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The article offers a discussion of the (im)possibility to apply the categories of transcendental analytics to objects beyond the possible experience as things in themselves, God and freedom.
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The article offers a discussion of the (im)possibility to apply the categories of transcendental analytics to objects beyond the possible experience as things in themselves, God and freedom.
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In recent decades Edward Said’s theory of Orientalism has been dominating the imagological research of representations of the East. Although his theoretical model has long been almost unanimously accepted, it should not be applied uncritically – both because of the enormous diversity of the texts dealing with the Orient and because of the presence of a few debatable elements in the theoretical structure itself. This article examines some of these elements, focusing on the absence of certain orientalist research traditions from Said’s model and on his assertion that everything that people can know has in fact been constructed in their own mind.
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The article The Linguistic Picture of Politeness in Dobšinský's legends and Erben's tales brings up the question how the meanings of the politeness concept and its context usages contribute to the broader Slovak and Czech linguistic picture of the world. To be able to answer this question we observed and interpreted various definitions of the concept we found in Slovak and Czech dictionaries and ethical manuals. With this theoretical base we have continued our observations of the concept within the literary field of legends and tales by Slovak romantic author Pavol Dobšinský and Czech romantic author Karel Jaromír Erben.
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The review examines the trilogy about time of VBV, which includes poetic editions „Th:is.” (2000), “Will:” (2011) and “:was...” (2022), with the emphasis being the last volume, which appeared at the end of the past year.VBV's poetic texts are read through his ideas about “realliteratur” and the media-market “normalization” of modern culture, unfolded in a number of his theoretical observations. At the border between the poetic and the philosophical, at the point of coincidence and exchange between the two projects of the VBV, a new toolkit appears for revising the status quo, both literary and political. The meta-poeticresource of VBV's “:was...”, as well as his trilogy as a whole, allows to see in a new and heuristic way the problems of performative societies at the height of the 21st century.
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This paper aims to contribute to the study of the figure of the artist through thematic analysis of several recent texts published in French. The author examines the main themes linked to the artist-protagonist, classifies them in hypernymic categories and shows that in the works of some contemporary French authors (Houellebecq, Grainville, Gailly, Le Guillou) the figure of the artist loses its romantic features, inherited from the artist novel of the nineteenth century and increasingly takes on anthropological dimensions to convey the values of the human quest. According to the author, hermeneutic interest in these works should consist in deciphering their full potential in terms of meaning beyond the surface of the artist novels.
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In recent years disability studies as an academic research field and a critical theory have emerged in Latvia, focusing on disability laws and regulations in Latvia (Kulačovska, 2018; Baikovska, 2019), employment issues (Broka, Mihailova and Demme-Vimba, 2017) and representation in mass media (Lūse and Kamerāde 2014). However, art and visual culture are still largely unexplored, especially art created during the Soviet period. This raises questions: How was the diversity of bodies represented during the Soviet times? Did the representation also include people with disabilities and, if so, how were they represented? The article analyses the Latvian artist Ivars Poikāns’ works from 1987–1989 from the disability studies perspective. Focusing on the depiction of the body and social and political narratives, the text investigates body representation in Soviet Latvia, artistic ways of protesting against the regime, and whether the artist used disability as a metaphor or form of activism to support civil rights.
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Modern political interfaces are increasingly using linguistic circuits that call for the reshaping of reality instead of traditional promises to upgrade the collective vision of reality. Discourse is renewed by registers from the performance interface, especially artistic performance, which naturally creates a reality intertwined with realities. The culture of deliberately created fake news, the deep unreal, and the canceled culture positions digital culture as an extension of traditional human social tools to create closed circles of ideologizing reality. There is a new discourse at work, archiving data as objects to which metadata is attached as, for example, a public performance pattern. Once activated, such objects can act in human physical reality by playing the role of public performance. In reality, they are like the language structure used by psychopaths or sociopathic groups. It is a language without an original and a goal, a language of constant adaptation to the action of creating and maintaining an interface in which the psychopath could function smoothly. That is why there is an interesting emergence of new forms of artistic performance, such as nft (non-fugitive token) that use both human and digital, bitchain, interfaces to stop the constant collapse of reality into its own instability. Is this a subversion that is always expected in situations where the system is petrified and how is it that such an action occurs as a machine-produced artistic language?
