scholarly journals Stanislav Krakov: Phenomenology of the inner consciousness of combat

2014 ◽  
Vol 25 (3) ◽  
pp. 323-342
Author(s):  
Caslav Koprivica
Keyword(s):  
The Other ◽  
Philosophical Tradition ◽  
Philosophical Significance ◽  
Other Hand ◽  
The Aesthetic ◽  
The One

In this text, the work of Serbian writer Stanislav Krakov, between the two world wars, the famous, and later, due to ideological divisions, repressed and forgotten figure, is ovserverd through the lens of philosophy of existence and phenomenology. The ?philosophical? significance of Krakov?s autobiographical war prose, which in the aesthetic, especially formal-innovative aspect, represented the pinnacle of the genre of that time Serbian literature, is that it can be viewed as a first-class document of phenomenological introspection of a man in situation of mortal combat; and the ragne his prose of his prose is, in some respects, without exaggeration, comparable to war prose of Ernst J?nger. But besides his authentic documentality, Krakov?s writing is characterized by brilliant insights. So, on the one hand, Krakov can be viewed as a thinker of war and corporeality avant lettre, and, on the other hand, the interpretative contextualization of his prose within the aforementioned philosophical tradition helps us to better understand his literature.

Vegan attendance: reading Gibbons’s animals

2020 ◽  
Vol 29 (3) ◽  
pp. 379-394
Author(s):  
Emelia Quinn
Keyword(s):  
The Other ◽  
Other Hand ◽  
Aesthetic Pleasure ◽  
Simone Weil ◽  
The Aesthetic ◽  
The One ◽  
Embodied Presence

When we encounter the work of Grinling Gibbons, we find ourselves in the presence of multiple non-human animals. However, it is unclear how one should address these presences. On the one hand, for ecofeminist scholars such as Josephine Donovan, the aestheticization of animal death is to be vehemently resisted and the embodied presence of animals recovered by looking beyond the surface: a mode of looking that Donovan terms ‘attentive love’. On the other hand, a re-reading of the philosophical ideas of Simone Weil, upon which Donovan premises her argument, suggests that attention to others requires a mode of radical detachment. These two positions speak in important ways to the dilemmas faced by a vegan spectator. Drawing on Jason Edwards’s previous work on ‘the vegan viewer’, this article seeks to reconcile a vegan resistance to Gibbons’s depictions of animal death, in their spontaneous falling under human dominion, with the aesthetic pleasure generated by Gibbons’s craftmanship. I therefore propose ‘vegan camp’ as a means of reconciling oneself to insufficiency and complicity in systems of violence without renouncing pleasure. Vegan camp is detailed as an aesthetics that acknowledges the violence of humanity and one’s inescapable place within it, dissolving the subjective idea of the beautiful vegan soul to pay attention to the pervasive presence of an anthropocentrism that, in the case of Gibbons, decoratively adorns the sites at which animals might be eaten, worn, or offered up for sacrifice.

scholarly journals PAKARTOJIMAS IR NIHILIZMAS

Problemos ◽  
2013 ◽  
Vol 84 ◽  
pp. 46-59
Author(s):  
Rita Šerpytytė
Keyword(s):  
Theoretical Models ◽  
The Other ◽  
Philosophical Tradition ◽  
Western Tradition ◽  
Other Hand ◽  
Text Fragment ◽  
Western Philosophical Tradition ◽  
Universal Structure ◽  
The One

