Pub Date : 2024-02-01DOI: 10.7256/2454-0757.2024.2.69975
I. S. Kachay, N. N. Ravochkin, M. Petrov
The object of this paper is creativity as a cultural philosophical and historical-philosophical phenomenon. The subject of the research is the substantiation of the essence of creativity by Russian religious philosophy on the example of the doctrine of V.S. Solovyov and N.A. Berdyaev. The aim of this research is to identify and articulate the key semantic constructs of creativity from the positions of the above-mentioned thinkers. The article also explores ideas about the nature of creativity and the specific features of a creative subject through the prism of relevant concepts of a socio-humanitarian orientation. A brief historical and philosophical excursion into the understanding of the ontological essence of creativity is carried out, modern ontological concepts of creativity are revealed and an existentially oriented concept of creativity is proposed. The theoretical basis of the research is the original works of V.S. Solovyov and N.A. Berdyaev, as well as various commenting scientific sources. The methodological foundation of the research is a comparative analysis and a method of contextual vision of creativity. The main result of the conducted research is the articulation of key aspects of the understanding of creativity by V.S. Solovyov and N.A. Berdyaev. It is shown that for the first philosopher, the central task of creativity is the spiritualization of the material world through the realization of the unity of Goodness, Truth and Beauty, while the second thinker considers the main mission of creativity to be the establishment of a fundamentally different spiritual being by the subject. The scientific novelty of the research also lies in the comparative characterization of the concepts of creativity of these thinkers in terms of essence, tasks, meaning, material, sources, functions, result and other structural aspects.
{"title":"The Philosophy of creativity: conceptual approaches of V.S. Solovyov and N.A. Berdyaev","authors":"I. S. Kachay, N. N. Ravochkin, M. Petrov","doi":"10.7256/2454-0757.2024.2.69975","DOIUrl":"https://doi.org/10.7256/2454-0757.2024.2.69975","url":null,"abstract":"\u0000 The object of this paper is creativity as a cultural philosophical and historical-philosophical phenomenon. The subject of the research is the substantiation of the essence of creativity by Russian religious philosophy on the example of the doctrine of V.S. Solovyov and N.A. Berdyaev. The aim of this research is to identify and articulate the key semantic constructs of creativity from the positions of the above-mentioned thinkers. The article also explores ideas about the nature of creativity and the specific features of a creative subject through the prism of relevant concepts of a socio-humanitarian orientation. A brief historical and philosophical excursion into the understanding of the ontological essence of creativity is carried out, modern ontological concepts of creativity are revealed and an existentially oriented concept of creativity is proposed. The theoretical basis of the research is the original works of V.S. Solovyov and N.A. Berdyaev, as well as various commenting scientific sources. The methodological foundation of the research is a comparative analysis and a method of contextual vision of creativity. The main result of the conducted research is the articulation of key aspects of the understanding of creativity by V.S. Solovyov and N.A. Berdyaev. It is shown that for the first philosopher, the central task of creativity is the spiritualization of the material world through the realization of the unity of Goodness, Truth and Beauty, while the second thinker considers the main mission of creativity to be the establishment of a fundamentally different spiritual being by the subject. The scientific novelty of the research also lies in the comparative characterization of the concepts of creativity of these thinkers in terms of essence, tasks, meaning, material, sources, functions, result and other structural aspects.\u0000","PeriodicalId":437937,"journal":{"name":"Философия и культура","volume":"39 9","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140463735","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-01-01DOI: 10.7256/2454-0757.2024.1.68838
Svetlana V. Kovaleva, Elena Pavlovna Panova, Roman Vital'evich Reshetov
The subject of the study is the figurative and symbolic reflection and transformation of the dynamic reality of life in the cinematic space of modern culture. The purpose of the work is to identify and substantiate trends in the development of cinematographic cultural texts based on the figurative and symbolic representation of the phenomenon of success in the existential space of human existence. The scientific novelty of the work is represented by the evidence base of the study, which determines the figurative correspondence of the philosophical and sociological representation of cinematic texts to the phenomenon of success as a value-symbolic aspect of personal activity. Based on the analysis of cinema screen products created at the turn of the XX-XXI centuries and devoted to the characterization of the image of a subject whose existential level of being is characterized in the symbols of success/ failure, several trends in the development of cinematic culture can be identified. Firstly, the characteristic of the "sunset" of the previously dominant ideological trend of symbolization of the actual phenomenology of success. Secondly, the stage of axiological instability and ambivalence in the evaluation of the symbols of success, unevenly implemented in the scenario and staging part. And, thirdly, the formation and consolidation of new cinematic paradigms through the constant convergence of private symbols of success, manifested in different ways both in reality and on the cinema screen, and accompanied by constant attempts at their non-contextual universalization.
