Pub Date : 2023-11-01DOI: 10.7256/2454-0757.2023.11.68986
Andrei Armovich Gribkov, A. A. Zelenskii
The article analyzes the possibilities and limitations of artificial intelligence. The article considers the subjectivity of artificial intelligence, determines its necessity for solving intellectual problems depending on the possibility of representing the real world as a deterministic system. Methodological limitations of artificial intelligence, which is based on the use of big data technologies, are stated. These limitations cause the impossibility of forming a holistic representation of the objects of cognition and the world as a whole. As a tool for deterministic description of the universe it is proposed to use empirical-metaphysical general theory of systems, which is an extension of existing general theories of systems due to ontological justification of the phenomenon of isomorphism and definition of a limited set of laws, rules, patterns and primitives of forms and relations of objects in the universe. The distinction of natural (human) and artificial intelligence is considered, including the realization of multisystem integration of intelligence in physical, biological, social and spiritual systems. A philosophically grounded approach to ensuring the evolutionary properties of artificial intelligence is formulated, based on the inclusion of non-equilibrium mechanisms through which stability is realized.
{"title":"General Systems Theory and Creative Artificial Intelligence","authors":"Andrei Armovich Gribkov, A. A. Zelenskii","doi":"10.7256/2454-0757.2023.11.68986","DOIUrl":"https://doi.org/10.7256/2454-0757.2023.11.68986","url":null,"abstract":"The article analyzes the possibilities and limitations of artificial intelligence. The article considers the subjectivity of artificial intelligence, determines its necessity for solving intellectual problems depending on the possibility of representing the real world as a deterministic system. Methodological limitations of artificial intelligence, which is based on the use of big data technologies, are stated. These limitations cause the impossibility of forming a holistic representation of the objects of cognition and the world as a whole. As a tool for deterministic description of the universe it is proposed to use empirical-metaphysical general theory of systems, which is an extension of existing general theories of systems due to ontological justification of the phenomenon of isomorphism and definition of a limited set of laws, rules, patterns and primitives of forms and relations of objects in the universe. The distinction of natural (human) and artificial intelligence is considered, including the realization of multisystem integration of intelligence in physical, biological, social and spiritual systems. A philosophically grounded approach to ensuring the evolutionary properties of artificial intelligence is formulated, based on the inclusion of non-equilibrium mechanisms through which stability is realized.","PeriodicalId":437937,"journal":{"name":"Философия и культура","volume":"156 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139304642","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: 10.7256/2454-0757.2023.11.44046
Artur Amirovich Galyamov
The northern creative trips of the People's Artist of the USSR Vladimir Alexandrovich Igoshev (1921-2007) represent important and vivid pages in his creative biography. The object of this research is the creative heritage of the artist V.A. Igoshev. The subject of the study is the creative trips of the artist V.A. Igoshev to the North (Sverdlovsk and Tyumen regions) of the 1950s and 1960s. The purpose of this study is to reconstruct the overall picture of the northern creative trips of the artist V.A. Igoshev of the 1950s–1960s on the basis of paintings and graphic works of the early "northern cycle", archival materials, exhibition catalogues, Soviet periodicals, individual scientific articles and information from informants. The novelty of the research lies in the most complete and detailed consideration at the moment of the issue of the northern creative trips of the artist V.A. Igoshev in the 1950s and 1960s. Previously, this topic has not received special coverage. Modern researchers of the creative heritage of the artist V.A. Igoshev in their review articles practically did not touch on this problem, limiting themselves to mentioning individual episodes from the creative biography of the master. The author of the study provides historical facts related to specific dates of trips, introduces a list of paintings and graphic works, with all the circumstances of their creation and further exposure at major art exhibitions of the 1950s and 1960s.