Straipsnio tikslas yra atskleisti Vakarų filosofijos tradicijoje savitai įsitvirtinusios patyrimo struktūros, įvardijamos pakartojimu, nihilistinę prasmę. Šioje hermeneutinėje analizėje, viena vertus, re­miamasi tam tikra nihilizmo samprata, numatančia du nihilizmo teorinius modelius – nihilizmą, parem­tą Überwindung teorija, ir nihilizmą, paremtą différance idėja. Kita vertus, remiamasi tam tikru („onto-teologiniu“) pretekstu Vakarų mąstymo tradicijoje atpažįstant pakartojimo struktūrą – Pauliaus Laiško efeziečiams Ef. I, 10 teksto fragmentu, laikomu paradigmine pakartojimo struktūros išsklaida. Herme­neutinė analizė projektuojama į Kierkegaardo ir Agambeno filosofiją, atskirus jų mąstyme atpažįstamus pakartojimo invariantus atskleidžiant kaip minėto Pauliaus Laiško fragmento eksplozijos atvejus. Ke­liamas klausimas, kas yra pakartojimas, kur slypi jo negatyvumas ir kaip pasirodo jo nihilistinė prasmė? Kaip šioje negatyvumo ir nihilizmo atskleistyje „tarpininkauja“ différance? Straipsnyje parodoma, jog skirtis kaip neigimo judesys, atstovaujantis nihilistinei logikai, gali būti traktuojamas ir vien formaliai, ir realiai. Skirties kaip realaus neigimo traktavimas Kierkegaardo ir Agambeno mąstyme atitinka pačios patirties struktūros – pakartojimo – ontologinį (tikrovišką) įšaknytumą.Pagrindiniai žodžiai: pakartojimas, nihilizmas, différance, negatyvumas, laikasPakartojimas ir nihilizmasRita Šerpytytė   AbstractThe purpose of this article is to reveal the nihilistic sense of an experiential structure, which has been distinctively rooted in Western philosophical tradition. On the one hand, this hermeneutical analysis will be based on a certain conception of nihilism presupposing two theoretical models of nihilism – nihilism, which refers to the theory of Überwindung, and nihilism associated with the idea of différance. On the other hand, it builds upon a certain (the so-called “onto-theological”) pretext, which might be used for recognition of the structure of repetition in Western tradition of thinking, – i.e. the fragment of a text from St. Paul’s Letter to the Ephesians Eph. I, 10 – the paradigmatic passage proposing this universal structure of repetition. Focused both on philosophy of Kierkegaard and Agamben, hermeneutical analysis will aim to disclose the separate invariants of such repetition as cases of explosion of the mentioned text fragment. The question is raised – what is repetition? Where does its negativity lie? How does its nihilistic sense appear? How does the différance mediate in this process of revealing of negativity and nihilism? The article argues that difference, as a motion of negation representing nihilistic logic, can be treated both in merely formal and in a realistic way. The treating of différance as real denying in Kierkegaard’s and Agamben’s thinking corresponds to the ontological rootedness of the very structure of experience – repetition.Keywords: repetition, nihilism, différance, negativity, time

The Subversion of Plato's Quasi-Phenomenology and Mytho-Poetics in the Symposium

Janus Head ◽  
2009 ◽  
Vol 11 (1) ◽  
pp. 59-76
Author(s):  
Bert Olivier ◽  
Keyword(s):  
Jacques Lacan ◽  
Human Condition ◽  
The Other ◽  
Philosophical Tradition ◽  
The Unconscious ◽  
Other Hand ◽  
Significant Difference ◽  
The One

Is there a significant difference between Plato's texts and what is known as 'Platonism', that is, the philosophical tradition that claims Plato as its progenitor? Focusing on the Symposium, an attempt is made here to show that, far from merely fitting neatly into the categories of Platonism—with its neat distinction between the super-sensible and the sensible—Plato's own text is a complex, tension-filled terrain of countervailing forces. In the Symposium this tension obtains between the perceptive insights, on the one hand, into the nature of love and beauty, as well as the bond between them, and the metaphysical leap, on the other hand, from the experiential world to a supposedly accessible, but by definition super-sensible, experience-transcending realm. It is argued that, instead of being content with the philosophical illumination of the ambivalent human condition—something consummately achieved by mytho-poetic and quasi-phenomenohgical means—Plato turns to a putatively attainable, transcendent source of metaphysical reassurance which, moreover, displays all the trappings of an ideological construct. This is demonstrated by mapping Plato's lover's vision of 'absolute beauty' on to what Jacques Lacan has characterized as the unconscious structural quasi-condition of all religious and ideological illusion.

scholarly journals Autonomy and Aesthetic Engagement

Mind ◽  
2019 ◽  
Vol 129 (516) ◽  
pp. 1127-1156 ◽  
Author(s):  
C Thi Nguyen
Keyword(s):  
The Other ◽  
Aesthetic Appreciation ◽  
Aesthetic Value ◽  
Aesthetic Object ◽  
Other Hand ◽  
Motivational Structure ◽  
The Aesthetic ◽  
The One ◽  
The Right ◽  
Aesthetic Judgments

Abstract There seems to be a deep tension between two aspects of aesthetic appreciation. On the one hand, we care about getting things right. Our attempts at aesthetic judgments aim at correctness. On the other hand, we demand autonomy. We want appreciators to arrive at their aesthetic judgments through their own cognitive efforts, rather than through deferring to experts. These two demands seem to be in tension; after all, if we want to get the right judgments, we should defer to the judgments of experts. How can we resolve this tension? The best explanation, I suggest, is that aesthetic appreciation is something like a game. When we play a game, we try to win. But often, winning isn’t the point; playing is. Aesthetic appreciation involves the same flipped motivational structure: we aim at the goal of correctness, but having correct judgments isn’t the point. The point is the engaged process of interpreting, investigating, and exploring the aesthetic object. When one defers to aesthetic testimony, then, one makes the same mistake as when one looks up the answer to a puzzle, rather than solving it for oneself. The shortcut defeats the whole point. This suggests a new account of aesthetic value: the engagement account. The primary value of the activity of aesthetic appreciation lies in the process of trying to generate correct judgments, and not in having correct judgments.

