Dark play: Aesthetic resistance in Lukács, Benjamin and Adorno

2019 ◽  
Vol 46 (10) ◽  
pp. 1182-1202
Author(s):  
Surti Singh

This article examines the turn to the aesthetic dimension in early 20th century critical theory, particularly in the work of Lukács, Benjamin and Adorno. It focuses on the concept of play ( Spiel), which garnered particular attention as a possible form of aesthetic resistance to the reification of reason in modern society. The article traces the concept of play from the work of Lukács, who engaged with Schiller’s notion of the play-drive but ultimately viewed it to be an inadequate form of aesthetic resistance, to the work of Benjamin, who optimistically embraced the revolutionary possibility of play. In contrast, the article argues that Adorno’s work tacitly advances a critical concept of dark play that offers a third perspective between Lukács’s pessimism and Benjamin’s optimism, thus avoiding both the retreat into an apolitical aesthetic dimension and the uncritical embrace of play’s revolutionary potential.

Author(s):  
Elena V. Kovaleva

The article studies the problem of interrelation of the cult and aesthetic components of iconography and analyzes the approach to its solution in the works of the representative of Russian religious philosophy of the early 20th century E. Trubetskoy.


2020 ◽  
Vol 20 ◽  
Author(s):  
Цветана [Tzvetana] Георгиева [Georgieva]

Ivan Grozev and the “New Cultural Race” in the Aesthetic Religious Project of Bulgarian ModernismThe aesthetic-religious views of Ivan Grozev, a Bulgarian writer, poet and spiritual awakener, combine various aspects whose unifying center is the mystical ability of man to reach God: the Christian idea of man’s aspiration for God; theosophical and Masonic conceptions; and elements of Hellenistic philosophy and mystery. In his articles and studies that he published in the journal Hyperion, Ivan Grozev promoted ideas about the poet as “a priest and a prophet”, his “worldly sacrifice”, and “the steps towards godly knowledge” (scientist, genius, mystic). As a true Theosophist, he contrasts his utilitarian times with the spiritual from past eras (reason vs. mysticism), affirming the idea of a “New Heaven” and a “New Cultural Race” for the devoted ones. The Bulgarian modern consciousness from the late 19th and early 20th century perceived such ideas as a new type of religion of the aesthetic, and at the same time as a new ethic of the creator (prophet, Übermensch in the sense of Nietzsche or Rudolf Steiner) as a necessity of spiritual creation of a new cultural race that abandons mercantilism for the sake of ideal values. Iwan Grozew i „nowa rasa kulturowa” w religijno-estetycznym projekcie bułgarskiego modernizmuPoglądy estetyczno-religijne Iwana Grozewa, bułgarskiego pisarza, poety, działacza na rzecz duchowego przebudzenia społeczeństwa, łączą aspekty chrześcijańskiej idei dążenia człowieka do Boga, koncepcje teozoficzne i masońskie, elementy hellenistycznej filozofii i misteriów, a ich wspólnym jądrem jest mistyczna zdolność człowieka, aby dotrzeć do Boga. W artykułach i studiach publikowanych na łamach czasopisma „Хиперион” Iwan Grozew propaguje idee dotyczące poety „kapłana i proroka” i jego „ziemskiej ofiary”, „kroków w kierunku boskiej wiedzy” (naukowiec, geniusz, mistyk); jako wyznawca teozofii, utylitarne czasy, w jakich żyje, przeciwstawia epokom duchowym z przeszłości (rozum przeciwko mistycyzmowi), potwierdzając ideę „nowego nieba” i „nowej rasy kulturowej” dla osób poświęconych. W bułgarskiej świadomości modernistycznej przełomu XIX i XX wieku takie idee postrzegane były jako nowy rodzaj religii estetycznej, a jednocześnie jako nowa etyka twórcy (proroka, nadczłowieka w rozumieniu Friedricha Nietzschego lub Rudolfa Steinera), pojęta jako konieczność duchowego stworzenia nowej rasy kulturowej, która odrzuca postawę merkantylną w imię wartości idealnych.