{"title":"Values and symbolization of success in modern cinema","authors":"Svetlana V. Kovaleva, Elena Pavlovna Panova, Roman Vital'evich Reshetov","doi":"10.7256/2454-0757.2024.1.68838","DOIUrl":"https://doi.org/10.7256/2454-0757.2024.1.68838","url":null,"abstract":"\u0000 The subject of the study is the figurative and symbolic reflection and transformation of the dynamic reality of life in the cinematic space of modern culture. The purpose of the work is to identify and substantiate trends in the development of cinematographic cultural texts based on the figurative and symbolic representation of the phenomenon of success in the existential space of human existence. The scientific novelty of the work is represented by the evidence base of the study, which determines the figurative correspondence of the philosophical and sociological representation of cinematic texts to the phenomenon of success as a value-symbolic aspect of personal activity. Based on the analysis of cinema screen products created at the turn of the XX-XXI centuries and devoted to the characterization of the image of a subject whose existential level of being is characterized in the symbols of success/ failure, several trends in the development of cinematic culture can be identified. Firstly, the characteristic of the \"sunset\" of the previously dominant ideological trend of symbolization of the actual phenomenology of success. Secondly, the stage of axiological instability and ambivalence in the evaluation of the symbols of success, unevenly implemented in the scenario and staging part. And, thirdly, the formation and consolidation of new cinematic paradigms through the constant convergence of private symbols of success, manifested in different ways both in reality and on the cinema screen, and accompanied by constant attempts at their non-contextual universalization.\u0000","PeriodicalId":437937,"journal":{"name":"Философия и культура","volume":"21 11","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140526779","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-01-01DOI: 10.7256/2454-0757.2024.1.69678
Andrei Armovich Gribkov
The problematics of civilization development and the place of human being in it is a significant area of research, which is additionally actualized nowadays in the conditions of the outlined transition to a new stage - the civilization of cognitive technologies. According to the assessment proposed in the article, three stages of civilization development should be distinguished: agrarian, machine, and the civilization of cognitive technologies, which is currently being formed. It is characterized by the main need in the form of artificial cognitive systems for intellectual control of machines for the production of material goods, and the result of satisfying this need is the replacement of human beings by artificial cognitive systems in the intellectual control of machines. The following several questions are key in the context of the mentioned problems: "What are the functions of human beings in the existence and development of civilization?", "Do these functions change?", "Are there inalienable ones among them?", "What can become the basis for the further development of civilization?". The functions of human beings within civilization are the generation of needs and work to satisfy them. Generation of needs is an inalienable function of human being in civilization, which determines the determining role of the evolution of needs in the development of civilization. The main role in the evolution of needs belongs to social mechanisms of compulsion (motivation) to consumption, which influence not only the satisfaction of social needs, but also stimulate excessive consumption of material goods and intellectual activity. Further development of civilization will preserve the position of human being as an initiator of this development only in case of successful implementation of social coercion mechanisms. The condition for this is social integration: preservation and expansion of ties between human beings, counteraction to the fragmentation of society.