{"title":"Conquered by the North: creative trips of the artist V.A. Igoshev of the 1950s and 1960s","authors":"Artur Amirovich Galyamov","doi":"10.7256/2454-0757.2023.11.44046","DOIUrl":"https://doi.org/10.7256/2454-0757.2023.11.44046","url":null,"abstract":"The northern creative trips of the People's Artist of the USSR Vladimir Alexandrovich Igoshev (1921-2007) represent important and vivid pages in his creative biography. The object of this research is the creative heritage of the artist V.A. Igoshev. The subject of the study is the creative trips of the artist V.A. Igoshev to the North (Sverdlovsk and Tyumen regions) of the 1950s and 1960s. The purpose of this study is to reconstruct the overall picture of the northern creative trips of the artist V.A. Igoshev of the 1950s–1960s on the basis of paintings and graphic works of the early \"northern cycle\", archival materials, exhibition catalogues, Soviet periodicals, individual scientific articles and information from informants. The novelty of the research lies in the most complete and detailed consideration at the moment of the issue of the northern creative trips of the artist V.A. Igoshev in the 1950s and 1960s. Previously, this topic has not received special coverage. Modern researchers of the creative heritage of the artist V.A. Igoshev in their review articles practically did not touch on this problem, limiting themselves to mentioning individual episodes from the creative biography of the master. The author of the study provides historical facts related to specific dates of trips, introduces a list of paintings and graphic works, with all the circumstances of their creation and further exposure at major art exhibitions of the 1950s and 1960s.","PeriodicalId":437937,"journal":{"name":"Философия и культура","volume":"29 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139305668","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: 10.7256/2454-0757.2023.11.68910
M. A. Shirokova
The subject of the study is the Christian discourse of the English TV series «Robin of Sherwood» (1984–1986). As a methodological basis for the scientific work, a philosophical-hermeneutic approach is used, presented, in particular, in the works of W. Dilthey, H.-G. Gadamer and M.M. Bakhtin. The most important structure of understanding is the principle of the «hermeneutic circle», which assumes that the text as a whole is understood through each of its parts, and the part through the whole. In addition, understanding arises in the process of «dialogical cognition», a dialogue between the author, as well as the text as a subject, and the reader (viewer). The content of the series «Robin of Sherwood» is analyzed in the specific historical conditions of the 1980s. This is a period of growing social and cultural protest caused in Europe and the United States by the policy of neoconservatism and the reduction of social guarantees. Many phenomena previously classified as counterculture are becoming fashionable and becoming mainstream, including the legacy of paganism, pre-Christian mysticism and mythology. The article shows that the creators of the series intended to present Robin Hood not only as a leader of social or national resistance, but also as a defender of the ancient pagan religion against the new, Christian. An analysis is given of episodes from the first two seasons of the film, which trace criticism of the Christian church as an institution, as well as specific monks and clergy. In the third season, the critical pathos towards the church practically disappears. However, the author comes to the conclusion that it is the first two seasons that demonstrate the development of the moral consciousness of the characters from pagan to Christian, and Christian discourse is present in the film text, perhaps contrary to the original intention of its creators. There is also a reception of the Christian discourse of the series in the Russian and, more broadly, Russian-language literary Internet space, which is reflected in discussions on relevant literary and historical forums, as well as in works of fan literature
{"title":"Christian discourse of the English series «Robin of Sherwood» (1984–1986) and its reflection in the modern literary internet space of Russia","authors":"M. A. Shirokova","doi":"10.7256/2454-0757.2023.11.68910","DOIUrl":"https://doi.org/10.7256/2454-0757.2023.11.68910","url":null,"abstract":"The subject of the study is the Christian discourse of the English TV series «Robin of Sherwood» (1984–1986). As a methodological basis for the scientific work, a philosophical-hermeneutic approach is used, presented, in particular, in the works of W. Dilthey, H.-G. Gadamer and M.M. Bakhtin. The most important structure of understanding is the principle of the «hermeneutic circle», which assumes that the text as a whole is understood through each of its parts, and the part through the whole. In addition, understanding arises in the process of «dialogical cognition», a dialogue between the author, as well as the text as a subject, and the reader (viewer). The content of the series «Robin of Sherwood» is analyzed in the specific historical conditions of the 1980s. This is a period of growing social and cultural protest caused in Europe and the United States by the policy of neoconservatism and the reduction of social guarantees. Many phenomena previously classified as counterculture are becoming fashionable and becoming mainstream, including the legacy of paganism, pre-Christian mysticism and mythology. The article shows that the creators of the series intended to present Robin Hood not only as a leader of social or national resistance, but also as a defender of the ancient pagan religion against the new, Christian. An analysis is given of episodes from the first two seasons of the film, which trace criticism of the Christian church as an institution, as well as specific monks and clergy. In the third season, the critical pathos towards the church practically disappears. However, the author comes to the conclusion that it is the first two seasons that demonstrate the development of the moral consciousness of the characters from pagan to Christian, and Christian discourse is present in the film text, perhaps contrary to the original intention of its creators. There is also a reception of the Christian discourse of the series in the Russian and, more broadly, Russian-language literary Internet space, which is reflected in discussions on relevant literary and historical forums, as well as in works of fan literature","PeriodicalId":437937,"journal":{"name":"Философия и культура","volume":"24 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139295427","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: 10.7256/2454-0757.2023.11.44049