Author(s):  
Marinos Diamantides ◽  
Anton Schütz

While early 20th century Social Darwinism has been discredited, post-WW2 theories have re-emphasized Darwin's notion of the environment. On this basis, and substituting social systems for natural species, society has been analyzed as a system-in-evolution, a machinery that, reflexively or self-referentially, produces itself at every moment anew. Modern society, according to social systems theory, continuously makes itself, thanks to countless simultaneous communications taking place at once. There are two equally disquieting lessons here. On the one hand, modern law, understood as the communicative system that applies the distinction lawful/unlawful to everything that gets in its way, is placed within an environment constituted by other communicative social systems (the economy, politics, religion, art etc) and the conditions created by those. On the other hand, social systems at large are separated from the realm of human consciousness, i.e. of collective or individual identity (the ‘psychic systems’). While ‘social' and ‘psychic’ systems never meet, they rely on absolute indifference with respect to their other side, as only this indifference enables especially social systems to assure their (superior) fact-creating potential. Our own project consists in spelling out the implications of this scissile sense of ‘meaning’, at once understood as a shorthand for what is actually happening (fragmented communications) and as consciousness-as-identity (imaginary unity).


Author(s):  
Natal'ya V. Volodina

The article continues the analysis of "unwanted people" in the literary criticism and journalism from the mid 19th century till the century's end. The focus of the authors' attention is on the polemic of Nikolay Dobrolyubov and Alexander Herzen concerning a his torical role of "unwanted people" who are associated for them with generation of the intellectuals of the 1830s—40s. It is shown in the article that characteristic of "unwanted people" is built by critics on material of literature and actuals of life of modern society. In Nikolay Dobrolyubov's works, the leading place is taken by opposition "superfl uous" Vs. "new" people. This opposition excepts the idea of continuity of generations. Alexander Herzen emphasises historical value of "superfl uous men" for development of consciousness of the person and spiritual culture of society. As the author notes, traditions of criticism of the 1830s—60s had remained in criticism and journalism within the early 20th century. The idea of denial of "unwanted people" in Russia and recognition of value of their historical experience was updated in this period. The concept of "unwanted people" becomes the sign of tragic fate of Russian intellectuals.


Author(s):  
Анастасия Сергеевна Сиренко

Статья посвящена интерпретации образов города Феодосии в творчестве Константина Федоровича Богаевского – представителя «Киммерийской школы живописи». Приводятся итоги исследования вех творческой биографии художника, выстроенные в хронологическом порядке, учитывая особенности изменений стилистической манеры и решаемые им эстетические задачи. Охарактеризованы параметры и круг мастеров «Киммерийской школы живописи». Выбрав главной темой своего творчества в самом начале пути загадочную страну Киммерию, художник претворял ее в больших панорамных живописных произведениях и малоформатных рисунках и акварелях, отмеченных высоким мастерством и глубокой мифопоэтикой. Рассказывается о мастерской живописца, ставшей местом притяжения для многих гостей, представлявших творческую интеллигенцию Москвы и Ленинграда. Освещается вклад уроженца Феодосии и почитателя творчества К.Ф. Богаевского – И.М. Саркизова-Серазини в просвещение родного города среди модных курортов начала ХХ века, а также судьба его необычайной коллекции. The article is devoted to the interpretation of images of the city of Feodosia in the creativity of Konstanin F. Bogaevsky – the representative of the “Cimmerian painting school”. The results of the study of the milestones of the artist’s creative biography are presented, arranged in chronological order, taking into account the peculiarities of changes in the stylistic manner and the aesthetic tasks that he solves. The parameters and circle of masters of the “Cimmerian painting school” are described. Having chosen the mysterious country of Cimmeria as the main theme of his work at the very beginning of his work, he embodied it in large panoramic paintings and small-format drawings and watercolors, marked by high skill and deep mythology. The article tells about the artist’s workshop, which has become a place of attraction for many guests representing the creative intellectuals of Moscow and Leningrad. The contribution of the native of Feodosia and admirer of the work of Konstantin F. Bogaevsky – Ivan M.Sarkizov-Serazini to the enlightenment of his native city among the fashionable resorts of the early 20th century and the fate of his extraordinary collection is highlighted.