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Our age of digital culture is an explosion of the language of performance and spectacle, and the circulation of self-regulating meanings in all communicative social channels. The claim that identity is performance is long out of date. We have now turned the identity implementation into a manipulation object. For centuries, artists have used the language of theatricalization, excess, multi-layered meaning, and considered subversion a prerequisite for their performance. Such a register is everyday today. Could that be why the linguistic register of scientific research, the discourse of cold laboratory analysis, can become the artistic language of performance of the new era. Is our present-day subversion of the hallucinatory system of data expansion performed in the language of scientific research? The wild dance of the shaman was translated into the language of programming and analysis. I started such a new possible reality of artistic identity as a scientific research, and ended as an artistic project of polyphonic form performed in the Zagreb Museum of Contemporary Art. The project was developed with the language codes of a scientific laboratory through which a human performer negotiates with the machine gods to perform a common identity.
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The phenomenon of mnemonic narrative represents one of the poetic principles of novel art. In the process of arranging artistic integrity, the mimesis of memory and recollection can be considered as one of the leading principles of narrative, which, in turn, is related to the presentation of the existing reality, the inner world of the literary subject, the artistic perception of memories and the authorial concept. A characteristic feature of the mnemonic narrative method is the emphasis on the authenticity of the artistic expression, while the goal is to show the process of searching for the truth in the past by a literary hero. This way a sense of distance is created in the consciousness of the literary subject / narrator towards his past experience; also readiness of the protagonist / narrator to reconsider the events of the past from the perspective of the existing reality / current events. In this light, we analyze the epic novel "Eighth Life (Brilka)" by the German-speaking Georgian writer Nino Kharatishvili (2014), which we consider to be a successful attempt to present a panoramic picture of the history of the 20th century Georgia. Mnemonic narrative on the contradictory nature of the Soviet mentality and traumatic memory, projecting on the solution of modern problems by recalling the painful past, breaking of the Soviet Empire and the stereotypes that have defined the ideological consciousness of the Georgian people for decades, breaking the bond between the generations - this is the incomplete list of problems in Nino Kharatishvili's family saga, which describes the vicissitudes of life of seven members of Jashi family. From the perspective of traumatic memory, the protagonist of the novel tries to understand when and under whose influence the unwavering aspiration for freedom was formed in the conditions of a totalitarian regime. Her narratives address the events of collective / cultural trauma, in the context of which she realizes the past of 20th century Georgia, recalls people who formed her moral orientations and played a role in her spiritual formation. The traumatic concepts of Soviet existence are clearly presented in the novel; it is illustrated that throughout the seventy years of the Bolshevik totalitarian regime (1921-1991), Georgian nation never tolerated its fate and maintained the spark of protest, which, along with the collective trauma, was passed down from generation to generation.
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The idea of expediency that is identified with the two mythical sisters that were abducted during the era of slavery and slave trade may have been constructed to sensitise folks about the need to be prepared at all times and probably informed by their social status, and without the instruments of state to enforce security, they might have been exposed to orgies such as slavery and kidnapping. The same measure may not be attributed to powerful members in view of their ability to provide apparatus for security. This exposure to economic wherewithal, however, does not preclude them from relating with the philosophical tempo of the milieu such as consciousness of the place of time in whatever they do or intend to do. Using aesthetics as a theoretical springboard, the study concludes that indigenous performances are means of regulating behaviours.
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Folklore is defined as the multitude of artistic manifestations and values, belonging to the spiritual popular culture. The aspects that characterize the facts of folklore: orality, collective character, the relationship between tradition and innovation, syncretism of languages, determine structural coordinates and concrete forms of realization. Literature is a repertoire of means of expression: motifs, images, metaphors, groups of rhymes, mythical representations, magical formulas, etc. In essence, spiritual popular culture - folklore - must be delimited from an aesthetic point of view, because folklore means the multitude of works and artistic manifestations belonging. In the popular work there is a concern for background, content and less for form, artistic expression, but the aesthetic values of folklore have their specificity. Folk opera, in this case the old narrative songs or fairy tales, must be seen as a continuous attempt, as an improvisation being organized. The artist finds, during the execution, in the lyrics - template, support points. The schemes are those that give him the security of cutting the subject. In conclusion, ethno - aesthetics will study the genesis and the principles of elaboration and reception of the variants of beauty, at the level of the categorical system of the arts.
