Pub Date : 2023-08-01DOI: 10.7256/2454-0757.2023.8.43769
Anastasiia Ponomareva
The subject of the study is the connection between the absurd and phenomenology.The texts of representatives of the absurdist trend in literature and philosophy (Camus, Kafka, Musil), as well as the works of academic philosophers of the phenomenological direction (Husserl, Sartre, Merleau-Ponty, Fink) are considered. The commonality of phenomenological interpretations of reality for some texts of the absurdist genre is proved. As a hypothesis, the existence of an epistemological dimension of meaning in the works of the absurd is put forward, interpreted by the author as a reception of the views of phenomenologists, problematized in the inconsistent reduction of phenomena. The methodological basis was the general scientific methods of analysis and synthesis, as well as the critical analysis of the text. The scientific novelty lies in the attempt to present phenomenology as a precursor of absurdism, connected with it through the sphere of axiology. The main contribution of the author is the actualization of the epistemological layer of such a multifaceted phenomenon as the absurd, namely, the elaboration of the hypothesis that in many works of absurdists, the metamorphoses of the characters' consciousness are in fact an inconsistent reduction consisting in explicit metamorphoses of the Ego, as well as violating subject-object relations but not actually bracketing the idea of the world. Many literary contemporaries of Husserl devote their thoughts to the problems of phenomenology to one degree or another, which makes the connection between absurd literature and the key theses of early phenomenology logical.
{"title":"Absurdity as an inconsistently conducted reduction","authors":"Anastasiia Ponomareva","doi":"10.7256/2454-0757.2023.8.43769","DOIUrl":"https://doi.org/10.7256/2454-0757.2023.8.43769","url":null,"abstract":"\u0000 The subject of the study is the connection between the absurd and phenomenology.The texts of representatives of the absurdist trend in literature and philosophy (Camus, Kafka, Musil), as well as the works of academic philosophers of the phenomenological direction (Husserl, Sartre, Merleau-Ponty, Fink) are considered. The commonality of phenomenological interpretations of reality for some texts of the absurdist genre is proved. As a hypothesis, the existence of an epistemological dimension of meaning in the works of the absurd is put forward, interpreted by the author as a reception of the views of phenomenologists, problematized in the inconsistent reduction of phenomena. The methodological basis was the general scientific methods of analysis and synthesis, as well as the critical analysis of the text. The scientific novelty lies in the attempt to present phenomenology as a precursor of absurdism, connected with it through the sphere of axiology. The main contribution of the author is the actualization of the epistemological layer of such a multifaceted phenomenon as the absurd, namely, the elaboration of the hypothesis that in many works of absurdists, the metamorphoses of the characters' consciousness are in fact an inconsistent reduction consisting in explicit metamorphoses of the Ego, as well as violating subject-object relations but not actually bracketing the idea of the world. Many literary contemporaries of Husserl devote their thoughts to the problems of phenomenology to one degree or another, which makes the connection between absurd literature and the key theses of early phenomenology logical.\u0000","PeriodicalId":437937,"journal":{"name":"Философия и культура","volume":"45 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":"126560661","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: 10.7256/2454-0757.2023.8.43722
Mariya Nikolaevna Girnik
The article deals with the problematization of the study of the kon (unwritten rules) phenomenon. The functions of the unwritten rules (kon) are compared with the functions of the law. The constitution of social reality as a socio-historical process that establishes the basic categories of society's perception of its social existence is the object of research. The subject of the study is the poorly studied functions of the “kon” in the constitution of social reality. The methodology is held together by general theoretical methods of typology and comparison. The study is built from the observation of the historical phenomenon of the horse to the disclosure of the heuristic potential of the concept of “kon” for describing the phenomena of modern life. The basis of the methodology is the theory of binary oppositions of culture by A.S. Akhiezer, reinforced the dialectical-dialogical pragmatic model of metacommunication R.T. Craig. The social functions of the horse remain poorly studied due to a certain way of configured research optics, concentrated on the laws governing the control of a single center of power by a poorly organized periphery.
