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Liberal Arts in Russia最新文献

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Cryptoecphrasis in M. V. Lomonosov’s and G. R. Derzhavin’s anacreontic poetry 罗蒙诺索夫和德尔扎文明朗诗歌中的隐语
Pub Date : 1900-01-01 DOI: 10.15643/libartrus-2022.5.4
S. Salova
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引用次数: 0
Factors opposing the determinilogization of art criticism terms 反对艺术批评术语决定论的因素
Pub Date : 1900-01-01 DOI: 10.15643/libartrus-2022.3.5
S. Ivanova, P. E. Dovgopiat
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引用次数: 0
Perceptual opposition as a methodological tool in the study of modern monetary nominations 感性对立作为现代货币提名研究的方法论工具
Pub Date : 1900-01-01 DOI: 10.15643/libartrus-2022.4.8
T. Grigorieva, M. V. Zaitseva
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引用次数: 0
Neologisms as markers of evolutionary trends in the English language lexical system 作为英语词汇系统进化趋势标志的新词
Pub Date : 1900-01-01 DOI: 10.15643/libartrus-2023.1.5
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引用次数: 0
Intelligentsia in National History: on the 100th anniversary of the “Philosophical steamship”: Part I: Controversy: the government, the people-the intelligentsia 国史上的知识分子:论“哲学轮船”100周年第一部分:争议:政府、人民——知识分子
Pub Date : 1900-01-01 DOI: 10.15643/libartrus-2022.4.1
V. Ilyin
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引用次数: 0
The philosophy of the crisis: the new century is the beginning of an incomprehensible life 危机哲学:新世纪是一种不可理解的生活的开始
Pub Date : 1900-01-01 DOI: 10.15643/libartrus-2021.3.1
V. Ilyin
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引用次数: 1
Homonymy in the context of general semantic stratification of vocabulary 词汇一般语义分层背景下的同音同义
Pub Date : 1900-01-01 DOI: 10.15643/libartrus-2022.6.2
V. L. Ibragimova
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引用次数: 0
“Pod toshnyii shumok makintosha”: on the one word in Vladimir Nabokov’s Russian prose “Pod toshnyii shumok makintosha”——论弗拉基米尔·纳博科夫俄语散文中的一个词
Pub Date : 1900-01-01 DOI: 10.15643/libartrus-2022.5.5
L. A. Karakuts-Borodina
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引用次数: 0
Bill Viola’s video art philosophy 比尔·维奥拉的视频艺术哲学
Pub Date : 1900-01-01 DOI: 10.15643/libartrus-2021.3.2
Ломоносова, Россия, Ломоносовский проспект
The author of the article studies the philosophical foundations of modern art and substantiates the idea that video art destroys the subject-object structure of classical metaphysics. Analyzing the connection between video installations and altarpiece painting, the author shows that in the attempt to answer the question “What is human?” modern art replaces Christian anthropology with the anthropology of the four elements, corresponding to ancient Greek philosophy. Human is understood here as an organic element of the cosmos. The concept of human as a free being is replaced by the understanding of human as a natural being. At this point, the philosophy of video art intersects with two interrelated trends in modern philosophy – the posthumanist one, which rejects the idea of the exclusivity of human existence and humanizes the non-human world; and the naturalistic one, which reduces human to biological causality. Contrary to the opinion of art theorists who see a direct relationship between Renaissance art and video art, the author shows that there is an essential opposition behind the external similarity. Video art works are based on the removal of semantic subjects of classical painting and icon painting. The slow-motion style used by video art shows the artists desire to algorithmize contem-plation and justify the technical attitude of a person to himself.
本文通过对现代艺术哲学基础的研究,论证了录像艺术破坏古典形而上学主客体结构的观点。通过分析视频装置与祭坛画之间的联系,作者表明,在试图回答“人是什么?”现代艺术用四要素的人类学取代了基督教人类学,与古希腊哲学相对应。人在这里被理解为宇宙的一个有机元素。人是自由存在的概念被人是自然存在的理解所取代。在这一点上,影像艺术哲学与现代哲学中两个相互关联的趋势相交——后人类主义,它拒绝人类存在的排他性观念,并将非人类世界人性化;另一种是自然主义,将人类的因果关系归结为生物因果关系。与艺术理论家认为文艺复兴艺术与录像艺术之间存在直接关系的观点相反,作者表明,在表面相似的背后,存在着本质上的对立。影像艺术作品是在去除古典绘画和图标绘画的语义主体的基础上创作的。视频艺术使用的慢动作风格表明艺术家渴望将沉思算法化,并证明一个人对自己的技术态度。
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引用次数: 0
“Understood mathematics” as a means of implementation concepts of cognitive technology in subject matter areas of socio-economic geography “理解数学”是在社会经济地理学的主题领域实现认知技术概念的一种手段
Pub Date : 1900-01-01 DOI: 10.15643/libartrus-2022.1.2
V. Erovenko
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引用次数: 0
期刊
Liberal Arts in Russia
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