Tatiana Aleksandrovna Nikitina, I. Zhernosenko
The authors of the article consider the main directions of the development of choral culture of the twentieth century in the context of domestic and regional socio-cultural processes through the prism of the legacy of the multifaceted creative personality of A. S. Anokhin, as well as through the analysis of the biography and creative path of the composer, based on his diaries and memoirs; presenting his views on the historical events of that time from the point of view of the musician and a teacher. The figure of Afanasy Stepanovich Anokhin is one of the key figures in the musical education and enlightenment of the Altai Territory in the XX century, about his creative and educational activities. The novelty of the research lies in the reconstruction of the integral creative image of the composer in the context of the formation of musical culture in the Soviet period in the Altai Territory. In this work, for the first time, a complete list of the composer's published works is published. A. S. Anokhin's main compositional legacy is connected with mass songwriting, one of the most popular genres of the Soviet era. The article also examines the development of musical and choral culture in the Altai Territory from amateur groups to professional performance and the development of musical education throughout the twentieth century, as well as raises issues of preservation and reclamation of regional cultural heritage.
{"title":"The legacy of the Altai composer Afanasy Stepanovich Anokhin as a focus of the formation of the national choral culture of the mid-twentieth century","authors":"Tatiana Aleksandrovna Nikitina, I. Zhernosenko","doi":"10.7256/2454-0757.2023.11.44049","DOIUrl":"https://doi.org/10.7256/2454-0757.2023.11.44049","url":null,"abstract":"The authors of the article consider the main directions of the development of choral culture of the twentieth century in the context of domestic and regional socio-cultural processes through the prism of the legacy of the multifaceted creative personality of A. S. Anokhin, as well as through the analysis of the biography and creative path of the composer, based on his diaries and memoirs; presenting his views on the historical events of that time from the point of view of the musician and a teacher. The figure of Afanasy Stepanovich Anokhin is one of the key figures in the musical education and enlightenment of the Altai Territory in the XX century, about his creative and educational activities. The novelty of the research lies in the reconstruction of the integral creative image of the composer in the context of the formation of musical culture in the Soviet period in the Altai Territory. In this work, for the first time, a complete list of the composer's published works is published. A. S. Anokhin's main compositional legacy is connected with mass songwriting, one of the most popular genres of the Soviet era. The article also examines the development of musical and choral culture in the Altai Territory from amateur groups to professional performance and the development of musical education throughout the twentieth century, as well as raises issues of preservation and reclamation of regional cultural heritage.","PeriodicalId":437937,"journal":{"name":"Философия и культура","volume":"288 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139297531","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: 10.7256/2454-0757.2023.11.68977
Daniil Vladimirovich Bliudov
The object of this study is the speech style of artists of the Bolshoi Drama Theater in the 1950s and 1960s. The subject of the study is the evolution of the speech style from the first to the second edition of G. Tovstonogov's performance "The Fox and the Grapes" ("Aesop"). The author of the article studies in detail two versions of the famous performance, analyzes the acting speech of N. Korn, V. Polizeimako, O. Basilashvili and S. Yursky from aesthetic and technological positions. The author pays special attention to the fundamental changes in the intonation-melodical architectonics of sounding speech in less than one decade. A change in speech style in the Bolshoi Drama Theater is included by the author in the wider context of changes in the art of the "thaw" era. The methodology of this study includes measurement (auditory analysis of the pace of speech, auditory analysis of diction and orthoepia, instrumental analysis of the intonation-melodic score), comparative analysis, induction, historical method. The novelty of the present study lies in the combined use of auditory and instrumental analysis tools for acting speech. The author clearly proves the subjectively obvious difference between the sound of speech in the first and second editions of the performance "The Fox and The Grapes" by conducting a detailed comparative analysis of acting speech in all main parameters: tempo, diction, orthoepia, melodics. From the study of a specific performance and specific acting works, the author goes to generalization, concluding about the powerful influence of screen (cinematic) speech on theatrical speech in the 1950s and 1960s, about the formation of a new standard of audience perception and a new idea of the naturalness of acting speech.
