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Teško je naći zadovoljavajuću definiciju prigodne poezije. Od epohe do epohe, od zemlje do zemlje, prema nacionalnim tradicijama ili ličnim gledištima, sam pojam prigodnog dela je promenljiv i ponekad dobija protivrečna značenja. Sigurno je da postoje razlozi da se upitamo u kojoj meri je moguće uočiti, više ili manje, opšte značenje prigodne poezije, na koje bismo se mogli pozvati sa, makar relativnom, sigurnošću.
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Kritičarska etičnost je neprestano na teškoj probi i na ispitivanju. To se neminovno postavlja u svakoj generaciji, pa i u ovoj sadašnjoj. Kritičar mora da bude svjestan upravo ovog moralnog vida svoga pisanja. Ako moralnost bude dovedena u sumnju, izgubljene su ne samo njegove kritičarske, nego i ljudske pozicije. Njemu se tada ne može vjerovati. Kao što je bilo u svakome vremenu, ni današnji kritičari ne mogu biti imuni od ljudskih slabosti i estetskih zastranjivanja. Mada se to mora podrazumijevati, to ipak dovodi u neprestanu sumnju kritičarski poziv, stvara nevjericu u svrsishodnost kritike, jer loši primjeri obično bacaju u sjenku poštene namjere. To su konstantne pojave, tako da ne vjerujem da će ona ikada biti potpuno prevaziđene i iskorijenjene. Na štetu literature, književno-kritički posao je za neke dobar zaklon za karijerizam, za nipodaštavanje stvarnih vrijednosti, pa i za niz drugih nekorektnih ili, čak, nepoštenih gestova. Kada ovo kažem, onda ne mislim na izricanje oštrih sudova o nečijem djelu, već na neobrazlože- no negiranje i obezvređivanje dobrog ili bilo kakvog stvaralaštva.
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Evo još jednog među tolikim dvojstvima i paradoksima knjižievne kritike: češće od samih kritičara u njenoj su milosti, iz- gleda, pesnici i znalci, dakle, oni koji sa strane i povremeno, mimo dnevnih naloga i vidika sezone, ucrtavaju svoje »znakove pored puta«, uvide svojih stvaralačkih i intelektualnih iskustava, sticanih izvan »međa ove žurbe puke« (kako bi rekao jedan stari pesnik), izvan akustike dvosmislenih i često beznadno varljivih glasova tekućeg književnog života. Okrenuti više sebi nego drugima, u situaciji ne da pokazuju reflekse već iskazuju refleksije, ovakvi duhovi, po pravilu, tačnije i čistije iscrtavaju ne samo korenske i svevremene silnice stvaralaštva uvek i svugde, nego i one opisne i vrednosne izohipse književnosti i njene samosvesti ovde i danas.
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Jezik je uslov postojanja poezije. I za poeziju se može reći: u početku beše reč, a reč je u poeziji, i poezija je reč. I zaista: čak i bez mistike koju može da sadrži izvor ove parafraze, postoji dublja, suštinska saglasnost između poezije i jezika. Jezik je telo i duh poezije. U njemu se ona ovaploćuje i realizuje kao imaginativna i intelektualna delatnost prvoga reda, i to u vre- menu shvaćenom i kao istorijska i kao metafizička kategorija. Dakle, pesnički jezik je istorijska kategorija ali, istovremeno, on transcendira istoriju.
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Stalak za sliku bio je postavljen na žalu, pred morem i nebeskim svodom, preko kojega su klizili vazdušasti oblaci. Platno slikara pejzaža stavljeno je na njega, ali se jedva primećuje, to jest, raspoznaje se samo zahvaijujući nekolikim čavlima koji se vide na ivicama slike: ono se utapa u prirodu, a priroda u njega, i u tom uzajamnom utapanju ne može se uočiti nikakav prekid. Tako izgleda jedna od verzija Magritove Ljudske sudbine (Gvaš, 1948).
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Zboreći o beskonačnosti, Borges kaže da ta ideja kvari druge. Henry Michaux evocira beskonačnost, čovjekova dušmanina, i kaže da meskalin koji »odbija kretanje konačnog okrećući u beskonačnost, uznemiruje«. Sumnjam da je Borges beskonačnost pronašao u književnosti. Ne želim insinuirati da postoji samo jedna smirena spoznaja, crpljena iz književnih djela, nego namjeravam reći da je iskustvo književnosti možda temeljno blisko paradoksima i sofizmima onoga što je Hegel, kako bi ga odstranio, prozvao lošom beskonačnošću (le mauvais infini).
