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Children’s film evinces all the elements of the processes of human individualisation. Children’s movies show key moments of the way worked up by or lying ahead for human consciousness. The issues of on-screen vision in contemporary children’s stories could be addressed in the light of receptive aesthetics, whose roots underlie various theoretical platforms (phenomenology, psychoanalyse, cognitive psychology, etc.). This methodology focuses on the meaning of the work, on the way in which the messages are generated, rather than on the analysis of the stylistic and aesthetic specifics of a movie; it does not search (as is the case) for the roots of a screen work in reproducing the fairy story, but rather accentuates the shaping of the meaning of the work itself, of the outcome of the process of its active perception and intercommunication with viewers.
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Tko piše i što jest pisanje? Tko piše neprestano postavlja pitanje o smislu pisanja. Već je otuda izvjesno da se pisanje ne može razumjeti bez odnosa u kojem jezik i govor iziskuju ono što je srednjovjekovna teologija nazivala, doduše u negativnome iskazu, tertium (non) datur. Pisanje se odvaja od govorenja i jezika kao uvjeta mogućnosti vlastita spisateljstva time što prkosi vremenitosti govorenja. U materijalnome tragu brazgotine na papirusu ili slikovne informacije u digitalnome stroju posrijedi je težnja za dokidanjem »ovdje« i »sada«. Ovjekovječenje u tekstu poput Knjige čini pisanje božanskim tragom »vječnoga sada« (nunc stans). To je razlogom zašto je Derrida u spisu O gramatologiji zacijelo najupečatljivije uzdigao pisanje do razine problema mišljenja u doba kraja metafizike.1 U pisanju koje prethodi govoru, kao što sjene prethode svjetlosti onog viđenoga, pitanje tko piše nadilazi istraživanje onoga o čemu se piše. Tko i što pripadaju odnosu između »subjekta« i »stvari«. Jer netko i nešto nisu razdvojeni entiteti. Kada netko misli i govori o nečemu, tada ono što se misli određuje onoga tko misli iz same biti mišljenja kao takvoga. Tko govori uvijek je već u sebi razdvojen na onoga o kome se govori kada se uspostavlja razlika između »subjekta« i »stvari«. No, kada sama »stvar« ne može biti u potpunosti iskaziva zato što upravo ona omogućuje razlikovanje između tko i što se govori, tada je pisanje koje ostavlja trag ovjekovječen u tekstu eksperiment samoga života. To je iskustvo zaustavljanja govora na nultoj točki kazivanja.
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The paper starts from Nietzsche’s stance that the cultural concept of Europe does not include the whole of Europe in the geographic sense, but only those nations and minorities which share the common past in ancient Greece, Rome, Judaism, and Christianity. Among numerous toponyms representing such a concept, all of which belong to the Mediterranean civilization and cultural circle, I have chosen Athens and Rome as subjects of my analysis. My goal is to show that in Europe which, according to Nietzsche, aspires to become united, those cities represent both the classical ideals Europe is trying to reach and the contradictions lying in its foundation. According to Nietzsche, there are two Athens’ and two Romes. The classical Athens is symbolized by Pericles, and its decline by Plato. Analogous to this, the classical Rome is symbolized by Julius Caesar, and its decadence by the apostle Paul as the founder of Christianity which destroyed the Imperium Romanum. The apostle Paul is, for Nietzsche, the embodiment of everything bad in Christianity and of those things which fatefully determined our civilization from the ancient times to modernism. Therefore, it is he, even more than Socrates, who started the decadence of the magnificent Greek culture and of all the virtues embodied in the Roman Empire, the enemy of wisdom and the fanatic priest equipped with ressentiment for all the values that elevate life. So, the decadence of modernism, for Nietzsche, begins with St. Paul. Although I have limited this paper to two cities and few historical figures, I believe that it is an appropriate way of comprehensive consideration of Nietzsche’s philosophical positioning of Mediterranean as the starting place of European history.