{"title":"Human beings in a civilization of cognitive technologies","authors":"Andrei Armovich Gribkov","doi":"10.7256/2454-0757.2024.1.69678","DOIUrl":"https://doi.org/10.7256/2454-0757.2024.1.69678","url":null,"abstract":"\u0000 The problematics of civilization development and the place of human being in it is a significant area of research, which is additionally actualized nowadays in the conditions of the outlined transition to a new stage - the civilization of cognitive technologies. According to the assessment proposed in the article, three stages of civilization development should be distinguished: agrarian, machine, and the civilization of cognitive technologies, which is currently being formed. It is characterized by the main need in the form of artificial cognitive systems for intellectual control of machines for the production of material goods, and the result of satisfying this need is the replacement of human beings by artificial cognitive systems in the intellectual control of machines. The following several questions are key in the context of the mentioned problems: \"What are the functions of human beings in the existence and development of civilization?\", \"Do these functions change?\", \"Are there inalienable ones among them?\", \"What can become the basis for the further development of civilization?\". The functions of human beings within civilization are the generation of needs and work to satisfy them. Generation of needs is an inalienable function of human being in civilization, which determines the determining role of the evolution of needs in the development of civilization. The main role in the evolution of needs belongs to social mechanisms of compulsion (motivation) to consumption, which influence not only the satisfaction of social needs, but also stimulate excessive consumption of material goods and intellectual activity. Further development of civilization will preserve the position of human being as an initiator of this development only in case of successful implementation of social coercion mechanisms. The condition for this is social integration: preservation and expansion of ties between human beings, counteraction to the fragmentation of society.\u0000","PeriodicalId":437937,"journal":{"name":"Философия и культура","volume":"10 2","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140525773","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-01-01DOI: 10.7256/2454-0757.2024.1.68938
N. Mankovskaya
The subject of the study is the fundamental philosophical and aesthetic problems in the aesthetics of Pierre Simon Ballanche, who stood at the origins of French romanticism. Two layers of his creativity - explicit and implicit - have been identified and analyzed. It is shown that his ideas about the art of romanticism are verbalized in a strict academic style. The implicit layer, is associated with Ballanche’s artistic prose. It includes philosophical and aesthetic poems, testifying the originality of his aesthetic position. Unlike most French romantics, who distance themselves from ancient culture as pagan in favor of Christianity and medieval art, Ballanche, in his talented paraphrases of mythological stories, romanticizes Antiquity, finding in it the beginnings of future Christian ideas of sublime love, mercy, sacrifice, beauty and goodness. The main conclusion of the study is the conclusion that art, according to Ballanche, plays a leading civilizational role in the cosmogonic-historical process. The core of Ballanche's implicit philosophical aesthetics is revealed - the original concept of palingenesis, interpreted by the author as a radical degeneration of the world for the sake of its future revival; it is precisely this stage of cultural and historical development that, in his opinion, marks romanticism. The author's special contribution lies in introducing into domestic scientific circulation, translated into Russian for the first time and analyzed the philosophical and aesthetic poems “Antigone”, “The Man with No Name”, “The Experience of Social Palingenesis. Orpheus".
{"title":"Two-faced Janus of early French romanticism: Pierre Simon Ballanche as an esthetician and writer","authors":"N. Mankovskaya","doi":"10.7256/2454-0757.2024.1.68938","DOIUrl":"https://doi.org/10.7256/2454-0757.2024.1.68938","url":null,"abstract":"\u0000 The subject of the study is the fundamental philosophical and aesthetic problems in the aesthetics of Pierre Simon Ballanche, who stood at the origins of French romanticism. Two layers of his creativity - explicit and implicit - have been identified and analyzed. It is shown that his ideas about the art of romanticism are verbalized in a strict academic style. The implicit layer, is associated with Ballanche’s artistic prose. It includes philosophical and aesthetic poems, testifying the originality of his aesthetic position. Unlike most French romantics, who distance themselves from ancient culture as pagan in favor of Christianity and medieval art, Ballanche, in his talented paraphrases of mythological stories, romanticizes Antiquity, finding in it the beginnings of future Christian ideas of sublime love, mercy, sacrifice, beauty and goodness. The main conclusion of the study is the conclusion that art, according to Ballanche, plays a leading civilizational role in the cosmogonic-historical process. The core of Ballanche's implicit philosophical aesthetics is revealed - the original concept of palingenesis, interpreted by the author as a radical degeneration of the world for the sake of its future revival; it is precisely this stage of cultural and historical development that, in his opinion, marks romanticism. The author's special contribution lies in introducing into domestic scientific circulation, translated into Russian for the first time and analyzed the philosophical and aesthetic poems “Antigone”, “The Man with No Name”, “The Experience of Social Palingenesis. Orpheus\".\u0000","PeriodicalId":437937,"journal":{"name":"Философия и культура","volume":"29 5","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140521966","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-01-01DOI: 10.7256/2454-0757.2024.1.69356