{"title":"\"Kon\" and \"Law\" in the Constitution of Social reality","authors":"Mariya Nikolaevna Girnik","doi":"10.7256/2454-0757.2023.8.43722","DOIUrl":"https://doi.org/10.7256/2454-0757.2023.8.43722","url":null,"abstract":"\u0000 The article deals with the problematization of the study of the kon (unwritten rules) phenomenon. The functions of the unwritten rules (kon) are compared with the functions of the law. The constitution of social reality as a socio-historical process that establishes the basic categories of society's perception of its social existence is the object of research. The subject of the study is the poorly studied functions of the “kon” in the constitution of social reality. The methodology is held together by general theoretical methods of typology and comparison. The study is built from the observation of the historical phenomenon of the horse to the disclosure of the heuristic potential of the concept of “kon” for describing the phenomena of modern life. The basis of the methodology is the theory of binary oppositions of culture by A.S. Akhiezer, reinforced the dialectical-dialogical pragmatic model of metacommunication R.T. Craig. The social functions of the horse remain poorly studied due to a certain way of configured research optics, concentrated on the laws governing the control of a single center of power by a poorly organized periphery.\u0000","PeriodicalId":437937,"journal":{"name":"Философия и культура","volume":"142 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":"124570423","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: 10.7256/2454-0757.2023.8.43909
Pavel Gennadievich Bylevskiy
The subject of the study is the socio-cultural threats to the information security of Russian citizens associated with ChatGPT technologies (Chat Generative Pre-trained Transformer, a machine-generated text response generator simulating a dialogue). The object of research − evaluation of the ratio of advantages and threats of generative language models based on "machine learning" in modern (2021-2023) scientific literature (journals HAC K1, K2 and Scopus Q1, Q2). The scientific novelty of the research lies in the culturological approach to the analysis of threats to the security of Russian citizens associated with the use of ChatGPT as one of the technologies of "artificial intelligence". The formulation of the problem of the classical Turing test "to distinguish a person from a machine" is characterized as a scholastic abstraction, instead a more correct and productive approach is proposed: a socio-cultural assessment of the value (based on cultural axiology) of new computer technologies. The starting point of the analysis is the determination of socio-cultural value (or, conversely, damage) as a result of the use of generative language models based on machine learning. Further, the contribution and responsibility of various socio-cultural subjects of its creation and application are revealed − user, creator and developer. The result of the application of the proposed approach is the deconstruction of the discourse of the "philosophy of artificial intelligence" in terms of uncritical translation of developer declarations intended for marketing and attracting financing. Hypertrophied perception, precariously balancing on the edge of utopia and dystopia, is assessed as a risk of incorrect identification and ranking of threats to information security. Assumptions about the hypothetical "superweapon of psychological warfare" mask modern incidents of cross-border leakage of confidential data, the risks of being held accountable for publishing deliberately false information and illegal content as a result of using ChatGPT. National security measures are recommended, including restrictive measures and increasing the general civil culture of information security of users, as well as the orientation of domestic developments of solutions of this type on traditional values, socio-cultural identity and interests of Russian citizens.
