Overcoming Anthropocentrism: Heidegger on the Heroic Role of the Works of Art

Ratio ◽  
1997 ◽  
Vol 10 (2) ◽  
pp. 157-168 ◽  
Author(s):  
Abraham Mansbach
Keyword(s):  
Works Of Art

Russian Museum of Emperor Alexander III as a place of memory

2020 ◽  
Vol 2020 (11-1) ◽  
pp. 132-147
Author(s):  
Dmitry Rakovsky
Keyword(s):  
Comparative Analysis ◽  
Historical Consciousness ◽  
Russian Society ◽  
Museum Collection ◽  
Works Of Art ◽  
History Of ◽  
The Creation ◽  
Historical Representations

The main purpose of this article is to study the role of the Russian Museum in the formation of the historical consciousness of Russian society. In this context, the author examines the history of the creation of the Russian Museum of Emperor Alexander III and its pre-revolutionary collections that became the basis of this famous museum collection (in particular, the composition of the museum’s expositions for 1898 and 1915). Within the framework of the methodology proposed by the author, the works of art presented in the museum’s halls were selected and distributed according to the historical eras that they reflect, and a comparative analysis of changes in the composition of the expositions was also carried out. This approach made it possible to identify the most frequently encountered historical heroes, to consider the representation of their images in the museum’s expositions, and also to provide a systemic reconstruction of historical representations broadcast in its halls.

scholarly journals Who’s Afraid of the Audience? Digital and Post-Digital Perspectives on Aesthetics

2014 ◽  
Vol 3 (1) ◽  
pp. 120-130 ◽  
Author(s):  
Lotte Philipsen
Keyword(s):  
Immanuel Kant ◽  
Digital Technology ◽  
Aesthetic Experience ◽  
The Other ◽  
Artistic Practice ◽  
Works Of Art ◽  
Practical Analysis ◽  
The Way

This article analyses how works of art that make use of or refer to digital technology can be approached, analysed, and understood aesthetically from two different perspectives. One perspective, which I shall term a ‘digital’ perspective, mainly focuses on poetics (or production) and technology when approach- ing the works, whereas the other, which I shall term a ‘post-digital’ perspective, focuses on aesthetic experience (or reception) when approaching the works. What I tentatively and for the purpose of practical analysis term the ‘digital’ and the ‘post-digital’ perspectives do not designate two different sets of concrete works of art or artistic practice and neither do they describe different periods.[1] Instead, the two perspectives co-exit as different discursive positions that are concretely ex- pressed in the way we talk about aesthetics in relation to art that makes use of and/or refers to digital technology. In short: When I choose here to talk about a digital and a post-digital perspective, I talk about two fundamentally different ways of ascribing aes- thetic meaning to (the same) concrete works of art. By drawing on the ideas of especially Immanuel Kant and Dominic McIver Lopes, it is the overall purposes of this article to ana- lyse and compare how the two perspectives understand the concept of aesthetics and to discuss some of the implications following from these understandings. As it turns out, one of the most significant implications is the role of the audience. 

scholarly journals Vladimir Favorsky. Epic style. Kirghiz series of drawings

2016 ◽  
Author(s):  
Елена Владимировна Грибоносова-Гребнева
Keyword(s):  
White Paper ◽  
White Space ◽  
Deep Insight ◽  
Graphic Arts ◽  
Theoretical Approaches ◽  
Works Of Art ◽  
Insight Into

В статье представлена работа В.А. Фаворского над киргизским героическим эпосом Манас. В серии созданных художником рисунков нашли проявление его художественные и теоретические подходы к искусству графики и иллюстрирования книг. Для более глубокого проникновения в суть эпического произведения художник отправляется в Киргизию. Созданные им рисунки имеют не только эстетическую и этнографическую ценности. В них проявилась его теория графики, когда белый фон бумаги воспринимается в качестве белого пространства, а карандаш художника становится сродни резцу скульптора. Пространство белого повисает на штрихах рисунка. Эпический характер повествования привел к монументальности образов и композиций иллюстраций. В статье приводятся теоретические мысли художника о соединении разновременных состояний в произведении искусства, роли контура и пятна. The work of V.A. Favorsky on the Kirghiz heroic epos is presented in this article. There is a demonstration of his artistic and theoretical approaches to the graphic arts and books illustration in the series of these drawings. The artist goes to Kyrgyzstan for the deep insight into the essence of the epic work. His drawings have not only aesthetic and ethnographic value. His theory of graphic appeared there, when a white field of paper is taken as a white space, and the artists pencil became similar to a cutter of a sculpture. The space of the white paper hangs on the drawings strokes. The epic nature of the narrative led to the monumentality of the images and compositions of the illustrations. There are artists theoretical thoughts about the connection of the multitemporal conditions in the works of art, the role of contour and spot.