I. Zhernosenko, Tszyayui Lun
The article examines the influence of ancient Chinese philosophical concepts on the formation of modern piano art in China. Ancient Chinese materialistic philosophy is based on such teachings as Wu-xing and Yin-Yang, the Great Limit (Tai Chi), the eight trigrams and others. With the passage of time and the rapid development of science, these philosophical concepts not only did not lose their significance, but also had a powerful influence on the formation of modern Chinese piano creativity, deeply influenced the form and cultural connotation of Chinese music, and also became the theoretical basis for the works of many modern composers. The philosophical and aesthetic Taiji system presented by composer Zhao Xiaosheng, integrated into the modern piano composition system, marked the beginning of a revolution in the field of piano art, combining the theoretical foundations of traditional Chinese philosophy and the principles of modern composition methods. The research methodology is based on philosophical and cultural analysis, musicological analysis, and semantic analysis. Of particular interest is the comparative analysis of the musical and philosophical "Tai chi composition system" by Zhao Xiaoshen, the dodecaphony of A. Schoenberg and the set theory of M. Babbitt and A. Fort, which the Chinese composer considers the sources of his creativity. The novelty of the research lies in the fact that a correlation is proposed between the key categories of ancient Chinese philosophy and modern experiments in the field of musical expression. The authors managed to demonstrate the high degree of influence of Chinese philosophy on music, to clearly show that the basic postulates of ancient Chinese philosophy have been encoded in the basis of traditional Chinese music since ancient times, and in the twentieth century they were the basis of modern Chinese theory of composition, while playing a colossal role in identifying the common foundations of modern composition of the West and East, while preservation of local features of the diverse sphere of these cultures. The emergence and formation of a philosophical and theoretical system of musical composition, based on the concepts of classical Chinese philosophy, organically refracted in the latest achievements of Western music composition, emphasizes the ontological significance of these concepts for both Eastern and Western culture. And the creation of appropriate musical works undoubtedly leads to positive trends in the development of modern Chinese music and classical Chinese philosophy.
{"title":"Ancient Chinese Philosophy and the formation of Modern Chinese Piano Art","authors":"I. Zhernosenko, Tszyayui Lun","doi":"10.7256/2454-0757.2024.1.69356","DOIUrl":"https://doi.org/10.7256/2454-0757.2024.1.69356","url":null,"abstract":"\u0000 The article examines the influence of ancient Chinese philosophical concepts on the formation of modern piano art in China. Ancient Chinese materialistic philosophy is based on such teachings as Wu-xing and Yin-Yang, the Great Limit (Tai Chi), the eight trigrams and others. With the passage of time and the rapid development of science, these philosophical concepts not only did not lose their significance, but also had a powerful influence on the formation of modern Chinese piano creativity, deeply influenced the form and cultural connotation of Chinese music, and also became the theoretical basis for the works of many modern composers. The philosophical and aesthetic Taiji system presented by composer Zhao Xiaosheng, integrated into the modern piano composition system, marked the beginning of a revolution in the field of piano art, combining the theoretical foundations of traditional Chinese philosophy and the principles of modern composition methods. The research methodology is based on philosophical and cultural analysis, musicological analysis, and semantic analysis. Of particular interest is the comparative analysis of the musical and philosophical \"Tai chi composition system\" by Zhao Xiaoshen, the dodecaphony of A. Schoenberg and the set theory of M. Babbitt and A. Fort, which the Chinese composer considers the sources of his creativity. The novelty of the research lies in the fact that a correlation is proposed between the key categories of ancient Chinese philosophy and modern experiments in the field of musical expression. The authors managed to demonstrate the high degree of influence of Chinese philosophy on music, to clearly show that the basic postulates of ancient Chinese philosophy have been encoded in the basis of traditional Chinese music since ancient times, and in the twentieth century they were the basis of modern Chinese theory of composition, while playing a colossal role in identifying the common foundations of modern composition of the West and East, while preservation of local features of the diverse sphere of these cultures. The emergence and formation of a philosophical and theoretical system of musical composition, based on the concepts of classical Chinese philosophy, organically refracted in the latest achievements of Western music composition, emphasizes the ontological significance of these concepts for both Eastern and Western culture. And the creation of appropriate musical works undoubtedly leads to positive trends in the development of modern Chinese music and classical Chinese philosophy.\u0000","PeriodicalId":437937,"journal":{"name":"Философия и культура","volume":"9 8","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140522316","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-12-01DOI: 10.7256/2454-0757.2023.12.69095
Andrei Armovich Gribkov, A. A. Zelenskii