{"title":"Culturological reconstruction of ChatGPT's socio-cultural threats and information security of Russian citizens","authors":"Pavel Gennadievich Bylevskiy","doi":"10.7256/2454-0757.2023.8.43909","DOIUrl":"https://doi.org/10.7256/2454-0757.2023.8.43909","url":null,"abstract":"\u0000 The subject of the study is the socio-cultural threats to the information security of Russian citizens associated with ChatGPT technologies (Chat Generative Pre-trained Transformer, a machine-generated text response generator simulating a dialogue). The object of research − evaluation of the ratio of advantages and threats of generative language models based on \"machine learning\" in modern (2021-2023) scientific literature (journals HAC K1, K2 and Scopus Q1, Q2). The scientific novelty of the research lies in the culturological approach to the analysis of threats to the security of Russian citizens associated with the use of ChatGPT as one of the technologies of \"artificial intelligence\". The formulation of the problem of the classical Turing test \"to distinguish a person from a machine\" is characterized as a scholastic abstraction, instead a more correct and productive approach is proposed: a socio-cultural assessment of the value (based on cultural axiology) of new computer technologies. The starting point of the analysis is the determination of socio-cultural value (or, conversely, damage) as a result of the use of generative language models based on machine learning. Further, the contribution and responsibility of various socio-cultural subjects of its creation and application are revealed − user, creator and developer. The result of the application of the proposed approach is the deconstruction of the discourse of the \"philosophy of artificial intelligence\" in terms of uncritical translation of developer declarations intended for marketing and attracting financing. Hypertrophied perception, precariously balancing on the edge of utopia and dystopia, is assessed as a risk of incorrect identification and ranking of threats to information security. Assumptions about the hypothetical \"superweapon of psychological warfare\" mask modern incidents of cross-border leakage of confidential data, the risks of being held accountable for publishing deliberately false information and illegal content as a result of using ChatGPT. National security measures are recommended, including restrictive measures and increasing the general civil culture of information security of users, as well as the orientation of domestic developments of solutions of this type on traditional values, socio-cultural identity and interests of Russian citizens.\u0000","PeriodicalId":437937,"journal":{"name":"Философия и культура","volume":"122 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":"134603963","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: 10.7256/2454-0757.2023.8.43497
Yu Zhou
The study of the artistic heritage of neo-academicians in the context of the study of mixed techniques is quite relevant. To date, the analysis of the creativity of artists, representatives of non-academism as an artistic trend of the late twentieth century in Russia, is based on the artistic criticism of art critics, art critics who were part of this trend and considered the work of non-academicians from the perspective of the artistic life of this period in the context of the socio-cultural processes of Russia during the Perestroika era. Also, the works of neo-academist artists are studied from the position of "creative rebellion" and the search for new forms in art. In this article, the works of T. Novikov, G. Guryanov, K. Goncharov, V. Mamyshev-Monroe and other representatives of NAII are studied from the position of "mixed techniques" in art objects. The main emphasis is placed on the analysis of art objects in mixed techniques in the context of overcoming formalism, embodying stylistic diversity, metamorphosis of forms and states, pictorial symbols and universal meanings. The realization of the principle of the infinity of choice and the infinity of meaning and diversity is associated with postmodernism in art, the introduction to which became decisive in Russian art of the late twentieth and early twenty-first centuries. The appeal to the study of art objects of neo-academicians made in mixed technique allows us to enrich and supplement the understanding of the term "mixed techniques" in modern art practices related to the search for new forms, compositional solutions, the formation of a unique author's language, the originality of the work.
{"title":"Mixed media in neo-academic art objects","authors":"Yu Zhou","doi":"10.7256/2454-0757.2023.8.43497","DOIUrl":"https://doi.org/10.7256/2454-0757.2023.8.43497","url":null,"abstract":"\u0000 The study of the artistic heritage of neo-academicians in the context of the study of mixed techniques is quite relevant. To date, the analysis of the creativity of artists, representatives of non-academism as an artistic trend of the late twentieth century in Russia, is based on the artistic criticism of art critics, art critics who were part of this trend and considered the work of non-academicians from the perspective of the artistic life of this period in the context of the socio-cultural processes of Russia during the Perestroika era. Also, the works of neo-academist artists are studied from the position of \"creative rebellion\" and the search for new forms in art. In this article, the works of T. Novikov, G. Guryanov, K. Goncharov, V. Mamyshev-Monroe and other representatives of NAII are studied from the position of \"mixed techniques\" in art objects. The main emphasis is placed on the analysis of art objects in mixed techniques in the context of overcoming formalism, embodying stylistic diversity, metamorphosis of forms and states, pictorial symbols and universal meanings. The realization of the principle of the infinity of choice and the infinity of meaning and diversity is associated with postmodernism in art, the introduction to which became decisive in Russian art of the late twentieth and early twenty-first centuries. The appeal to the study of art objects of neo-academicians made in mixed technique allows us to enrich and supplement the understanding of the term \"mixed techniques\" in modern art practices related to the search for new forms, compositional solutions, the formation of a unique author's language, the originality of the work.\u0000","PeriodicalId":437937,"journal":{"name":"Философия и культура","volume":"1 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":"130747388","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: 10.7256/2454-0757.2023.8.43776