本研究的对象是二十世纪五六十年代莫斯科大剧院艺术家的演讲风格。研究的主题是格-托夫斯通诺夫（G. Tovstonogov）的表演《狐狸和葡萄》（《伊索》）从第一版到第二版的语言风格演变。文章作者详细研究了这一著名表演的两个版本，从美学和技术角度分析了 N. Korn、V. Polizeimako、O. Basilashvili 和 S. Yursky 的表演语言。作者特别注意到在不到十年的时间里，语音语调和韵律结构发生了根本性的变化。作者将莫斯科大剧院语言风格的变化纳入了 "解冻 "时代艺术变化的大背景中。本研究的方法包括测量法（对语速的听觉分析、对发音和正音的听觉分析、对音调-旋律乐谱的工具分析）、比较分析法、归纳法、历史法。本研究的新颖之处在于结合使用听觉分析和工具分析工具来分析表演语言。作者通过对《狐狸和葡萄》第一版和第二版的表演语言在节奏、发音、正音、旋律等所有主要参数上进行详细的比较分析，清楚地证明了第一版和第二版表演语言在主观上的明显差异。从对具体演出和具体表演作品的研究出发，作者进行了归纳总结，得出了 20 世纪 50 年代和 60 年代银幕（电影）语言对戏剧语言的强大影响、观众感知新标准的形成以及表演语言自然性新理念的结论。
{"title":"Two editions of \"Aesop\" in Bolshoi Drama Theatre: a speech style change","authors":"Daniil Vladimirovich Bliudov","doi":"10.7256/2454-0757.2023.11.68977","DOIUrl":"https://doi.org/10.7256/2454-0757.2023.11.68977","url":null,"abstract":"The object of this study is the speech style of artists of the Bolshoi Drama Theater in the 1950s and 1960s. The subject of the study is the evolution of the speech style from the first to the second edition of G. Tovstonogov's performance \"The Fox and the Grapes\" (\"Aesop\"). The author of the article studies in detail two versions of the famous performance, analyzes the acting speech of N. Korn, V. Polizeimako, O. Basilashvili and S. Yursky from aesthetic and technological positions. The author pays special attention to the fundamental changes in the intonation-melodical architectonics of sounding speech in less than one decade. A change in speech style in the Bolshoi Drama Theater is included by the author in the wider context of changes in the art of the \"thaw\" era. The methodology of this study includes measurement (auditory analysis of the pace of speech, auditory analysis of diction and orthoepia, instrumental analysis of the intonation-melodic score), comparative analysis, induction, historical method. The novelty of the present study lies in the combined use of auditory and instrumental analysis tools for acting speech. The author clearly proves the subjectively obvious difference between the sound of speech in the first and second editions of the performance \"The Fox and The Grapes\" by conducting a detailed comparative analysis of acting speech in all main parameters: tempo, diction, orthoepia, melodics. From the study of a specific performance and specific acting works, the author goes to generalization, concluding about the powerful influence of screen (cinematic) speech on theatrical speech in the 1950s and 1960s, about the formation of a new standard of audience perception and a new idea of the naturalness of acting speech.","PeriodicalId":437937,"journal":{"name":"Философия и культура","volume":"3 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139301070","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: 10.7256/2454-0757.2023.11.69073
Marfa Aleksandrovna Vinokurova
The article deals with the development of gastronomic tourism as one of the important areas of tourism. The subject of the study is the food culture in the Republic of Sakha (Yakutia). The object of this research is the promotion of food culture based on the technologies of gastronomic tourism on the example of the Republic of Sakha (Yakutia). The article considers the food culture of the Yakut ethnic group, the trends of the restaurant market, as well as local catering enterprises that specialize in the national Yakut cuisine. The concepts of tourism and gastronomic tourism and their state in the Republic of Sakha (Yakutia) are studied. The problems of popularization of national cuisine are touched upon. The article is devoted to the promotion of Yakut cuisine at the interregional and international levels. The necessity of promoting the food culture of the Yakut ethnic groups on the basis of participation in gastronomic festivals is identified and justified. The fundamental methodology for the study is a descriptive method, which includes the method of observation, interpretation, comparison, generalization. The presented article is relevant due to the fact that currently in modern culture there is a growing interest in the field of everyday food culture. In this regard, the term "food culture" correlates with the accumulated experience of the people, the bearer of culture, of satisfying the need for food. In modern science, everyday food culture correlates with the definition of "gastronomic culture", although to date there is no unambiguous understanding of this multidimensional cultural phenomenon, which is a specific attribute of each nation. The purpose of this study was to identify the features of everyday life through theoretical aspects and practical provisions that reveal the specifics of gastronomic tourism in the region, and the use of everyday food culture of the Yakut ethnic group for its further improvement and development. Based on the conducted study, the reasons for the positive impact of participating in gastronomic festivals are listed.
