scholarly journals A New Type of Subjectivity in the Works of Dmitry Prigov

Problemos ◽  
2020 ◽  
Vol 98 ◽  
pp. 154-169
Author(s):  
Natalia Artemenko
Keyword(s):  
20Th Century ◽  
The Self ◽  
Moscow Conceptualism ◽  
The Third ◽  
New Type ◽  
Personal Consciousness ◽  
The Aesthetic

The article dwells upon the issue of a subject intrinsic to the art of the 70s and 80s of the 20th century, it elicits the reasons determining the problematization of “the Self” category inherent in the aesthetic program of the Moscow Conceptualism, preeminently with regards to the works of Dmitry Prigov. “The crisis of the language describing ‘the Self’” has been considered as discrediting the dominant discursive models, disabling the possibility of individual expressing. Within the first part of the article we problematize “the Self” category inherent in the aesthetic program of the Moscow Conceptualism, examine the dominant discursive models and denote the crisis of the language describing “the Self.” The second part is devoted to the issue of “the personal consciousness” coming into being within the aesthetic program of Moscow Conceptualism. The Self is considered as a “category of categories” in dichotomy between “the collective” and “individual” ones. Finally, the third part represents the analysis of a subject of the aesthetic activity. “An imaginary personality” intrinsic to the works of Dmitry Prigov is considered as a subject of “a gnoseological game.”

scholarly journals Иван Грозев. „Новата културна раса“ в естетикорелигиозния проект на българския модернизъм

2020 ◽  
Vol 20 ◽  
Author(s):  
Цветана [Tzvetana] Георгиева [Georgieva]
Keyword(s):  
20Th Century ◽  
Early 20Th Century ◽  
Rudolf Steiner ◽  
New Type ◽  
The Aesthetic ◽  
Hellenistic Philosophy

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.

Re-imagining Olympus: Keats and the Mythology of the Individual Consciousness1

2007 ◽  
Author(s):  
Erin Sheley
Keyword(s):  
Eighteenth Century ◽  
Personal Identity ◽  
John Keats ◽  
Physical Significance ◽  
The Self ◽  
The Third ◽  
Greco Roman ◽  
Classical World ◽  
Personal Consciousness ◽  
The Individual

Abstract By the time John Keats began to write his great mythological works, the use of the classical world in poetry had become somewhat scorned in English literary circles, after the allegorical excesses of the eighteenth century. In Keats’ imagination, however, the Greco-Roman pantheon served not as a source of aesthetic embellishment but as part of a new, organic mythology of his own creation. For Keats, the self-exploration of a personal consciousness most closely approximates divinity, and such divinity depends upon interaction with the immediate, earthly space surrounding an individual. In this essay I explore Keats’ use of myth to access this personal identity, which he does frequently through three poetic techniques. The first I call “mythological sense,” meaning the apprehension of mythological allusions acting as a sixth sense for the narrator as he perceives his surroundings. The second is the physical boundedness that constricts mythological poems. The third is his use of embodied figures, initially anonymous mythological forms which appear first as objects in the narrator’s sensual experience, their mythological identifications secondary and often revealed only after their physical significance has been explored.

Piktoriale Reflexivität–(Nach-)Denken über Bilder als Denken in Bildern

2010 ◽  
Vol 55 (2) ◽  
pp. 101-113
Author(s):  
Simone Mahrenholz
Keyword(s):  
20Th Century ◽  
Aesthetic Experience ◽  
The Self ◽  
States Of Affairs ◽  
The World ◽  
The Subject ◽  
The Aesthetic ◽  
20Th Century Art ◽  
Self Reference

Der Text untersucht, inwiefern wir von »bildlichem Denken« sprechen können, insbesondere mit Bezug auf Kunst: Denken in Bildern also statt allein in Worten. Er verbindet diese Frage mit dem Konzept der konstitutiven Reflexivität der Kunst. Hierfür werden drei Bedeutungen von ästhetischer Reflexivität unterschieden und zu einander in Bezug gesetzt (Teil I): Reflexivität der Kunst im Sinne des Bezugnehmens und damit des Thematisierens, Reflektierens von etwas außerhalb des Werks: der Welt und./.oder des Selbst (R1), ferner Reflexivität im Sinne des materialen Selbst-Rückbezugs des Werks auf Züge seiner selbst (R2) sowie Reflexivität im Sinne des Selbst-Rückbezugs in Form einer Transformation des Subjekts im Prozeß der künstlerischen Erfahrung (R3). Die nähere Erläuterung an Beispielen zeigt, daß und inwiefern diese drei Formen zwar immer interagierend präsent sind, jedoch in verschiedenen Epochen und Stilen mit deutlich unterschiedlichen Akzentuierungen (Teil II). Abschließend wird die These aufgestellt (Teil III), daß diese Folge von Reflexivitäts-Akzenten Entwicklungen in der Kunst des 20. Jahrhunderts spiegelt.<br><br>The text examines forms of »pictorial thinking«, in particular with regard to artworks: thinking »in pictures« as analogous to thinking in words. It relates this topic to the concept of reflexivity in art. Three forms of aesthetic reflexivity are distinguished and related to each other (part I): reflexivity in the sense of reflecting, thematizing states of affairs outside the work: the world and./.or the self (R1), second: reflexivity as material self-reference within the artwork (R2), third: reflexivity as transformation of the subject in the process of the aesthetic experience (R3). The subsequent elucidation makes evident, that these forms of reflexivity never occur alone, but interact. Nevertheless, depending on the epoch and style of the work in question, distinctive emphases and accentuations arise, one of which generally dominates the others: (part II). As an upshot, the text suggests that this succession of reflexivity-forms from R1 to R3 mirrors developments in 20th century art (part III).