The article is devoted to the study of the nature of consciousness within the framework of the information concept. The paper proposes a definition of consciousness as an informational environment in which an extended model of reality is realized. The process of realization of this extended model is defined as thinking. The result of thinking is information objects that form a system in the form of information environment. Information objects are reflections of the real world properties, not directly, but by means of translation through a special object – a carrier of consciousness. In the case of human consciousness, such a carrier is a human being (represented in the form of his nervous system). As a result, consciousness can be qualified as a simulacrum of reality, i.e., a model of a model: an information model of the carrier of consciousness, which in turn is a means of physical modeling of the real "big" world. Possible mechanisms mediating thinking are considered. For this purpose, two new concepts are introduced: neural circuit and neurophysical pattern. An approach to the study of self-consciousness based on the localization of the consciousness carrier in the multidimensional space of states of initial real objects, as well as their reflections in the form of information objects is proposed. This localization is ensured by the presence of feedbacks. Summarizing the results of the study, the article states the following connection between consciousness, self-consciousness and subjectness: under certain conditions (when consciousness is localized in the state space of the carrier of consciousness), consciousness acquires the property of self-consciousness, a special case of which (when the initiator of changes determining localization is the carrier of consciousness) is self-consciousness endowed with subjectness.
{"title":"Determination of consciousness, self-consciousness and subjectness within the framework of the information concept","authors":"Andrei Armovich Gribkov, A. A. Zelenskii","doi":"10.7256/2454-0757.2023.12.69095","DOIUrl":"https://doi.org/10.7256/2454-0757.2023.12.69095","url":null,"abstract":"\u0000 The article is devoted to the study of the nature of consciousness within the framework of the information concept. The paper proposes a definition of consciousness as an informational environment in which an extended model of reality is realized. The process of realization of this extended model is defined as thinking. The result of thinking is information objects that form a system in the form of information environment. Information objects are reflections of the real world properties, not directly, but by means of translation through a special object – a carrier of consciousness. In the case of human consciousness, such a carrier is a human being (represented in the form of his nervous system). As a result, consciousness can be qualified as a simulacrum of reality, i.e., a model of a model: an information model of the carrier of consciousness, which in turn is a means of physical modeling of the real \"big\" world. Possible mechanisms mediating thinking are considered. For this purpose, two new concepts are introduced: neural circuit and neurophysical pattern. An approach to the study of self-consciousness based on the localization of the consciousness carrier in the multidimensional space of states of initial real objects, as well as their reflections in the form of information objects is proposed. This localization is ensured by the presence of feedbacks. Summarizing the results of the study, the article states the following connection between consciousness, self-consciousness and subjectness: under certain conditions (when consciousness is localized in the state space of the carrier of consciousness), consciousness acquires the property of self-consciousness, a special case of which (when the initiator of changes determining localization is the carrier of consciousness) is self-consciousness endowed with subjectness.\u0000","PeriodicalId":437937,"journal":{"name":"Философия и культура","volume":"356 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138625644","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-12-01DOI: 10.7256/2454-0757.2023.12.69343
N. N. Ravochkin, Ilya Sergeevich Kachay, M. Petrov
The object of this research is the fragmented everyday life of social life practices. The subject of the research is personal stories realized in storytelling and considered as the result of the creative activity of the subject and a way to overcome the fragmentation of everyday life of modern culture. The authors consider the fragmentation of everyday life as a factor in the desocialization of the subject and the leveling of unified mechanisms of social interaction. Storytelling is defined as a way for a person to consistently present various storylines and broadcast the principles of their personal existence, creating an effect of belonging among recipients and awakening their imagination. The research substantiates that storytelling resources allow a subject to broadcast personal values, creatively express their individuality through virtual self-presentation and respond to current public demands, thereby overcoming the fragmentation of everyday life. As the conclusions of the research, the authors state that public order and social interaction are conditioned by the influence of the narratives of each subject on the foundation of their own being and the formation of a vector of development of all participants in intersubjective relations through the dissemination of the principles of personal existence in the storytelling system. The authors emphasize the creative nature of personal stories, the creation and telling of which is a prerequisite for the formation of unified principles of social existence due to the transmitted ideas about socially acceptable rules and stable patterns of behavior that become a set of rituals. The authors conclude that personal stories allow the subject to overcome fragmented everyday life, move to a qualitatively new level of normative determination, develop a strategy of self-identity and move from a separate way of being to a holistic existence in the context of intersubjective interactions.