2017 ◽  
Vol 141 ◽  
pp. 135-149
Author(s):  
Beate Sommerfeld

Der Artikel behandelt den Roman Die Meisen von UUsimaa singen nicht mehr 2014 des Experimentalfilmers und Autors Franz Friedrich als Reflex auf den Umbruch vom analogen zum digitalen Zeitalter. Stark polarisierend bezieht der Roman zum Medienwandel Stellung und schlägt sich auf die Seite der Analogmedien Fotografie und Film, wobei er auf den Fotografie- und Filmdiskurs des 20. Jahrhunderts von Bela Balazs, Walter Benjamin bis hin zu Roland Barthes und Georges Didi-Huberman zurückgreift. Indem der Roman ein Gewebe aus photoästhetischen Topoi, Metaphern und Diskursen spinnt, modelliert er eine Ästhetik des Abdrucks und der Berührung, die auf Roland Barthes’ Modell des “vokalischen Schreibens” rekurriert. Das Unbehagen an der Repräsentation, das aus Friedrichs Roman spricht, geht mit einer nostalgisch gefärbten Sehnsucht nach dem Authentischen einher.“The material matters” — reflections on the upheaval from analogue to digital media in the novel The Tits of Uusimaa Don’t Sing Any More by Franz Friedrich The purpose of the article is to show how literary texts reflect upon the upheaval from analogue to digital media using the example of the novel The Tits of Uusimaa Don’t Sing Any More by the experimental filmmaker and author Franz Friedrich 2014. Friedrich approaches the technological shift from analogue to digital and the transforming landscape of media from a critical viewpoint by looking back at the early 20th-century scenario of intermedial exchange. Doing so, he refers to the 20th-century media discourse Béla Balázs, Walter Benjamin to Roland Barthes and Georges Didi-Huberman, scrutinizing and redefining analogue media by referring to various topoi, metaphors the analogue as a mental imprint of the real. Friedrich confronts the representation paradigm of literature to the aesthetic of contact and resonances, strongly related to Roland Barthes’ concept of “vocal writing”.


2018 ◽  
Vol 13 (3) ◽  
pp. 150
Author(s):  
E. E. Chebotareva

The article discusses the conflict between engineers as the professional community and their employer (state or capital owner), which starts its history from the beginning of the 20th century. The author deals with the concepts of engineering philosophy and attempts to define the modern concept of “engineer” with a purpose to understand the new role of the engineer in modern society. The article demonstrates the problem to define the concept of engineering and its connection with the concept of power, which inevitably leads engineers to competing relations with their employers. The article also examines the modern context of engineering, in its connection with science and capital, explores the tendency to merge the concepts of capitalist, employer and engineer. In addition, the author shows the contradictions of relations between engineers and society, expressed in the decisions of scientific policy, in particular, in the concept of “responsible innovations”. Strengthening the role of the professional community of engineers is shown in the context of a comparison of the conflict between engineers and capital owners and bureaucracy in the early 20th century (Author uses works of T. Veblen and E. Layton), and in the beginning of the 21st century (works of modern Western and domestic authors). The article touched upon the topic of influence on the society of modern blockchain technologies.


Author(s):  
T. Vilhovchenko

The article traces the historical stages of the emergence and development of modern choreography, its main directions, the influence of outstanding choreographers on the development of the plastic language of modern dance. It is noted that modern dance and its many and varied styles, types, forms arouse interest and the most controversial reactions from both the viewer and the critic. The concept of "modern choreography" was used and was relevant at every stage of the historical development of dance. In this or that historical period, dance was considered innovative and in line with the spirit of its time. Particular attention is paid to modern dance in the article. It incorporated both the aesthetic principles of the early 20th century and the further transformation of the modern dance of the second half of the 20th - early 21st centuries. The work also explores the emergence of the theory of movement, which appeared at the turn of the 19th - 20th centuries. However, despite the absence of a system of choreographic structure, tools for its analysis have already been proposed. This dance did not have a specific form and was aimed at conveying a person's spiritual state. In parallel with the birth of modern dance, new views on its perspectives were framed. The innovators sought to minimize the importance of costume, music, and decoration while maximizing lexical material and depth of thought, which rejected any canons of dance composition. It marked the beginning of a new era - the postmodern era, in which modern choreography evolves, moves in search of new forms and means of expression, changes, creating a new vocabulary, artistic symbols, and understandable signs.


