The work of art: Schopenhauer on the nature of artistic creation

1996 ◽  
pp. 37-38
Keyword(s):  
Work Of Art ◽  
Artistic Creation

scholarly journals Me gustan tus ojos miopes (o del diálogo con Hélène Cixous para llevar al cuerpo, a la literatura, a la vida)

La Palabra ◽  
2014 ◽  
pp. 143
Author(s):  
Andrea Paola Vargas Quiroz
Keyword(s):  
Key Words ◽  
Comparative Method ◽  
Maurice Blanchot ◽  
Helene Cixous ◽  
Work Of Art ◽  
The Unconscious ◽  
Artistic Creation ◽  
Embodiment Theory

El objetivo de este artículo es mostrar que la postura escritural de Hélène Cixous como práctica de la miopía, constituye el fundamento para la postura estética de la escritura del ver no viendo, cuyo efecto refractario fecunda la creación artística. El método comparativo pone en contacto el nacimiento de laescritura por la miopía, la epistemología desde el cuerpo de Ellie Epp (2005) y la naturaleza de la obra de arte de Maurice Blanchot (2012). Se concluye que para anclar la postura del ver no viendo de los artistas, es necesario mantener un equilibrio miope entre lo inconsciente y lo consciente en su relación con el lenguaje, el sujeto y la vida.Palabras clave: escritura, creación ar tística, miopía, epistemología desde el cuerpo.AbstractThe objective of this article is to demonstrate the writing position of Hélène Cixous as a myopic practice, which constitutes the foundation for an aesthetic of writing as seeing without seeing. The comparative method puts into contact the birth of writing through myopia, embodiment theory byEllie Epp (2005) and the nature of the work of art by Maurice Blanchot (2012). It is concluded that in order to root the position of seeing without seeing of artists, it is necessary to maintain a myopic equilibrium between the conscious and the unconscious, in its relation to language, subjectivity andlife. Key Words: Writing, artistic creation, myopia, embodiment.

My Dad. Life and Art of Teacher and Artist Sergiy Solodovnyk

2021 ◽  
Vol 2021 (02) ◽  
pp. 329-344
Author(s):  
S. Solodovnyk ◽  
Keyword(s):  
Personality Traits ◽  
Subject Matter ◽  
Fine Arts ◽  
Work Of Art ◽  
Artistic Creation ◽  
Talented People ◽  
The World ◽  
The Subject ◽  
Life Path

This article dwells upon the life path and the art of an artist and teacher, professor of Kharkiv Art and Industrial Institute (now Kharkiv State Academy of Design and Fine Arts) – Sergiy Solodovnyk (1915–1991) – my Dad. It is described in what way important events or important meetings with talented people can influence the development of personality, the formation of the artist’s and teacher’s views upon the methods of teaching and drawing and imagery in Arts, also the choice of the subject matter and genre. In artistic creation, both innate personality traits and those acquired in the process of studying the world, through which the artist passes in the process of creating a work of art and his formation as a person, as a lecturer or Teacher, are of great importance. The influence of his personality upon the students of several generations. His great importance in my life as a wise, delicate and caring dad. It is underlined in this article that good, honest deeds, love to people, homeland and to his direction in Art, sensitive attitude to the youth will always find reflection in human souls.

Collingwood’s Opposition to Biography

2012 ◽  
Vol 6 (1) ◽  
pp. 44-59 ◽  
Author(s):  
Vasso Kindi
Keyword(s):  
Subject Matter ◽  
Main Concern ◽  
Work Of Art ◽  
Artistic Creation ◽  
Positive View ◽  
History Of Art ◽  
History Of ◽  
The Subject ◽  
Portrait Painting ◽  
Entertainment Value

Abstract Biography is usually distinguished from history and, in comparison, looked down upon. R. G. Collingwood’s view of biography seems to fit this statement considering that he says it has only gossip-value and that “history it can never be”. His main concern is that biography exploits and arouses emotions which he excludes from the domain of history. In the paper I will try to show that one can salvage a more positive view of biography from within Collingwood’s work and claim that his explicit attacks against biography target specifically the sensationalist kind. First, I will show that Collingwood, in his later writings, allowed that, not only thought, but also relevant emotions can be the subject matter of history, which means that even if one takes biography to deal with emotions, it can still qualify as history. Second, I will argue, based mainly on Collingwood’s Principles of Art, that biography can be compared to portrait painting, in which case, it can be redeemed as a work of art and not just craft and, thus, have more than entertainment value. It can also be part of history, and more specifically part of the history of art which Collingwood endorses, if one takes the life of an individual, recounted by a biographer, to be an artistic creation, as Collingwood seems to suggest.

scholarly journals If Looks Could Kill: Looking through the Artist’s Lenses in Oscar Wilde’s The Picture of Dorian Gray (1891)