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The paper discusses the issue of the traditional organic/mechanic opposition, which in the 20th-century art transformed into a specific equivalence between the organic and the mechanic. The focal point of the paper is the praxis and manifesto of the Soviet artistic group Electroorganism, which produced very distinctive visual representations of the human body. The name of the group implies a self-sustained text that in paradoxical way reveals the opposition between the corporeal and the organic. In a long cultural tradition (since Romanticism) the organic and the corporeal were seen as synonymous but in the 20th century their equivalence turned into opposition. However, on the level of mythology they remain closely interconnected. The corporeal inherits the principle of continuity though the organic, which appears analytical and discreet: when combined, they complement each other. Artistic practices and especially artistic ideas of the group are discussed in the context of contemporary philosophy and ideology in relation to the body and electricity, in the writings of the priest and philosopher Pavel Florensky, the physiologist and politician Alexander Bogdanov, the poet and ideologist Aleksei Gastev, and others.
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Pornography is still hard to define in terms of aesthetics or philosophy. Unlike traditional discussions of Nabokov’s oeuvre which focus on the author’s intention, on the interpreter (subject), or on the message (object), the paper focuses on the interstitial space among these three categories. This space of artistic transmissions is created with codes and can be read with or without them. The first code is that of the “learned” reception, in which distance towards the work is the result of conscious engagement. The other code concerns the consumer who understands art as a copy of life, which, in turn, enables manipulation. Hence, when defining pornography what needs to be taken into consideration is not the artistic vs. the vulgar, or the division between high and low art (subculture), but rather the negligence of the two codes. With this in mind, the paper discusses the ways in which Nabokov helps the reader discover this double-entendre in his text, and how he introduces other motifs to destroy and eliminate pornographic stereotypes that, as a consequence, become vehicles of irony and parody in the text. The three distancing mechanisms are identified as aesthetisation, mythologisation and a double-bind concept of the erotic, which are counterbalanced by the imagery of the motifs of death. This “ero-smert” in Nabokov (a coinage of Eros and Russian smert meaning death) is accompanied by “corpsification”, i.e. when the body is visualized as a corpse. This ambivalence is a version of the complex image of the writer, a special aspect of his notion of the “otherworld”.
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Kada je 1980. godine u Parizu utemeljen Centar za filozofska istraživanja političkog (Centre de recherches philosophiques sur le politique), njegovi su osnivači Jean-Luc Nancy i Philippe Lacoue-Labarthe istaknuli nužnost propitivanja biti političkog, i to polazeći od pojave koju su nazvali le re-trait du politique (povlačenje/odstupanje/uzmak političkog). Pod tim su pojmom podrazumijevali opću poznatost političkog u smislu “očiglednosti (zasljepljujuće očiglednosti) politike” odnosno shvaćanja “da je sve političko”, ali i otvaranje pitanja biti političkog na potpuno nov način (Nancy i Lacoue-Labarthe 1981: 18).
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The article relates political and literary theory and discusses their recent synergistic outcome – the “politics of literature”. “Politics of literature” is not only a conceptual descendant of the postmodern emancipatory tactics that change the society ‘from within’ but a spin-off of the post-M arxist reworking of hegemony theory as well. On the one hand, it involves a break with the emancipation understood as striving for the “rights” articulated by diverse “identities”, and, on the other, it implies a final theoretical abandonment of the base-and-superstructure-determinism according to which literature would be no more than a reflection of reality of production forces. The article repositions the current debate on the politics of literature by channelling it towards a critique of the ideologemes of privatism and passivism. The emphasis is not so much on the critical praxis of reading the texts supposed to be irrevocably immersed into ideology, as on insisting on reading those texts that, even without critical mediation, subvert the above-mentioned ideologemes and possibly even offer a sort of “prospective opening” in their ideological setting. One should keep in mind that the conceptual ambivalence of “emancipation” allows for reshuffling of prospective political (and literary-political) projects so that every emancipatory gesture that approaches the space of public visibility by departing from its previous deprived state could at any moment show its own dispossessing face. The critic’s task is not to read ideology but to observe the textual usage of concepts of “private” and “public” (parallel to “deprived” and “privileged”, “passive” and “active”), i.e. to critically examine the fictively formulated political activity and carefully wait for the moment in which the political turns into politics.