{"title":"Personal stories as a result of creative activity and a tool for overcoming the fragmentation of everyday life: cultural and philosophical analysis","authors":"N. N. Ravochkin, Ilya Sergeevich Kachay, M. Petrov","doi":"10.7256/2454-0757.2023.12.69343","DOIUrl":"https://doi.org/10.7256/2454-0757.2023.12.69343","url":null,"abstract":"\u0000 The object of this research is the fragmented everyday life of social life practices. The subject of the research is personal stories realized in storytelling and considered as the result of the creative activity of the subject and a way to overcome the fragmentation of everyday life of modern culture. The authors consider the fragmentation of everyday life as a factor in the desocialization of the subject and the leveling of unified mechanisms of social interaction. Storytelling is defined as a way for a person to consistently present various storylines and broadcast the principles of their personal existence, creating an effect of belonging among recipients and awakening their imagination. The research substantiates that storytelling resources allow a subject to broadcast personal values, creatively express their individuality through virtual self-presentation and respond to current public demands, thereby overcoming the fragmentation of everyday life. As the conclusions of the research, the authors state that public order and social interaction are conditioned by the influence of the narratives of each subject on the foundation of their own being and the formation of a vector of development of all participants in intersubjective relations through the dissemination of the principles of personal existence in the storytelling system. The authors emphasize the creative nature of personal stories, the creation and telling of which is a prerequisite for the formation of unified principles of social existence due to the transmitted ideas about socially acceptable rules and stable patterns of behavior that become a set of rituals. The authors conclude that personal stories allow the subject to overcome fragmented everyday life, move to a qualitatively new level of normative determination, develop a strategy of self-identity and move from a separate way of being to a holistic existence in the context of intersubjective interactions.\u0000","PeriodicalId":437937,"journal":{"name":"Философия и культура","volume":"34 3","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139018023","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-12-01DOI: 10.7256/2454-0757.2023.12.69200
Oleg Yur'evich Akimov
The intuitions of Raimundus Lullus religious metaphysics are in this article explicated according to the opportunities of the convergence between the medieval and the new time philosophy. Such approach to the creativity of the thinker is possible, because his conception is one sides associated with the mystical symbolic theologism, that is typical for the medieval tradition, over sides develops Lullus the new understanding of the infinity of the world, inherent in the newtime philosophy. This opposition conditions some of the features of Lullus spiritual quest. This quest connected the respect to the past, that causes the homesickness to the lost ideals, together with the progressivity - the presentation of the future. This presentiment is by Lullus expressed as the desire to change the external world. The aim of this change is the approximation of the rational theological base - the model for the real life. Lullus experiences the combination and the unrealized synthesis of this intentions as the tragedy. The acute and intensive conflict of this intentions triggers the practical atheism, when the stimulation of the external distraction of the evil leads causes the appearance and the activation of the new evil. This disaster of life is determined with some aspects of Lullus metaphysics, in that the infinity of God is realized as the infinity of the world. The infinity of the world is by Lullus given as the rational hierarchical order, leading to the creator of the world. The tragedy of life is for Lullus the marker, that emphasizes the crisis of the medieval philosophy, that was based on the revelation. This crisis discovers the land of new philosophy. This philosophy stresses the autonomy of the human personality.