{"title":"Promotion of food culture based on gastronomic tourism technologies on the example of the Republic of Sakha (Yakutia)","authors":"Marfa Aleksandrovna Vinokurova","doi":"10.7256/2454-0757.2023.11.69073","DOIUrl":"https://doi.org/10.7256/2454-0757.2023.11.69073","url":null,"abstract":"The article deals with the development of gastronomic tourism as one of the important areas of tourism. The subject of the study is the food culture in the Republic of Sakha (Yakutia). The object of this research is the promotion of food culture based on the technologies of gastronomic tourism on the example of the Republic of Sakha (Yakutia). The article considers the food culture of the Yakut ethnic group, the trends of the restaurant market, as well as local catering enterprises that specialize in the national Yakut cuisine. The concepts of tourism and gastronomic tourism and their state in the Republic of Sakha (Yakutia) are studied. The problems of popularization of national cuisine are touched upon. The article is devoted to the promotion of Yakut cuisine at the interregional and international levels. The necessity of promoting the food culture of the Yakut ethnic groups on the basis of participation in gastronomic festivals is identified and justified. The fundamental methodology for the study is a descriptive method, which includes the method of observation, interpretation, comparison, generalization. The presented article is relevant due to the fact that currently in modern culture there is a growing interest in the field of everyday food culture. In this regard, the term \"food culture\" correlates with the accumulated experience of the people, the bearer of culture, of satisfying the need for food. In modern science, everyday food culture correlates with the definition of \"gastronomic culture\", although to date there is no unambiguous understanding of this multidimensional cultural phenomenon, which is a specific attribute of each nation. The purpose of this study was to identify the features of everyday life through theoretical aspects and practical provisions that reveal the specifics of gastronomic tourism in the region, and the use of everyday food culture of the Yakut ethnic group for its further improvement and development. Based on the conducted study, the reasons for the positive impact of participating in gastronomic festivals are listed.","PeriodicalId":437937,"journal":{"name":"Философия и культура","volume":"194 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139297187","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 : 2023-09-01DOI: 10.7256/2454-0757.2023.9.43931
Alena Sergeevna Zelenkina
The article is devoted to the analysis of the concept of the game and its presence in creative activity. The gameplay is presented as an important part of human life. The presence of both elements in a person's work shapes him as a "creative" and "creating" entity. The introduced characteristics are analyzed from the point of view of the historical context, where the concepts of a creative person and a person playing are equated to each other. Their similarity is established on the basis of the description of the signs of the game revealed at the beginning of the XX century. Game and art are considered abstractly from a specific cultural background, as functions that organize a person and preserve an abstract character. The features of the game highlighted in the article are given as evidence that plastic art stores it at its core as well as musical art. Their division within the cult and myth has led to the question of whether there is a game in art. The solution to this question lies in the field of the role of the participant in the game. Analysis from the point of view of the roles of the "creator" and "observer" allows us to uncover misconceptions about applied art and its game function.The findings showed that the position of the "observer" does not always allow you to see a complete picture of the process of plastic creativity. Due to the secrecy of most of the activity in the inner world of the artist, the observer cannot see the mechanical work of the gameplay. On this basis, he concludes about the insufficiency of plastic art. Analysis from the position of a creative person, on the contrary, indicates the full compliance of applied arts with the gameplay. On this basis, it is indicated that the game is not only an abstract concept that characterizes a person's life, but also the main component of any creative process.
