the total disconnect between the range, nature, and scale of the phenomenon and the set of emotions, habits of thoughts, and feelings that would be necessary to handle those crises.” This means that the ecological challenge includes the emergence of sensations, and is therefore also an aesthetic problem. In this paper, I will attempt to present the idea of an environmental aesthetic through which architecture finds itself in a position to address this urgency. To do so, I will recall the indisputable power of architecture, in its function as a form of art, to create cultural products with interpretative authority; that is, to provide representative examples in distinguishable and interpretable ways.

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Vladimir Sorokin și poetica soț-art

Author(s): Maria Hoșciuc / Language(s): Romanian Issue: 1/2015

В данной статье мы рассматриваем поэтику соц-арт и его влияние на творчество Владимира Сорокина. Так как суть соц-арт в эстетике социалистического реализма, мы начали с определения последнего. Для анализа, мы использовали рассказы и романы раннего периода творчества писателя, как например: Первый субботник, Сергей Андреевич, Заседание завкома, Очередь, Норма, Тридцатая любовь Марины и другие.

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Herman Melville’in Edebi Yaratıcılığında Gotik ve Barok İmgelem, Hegelci Spekülatif ve Spinozacı İçkinlik Düzlemi

Author(s): Ömer KÜÇÜK / Language(s): Turkish Issue: 110/2022

In this article, I try to relate Herman Melville’s literary creativity to Gothic and baroque art forms to understand the aesthetic vision revealed in his novels more in a more comprehensive manner. Melville’s aesthetic vision challenges the understanding and it can best be understood in relation to northern artistic styles. Another cultural form, Hegel’s dialectics with its speculative sentences, as the counterpart of northern art in philosophy, is another key to understand Melville’s literary vision. However, Melville does not share Hegel’s rational aims. His literary vision can be better understood through Spinoza’s substance, which combines absolute rationality with a sense of meaninglessness. The main subject in Melville’s novels is not limited to human heroes, but rather a whole field of existence that appears on a ship or an island. Deleuze’s concept“plane of immanence”, which is inspired by Spinoza’s substance, can help to understand this holism of Melville’s novel-being.On this plane of immanence, “assemblages” and “becomings” emerge between humans, animals and plants. Behind the novel-being as the plane of immanence, the capitalist mode of production announces itself as the main cause of movement. In the study, structuralism inspired methods such as establishing formal analogies and homologies were used while relating distinct literary, artistic and philosophical forms. Thus, a step was taken to make sense of Melville’s literary creativity and contextualize it in the field of cultural forms.

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Poetica spaţiilor culturale în opera lui Danilo Kiš

Author(s): Lidija Čolević / Language(s): Romanian Issue: 1/2014

Utilizing the poetics of space put forward by Gaston Bachelard (La poétique de l’espace, 1957) we have made an endeavor, based upon his spatial configuration, to delve deeply into D. Kiš’s work. It should be pointed out that the physical‐geographic topics related to the novel Hourglass (1972) are inextricably tied up with the elusive slippery entity of the Central Europe, of Pannonia field, of one space, "that was once the bottom of the Pannonian Sea, which has long since disappeared". It is by no means a sheer coincidence that the motives and their spatial configurations in Danilo Kiš’s work (Hourglass) are dominated by the image of the world that is draining. Into the bargain, we have to deal with the particular area of the border which provides an image of the dichotomous categorization of integration/ disintegration as well as inclusion/exclusion, and with the identity crisis which has afflicted characters of Hourglass, specifying and expounding the imaginary hypothetical border that is ever locate t might be.

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İNGİLİZ ROMANTİK RESMİNDE WİLLİAM TURNER’IN PEYZAJ RESİMLERİNİN POETİKASI

Author(s): Oktay Köse,Hülya Gücüko / Language(s): Turkish Issue: 91/2022

William Turner is considered one of the most important artists of romantic landscape painting. The artist, who has shaped his artistic approach by using his sublime aesthetic, has strived to raise the reputation of landscape painting against portraits and historical paintings throughout his entire art life. Turner has been accepted as a 'proto-modernist' in his entire art life (Robinson, 2016: 6). The landscape paintings that Turner made with the new way of seeing and expressing that he developed in his last period could not be understood by the critics of the time and the society and became the subject of ridicule. The link between Turner's aesthetics and modernist abstraction was only established in a series at the Museum of Modern Art in New York in the mid-1960s. Turner's artistic aesthetics also prioritized the avant-garde movement, which shaped artists who were sensitive to social problems and questioned the current state of impressionism, expressionism, abstract art and art. In this study, selected recent works of William Turner with his sublime aesthetic will be examined. The method of the analysis was carried out by using some data in the semiotics universe and by focusing on the contrasts, similarities and differences with the poetics method. Purpose of the study; The aim is to reveal the stylistic commonalities and differences of William Turner's landscape paintings, as well as their originality and distinctive features, through selected works.

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Daniil Harms. Aspecte fundamentale ale esteticii şi poeticii

Author(s): Camelia Dinu / Language(s): Romanian Issue: 3/2012

Даниил Хармс – своеобразная личность русской литературы первой половины XX века. Цель настоящей статьи – выявить некоторые аспекты поэтики и эстетики творчества Хармса в контексте русского литературного авангарда. Литературный стиль Хармса лёг в основу группы ОБЭРИУ, созданной в 1925 году Хармсом и его единомышленниками. Творчество Хармса строится не на формальных экспериментах, а на абсурдности и неожиданности сюжета, что порождает сильный эмоциональный эффект. Хармса занимала абсурдность существования, действий, поступков отдельного человека или группы людей, помноженная на абсурд самого бытия. Важная черта его творчества – совмещение разных родов в рамках одного текста: внутри прозаического текста может, например, присутствовать драматический диалог, реплики которого имеют стихотворную форму. Мир Хармса подчинён особым принципам: серийному принципу, разным сдвигам и отклонениям. Статья подчёркивает уникальность творчества Даниила Хармса.

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DUILIU ZAMFIRESCU, READING REFERENCES

Author(s): Căprescu (Nicuț) Roxana Florina / Language(s): English Issue: 28/2021

The comparison between the reading benchmarks of the time and those of today highlights the perennial elements of the work of Duiliu Zamfirescu, who, a rather uneven writer, remained in the history of Romanian literature as a precursor of the Romanian novel. The present study highlights those features of the work that can be validated by the mutation of aesthetic values.

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