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Play theory has been consistently regarded as a cornerstone of 20th century theoretical discourse in areas as diverse as philosophy, psychology, ethology and cultural studies. On the other hand, the rise of digital technology and the spread of video games on a broad cultural level have raised the necessity to reevaluate historical approaches to the multifarious phenomenon of play. Along with Johan Huizinga, another scholar of Dutch origin – the biologist and animal psychologist Frederik J. J. Buytendijk – developed a novel theory of play in the 1930s. Buytendijk’s attempt at theorising human and animal play has been variously defined as biological, psychological and psycho-dynamic due to this scholar’s background in the study of animal behaviour and his reliance on biological models to explain the mechanisms of play. However, Buytendijk’s ideas were shaped in a theoretical setting shared by German philosophical anthropology and he also borrowed heavily from prominent philosophers and phenomenologists such as Hungarian-born Melchior Palágyi, German neurologist and psychiatrist Erwin Straus and Catholic theologian Romano Guardini. This paper tries to provide an overview of Buytendijk’s conception of vital play by examining its original yet synthetic nature. Further emphasis is placed on the aesthetical and anthropological implications of Buytendijk’s contribution.
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This paper intends to offer an example of the way philosophy and artistic creativity could be connected. Using philosophical concepts and their profound meanings one can get a deeper and larger image of what art could reveal. We are going to use the already mentioned concepts as they were studied by two of the most relevant philosophers, Hegel and Heidegger. Those concepts prove their utility in the understanding of how the human thought functions and how it is capable to make the human being aware of his condition and also to make possible the human creativity, in art especially. We will discover that this process of creativity is based on the freedom of the human consciousness capable to surpass the nature restrictions imposed by human natural condition. This freedom of consciousness develops during life and experience and generates all the individual diversity. The human being as consciousness gets thus a wider capacity of expression assured by the wide range of determinations the thought gets during life. The artist is one of those capable to express this in various symbolic forms using however simple materials. The artistic works reflect thus exactly the superior consciousness and self-consciousness to which the artist elevates himself proving thus the ontological character of the human thought. We chose the works made by Yves Klein, a French artist of the mid of the 20th century.
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This article tackles the possibility to understand the process of curating the digital self by treating virtual identities as a form of anti-art. The museification of the world engaged by social networks such as Instagram, a platform canonically devoted to visual content, seems to restore the Dada tradition of the photomontage, as well as the turn to the routine of our quotidian existence, aestheticized through live transmissions and daily vlogs. Insta-gramming became a digital practice that progressively installed what Richter used to call “the alienation of photography”, as there is no aesthetic claim for the visual content, but neither a profound ignorance of artistic criteria. Therefore, anonymous masses homogenized as co-performers of life-casting online consume results of a digital curating based on the Dada photomontage, the Futurist appetite for technology and the Surrealist automatic creation or psychic automatism. My argument is that as digital curation progressively shared with vanguards such principles, virtual identities became anti-art objects. Moreover, curating the self is no longer an artistic performance, but rather a social skill. In the last part of my study, I will bring to the spotlight two competitive narrations on digital curation, productive, respectively consumptive curation. In my opinion, these two paradigms raised by Davis are relevant for developing the commodification of the self, as well as new literary practices based on Bourriaud’s relational aesthetics. Consequently, I argue in favour of assuming the curation of the self by digital means as a daily practice entangling creativity and leisure, understood as creleisure, a concept coined by the artist Hélio Oiticica back in 1969. As aesthetics tends to track down such behaviours for their transgressive potential, measuring the historical shift of autocreation from Dada to Data perspectives, philosophy still has to work on the consequences of such phenomena on self-care, self-knowledge, and authenticity.