{"title":"Paradox of practical atheism in Raimund Lullus spiritual quests","authors":"Oleg Yur'evich Akimov","doi":"10.7256/2454-0757.2023.12.69200","DOIUrl":"https://doi.org/10.7256/2454-0757.2023.12.69200","url":null,"abstract":"\u0000 The intuitions of Raimundus Lullus religious metaphysics are in this article explicated according to the opportunities of the convergence between the medieval and the new time philosophy. Such approach to the creativity of the thinker is possible, because his conception is one sides associated with the mystical symbolic theologism, that is typical for the medieval tradition, over sides develops Lullus the new understanding of the infinity of the world, inherent in the newtime philosophy. This opposition conditions some of the features of Lullus spiritual quest. This quest connected the respect to the past, that causes the homesickness to the lost ideals, together with the progressivity - the presentation of the future. This presentiment is by Lullus expressed as the desire to change the external world. The aim of this change is the approximation of the rational theological base - the model for the real life. Lullus experiences the combination and the unrealized synthesis of this intentions as the tragedy. The acute and intensive conflict of this intentions triggers the practical atheism, when the stimulation of the external distraction of the evil leads causes the appearance and the activation of the new evil. This disaster of life is determined with some aspects of Lullus metaphysics, in that the infinity of God is realized as the infinity of the world. The infinity of the world is by Lullus given as the rational hierarchical order, leading to the creator of the world. The tragedy of life is for Lullus the marker, that emphasizes the crisis of the medieval philosophy, that was based on the revelation. This crisis discovers the land of new philosophy. This philosophy stresses the autonomy of the human personality.\u0000","PeriodicalId":437937,"journal":{"name":"Философия и культура","volume":"39 11","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138992846","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-11-01DOI: 10.7256/2454-0757.2023.11.69027
A. Linchenko, Anastasiya Igorevna Vishnyakova, Valeriya Andreevna Tabolina
This paper is focused on the ways of expressing trust and distrust in financial institutions represented in the language and speech culture of the population of the Lipetsk region. Based on 55 semi-structured interviews of three generations (centennials, millennials, elder generations) living in rural and urban settlements, issues of understanding and interpretation of financial institutions, features of trust, positive and negative experiences of interaction with various financial institutions were analyzed. The use of the constructivism made it possible to interpret trust as an internal component of the practices of an agent involved in the current financial situation. The study showed that in regions with an average standard of living, an average level of financial culture and the dominance of a conservative model of financial behaviour, the difference between generations is less noticeable against the backdrop of a significant difference between residents of rural and urban settlements. The analysis of interviews with three generations of residents of the region showed that the conservative model of financial behaviour continues to be reproduced in the speech culture of the informants, where banks and insurance organizations remain the most trustworthy. The images of financial institutions, represented in the language of the interviews, revealed a high level of resentment associated with the experience of past events (the collapse of the USSR, privatization). The content analysis revealed the image of the state as a “collector of payments”, and to a lesser extent, a “helper” supporting a person in his relationship with financial institutions.