The Gastronomy of the Eye

2020 ◽  
pp. 175-198
Author(s):  
Vrushali Dhage
Keyword(s):  
Essential Role ◽  
Historical Perspective ◽  
Smart Cities ◽  
Methodological Approach ◽  
Economic Liberalization ◽  
The Other ◽  
Works Of Art

Works of art can be read at various levels: from being objects of simple retinal pleasure to the other extreme of being significant critical statements of their time. This chapter aims to strike a cerebral dialogue through the works of art. The current study shall consider the latter function of art and analyze the methods in which contemporary Indian artists have made attempts to provide a critique of the early initiatives towards developing Delhi and Mumbai as ‘smart cities'. The review of works from India concludes the essential role of infrastructural projects and envisioned spaces built in the era of economic liberalization. The study aims at drawing a methodological approach, with an art historical perspective, with the artists analysing and translating the urban experiential phenomenon, into artworks.

Defending Discontinuity

2020 ◽  
pp. 102-133
Author(s):  
Jonathan Gilmore
Keyword(s):  
Experimental Study ◽  
Real World ◽  
Moral Character ◽  
Framing Effects ◽  
Prima Facie ◽  
The Real ◽  
Works Of Art ◽  
Continuity And Discontinuity

This chapter introduces and diagnoses the inadequacy of two prima facie plausible, but ultimately inadequate, arguments for the discontinuity thesis based on framing effects. The chapter then develops and defends a more powerful argument in discontinuity’s favor based on the functions of fictions. The chapter also looks at what turns on the debate between continuity and discontinuity, i.e., what consequences its resolution on the side of discontinuity has for the experimental study of the emotions; the role of responses to works of art as evidence of moral character; and the putatively edifying value of engaging with fictions in educating and refining attitudes about the real world.

Art and Morality

Philosophy ◽  
2013 ◽  
Author(s):  
Andrea Sauchelli
Keyword(s):  
Moral Education ◽  
Great Majority ◽  
Well Being ◽  
Point Of View ◽  
Proper Function ◽  
Human Beings ◽  
Ethical Criticism ◽  
Positive Role ◽  
Works Of Art

A great number of works of art, it is commonly claimed, are aesthetically valuable. Some philosophers have even argued that providing an aesthetically pleasing experience is their only proper function. However, some of these artworks display or invite us to adopt an immoral point of view. Even worse, they even seem to make immoral situations delightful and appealing. The following questions thus arise: Does the alleged immorality of these works count as an aesthetic or artistic defect? Can an immoral movie or novel ever be a great example of its kind? In addition to these concerns related to art evaluation, the connection between various forms of art and morality has been investigated by discussing the capacity of works of art to move us emotionally. More specifically, thinkers from different traditions and ages have remarked that works of art are clearly able, first, to stir our emotions in a particularly effective way, and, second, to invite us to act following certain ideas that have been made appealing by their beauty or other aesthetic qualities. Plato was the first in the Western tradition to evaluate in a systematic way whether, as a consequence of the previous considerations, we should supervise the storytellers who are supposed to educate our youth. Other philosophers, from Aristotle to more recent advocates of the value of the humanities, have argued in favor of the positive role that truly great works of art may have in our moral education. Contemporary philosophers are also interested in the role of imagination in fictional immoral contexts (can we engage with immoral works of art and be justified in so doing?). They are also interested in the role played by art in contributing to our well-being and flourishing as human beings. The great majority of recent works on the topic, however, are focused on an assessment of the arguments in favor or against ethical criticism, with a particular emphasis on the criticism of representational works of art. Other issues at the intersection of art and morality are the concept of the obscene, the value of pornography, and censorship.

Revealing the composition of organic materials in polychrome works of art: the role of mass spectrometry-based techniques

2016 ◽  
Vol 408 (25) ◽  
pp. 6957-6981 ◽  
Author(s):  
Cosima Damiana Calvano ◽  
Inez Dorothé van der Werf ◽  
Francesco Palmisano ◽  
Luigia Sabbatini
Keyword(s):  
Mass Spectrometry ◽  
Organic Materials ◽  
Works Of Art

scholarly journals Rola Nilu w kształtowaniu kultury starożytnego Egiptu

2018 ◽  
Vol 21 (3) ◽  
pp. 13-25
Author(s):  
Mateusz Żmudziński ◽  
Patryk Chudzik
Keyword(s):  
Social Organization ◽  
Ancient Egypt ◽  
Free Time ◽  
Nile River ◽  
Ancient Egyptian ◽  
Works Of Art ◽  
Key Factor ◽  
Cultural World