Nietzsche’s Therapy of Therapy

2017 ◽  
Vol 46 (1) ◽  
Author(s):  
Marta Faustino
Keyword(s):  
Western Culture ◽  
The Self ◽  
The Other ◽  
Philosophical Tradition ◽  
Other Hand ◽  
The One ◽  
Basic Features

AbstractThis paper examines Nietzsche’s relation to the therapeutic philosophical tradition paradigmatically represented by the Hellenistic schools. On the one hand, given his project of rehabilitating Western culture and his understanding of the philosopher as a “physician of culture”, Nietzsche seems also to hold a therapeutic understanding of philosophy; on the other hand, he is extremely critical of any (philosophical, moral or religious) attempt to heal mankind. This paper does not aim to solve this tension but rather characterizes Nietzsche’s endeavor in this respect as a therapy of therapy. Through analysis of a) the basic features of the Hellenistic conception of philosophy, b) Nietzsche’s development of the analogy of the “philosophical physician”, c) his diagnosis of culture, and d) his criticism of previous therapists, I show that Nietzsche can be formally included in this tradition of thought, even if this inclusion has implications for the tradition itself. As I suggest, given the self-referentiality of Nietzsche’s therapy, his inclusion in this tradition might in fact simultaneously entail its own self-suppression.

scholarly journals Schiller after Kant: The “Unexpected Science” of theBriefe über die ästhetische Erziehung des Menschen

Kant-Studien ◽  
2020 ◽  
Vol 111 (2) ◽  
pp. 285-302
Author(s):  
Tim Mehigan
Keyword(s):  
The Other ◽  
Aesthetic Theory ◽  
Human Being ◽  
Future State ◽  
Alternative Path ◽  
Other Hand ◽  
The Aesthetic ◽  
The One

AbstractIn the Briefe über die Ästhetische Erziehung des Menschen, the focus of this article, Schiller’s ostensible aim – to complete Kant’s aesthetic theory – is progressively abandoned. The article examines the reasons for this abandonment. On the one hand, Schiller’s original purpose was overtaken by events in France. Schiller found that he could no longer sustain confidence in reason’s capacity to build a durable political republic. On the other hand, the alternative path he favours involves him in the expounding of an anthropology he did not set out to undertake. The Ästhetische Briefe, for this reason, finds itself adumbrating an “unexpected science” with little remaining reference to Kant – an account of the human being whose desirable future state, that of morality, can only be made secure by passage through the aesthetic state. A by-product of this argument, and perhaps its chief consequence, is that it finally settles the quarrel of the ancients and the moderns (in favour of the moderns).

scholarly journals The Phenomenon of Death and the Possibility of Immortality

Problemos ◽  
2021 ◽  
Vol 99 ◽  
Author(s):  
Erika Lujza Nagy
Keyword(s):  
The Other ◽  
Philosophical Tradition ◽  
Personal Perspective ◽  
Attitude To Death ◽  
Other Hand ◽  
The One ◽  
First Time ◽  
Material Form

This paper is about death and about immortality. It explores the experience and philosophical implications of death from different perspectives. Firstly, in the light of Mamardashvili’s philosophy, it deals with the interconnection and interdependence of death and thinking. Secondly, through Jankélévitch’s philosophy, it changes the perspective on the interdependence of death and thinking from the general to the personal perspective, when death becomes an intimate part of life. Further, thanks to Aries’ research, the paper introduces historical details about what people brooded over death and how they expressed their thoughts in more explicit way. This makes it possible to look at the mediology of death as a philosophy that leads to reflection and critique of our contemporary attitude to death. On the one hand, the mediology of death motivates us to think about death – in this way it follows the philosophical tradition, on the other hand, it attempts to convince us for the first time of the immortality that can happen only in material form – and it is its novelty.