A. E. Rudyakova
The article, based on archival data, as well as preserved testimonies of students, attempts to reconstruct the pedagogical views of M. E. Medvedev and A.M. Paskhalova, whose teaching activity was the basis for the subsequent formation of the vocal and pedagogical traditions of the Saratov Conservatory. The object of research here is the vocal and pedagogical traditions of the Saratov Conservatory, the subject is the pedagogical views of the professors of the initial period of activity of the educational institution under consideration - M. E. Medvedev and A.M. Paskhalova. The paper analyzes the book of the student M. E. Medvedev baritone S. Y. Levik "Notes of an opera singer", as well as the methodological work of A.M. Paskhalova "Work on the production of voice for the leaders of the Russian folk song choir". It is revealed that, despite the differences in some aspects of the vocalist's voice production (soundless exercises, scientific foundations of vocalist education, the use of vocalizations, etc.), the activities of M. E. Medvedev and A. M. Paskhalova is characterized by the following general provisions: a rather low type of breathing, increased attention to the development of a sense of sound support, a cautious attitude to the development of a full range of voice, the development of clear diction, evenness of sound studies, smoothness of register transitions; soft sound attack; the ability to vocalize various dynamic gradations of vocalization qualitatively; the use of a "concentric" teaching method in the pedagogical process, increased attention to the upbringing of the emotional and dramatic component of the performer's personality. The analysis also showed that the features distinguishing the pedagogical views of professors of the initial period of the Saratov Conservatory's activity can be attributed to the use of the repertoire of Russian composers in classroom work at the initial stage of training singers.
{"title":"Formation of vocal and pedagogical traditions of the Saratov Conservatory in the context of the pedagogical views of M. E. Medvedev and A.M. Paskhalova","authors":"A. E. Rudyakova","doi":"10.7256/2454-0757.2023.8.43776","DOIUrl":"https://doi.org/10.7256/2454-0757.2023.8.43776","url":null,"abstract":"\u0000 The article, based on archival data, as well as preserved testimonies of students, attempts to reconstruct the pedagogical views of M. E. Medvedev and A.M. Paskhalova, whose teaching activity was the basis for the subsequent formation of the vocal and pedagogical traditions of the Saratov Conservatory. The object of research here is the vocal and pedagogical traditions of the Saratov Conservatory, the subject is the pedagogical views of the professors of the initial period of activity of the educational institution under consideration - M. E. Medvedev and A.M. Paskhalova. The paper analyzes the book of the student M. E. Medvedev baritone S. Y. Levik \"Notes of an opera singer\", as well as the methodological work of A.M. Paskhalova \"Work on the production of voice for the leaders of the Russian folk song choir\". It is revealed that, despite the differences in some aspects of the vocalist's voice production (soundless exercises, scientific foundations of vocalist education, the use of vocalizations, etc.), the activities of M. E. Medvedev and A. M. Paskhalova is characterized by the following general provisions: a rather low type of breathing, increased attention to the development of a sense of sound support, a cautious attitude to the development of a full range of voice, the development of clear diction, evenness of sound studies, smoothness of register transitions; soft sound attack; the ability to vocalize various dynamic gradations of vocalization qualitatively; the use of a \"concentric\" teaching method in the pedagogical process, increased attention to the upbringing of the emotional and dramatic component of the performer's personality. The analysis also showed that the features distinguishing the pedagogical views of professors of the initial period of the Saratov Conservatory's activity can be attributed to the use of the repertoire of Russian composers in classroom work at the initial stage of training singers.\u0000","PeriodicalId":437937,"journal":{"name":"Философия и культура","volume":"117 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":"128150402","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: 10.7256/2454-0757.2023.8.43697
Svetlana Nikonova