scholarly journals Two Ways of Constructing Social Philosophy

2018 ◽  
pp. 127-131
Author(s):  
Valentina Fedotova
Keyword(s):  
20Th Century ◽  
Research Program ◽  
Social Philosophy ◽  
The Other ◽  
Social Transformations ◽  
The Third ◽  
The Social ◽  
New Type ◽  
The One ◽  
Opening Up

The article discusses the question of what social philosophy is and how it is constructed. On the one hand, this is an area of philosophy that focuses on a set of social problems and attributes through the lens of the naturalistic research program, which considers these attributes as similar to some type of “things.” On the other hand, cultural-centric program solves the question of how and when philosophy itself became social: starting with modernity and its processional characteristics, i.e. - in the first, in the second and the third modernity, in the processes of globalization and other social transformations, in processionality of identity, ethnicity, etc. Both modes of research are outlined, and emphasis is placed on the advantages of the cultural-centrist research program. The philosophy of the first - liberal modernity of the 19 th century, the second - organized modernity of the 20th century, the processes of the 21 st century, opening up a new type of modernity - new Modernity for non-Western countries, is the social philosophy of processes, paying special attention not to the aspectual, quasi-concrete interpretation of the summable features of social reality but to processes.

scholarly journals Secular Writers’ Engagement with Religious Tradition in 20th Century Iran: From Undermining to Deconstructing; A Generational Paradigm Shift

2021 ◽  
Vol 9 (1) ◽  
pp. 11
Author(s):  
Elham Hosnieh
Keyword(s):  
20Th Century ◽  
Paradigm Shift ◽  
First Generation ◽  
Second Generation ◽  
Religious Tradition ◽  
Charles Taylor ◽  
The Self ◽  
The Third ◽  
Cultural Legacy ◽  
First And Second Generation

The present article is an attempt to conceptually discuss the development of modern secular approaches to religious tradition in contemporary Iran through the lenses of literary works. Throughout the paper, secularism has been understood as in the notion of “changes in the conditions of belief”, proposed by Charles Taylor. With José Casanova’s reading of Taylor’s conception, secularism becomes equivalent to a gradual construction of new and contextually specific images of the self and society, different from European narrative of religious decline. Accordingly, this article revisits the category of the Iranian ‘secular’ writer by looking into the trajectory of the Iranian literature field and its shifting relation to religion, itself influenced by the change in how secularism is understood within the field, during the 20th century. The paper argues that the 1979 revolution and its aftermath led to a paradigm shift in the writers’ conception of secular engagement with the religious tradition when compared with the first and second generation of writers. The first generation of Iranian secular writers mostly undermined the religious tradition as outdated rituals, and the second generation made a return to it as an authentic part of the Iranian identity under the local and global socio-political influences. The third generation went beyond such rejection/embrace narratives, came to see the religious tradition as a constructed cultural legacy, and engaged in re-reading and deconstructing that legacy in new secular ways.

A Short Modern History of Studying Sacrobosco’s De sphaera

2020 ◽  
Vol 65 (Special Issue) ◽  
pp. 23-33
Author(s):  
Alin Constantin Corfu
Keyword(s):  
20Th Century ◽  
Modern History ◽  
13Th Century ◽  
The Third ◽  
History Of ◽  
University Of Paris ◽  
The University

"A Short Modern History of Studying Sacrobosco’s De sphaera. The treatise generally known as De sphaera offered at the beginning of the 13th century a general image of the structure of the cosmos. In this paper I’m first trying to present a triple stake with which this treaty of Johannes de Sacrobosco (c. 1195 - c. 1256). This effort is intended to draw a context upon the treaty on which I will present in the second part of this paper namely, a short modern history of studying this treaty starting from the beginning of the 20th century up to this day. The first stake consists in the well-known episode of translation of the XI-XII centuries in the Latin milieu of the Greek and Arabic treaties. The treatise De sphaera taking over, assimilating and comparing some of the new translations of the texts dedicated to astronomy. The second Consists in the fact that Sacrobosco`s work can be considered a response to a need of renewal of the curriculum dedicated to astronomy at the University of Paris. And the third consists in the novelty and the need to use the De sphaera treatise in the Parisian University’s curriculum of the 13th century. Keywords: astronomy, translation, university, 13th Century, Sacrobosco, Paris, curriculum"