scholarly journals Genre and Stylistic Features of the Modern Audiobook

2021 ◽  
pp. 156-170
Author(s):  
Vera Yu. Bal ◽  
◽  
Elizaveta E. Gutkevich ◽  
Keyword(s):  
Cultural Practices ◽  
Literary Work ◽  
Literary Text ◽  
The Other ◽  
Reading Practice ◽  
Aesthetic Value ◽  
Other Hand ◽  
Audio Books ◽  
The Aesthetic ◽  
The One

Modern technological conditions make it possible to create, quickly replicate and use audio books conveniently. Audio books are one of the fastest growing segments of the global publishing market. Informative issues of creating audio books, not technological ones, are in the research focus of the article. The content of an audiobook is a voiced text that refers to the “auditory literature”. Assessments of the quality of the auditory literature are polar. On the one hand, it is considered secondary to the original literary text; on the other hand, it is a self-contained artistic phenomenon with its own aesthetic nature. In this article, an audiobook is considered precisely in the aspect of its artistic value, which is highlighted when speaking about the genre nature of the voiced text. The genre features of the voiced text in this study are identified taking into account the communicative features of its formal-stylistic features. The communicative nature of the audiobook genre is associated with two types of reading, which reflect the opposite positions of the two participants in communication. On the one hand, this is an expres-sive reading aloud, which can also be defined as staged reading. Genetically, this type of reading is associated with public performances of artists and initially assumed live reading. Further, this type of reading is transformed into the genre of radio plays, called “theater at the microphone”. In modern communicative practices of creating and repli-cating audio content, including one related to the actor’s readings of works of art, there is no binding to time and place. On the other hand, this is auditory reading, a modifica-tion of which is audio reading in modern technological conditions. If auditory reading is the first reading practice of a child mastering books from the voice of a parent, then audio reading is the choice of an adult who can read. The acoustic representation of a literary work is associated not only with the performance of elementary technical characteristics of sound, but also with the introduction of a certain aesthetic value into it. The creative translation of a literary text from verbal to acoustic should preserve its value in the aesthetic plane, without reducing it to a purely pragmatic one. Actualization of the aesthetic value of an audiobook outside of its paper format is associated with the principles of its directing and editorial preparation – the principles associated with the implementation of the stylistic characteristics of the genre form of an audiobook. Translation of a verbal literary text into an audio one is carried out as a result of comparing reading a book to dramatic action. In this case, the forming element of the genre becomes the sounding text itself. In the case of audio books, the reader’s voice as a performer’s instru-ment and the musical noise accompaniment of the text read is a style-forming genre element. The article traces the publishing strategies for the embodiment of the formal-stylistic features of the audiobook genre in the context of modern audio cultural practices.

There’s No Regime beyond Representation

2018 ◽  
Vol 62 (1) ◽  
pp. 215-234
Author(s):  
Michaela Fiserova ◽  
Keyword(s):  
The Other ◽  
The Political ◽  
Jacques Ranciere ◽  
Political Conception ◽  
Other Hand ◽  
Jacques Rancière ◽  
The Aesthetic ◽  
The One

The paper invites a rethink of the political conception of Jacques Rancière, a philosopher who devoted considerable reflexion to the problem of the sharing of the sensible. Rancière proposes considering the aesthetic regime without the concept of representation. According to the author, this leads him to a paradox: on the one hand, he states that the aesthetic regime takes images for art; on the other hand, he doesn’t pay attention to the fact that it shouldn’t be possible to conceive of any regime of sharing without the concept of representation. Therefore, the author proposes a deconstructive reading of Rancière’s critique of representation, demonstrating that if the contemporary image is conceived and produced in order to be shared, it can’t be freed from representation. Finally, the author puts forth the notion of meta-representation as a solution avoiding Rancière’s antinomies.

scholarly journals Weimar Art: Between Tradition and Avant-Garde

2020 ◽  
Author(s):  
Maria Belikova
Keyword(s):  
Interwar Period ◽  
The Other ◽  
Distinctive Features ◽  
New Objectivity ◽  
Avant Garde ◽  
Other Hand ◽  
The Aesthetic ◽  
The One

This study aims to analyse two art movements in Germany: Dada and New Objectivity, identifying their distinctive features in the context of the anti-modernist mood in the interwar period. A ‘call to order’, or return to tradition and classics, can even be found in some texts of the Berlin Dadaists. The aesthetic positions of New Objectivity representatives were also ambiguous. On the one hand, they shattered avant-garde foundations through an appeal to the national pictorial tradition. On the other hand, modernist means of expression can be traced in their works.

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