In this article, readers are presented with an analysis of some of the problems that became the center of discussion at the XXI International Likhachev Scientific Readings held in May 2023 at the St. Petersburg Humanitarian University of Trade Unions. The readings were held under the general title "Dialogues and conflicts of cultures in a changing world", combining the traditional theme of dialogue with the problems of conflict that have arisen in recent years. This review focuses on two significant issues, one of which determined the course of the plenary discussion, and the other became the main one for the breakout session devoted to the values and trends of the modern world. The main issue of the plenary session was the consideration of the conflict between the unipolar and multipolar world. Both domestic and foreign participants actively spoke out on this issue. The speakers who spoke at the Readings adhered to the idea of prioritizing the values of a multipolar world, pointing to the undemocratic nature of unipolarity. Analyzing this aspect of the discussion, the author of the review notes that in modern society the same value attitudes develop to the limits where they lead to opposite conclusions. The idea of unipolarity implies the uniqueness of the democratic model. From the idea of multipolarity, there are many different development scenarios, which looks like a more democratic position. It can be concluded that the value attitude coincides, but the basis of the ideological conflict is a political conflict. Nevertheless, the final value discrepancy is very acute. The philosophical and cultural section of the conference was devoted to this. Noting the sharpness of the criticism expressed by the speakers to the "new ethics" and the "culture of cancellation", the author of the review points out that in this criticism there is a desire to "cancel" the criticized, which again unites both positions, but does not provide grounds for a constructive dialogue. To overcome the contradiction, a rational analysis of the ideological and historical foundations, as well as the dynamics of the development of opposing value positions, is necessary.
{"title":"A multipolar world and a dispute about value priorities. Review of the XXI International Likhachev Scientific Readings","authors":"Svetlana Nikonova","doi":"10.7256/2454-0757.2023.8.43697","DOIUrl":"https://doi.org/10.7256/2454-0757.2023.8.43697","url":null,"abstract":"\u0000 In this article, readers are presented with an analysis of some of the problems that became the center of discussion at the XXI International Likhachev Scientific Readings held in May 2023 at the St. Petersburg Humanitarian University of Trade Unions. The readings were held under the general title \"Dialogues and conflicts of cultures in a changing world\", combining the traditional theme of dialogue with the problems of conflict that have arisen in recent years. This review focuses on two significant issues, one of which determined the course of the plenary discussion, and the other became the main one for the breakout session devoted to the values and trends of the modern world. The main issue of the plenary session was the consideration of the conflict between the unipolar and multipolar world. Both domestic and foreign participants actively spoke out on this issue. The speakers who spoke at the Readings adhered to the idea of prioritizing the values of a multipolar world, pointing to the undemocratic nature of unipolarity. Analyzing this aspect of the discussion, the author of the review notes that in modern society the same value attitudes develop to the limits where they lead to opposite conclusions. The idea of unipolarity implies the uniqueness of the democratic model. From the idea of multipolarity, there are many different development scenarios, which looks like a more democratic position. It can be concluded that the value attitude coincides, but the basis of the ideological conflict is a political conflict. Nevertheless, the final value discrepancy is very acute. The philosophical and cultural section of the conference was devoted to this. Noting the sharpness of the criticism expressed by the speakers to the \"new ethics\" and the \"culture of cancellation\", the author of the review points out that in this criticism there is a desire to \"cancel\" the criticized, which again unites both positions, but does not provide grounds for a constructive dialogue. To overcome the contradiction, a rational analysis of the ideological and historical foundations, as well as the dynamics of the development of opposing value positions, is necessary.\u0000","PeriodicalId":437937,"journal":{"name":"Философия и культура","volume":"226 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":"116845450","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: 10.7256/2454-0757.2023.8.43695
Yulia Alekseevna Kuzmina
The article presents literary, sociological and cultural points of view on the problem of the literary canon, describes the mechanisms of canonization and defines the boundaries of the Russian classics. The author discovers a connection between the texts claiming the status of the canonical hierarchy and the question of ethnicity. The article establishes that the construction of both a national self-portrait and the image of a foreigner (the Other) are the most important functions of the classical canon. The object of this research is a unified discursive field of Russian classical literature. The subject is the generalized image of the German that forms in this field. The author, resorting references to current research practices of discourse analysis, establishes that the portrait of a German is based on such conceptual categories as: 1) the connection with the soil and nature, 2) the connection with roots, 3) reliance on reality and "mundanity", 4) planning, 5) positivism and subordination, 6) perception of life as a mechanism. The construction of the Other creates an opposition to the "Russian" in the structure of the classical text and builds a series of binary pairs: heredity / freedom, stability on the ground / ability to jump, clear planning / dreaminess, legalism / Paschality, self-aggrandizement / self-abasement, godlessness / Orthodoxy. The article reveals that the German hero acts as a constituent of the Other, provoking self-determination and self-identification.