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A number of authors have written about the history of the concept of style, one of the key formulating concepts of art history. Those deserving special mention here are Jan Białostocki (‘Styl’, in: BIAŁOSTOCKI, J.: Historia sztuki wśród nauk humanistycznych. Wrocław-Warszawa-Kraków-Gdańsk 1980, pp. 36-55), Willibald Sauerländer, (‘From Stilus to Style: Reflections on the Fate of a Notion’, in: Art History, 6, 1983, no. 3, pp. 253-270), Carlo Ginzburg, (‘Stil. Einschließung und Ausschließung’, in: GINZBURG, C.: Holzaugen. Über Nähe und Distanz. Berlin 1999, pp. 168-211), and Robert Suckale (‘Stilgeschichte’, in: Kunsthistorische Arbeitsblätter, 11, 2001, pp. 17-26). The present study is an attempt to map in greater detail the efforts of several generations of scholars to define style, starting with the ‘discovery’ of the history of style in the mid-eighteenth century and ending with the crisis that ensued after the end of the Second World War.
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The paper shows connections between Stanisław Tarnowski and Lucjan Rydel and his family. Tarnowski was a disciple of Józef Kremer, while Rydel was a pupil of Tarnowski. Kremer’s views on art, to some extent, shaped Tarnowski’s aesthetic thought, especially when it comes to the perception of beauty and creative act. Kremer accompanied Tarnowski at the beginning of his scientific career. Rydel used to attend Tarnowski’s speeches in his gymnasium period, and then as a student of the Jagiellonian University. He belonged to a narrow group of Young Poland writers, whose work was appreciated by the critic. He included papers about Rydel in Przegląd Polski. In 1899 Tarnowski welcomed a debut volume by Rydel, appreciating his ‘inherent gift, acquired skill, good taste and musical ear, as well as playing with the difficulty of form,’ which contributed to ‘truly brilliant results.’ He praised the author for ‘his honest feelings’, at the same time noticing the dominance of sadness in his poetry, which was supposed to be typical of ‘young’ poetry, reflecting the depressing mood in the nation, caused by ‘the state of the motherland.’ In 1901 in Przegląd Polski he published a dissertation Nowe kierunki dramatu i „Zaczarowane koło” Lucjana Rydla, in which he made an ‘analysis’ of his disciple’s art. What he found particularly valuable was the method of presenting the countryside, which proved he was well-acquainted with its reality. However, it was only the trilogy Zygmunt August that he regarded as a masterpiece and ‘the best historical tragedy we’ve ever had’.
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The general commercialization of all spiritual fields in modern society removes them from the sphere of the sacred and turns them into a commodity. Art loses autonomy and identity, becomes indistinguishable from non-art, and all its evaluations outside the sphere of the market are relativized and illegitimate due to the lack of aesthetic norms. The article examines the market and social mechanisms that replace aesthetic criteria in the evaluation of contemporary collectible art.
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The article examines the last novel of Pavel Vezhinov–Libra (1982), which in a narrower sense also culminates the last, clearly separated period/section in the writer’s work–the philosophical-scientific one (after the novel The Barrier, 1976). Here, the novel’s fiction masks in a highly stripped-down fashion a central scientific theory, both civilizational and biological–of human evolution as devolution. Part of a larger study, the article discusses the P. Vezhinov’s radical anti-humanist criticism in the broad context of late modern philosophical skepticism (Heidegger, Deep Ecology) and its autochthonous reflections in Bulgarian literature during the second half of the twentieth century.
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The essay is dedicated to Bogomil Raynov's story Roads to Nowhere and the script of the film “The White Room” based on it. Through parallels with examples of existentialist literature and authors such as J.-P. Sartre and A. Camus, it is shown that the work bears the marks of a literary work created with the pathos of existentialism, which encodes the main stages and dimensions of rebellion (metaphysical, political, artistic). The role of the color white, internal monologue, movement, detail, and the convergent-divergent effect obtained from the use of the second person in the narrative is emphasized. The external signs of chaos and awareness of the absurd are sought. The thesis is defended that with the story Raynov in his way reaches the idea of the conscious choice of responsibility and human solidarity of Je me révolte, donc nous sommes (I rebel, therefore we are!) of Camus.
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This paper is a review of the 18th National Ethics Conference that took place in November 2022 and was organized by the Department of Ethical Studies of the Institute of Philosophy and Sociology of the Bulgarian Academy of Sciences. The aim of this review is to give publicity to the event by informing of the thematic panels, the titles of the reports and the names of the researchers who participated.
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