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O Mauriceu Blanchotu teško da se mogu pronaći bilo kakvi slikovni zapisi na internetu. Isto vrijedi i za Thomasa Pynchona. Zašto je tome tako? Je li to posljedica straha od profanacije djela njegovim »dodatkom« u znatiželji publike da vidi kako uistinu izgledaju njihovi književni velikani u mladosti, zrelosti i u doba usahnuća života? U svakom slučaju, postoji neka zavjetna obveza spram tajne singularnosti književnoga djela da je sve drugo što se tiče njezina tvorca dostojno brisanja svih mogućih tragova. Ikonoklazam autorstva u književnosti i filozofiji određuje samosvijest onoga tko misli i piše bez kompromisa s tzv. potrebom medijske scene. Neka tekst govori sam za sebe i o sebi.
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Implicit in the primary project of traditional aesthetics is the distinction made between “high” and “low” culture via standards that feminist critics have argued bar creative work by women from entry into the artistic canon. Since the mid-1990s these standards have been evident in the critical reception of the genre known as “chick lit” which is largely written by women using a distinctly feminine style and address. While the question of chick lit’s merit as a form of women’s writing and its claim to literary status remains undecided, chick lit has travelled a long way since Bridget Jones’s Diary and the conclusions drawn about Western chick lit cannot be seamlessly mapped onto chick lit’s others – its racially inflected and transnational iterations. Drawing on theories of feminine aesthetics, life writing, performativity, confession and memory, this paper moves from a consideration of the main arguments surrounding the aesthetic possibilities of the Western chick lit novel to the distinctive creative expression present in Indian chick lit to argue that the answer to the question of the genre’s aesthetic value may be found in some of its global transformations.
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In this paper, I examine how women graphic memoirists – Marjane Satrapi, Alison Bechdel, and Roz Chast in particular – attempt to draw that which remains fleeting, absent, and abyssal: the so-called “self.” I thus extend Jacques Derrida’s critique of what he has called the “metaphysics of presence” in philosophy to autobiographical comics, a popular medium that is heavily prefigured by his analysis of the self-portrait as a ruin. I believe this endeavor will help fill the gap in studies about the gendered aspects of Derrida’s work Memoirs of the Blind, as well as the potential of autobiographical comics to illuminate philosophical issues concerning the self. Finally, through my analysis of women’s graphic narratives, I hope to point to the possibility of a larger project, that of a feminist Derridean critique of sequential art.
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This contribution is devoted to an interpretation of the artwork, from a gender point of view, Metamorphosis of Narcissus by Salvador Dalí. Dalí’s painting is compared with the Narcissus stories to be found in antiquity, particularly in Ovid’s Metamorphoses, with his stress on the beauty of a young boy, and the commensurate concepts of seeing and mirroring. The gender associations of narcissism and their changes are well-documented in the history of art (Caravaggio, Edward Burne-Jones) and in different concepts of narcissism (Sigmund Freud, Gaston Bachelard, Lou Andreas-Salomé, Julia Kristeva). The author focuses on the gender aspects of surrealism, keying in especially to the concept of Anima and Animus (Carl Gustav Jung). Dalí’s work is analyzed in terms of associating Narcissus not merely with seeing and mirroring but also with touching and metamorphosis, emphasizing his remarkable skill at transgressing gender divisions in his visionary leap towards androgyny.
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In seeking to combine the concept of the ‘Feminine’ and ‘Aesthetics,’ the approach here is to carry out an initial examination of Walter Benjamin’s aesthetic theory, then delve into his texts on Eros, leading to his personal correspondence. These combined references will indicate his change of mind, moving from the feminine, as unique, towards its ‘constellation formation’. Montage is the medium of leading with quotation as a mosaic incorporating the image of constellation. The use of montage has parallels in certain avant-garde art movements, its purpose being to disrupt a purely linear approach, in order to cope with the reality of the fragmentation of experience. Although we have little evidence of Benjamin’s theory being connected to Gender Studies, we can take his theory on Eros as an example of how this philosopher foresaw some of the contemporary questions concerning women, amalgamating these with his Aesthetics theory.
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The attributes of gender in the media are disputable. This can be explained by a conflict generated by culturally acquired alternative imagined hierarchies which are not compatible or may be even contradictory. This article is a philosophical enquiry that examines the representation of gender and the environment in which it is conditioned.
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By considering the film (500) Days of Summer a postmodern romantic comedy, we can see the film as offering philosophical insights about the nature of love and its implications for the changing social institution of marriage The overarching idea is that this film is different from many other romantic comedies, and the ways in which it differs are indicative of a change in the genre and are relevant to changes in the concepts of love and marriage. We first consider more specifically the relationship between modern and postmodern aesthetics as well as a brief history of the genre of romantic comedy. Next, we will explore how the film might be read as a postmodern film, considering the plot, dialogue, sound, and look of the film. I contend that the cinematic properties are integral to the emergence of a new romantic comedy genre and to how this change reflects broader cultural changes. All told, this analysis will provide insights into how the currency of the conception of love has changed, which has likewise changed the marriage plot as experienced by new audiences in this new millennium.