{"title":"Decorative and applied art: the play of a creative person","authors":"Alena Sergeevna Zelenkina","doi":"10.7256/2454-0757.2023.9.43931","DOIUrl":"https://doi.org/10.7256/2454-0757.2023.9.43931","url":null,"abstract":"\u0000 The article is devoted to the analysis of the concept of the game and its presence in creative activity. The gameplay is presented as an important part of human life. The presence of both elements in a person's work shapes him as a \"creative\" and \"creating\" entity. The introduced characteristics are analyzed from the point of view of the historical context, where the concepts of a creative person and a person playing are equated to each other. Their similarity is established on the basis of the description of the signs of the game revealed at the beginning of the XX century. Game and art are considered abstractly from a specific cultural background, as functions that organize a person and preserve an abstract character. The features of the game highlighted in the article are given as evidence that plastic art stores it at its core as well as musical art. Their division within the cult and myth has led to the question of whether there is a game in art. The solution to this question lies in the field of the role of the participant in the game. Analysis from the point of view of the roles of the \"creator\" and \"observer\" allows us to uncover misconceptions about applied art and its game function.The findings showed that the position of the \"observer\" does not always allow you to see a complete picture of the process of plastic creativity. Due to the secrecy of most of the activity in the inner world of the artist, the observer cannot see the mechanical work of the gameplay. On this basis, he concludes about the insufficiency of plastic art. Analysis from the position of a creative person, on the contrary, indicates the full compliance of applied arts with the gameplay. On this basis, it is indicated that the game is not only an abstract concept that characterizes a person's life, but also the main component of any creative process.\u0000","PeriodicalId":437937,"journal":{"name":"Философия и культура","volume":"227 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134635881","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 : 2023-09-01DOI: 10.7256/2454-0757.2023.9.43689
N. Kormin
The objective of this study is to identify inimitable examples of the introduction of aesthetic content into the Western European metaphysical tradition, as it was embodied in Kant's understanding of the world concept of philosophy, which has certain aesthetic connotations. In the article, the author analyzes new stages of the movement towards the world concept of philosophy, on which the aesthetic meaning of the basic structures of transcendentalism is explicitly or implicitly realized: the art of schematism as a world concept of epistemology; the world concept of art as an organ of understanding artistic works. In addition, this discussion becomes particularly relevant when they seek to reveal how much the concept of schematism allows us to advance to the explanation of the world concept of philosophy. The work reveals how Kant reproduces the definition of the world concept of philosophy according to a certain model, while posing the problem of the typical embodiment of the idea, the ideal of the philosopher as a model. In this connection, a new complication of aesthetic analysis is being carried out in order to show how the world concept of philosophy was personified and presented as if in the ideal of the philosopher as a model. Therefore, the paradox of the world concept of philosophy lies in the fact that we have to talk about a sample of what does not yet exist. The author reproduces a transcendental language that will reveal the movement of aesthetic thought into the center of the world concept of philosophy, where the traditional artistic technique of personification of the philosopher's ideal as a model is performed, where the contemplation of meaning is transferred into the universality of the concept, into the contours of metaphysics.