{"title":"Representation of the German in the Discursive Field of the Russian Classical Literary Canon","authors":"Yulia Alekseevna Kuzmina","doi":"10.7256/2454-0757.2023.8.43695","DOIUrl":"https://doi.org/10.7256/2454-0757.2023.8.43695","url":null,"abstract":"\u0000 The article presents literary, sociological and cultural points of view on the problem of the literary canon, describes the mechanisms of canonization and defines the boundaries of the Russian classics. The author discovers a connection between the texts claiming the status of the canonical hierarchy and the question of ethnicity. The article establishes that the construction of both a national self-portrait and the image of a foreigner (the Other) are the most important functions of the classical canon. The object of this research is a unified discursive field of Russian classical literature. The subject is the generalized image of the German that forms in this field. The author, resorting references to current research practices of discourse analysis, establishes that the portrait of a German is based on such conceptual categories as: 1) the connection with the soil and nature, 2) the connection with roots, 3) reliance on reality and \"mundanity\", 4) planning, 5) positivism and subordination, 6) perception of life as a mechanism. The construction of the Other creates an opposition to the \"Russian\" in the structure of the classical text and builds a series of binary pairs: heredity / freedom, stability on the ground / ability to jump, clear planning / dreaminess, legalism / Paschality, self-aggrandizement / self-abasement, godlessness / Orthodoxy. The article reveals that the German hero acts as a constituent of the Other, provoking self-determination and self-identification.\u0000","PeriodicalId":437937,"journal":{"name":"Философия и культура","volume":"40 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":"127897743","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: 10.7256/2454-0757.2023.8.43886
V. Bychkov
Wackenroder is a Romantic author of a metaphysical-religious orientation. For him, the creator of art and its most adequate perceiving subject is God. As for art, he sees it as most tightly connected to religion, for both help the human being to rise from the earthly hassle to the heavenly sphere. The art of all times and nations contains a common essence – the beautiful – which is expressed in a variety of ways. Therefore the human being is capable of learning how to see beauty in any art medium. Wackenroder speaks of two symbolic languages that help the human being grasp heavenly matters: the language of nature and the language of art. Creativity is based on inspiration, which is a divine gift. In creating their art artists must begin with nature and present it in a transformed way. The process of creativity begins in the inner world of the artist, when he or she constructs a future painting in its completeness. The contemplation of a work of art is like prayer. Therefore perception of art requires specific training. Before contact with art, the recipient must initiate in him or herself the ability to perceive the beautiful and sublime. The grasping of a true work of art is inexhaustible. Every act of contemplating an artwork reveals to our soul something new. The process of perception of art is enthusiastic in nature; Wackenroder presents it as a confession of our spirit. In his musical aesthetics the place of honor belongs to the spiritual content of music. In painting Wackenroder most highly esteems the pacifying art of Rafael, the allegorical art of Michelangelo, and the cognitive art of Leonardo Da Vinci.