The role of the Nile river in the formation of the ancient Egyptian cultureThe aim of this paper is to describe the main points of the multifaceted relations between Nile and the culture and civilization of ancient Egypt. Both economic and cultural matters are indicated. The Nile fed, drank, irrigated the fields, served as a communication route, but besides, it went into the beliefs and cultural world of the Egyptians. The regulation of the rhythm of people’s lives, their social organization, cult behaviours, ritual hunting, ways of spending free time, or numerous works of art were connected with Nile. In fact, it is difficult to find anything in Egypt during the pharaonic era that was not connected with it. It has been a key factor in the lives of people in Egypt for thousands of years.

scholarly journals Modernization of Arts Education Paradigm by the Principle of Historical Continuity

Pedagogika ◽  
2013 ◽  
Vol 112 (4) ◽  
pp. 101-106
Author(s):  
Vaidas Matonis
Keyword(s):  
Cultural Context ◽  
Arts Education ◽  
Educational Process ◽  
Intercultural Dialogue ◽  
Democratic Culture ◽  
The Past ◽  
Historical Continuity ◽  
Works Of Art ◽  
History Of

The purpose of the article is to show how the principle of historical continuity could be realized in order to make educational process more integral and purposeful. Research reveals relevance of historical continuity to the valuable forms of human’s spiritual activity. Main ideas which are developed in the article are based on the principles of the cultural policy elaborated by M. Lukšiene. The author of the article established a goal to evaluate art as a means to educate the sense and/or understanding of historical continuity, by the same token elevating perception of artworks to the metacognitive level and enlarging the field of historical and cultural contexts. Material of the investigation is laid by invoking the philosophical analysis of socio- and psychocultural phenomena and their impact on modernization of arts education. The role of the historical continuity and cultural awareness have activated during the last decades after the method of interpretation had intensified in valuable forms of human spiritual activity (moral, politics, aesthetics). So after such qualities of the works of art as depiction and/or craftsmanship had depreciated, the interpretation of the works of art and even the evaluation of interpretations sets in more and more robustly. In the presents of such or other contradictions the reform of European education has rippled by various different waves. As a result, the competence of democratic culture which enables the values, including artistic values, of democratic culture to implant to the attitudes of learners becomes the most essential orientation for teacher education. Development of democratic culture in EU defies such aspects of activity as knowledge and understanding of human rights, democratic participation and especially the development of competence for engaging in a meaningful and open - minded intercultural dialogue. Author is convinced that in order to realize and promote these ideas they should be accompanied by the development of the competence of dialogue with the past. Development of the competences of historical continuity and cultural context is increasing by mastering the ideas of great thinkers on education, including arts education, and helps to impersonate one of the most important domains of cultural heritage – educational potential of culture. In other words, historical continuity and cultural context are such core principles and values which can enable the development of the competence of full-rate intercultural dialogue. In case of arts education, when the paradigm of artistic thinking is rapidly changing, it is evident that an integrated history of artistic education should be developed. The main role of such academic course is not only to reveal cultural peculiarities of different countries but also to show the reasons of unequal educational power of different arts in different epochs. The role of historical continuity and cultural context is growing according to the development of digital technologies which are changing social conditions and possibilities of traditional artistic functions. Just the history of art and ideas of artistic education could balance both historical continuity of social artistic functions and involve learners into dialogue with the past.

scholarly journals Magazine Illustrations – Text Accompaniment as Well as Competition

2018 ◽  
Vol 63 (3-4) ◽  
pp. 66-70
Author(s):  
Markéta Dlábková
Keyword(s):  
19Th Century ◽  
Crucial Role ◽  
Significant Part ◽  
Works Of Art ◽  
The 19Th Century

Abstract The article deals with the role of illustrations in pictorial magazines in the second half of the 19th century (Světozor, Zlatá Praha, Květy etc.) and with changes in the image–text relationship. It focuses both on documentary and reportage drawings, which formed a significant part of magazine pictures, and on a magazine presentation of reproductions of works of art and the character of their accompanying commentaries. A closer inspection reveals that, despite the apparent dominance of the visual part, magazines still saw their crucial role in the textual part – which concerned not only the published articles but also the presentation of reproductions. The variation in the interaction between the image and the text is one of the most interesting methods of communication between illustrated magazines and their readers. On specific examples, the article illustrates how magazines worked with their pictorial part in connection with the reproduction techniques available and what meaning and content the reproductions could acquire in relation to the text.

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