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Mythologies from different parts of the world have always used female characters.Most of these are not positive ones, quite the reverse. Nowadays, our generally accepted attitude towards womanhood and women has barely anything to do with the emotions which were triggered by such mythical creatures as lamias, mermaids or vampires. Furthermore, equal rights are perceived, today,as integral to a healthy society. Yet, there are some aspects of womanhood that are not only absent in public discourse, but also trigger such extreme emotions as fear and disgust. One such trigger is menstrual blood.The aim of this article is to present negative images of the woman in mythology,with all their consequences, as well as to show how feminist reflections and artistic activity negate this understanding of womanhood and sexuality, frequently employing controversial and inconvenient themes in the furtherance of that goal.
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Psyche in Eros and Psyche (1904) by Jerzy Żuławski was one of the most important roles of Irena Solska (1875–1958), which she played for twenty years. The playwright confessed that he also had written The Myrtle Wreath (1903) and Ijola (1905) specifically for this actress. In spite of the fact that reviewers often criticized the texts and tried to “protect” Solska from being associated with the author’s intentions, she probably identified herself with them to a great extent. Given the lack of detailed accounts of Solska’s performance in the criticism, these texts become the most important source, although also a controversial one. They reveal some important impulses of Solska’s creativity. Her desire “to restore innocence” in her onstage creation was a way to overcome the repressive reality of her past and the burden accumulated through “the matrilineal heritage.”
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the aim of this paper is to confront two opposite views on the romantic idea of love and its role in contemporary Western societies. according to one of the analysed perspectives, represented most fully by anthony gid ‑dens, the romantic idea of love is seen as a dangerous delusion, bound to be abandoned in the rapidly changing societies of today. according to the other view, proposed by Pierre bourdieu, romantic love is still the only means to escape the power of symbolic domination. in conclusion, both accounts are analysed in terms of their underlying mythologies: victorian in case of giddens, romantic in case of bourdieu. notions of ‘ontologi‑cal security’ and the ‘unity of the loving dyad’ are shown to be the cor‑nerstones of powerful mythological systems encompassing our aims and modes of expression.
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Józef Kremer, pierwszy polski estetyk akademicki, propagował w swym wydawanym od 1843 roku monumentalnym dziele Listy z Krakowa heglowską estetykę w reinterpretacji platońsko-teistycznej. Praca ta była pierwszym systematycznym wykładem estetyki w języku polskim. Podobnie jak Hegel, Kremer wspierał swymi poglądami estetycznymi sztukę akademicką. Pod wyraźnym wpływem Kremera pozostawał najwybitniejszy krytyk artystyczny tamtego czasu – Lucjan Siemieński, publikujący swe krytyki w krakowskim „Czasie”, a potem młodszy o pokolenie filozof i estetyk warszawski – Henryk Struve, który w latach siedemdziesiątych osiągnął pozycję główne-go autorytetu w dziedzinie poglądów na temat sztuki i wartościowania dzieł sztuki, w szczególności dzieł współczesnych. W odróżnieniu od Kremera, który swe poglądy wygłaszał ex cathedra, nie musząc się mierzyć z poglądami przeciwnymi, Struve stoczył polemikę z poglądami Eugène’a Vérona, krytycznymi w stosunku do estetyki akademicko-idealistycznej, oraz polemikę osobistą ze Stanisławem Witkiewiczem, którą przegrał. Efektem tego sporu był zanik estetyki idealistyczno-akademickiej, co przy-czyniło się także do zaniku malarstwa akademickiego w kulturze polskiej.
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Celem artykułu jest przedstawienie teorii poznania integralnego w oparciu o koncepcję doświadczenia w estetyce pragmatycznej Johna Deweya. Poznanie integralne stanowi alternatywę dla jednostronnego poznania intelektualnego. Nie ogniskuje się ono na intelekcie, ale wymaga złączenia go ze zmysłami, uczuciami, cielesnością, a także z wyobraźnią i intuicją, czyli sferą estetyczną. Kluczowym czynnikiem w poznaniu integralnym jest świadomość, która skupia się nie tylko na umyśle, ale również na uczuciach i ciele. Praktykowanie tego rodzaju poznania prowadzi nie tylko do nabywania wiedzy, ale także do polepszania jakości życia i doświadczania, kształtowania człowieka będącego całością psychofizyczno-duchową, harmonii wewnętrznej, radości i spełnienia. Poznanie integralne nie jest czymś danym. Wymaga ono kształcenia i stanowi współcześnie ważne wyzwanie.
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