2019 ◽  
Author(s):  
Abdelfattah Ali Ghazel
Keyword(s):  
Victorian Literature ◽  
Moral Values ◽  
Normative Values ◽  
The Novel ◽  
Work Of Art ◽  
Artistic Creation ◽  
Aesthetic Autonomy ◽  
Picture Of Dorian Gray ◽  
Dorian Gray ◽  
The Relationship

This paper investigates aestheticism and authorship in the Oscar Wilde’s only novel The Picture of Dorian Gray (1891). Victorian literature is usually read against the relationship between art and reality. The literary merit of a book is determined by the degree of its conformity with the moral values of the time. This paper offers a detached reading of the novel where the value of the book is found in its ability to initiate the reader into an aesthetic world. The research argues that Wilde fragments the act of artistic creation among the artist (the painter Basil), the sitter (Dorian Gray) and the audience (Lord Henry Wotton). This fragmentation renders the novel aesthetically autonomous from its reality. Aesthetic autonomy contributes to the debate of morality in Victorian literature by placing the work of art in an alternative sphere where normative values cease to apply.

Hazlitt and the Functions of the Imagination

PMLA ◽  
1966 ◽  
Vol 81 (7) ◽  
pp. 552-562
Author(s):  
J. D. O'Hara
Keyword(s):  
Complete Understanding ◽  
Central Idea ◽  
Work Of Art ◽  
Artistic Creation ◽  
Critical Attention

William Hazlitt's ideas about the imagination have received widespread critical attention, but that attention has been confined almost entirely to his comments on the sympathetic imagination. There can be no question of the importance of sympathy in Hazlitt's understanding of the imagination; it is a central idea with moral, philosophical, political, and aesthetic ramifications in Hazlitt's thought. But it does not by any means sum up Hazlitt's ideas about the imagination as an aesthetic or creative faculty; and since sympathy alone is clearly incapable of creating a work of art, emphasis on that quality obscures Hazlitt's more nearly complete understanding of artistic creation and appreciation. Furthermore, his application of sympathetic doctrine is rather more limited than is generally understood. I propose here to suggest some of these limits and to investigate the major supplements to sympathy in Hazlitt's criticism—associational aesthetics and the formative imagination.

scholarly journals Andrić and Pasternak: Two Novels about Creativity (the problems of winter's semantics)

2020 ◽  
pp. 289-313
Author(s):  
Jasmin Vojvodić
Keyword(s):  
Linear Time ◽  
Time Moment ◽  
Historical Novels ◽  
Language Poetry ◽  
Work Of Art ◽  
Boris Pasternak ◽  
Artistic Creation ◽  
Long Period ◽  
The Relationship ◽  
Time Linear

313Андрич и Пастернак: два романа о творчестве...Jasmina VojvodićUniversity of Zagreb (Zagreb, Croatia)Andrić and Pasternak: Two Novels about Creativity (the problems of winter's semantics)This paper compares the poetics of two novels: The Bridge on the Drinaby Ivo Andrić and Doctor Zhivago by Boris Pasternak. Both historical novels are “atypical” (chronicle / vita sacrum), and relate to time (linear time / overcoming of linear time; long period of time / moment) and space (Vishegrad / “throughout Russia”; statics / movement) diff erently. Both novels, however, narrate about an indestructible artistic creation that transcends all ideas of time, and about a work of art, made of stone (the bridge) or of language (poetry), which surpasses the present and creates a sense of being beyond time and in eternity. While winter and the cold in Andrić’s novel mark the end of the work on the bridge, in Pasternak’s novel winter presents a time of inspired creativity. The pa-per off ers an analysis of motifs of winter and the cold not only through climatological and geographical prisms, but also from the perspective of the game and the relationship between the warmth on the inside and the cold on the outside, through the prism of folklore and sacral elements.

Works of Art as Support for Axiological Memory

Cultura ◽  
2019 ◽  
Vol 16 (1) ◽  
pp. 119-128
Author(s):  
Eugenia ZAIŢEV
Keyword(s):  
Immanuel Kant ◽  
Arthur Schopenhauer ◽  
Linguistic Expression ◽  
Work Of Art ◽  
Artistic Creation ◽  
Aesthetic Idea ◽  
The One ◽  
Aesthetic Ideas ◽  
Authentic Work

Among the meritorious attempts to unravel the enigma of artistic creation are the views of Immanuel Kant and Arthur Schopenhauer. In the following, we want to emphasise an aspect that is less discussed in the specialised literature, namely the relation between memory and creation. We are talking about the authentic creation that Kant and Schopenhauer consider to be the one that carries in itself the Aesthetic Ideas. With minor differences, the concept, as well as the associated linguistic expression, come together in the work of both German philosophers. An authentic work of art is the work of genius and it has the role of transmitting Ideas. Thus, we will be able to observe “the secret” of a work of art – the Aesthetic Idea.