2020 ◽  
Vol 2020/2 ◽  
pp. 61-84
Author(s):  
Juozapas Paškauskas

THE PROBLEM OF LEISURE TIME IN LATE 19TH AND EARLY 20TH-CENTURY LITHUANIA: THE WORKING CLASS CHALLENGE TO THE MIDDLE CLASS In the late 19th century, leisure time became an important and publicly discussed topic in modernising Lithuanian society. This article examines how the topic of leisure time was discussed from a wide range of political positions, and how the factor of leisure time became increasingly important when considering the future scenarios of society. At the end of the 19th and the beginning of the 20th century, the topic of leisure time, its meaningful activities, and appropriate leisure time-related issues were intertwined with discussions about the development of civilisation, new cultural standards, and challenges to the most important principles of social cohesion. The reason for the debate at that time was inseparable from the main features of modernisation: rapid economic growth, industrialisation and urbanisation, changes in the social structure, apparent features of individualisation, secularism, and the burgeoning of consumer culture. In this article, the author focuses on singling out the most important features of modernising leisure time, when work and leisure become binary categories. From this perspective, the conflict between two important social groups, namely the working class and the bourgeoisie, is highlighted. The article demonstrates how these two groups sought to establish themselves ideologically, not only by showing their right to leisure time, but also by shaping what that leisure time should be. The first group consisted of the defenders of workers’ rights (and in rare cases, workers themselves) presenting leisure time as a precondition for a better life. This assessment was seen as an instrument incorporating workers’ daily life into the rest of modern society. However, with leisure time becoming a universal human value and norm, many leisure practices that workers in the late 19th and early 20th century opted for were problematic for members of another prominent group, the bourgeoisie. In this article, the bourgeoisie, or the middle class, is defined by means of Peter Stearn’s observation that it is useful to include cultural experience, not ‘just change in political or economic structure’. Thus, emphasising the cultural rather than the economic aspect of this social group, it can be stated that, for members of the middle class, ideas of ‘decent leisure’ and ‘appropriate use of time’ were based on the values and skills of self-discipline, order and efficient organisation. In this case, leisure time was recognised as a means of the partial reform of society and national consolidation. Consequently, the issue of leisure time in late 19th-century Lithuania became an intersection where two major social groups, opinions and practices met. On one hand, the question of leisure time is indistinguishable from a utopian, sometimes paternalistic, harmonious vision of the working class and their leisure; other ways, cultural and political attitudes about the dangers of the working class (and, of course, it is most dangerous after finishing work), arose from seeing how many late 19th-century workers chose meaningless, harmful and violent leisure activities. In both cases, the culture of leisure time in late 19th and early 20th-century Lithuania could be seen not as a routine or a temporary escape from social norms, but rather as a process for modern culture to appear in everyday life, contributing to the emergence of new social and cultural identities.


Istoriya ◽  
2021 ◽  
Vol 12 (5 (103)) ◽  
pp. 0
Author(s):  
Anna Ardashnikova

Social and political events of the early 20 century caused the emergence of new concepts for the development of Iran, the relevance of which over time not only did not diminish, but increased. The agents of new ideology were both intellectual reformers of the secular circle and the Shia clergy, who actively participated in politics. The article, within the framework of an interdisciplinary study, examines the interaction of innovation and tradition at the stages of socio-political transformations that are crucial for Iran and highlights the arsenal of propaganda tools that were used in this process. Archival documentary materials and poetry of journalistic nature, which are first introduced into scientific circulation, allow to hear the “real voice” of the direct participants and witnesses of the events of this period.


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