{"title":"I. Kant: aesthetics and the world concept of philosophy","authors":"N. Kormin","doi":"10.7256/2454-0757.2023.9.43689","DOIUrl":"https://doi.org/10.7256/2454-0757.2023.9.43689","url":null,"abstract":"The objective of this study is to identify inimitable examples of the introduction of aesthetic content into the Western European metaphysical tradition, as it was embodied in Kant's understanding of the world concept of philosophy, which has certain aesthetic connotations. In the article, the author analyzes new stages of the movement towards the world concept of philosophy, on which the aesthetic meaning of the basic structures of transcendentalism is explicitly or implicitly realized: the art of schematism as a world concept of epistemology; the world concept of art as an organ of understanding artistic works. In addition, this discussion becomes particularly relevant when they seek to reveal how much the concept of schematism allows us to advance to the explanation of the world concept of philosophy. The work reveals how Kant reproduces the definition of the world concept of philosophy according to a certain model, while posing the problem of the typical embodiment of the idea, the ideal of the philosopher as a model. In this connection, a new complication of aesthetic analysis is being carried out in order to show how the world concept of philosophy was personified and presented as if in the ideal of the philosopher as a model. Therefore, the paradox of the world concept of philosophy lies in the fact that we have to talk about a sample of what does not yet exist. The author reproduces a transcendental language that will reveal the movement of aesthetic thought into the center of the world concept of philosophy, where the traditional artistic technique of personification of the philosopher's ideal as a model is performed, where the contemplation of meaning is transferred into the universality of the concept, into the contours of metaphysics.","PeriodicalId":437937,"journal":{"name":"Философия и культура","volume":"21 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123669275","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 : 2023-08-01DOI: 10.7256/2454-0757.2023.8.43752
E. Popov
The subject of the research in the article is the crisis of art, which is considered both exogenous (its occurrence is associated with various external factors) and endogenous, identified as a state of self-sufficiency in the existence of art. The emphasis is placed on the analysis of the experience of the sociology of art in understanding the crisis and crisis as a factor in the development of time and man. An assessment of the theorizing about the crisis of art at the interdisciplinary level is given, and the main emphasis is placed on the potential of sociological knowledge in stating the state of art under study. In addition, the main directions of conceptualization of the crisis of art in science are revealed. The main conclusions of the study are the following key provisions: 1) conceptualization of the crisis of art within the framework of the relevant branch of sociology is carried out both in terms of understanding art as a form of public consciousness, and from the point of view of the correlation of form and content, as well as ideological and artistic potential; 2) conceptualization of the crisis of art is an independent perspective of scientific research that sets the task of objectifying the crisis of art, understanding the basic laws of its occurrence 3) the sociology of art identifies the crisis of art as a state in which the role of art in the socialization and inculturation of the individual decreases.