{"title":"Wackenroder’s “Phantasies” about Art as a Manifest of Romantic Aesthetics","authors":"V. Bychkov","doi":"10.7256/2454-0757.2023.8.43886","DOIUrl":"https://doi.org/10.7256/2454-0757.2023.8.43886","url":null,"abstract":"\u0000 Wackenroder is a Romantic author of a metaphysical-religious orientation. For him, the creator of art and its most adequate perceiving subject is God. As for art, he sees it as most tightly connected to religion, for both help the human being to rise from the earthly hassle to the heavenly sphere. The art of all times and nations contains a common essence – the beautiful – which is expressed in a variety of ways. Therefore the human being is capable of learning how to see beauty in any art medium. Wackenroder speaks of two symbolic languages that help the human being grasp heavenly matters: the language of nature and the language of art. Creativity is based on inspiration, which is a divine gift. In creating their art artists must begin with nature and present it in a transformed way. The process of creativity begins in the inner world of the artist, when he or she constructs a future painting in its completeness. The contemplation of a work of art is like prayer. Therefore perception of art requires specific training. Before contact with art, the recipient must initiate in him or herself the ability to perceive the beautiful and sublime. The grasping of a true work of art is inexhaustible. Every act of contemplating an artwork reveals to our soul something new. The process of perception of art is enthusiastic in nature; Wackenroder presents it as a confession of our spirit. In his musical aesthetics the place of honor belongs to the spiritual content of music. In painting Wackenroder most highly esteems the pacifying art of Rafael, the allegorical art of Michelangelo, and the cognitive art of Leonardo Da Vinci.\u0000","PeriodicalId":437937,"journal":{"name":"Философия и культура","volume":"222 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":"132651369","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: 10.7256/2454-0757.2023.8.43782
V. V. Shatilov
The object of the study is the process of globalization, the subject of the study is its impact on the structure of the art market and national artistic cultures. Based on the idea of a dialogical cultural model, which was adhered to by V. Bybler and M. Bakhtin, the author justifies the use of the term "dialogue of cultures" to characterize the processes taking place in the space of the modern art market. Special attention in the study is paid to the analysis of its structural transformations: according to the author, inclusivity, which primarily consists in the decentralization of the internal structure of the art market, is a key characteristic that allows to periodize its development into classical and modern stages. A special contribution of the author of the study is an in-depth analysis of exhibition projects: "Magicians of the Earth" by J.-Y. Martin, as well as "Cities in Motion" by H.-W. Obrist and H. Hanru. It is established how these projects aroused the interest of Western collectors in the exotic and changed the share of representation in the art market of non-European art. The main conclusion is that the process of globalization of the art market acutely poses the problem of deformation of the perception of cultural heritage: the appeal of the Western world to traditional cultures in the forms of cultural and art tourism leads to fragmentation and differentiation of once integral national artistic cultures.
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Pub Date : 2023-08-01DOI: 10.7256/2454-0757.2023.8.43818
Chenyuan Jin
This work is an attempt to decipher the therapeutic essence of the Hellenic theater through the prism of "catharsis", starting with the Athenian orgy, when theatrical performances turned into a tool for collective healing. The article deals with the theoretical views of Aristotle, in whose aesthetics catharsis has become the main concept that testifies to the healing abilities of the Greek theater to purify and harmonize the personality. The author shows how these ideas can be used in modern theatrical art, helping to identify and eliminate the mental problems of today's audience. Dramatic "catharsis", named and analyzed in the theoretical system of Aristotle, in turn, became a theoretical generalization of the healing abilities of the Greek theater. The scientific novelty of this work lies in the fact that the study of the essence and form of healing in the Greek theater can be used as a theoretical basis for the development of modern drama therapy. The work uses an interdisciplinary approach, a cultural-historical method and the principle of comparative analysis in the 70-80s. In the twentieth century, drama therapy began to be explored as a separate discipline that awakened creativity and imagination, contributed to the reunification of people with their inner world, removed the burden of difficult experiences, changed behavior and life circumstances, thus revealing the healing abilities of theatrical "catharsis". The rise of modern theater therapy reflects a new direction in the development of psychotherapy and theater, as well as a return to the ancient traditions of healing and artistic creativity and the development of fresh ideas and new creative ideas based on them.
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