Propositions, attitudinal objects, and the distinction between actions and products

2013 ◽  
Vol 43 (5-6) ◽  
pp. 679-701 ◽  
Author(s):  
Friederike Moltmann
Keyword(s):  
Propositional Attitudes ◽  
Abstract Objects ◽  
Truth Conditions ◽  
Work Of Art ◽  
Artistic Creation ◽  
Shared Objects ◽  
Cognitive Accessibility ◽  
The Law

Propositions as mind-independent abstract objects raise serious problems such as their cognitive accessibility and their ability to carry essential truth conditions, as a number of philosophers have recently pointed out. This paper argues that ‘attitudinal objects’ or kinds of them should replace propositions as truth bearers and as the (shared) objects of propositional attitudes. Attitudinal objects, entities like judgments, beliefs, and claims, are not states or actions, but rather their (spatio-temporally coincident) products, following the distinction between actions and products introduced by Twardowski (1912). The paper argues that the action–product distinction is not tied to particular terms in a particular language, but is to be understood as the more general distinction between an action and the (abstract or physically realized) artifact that it creates. It thus includes the distinction between the passing of a law and the law itself and an act of artistic creation and the created work of art.

scholarly journals METODE PENCIPTAAN BIDANG SENI RUPA: Praktek Berbasis Penelitian (practice based risearch), Karya Seni Sebagai Produksi Pengetahuan dan Wacana

CORAK ◽  
2015 ◽  
Vol 4 (1) ◽  
Author(s):  
Maria Magdalena Nuning. W.
Keyword(s):  
Research Method ◽  
Work Of Art ◽  
Artistic Creation ◽  
Practice Based Research ◽  
The Creation ◽  
Science Production

Every science in fact has its own paradigm, even in a science also can be developedsome approaches and methods. The method that used and developed in a creation as much aspossible should be in according the object to be studied. In addition the science actuallydinamic, constantly evolving, follow the civillization and the advancement of science world.In academic realm, especially in the field of artistic creation, a person scientificallyresponsible for the work he/she created. The same thing also applied for usage anddevelopment of a model and research method that will be applied to a case of art creations. Asfar the process could be scientifically explained; systematics in a report in form of thesis ordissertation.In art cretions, works that created won’t have any value when there is no narrativebehind the work. This narration can be story behind that creation, note, data, the experimentresults, exploration that processed into supporting part of the creation of a masterpiece. Keywords: creation method, Ilmiah, Practice based research, artist, work of art, audience,science production.  Setiap ilmu pengetahuan pada hakikatnya memiliki paradigmanya masing-masing,bahkan dalam suatu ilmu dapat pula dikembangkan beberapa pendekatan dan metode.Metode yang digunakan dan dikembangkan dalam suatu penciptaan sebisa mungkin harussesuai dengan objek yang akan diteliti. Selain itu ilmu pengetahuan sebenarnya bersifatdinamis, senantiasa berkembang, mengikuti peradaban dan kemajuan dunia pengetahuan.Dalam ranah akademis, khususnya dalam bidang penciptaan seni, seseorang memilikitanggang jawab secara ilmiah atas karya yang diciptakannya. Hal yang sama berlaku bagipenggunaan dan pengembangkan suatu model dan metode penelitian yang akan diterapkanpada sebuah kasus penciptaan sebuah karya seni. Sejauh proses tersebut dapat dijelaskansecara ilmiah, sistematis dalam sebuah laporan berbentuk tesis maupun disertasi.Dalam penciptaan seni, karya yang diciptakan tidak akan memiliki nilai (value) ketikatidak ada narasi di balik karya tersebut. Narasi ini dapat berupa cerita dibalik karya tersebut,catatan, data-data, hasil eksperimen, eksplorasi yang diolah menjadi bagian pendukung dariterciptanya sebuah karya. Kata kunci: Metode penciptaan, Ilmiah, Practice based risearch, seniman, karya seni, audiance,Produksi pengetahuan.

Das “Ewige Kunstwerk”: Friedrich Nietzsche’s Apollonian-Dionysian Opposition in Richard Strauss’s Daphne

2013 ◽  
Vol 17 (3) ◽  
pp. 271-288
Author(s):  
Margarethe Satorius
Keyword(s):  
Friedrich Nietzsche ◽  
Work Of Art ◽  
Artistic Creation ◽  
Richard Strauss ◽  
Birth Of Tragedy ◽  
The Individual ◽  
Title Character

Abstract In his 1938 short opera Daphne, composer Richard Strauss presents an eloquent metaphor for both the process of artistic creation and the origin of tragedy itself. He positions his title character at the convergence of two oppositional, yet mutually dependent forces: the Apollonian and the Dionysian, as described by Friedrich Nietzsche in his seminal 1872 work, Die Geburt der Tragödie aus dem Geiste der Musik (The Birth of Tragedy Out of the Spirit of Music). As reason and enlightenment collide with revelry and ecstasy onstage, a momentous physical and emotional transformation occurs; Daphne encounters the divine, and her resulting catharsis is shared both musically and emotionally with the audience. In this moment of our communal transcendent ekstasis, Strauss leaves us with a symbol of artistic transcendence itself, born from the conflicted inner forces within the individual: “das ewige Kunstwerk,” the “eternal work of art.”

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