{"title":"Images of trust and distrust in financial institutions in the language and speech culture of the population of the Russian province (case study of Lipetsk region)","authors":"A. Linchenko, Anastasiya Igorevna Vishnyakova, Valeriya Andreevna Tabolina","doi":"10.7256/2454-0757.2023.11.69027","DOIUrl":"https://doi.org/10.7256/2454-0757.2023.11.69027","url":null,"abstract":"This paper is focused on the ways of expressing trust and distrust in financial institutions represented in the language and speech culture of the population of the Lipetsk region. Based on 55 semi-structured interviews of three generations (centennials, millennials, elder generations) living in rural and urban settlements, issues of understanding and interpretation of financial institutions, features of trust, positive and negative experiences of interaction with various financial institutions were analyzed. The use of the constructivism made it possible to interpret trust as an internal component of the practices of an agent involved in the current financial situation. The study showed that in regions with an average standard of living, an average level of financial culture and the dominance of a conservative model of financial behaviour, the difference between generations is less noticeable against the backdrop of a significant difference between residents of rural and urban settlements. The analysis of interviews with three generations of residents of the region showed that the conservative model of financial behaviour continues to be reproduced in the speech culture of the informants, where banks and insurance organizations remain the most trustworthy. The images of financial institutions, represented in the language of the interviews, revealed a high level of resentment associated with the experience of past events (the collapse of the USSR, privatization). The content analysis revealed the image of the state as a “collector of payments”, and to a lesser extent, a “helper” supporting a person in his relationship with financial institutions.","PeriodicalId":437937,"journal":{"name":"Философия и культура","volume":"114 4 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139302853","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-11-01DOI: 10.7256/2454-0757.2023.11.69076
Zijian Wu
The article presents an analysis and interpretation of the features of two animated works of French animation created at the turn of the XX-XXI centuries. "Kirikou and the Sorceress", a cartoon released in 1998, is one of the most interesting works of the famous French animated film director Michel Oselo. The "Trio from Belleville", a work that appeared on screens in 2003, gained popularity not only in France, but also glorified the name of its creator Sylvain Chaume in the world of animation. The aim of the study is to develop theoretical knowledge about the world's oldest animation school by analyzing these works as the most representative in French animated cinema at the turn of the XX-XXI centuries. The methodology of the research is based primarily on the use of formal stylistic, iconological and cultural-historical methods, which makes it possible to describe and analyze the artistic forms of works of artistic animation in France, to determine the meanings contained in them in the context of the culture that gave rise to them. The novelty of the research is primarily connected with the introduction into the circulation of Russian science of previously unexplored works of modern French animation and their interpretation in the context of the development of French animated cinema. The author analyzes the plot features, character systems, reveals the metaphors and meanings that fill the cartoons in question, as well as the means of artistic expression used by French directors. The analysis of these works shows that the animated works of the turn of the XX-XXI centuries reflect a significant stage in the development of modern French animated cinema. This development takes place not by referring to foreign experience, but by forming national specifics in the creation of animated works. French directors manage to successfully improve their own original handwriting, while transferring the meanings and values of national culture to the screen.
{"title":"Masterpieces of French animation of the turn of the XX-XXI centuries: analysis and interpretation in the context of the development of French animated cinema","authors":"Zijian Wu","doi":"10.7256/2454-0757.2023.11.69076","DOIUrl":"https://doi.org/10.7256/2454-0757.2023.11.69076","url":null,"abstract":"The article presents an analysis and interpretation of the features of two animated works of French animation created at the turn of the XX-XXI centuries. \"Kirikou and the Sorceress\", a cartoon released in 1998, is one of the most interesting works of the famous French animated film director Michel Oselo. The \"Trio from Belleville\", a work that appeared on screens in 2003, gained popularity not only in France, but also glorified the name of its creator Sylvain Chaume in the world of animation. The aim of the study is to develop theoretical knowledge about the world's oldest animation school by analyzing these works as the most representative in French animated cinema at the turn of the XX-XXI centuries. The methodology of the research is based primarily on the use of formal stylistic, iconological and cultural-historical methods, which makes it possible to describe and analyze the artistic forms of works of artistic animation in France, to determine the meanings contained in them in the context of the culture that gave rise to them. The novelty of the research is primarily connected with the introduction into the circulation of Russian science of previously unexplored works of modern French animation and their interpretation in the context of the development of French animated cinema. The author analyzes the plot features, character systems, reveals the metaphors and meanings that fill the cartoons in question, as well as the means of artistic expression used by French directors. The analysis of these works shows that the animated works of the turn of the XX-XXI centuries reflect a significant stage in the development of modern French animated cinema. This development takes place not by referring to foreign experience, but by forming national specifics in the creation of animated works. French directors manage to successfully improve their own original handwriting, while transferring the meanings and values of national culture to the screen.","PeriodicalId":437937,"journal":{"name":"Философия и культура","volume":"170 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139297127","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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