{"title":"Conceptualization of the Art Crisis: the Experience of Branch sociology","authors":"E. Popov","doi":"10.7256/2454-0757.2023.8.43752","DOIUrl":"https://doi.org/10.7256/2454-0757.2023.8.43752","url":null,"abstract":"\u0000 The subject of the research in the article is the crisis of art, which is considered both exogenous (its occurrence is associated with various external factors) and endogenous, identified as a state of self-sufficiency in the existence of art. The emphasis is placed on the analysis of the experience of the sociology of art in understanding the crisis and crisis as a factor in the development of time and man. An assessment of the theorizing about the crisis of art at the interdisciplinary level is given, and the main emphasis is placed on the potential of sociological knowledge in stating the state of art under study. In addition, the main directions of conceptualization of the crisis of art in science are revealed. The main conclusions of the study are the following key provisions: 1) conceptualization of the crisis of art within the framework of the relevant branch of sociology is carried out both in terms of understanding art as a form of public consciousness, and from the point of view of the correlation of form and content, as well as ideological and artistic potential; 2) conceptualization of the crisis of art is an independent perspective of scientific research that sets the task of objectifying the crisis of art, understanding the basic laws of its occurrence 3) the sociology of art identifies the crisis of art as a state in which the role of art in the socialization and inculturation of the individual decreases.\u0000","PeriodicalId":437937,"journal":{"name":"Философия и культура","volume":"85 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129360856","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 : 2023-08-01DOI: 10.7256/2454-0757.2023.8.43536
Igor' Nikolaevich Gorbachev
The analysis of the play "The Seagull" undertaken in the article is based on an unusual assumption. Chekhov's phrase is known that "after writing a story, you should cross out its beginning and end." What if we apply this "formula" to the dramatic works of Anton Pavlovich and assume that when finishing the plays, Chekhov "left out some part of the text"? The analysis of the "Seagull" is performed directly by the classic tool of directors – the method of effective analysis. The work involved a wide range of facts about the social and everyday realities of the Russian Empire of the late XIX - early XX century. The choice of the play "The Seagull" is due to two reasons. Firstly, it is one of Chekhov's most famous and popular dramas. Interest in it has not waned for many decades, neither the audience nor the directors. Secondly, it is believed that the "Seagull" is read inside and out, and working with it is a challenge for the researcher. The analysis of "The Seagull" allows us to state that Chekhov's formula about "crossing out the beginning and the end" of the story is also applicable to his plays. Moreover, this "crossing out" is made taking into account the principles of classical drama. As a result, the reader is faced with the fact that the "Seagull" can be read in at least two – almost opposite in meaning – ways. The results obtained during the analysis, firstly, give grounds to assume that the case of the "Seagull" is not an isolated one, and Chekhov resorted to similar techniques in his other dramas. Secondly, to conclude that the "dramatic mechanism" of The Seagull is not just an attribute of the author's voice, but actually the path of evolution of classical drama proposed by Chekhov.
{"title":"A game of hide and seek. Dramatic Mechanisms in Chekhov's «The Seagull»","authors":"Igor' Nikolaevich Gorbachev","doi":"10.7256/2454-0757.2023.8.43536","DOIUrl":"https://doi.org/10.7256/2454-0757.2023.8.43536","url":null,"abstract":"\u0000 The analysis of the play \"The Seagull\" undertaken in the article is based on an unusual assumption. Chekhov's phrase is known that \"after writing a story, you should cross out its beginning and end.\" What if we apply this \"formula\" to the dramatic works of Anton Pavlovich and assume that when finishing the plays, Chekhov \"left out some part of the text\"? The analysis of the \"Seagull\" is performed directly by the classic tool of directors – the method of effective analysis. The work involved a wide range of facts about the social and everyday realities of the Russian Empire of the late XIX - early XX century. The choice of the play \"The Seagull\" is due to two reasons. Firstly, it is one of Chekhov's most famous and popular dramas. Interest in it has not waned for many decades, neither the audience nor the directors. Secondly, it is believed that the \"Seagull\" is read inside and out, and working with it is a challenge for the researcher. The analysis of \"The Seagull\" allows us to state that Chekhov's formula about \"crossing out the beginning and the end\" of the story is also applicable to his plays. Moreover, this \"crossing out\" is made taking into account the principles of classical drama. As a result, the reader is faced with the fact that the \"Seagull\" can be read in at least two – almost opposite in meaning – ways. The results obtained during the analysis, firstly, give grounds to assume that the case of the \"Seagull\" is not an isolated one, and Chekhov resorted to similar techniques in his other dramas. Secondly, to conclude that the \"dramatic mechanism\" of The Seagull is not just an attribute of the author's voice, but actually the path of evolution of classical drama proposed by Chekhov.\u0000","PeriodicalId":437937,"journal":{"name":"Философия и культура","volume":"39 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134102214","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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