Pèlerinages barrésiens

2013 ◽  
pp. 116-123
Author(s):  
Claire Bompaire-Evesque
Keyword(s):  
Large Scale ◽  
The Self ◽  
Joan Of Arc ◽  
The Third ◽  
National Importance ◽  
The Earth ◽  
Third Stage ◽  
The Dead

This article is a inquiry about how Barrès (1862-1923) handles the religious rite of pilgrimage. Barrès stages in his writings three successive forms of pilgrimage, revealing what is sacred to him at different times. The pilgrimage to a museum or to the birthplace of an artist is typical for the egotism and the humanism of the young Barrès, expressed in the Cult of the Self (1888-1891). After his conversion to nationalism, Barrès tries to unite the sons of France and to instill in them a solemn reverence for “the earth and the dead” ; for that purpose he encourages in French Amities (1903) pilgrimages to historical places of national importance (battlefields; birthplace of Joan of Arc), building what Nora later called the Realms of Memory. The third stage of Barrès’ intellectual evolution is exemplified by The Sacred Hill (1913). In this book the writer celebrates the places where “the Spirit blows”, and proves open to a large scale of spiritual forces, reaching back to paganism and forward to integrative syncretism, which aims at unifying “the entire realm of the sacred”.

KAZAKH MUSIC CULTURE ON THE GLOBALIZATION CROSSROADS: ETHNIC TRADITIONS VERSUS COMPOSER SCHOOL IN INTERCULTURAL INTERACTION

2020 ◽  
Vol 384 (2) ◽  
pp. 185-193
Author(s):  
A. Raimkulova
Keyword(s):  
20Th Century ◽  
Cultural Policy ◽  
Information Technologies ◽  
Cultural Landscapes ◽  
Social Institutions ◽  
Music Culture ◽  
Oral Transmission ◽  
Intercultural Interaction ◽  
History Of ◽  
New Type

At the present stage, Kazakh musical culture is heterogeneous. It represents traditions coexisting at the same time and interacting with each other: Kazakh ethnic and newly established composer school (tradition). Examining changes in cultural landscapes of the 20th century I reveal the peculiarities of interaction and dialogue between two kinds of culture: ethnic and global (endogenous and exogenous). The procedures include the complex study of the history of Kazakh culture in the 20th century, stylistic analysis of traditional and composer’s music, semiotic approach to intercultural interaction, as far as a comparative analysis of oral and written music of 19th and 20th centuries. On one hand, dramatic changes in the structure of music culture were caused by external objective reasons: new industrial and postindustrial civilization phases (urbanization and information technologies); intensification of interaction with western (mainly Russian) cultures, etc. On the other hand, some changes were inspired by inner factors: diverse development of local song and kui (dombyra piece) traditions; Soviet cultural policy. As a result new type (or layer) of national culture – Kazakh composers’ music – appeared. It was connected with the formation of a national style based on transcriptions and borrowing. Traditional music was influenced by new social institutions (philharmonic halls, theatres, radio, conservatoire) that caused changes in the creative process (decrease of oral transmission, lack of traditional social context) as well as in the style (virtuoso performance, new genres of songs).

The Limit Situation And The Narrative Of War (On The Material Of The Novel “My Lieutenant” By Daniil Granin)

2020 ◽  
Vol 6 (1) ◽  
pp. 90-104
Author(s):  
Anatoly S. Kuprin ◽  
Galina I. Danilina
Keyword(s):  
20Th Century ◽  
Scientific Work ◽  
Point Of View ◽  
Continuous Limit ◽  
The Novel ◽  
Term Limit ◽  
Abstract Author ◽  
The Third ◽  
Definition Of

The purpose of this study is the analysis of limit situation in the narrative of war. The material of the study is the novel of Daniil Granin “My Lieutenant” and related texts. In the first part of the paper, the authors explore existing approaches to the term “limit situation” and similar concepts into scientific and philosophical traditions; limits of its applicability in literary studies and its relation to the categories of “narrative instances” and “event”. Proposed a literary-theoretical definition of the limit situation, which can be used in the analysis of fiction texts. Existing approaches to the examination of the situation of war are analyzed: philosophical-existential, psychoanalytic, sociological, literary. In the second part of the paper, the authors propose their method for analyzing limit situations in texts about war, which basis on existing approaches and preserves the text-centric principle of studying the structure of the story. Two interrelated areas of research have been identified: the study of war as a continuous limit situation in the intertextual aspect (the discourse of war); the study of limit situations (death, suffering, guilt, accident) in the narrative of war as part of a specific text. In the third part of the scientific work,the analysis of war as a continuous limit situation results in the study of the concept of “limit” (border) in a fiction text. The role of “limit” (border) concept in the texts about the war is studied, the possible types of limits in the discourse of war are examined. Limit situations in the narrative of war are analyzed on the basis of the novel “My Lieutenant” by Daniil Granin. A review of journalistic and scientific works about the novel revealed both the continuity and the differences between the novel and the “lieutenant” prose of the 20th century. An analysis of the limit situations in the novel revealed their key position in the narrative. These situations are independent of the fiction time, of the fluctuation of the point of view’; the function of the abstract author is to build the narrative as a “directive” immersion of the hero and narrator in these situations.

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