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The current paper focuses on the Estonian writer, translator, essayist and social actor Johannes Semper (1892–1970), on the ways he considered relations between literature and time before and after the First World War. Semper understood time, through the philosophy of Henri Bergson, as spatial, divisible and measurable in terms of speed or slowness. In Semper’s opinion, the speed of “time”reflected the speed of changes in society, including technical progress,travel, communication and human gestures. Speed and slowness,in Semper’s view, also characterized literature: literature could be created or received at different speeds.At the beginning of the 1920s, Semper stated that “time” carried the speed of the war years, and that the rhythm of literature closely reflected the speed of those years. He believed that literature needed to be separated from “time”, since this enormous speed did not allow for creating “slow” works of literature. Slow works of art,in Semper’s view, were necessary to build up Estonian culture. In1926, nearly ten years after the war, Semper found that Estonian literature was still stuck in the wartime speed. However, by that time Semper believed that “time” in society had lost the speed of the war years. Now “time” offered a suitable rhythm, so that slow works of literature could be created and received by readers. Consequently, Semper encouraged writers to create works which would reflect again the rhythm of “time”. 283I consider Semper’s way of understanding the interactions between literature and “time” through Pierre Bourdieu’s theory of“literary field” and his views on the renewal of the “literary field”as a “space of possibles”. I also analyse, besides Semper’s theoretical essays, the representations of war in his poems and short stories of the 1920s, in which the war years’ “time” is shown to belong to the past.
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The paper discusses the relationship between Sufism and medicine. Firstly, it presents historical facts related to the understanding and the role of Persian physicians in the Golden Age of Arabic medicine. The relationship between medicine and Sufism is viewed through a concise description of Ibn Sinan’s vast medical-philosophical opus and specific examples in verses from Masnavi, where Ibn Sina and Galen were mentioned with a brief reminder on the content of major work The Canon of Medicine. In Çahar Makala (Four Discourses) the emphasis is on the broad education of physicians and briefly on recalling the concepts of ethics and deontology of this age. The conclusion emphasizes the importance of more spiritual approach to correlating science and spirituality by using a body of work that Ibn Sina left behind and his role through the examples mentioned in the spiritual work as it is Masnavi, in which he tries to encourage spiritual potential and avoid larpurlartism in transmitting comments of his works. Through a case study, it is possible to profile the relationship between Sufism and medicine, as well as to profile a concept in which contrary views achieve a complete view of the spiritual and the practical component of medical science in the medieval period, whether it is about Eastand West or soul and body. This concept is consequently applicable to modern views in terms of the history of science and health education as well as treatment in general.
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In the fifth chapter of Listening to Noise and Silence Voegelin describes listening as an act of perceptive engagement with the world. Listeners always find themselves in an uncertain position, as they experience the work both from within and from without. A full and pure experience of the work, Voegele argues, requires rejecting all external disruptions and concentrating on the moment of perception, on being ‘in the work’. Such a listening allows the listener to become both the receptor of the work and its creator – both in the moment of listening and while encountering other receptors/creators. Voegelin’s approach is in a way ‘musicophobic,’ as it privileges the listener’s experience and consciousness of all aspects related to the production of sound art over the music and sound themselves.
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Refleksija Mauricea Blanchota o umjetnosti i književnosti ima najviše moguće ambicije. Interpretacija Hölderlina, Mallarméa, Rilkea, Kafke, Renéa Chara, podastrta u njegovu posljednjem djelu Književni prostor, ide dublje od najoštrije kritike, djelo se zapravo smješta s onu stranu svake kritike i svake egzegeze.
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Artykuł, wprowadzając we współczesną problematykę badań nad twórczością Camusa, ma na celu analizę powiązania dwóch powieści – słynnego Upadku Alberta Camusa z 1956 roku i wydanego w 2007 roku dzieła Mohsina Hamida Uznany za fundamentalistę. Współczesna książka, stylem i formą, jawnie i zgodnie z intencją autora nawiązuje do dzieła Camusa sprzed ponad pięćdziesięciu lat. Celem autora jest wskazanie wątków, które, poza stylem literackim, łączą wskazane dzieła. Refleksji będą także poddane pewne różnice, wskazujące na problematyczność nawiązania Hamida do powieści Camusa.
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W artykule skoncentrowano się na dyskursach o muzyce, które są obecne w Wyznaniach Augustyna – dziele wyróżniającym się na tle innych tekstów autora ze względu na swój niejednorodny (autobiograficzny, filozoficzny, teologiczny) charakter. Celem artykułu jest zbadanie relacji, którą można określić jako niedokonany projekt racjonalizacji myślenia o muzyce. Po pierwsze, w tekście widoczny jest wpływ greckiego sposobu myślenia, zgodnie z którym sztuka ta stanowi odbicie matematycznego porządku wszech-świata, będąc całkowicie podporządkowana rozumowej harmonii, a także ethosowi, regulującemu jej funkcjonowanie w społeczeństwie. Pod tym względem Wyznania można porównać do dzieł filozoficznych Augustyna, w których ta koncepcja dominuje. Augustyn, jako chrześcijanin, włącza do swojej myśli także hebrajskie dziedzictwo pojmowania muzyki, na czele z Księgą Psalmów. Autor artykułu stara się wydobyć ten drugi dyskurs jako mniej znany rys myśli Augustyna i pokazać, jak kwestionuje on i dekonstruuje zamiar racjonalizacji muzyki.
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Esej Rolanda Barthes’a tęsknota za Neutralnym poświęcony jest przybliżeniu głównego tematu jednego z ostatnich seminariów Rolanda Barthes’a, Le Neutre. Tematem tym jest neutralność rozumiana jako strategia obalająca duali-styczne schematy dominujące w naszej kulturze. Omówiona zostaje również kwestia związku Barthes’owskiej koncepcji z Kursem językoznawstwa ogólnego Ferdinanda de Saussure’a, który zawsze był głównym źródłem inspiracji dla autora Mitologii. Następnie wyjaśniona zostaje kwestia bliskości tego, co neutralne, i literatury, która w myśli Barthes’a jest uprzywilejowaną dziedziną neutralności.
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Zhang Huan (b. 1965) can be considered a pioneering contemporary performance artist in China. His position on the Chinese art scene is highly regarded not only from a historical perspective. The use of the artist’s body as a means of expression can serve multiple purposes, which can touch upon, e.g. social or political issues, and seldom re-flects the role of the human body as a vehicle for mediation. Through his artistic activity, the artist tries to discuss this issue based on the Chinese philosophical intuitions of this aspect of human existence. In our paper, we shall try to examine the theoretical founda-tions of the artist’s approaches to performance and illustrate them with selected works.
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The way the Japanese attribute the meaning to their world and how it becomes under-standable to them seems particularly attractive. This attitude underlies the fundamen-tal difference between the European and Japanese culture. A Westerner seeks to fully disclose the world, unveiling all its secrets. Accordingly, various strategies to achieve this goal have been developed in the Western culture, leading to different results. All scientific (philosophical) and non-scientific (commonsense) stands share a common conviction that truth is a Holy Grail of cognition, and that it is equally unattainable. The Japanese have been shaped by three religions: Shinto, Buddhism and Confucian-ism, and these regulate every aspect of their private as well as social functioning. An internal participant has no difficulties to adjust to the requirements of a particular re-ligion. Likewise, the truth also acquires different meanings depending on the context. For an external observer, however, the overlapping of these diverse domains of life creates a problem, as it results in an original but complicated culture.
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