Reinterpretation of the Ideas of the Philosophy of Life in O.E. Mandelstam’s Works

2021 ◽  
Vol 64 (2) ◽  
pp. 84-109
Author(s):  
Oxana M. Sedykh
Keyword(s):  
The Other ◽  
Aesthetic Theory ◽  
Eternal Return ◽  
Religious Thought ◽  
Silver Age ◽  
Important Place ◽  
Philosophy Of Life ◽  
The One ◽  
Russian Religious Thought ◽  
Priority Factor

It is proposed to consider the main lines of “philosophy of life’s” (F. Nietzsche, H. Bergson, O. Spengler) influence on the poetry and aesthetic theory of the greatest Silver Age poet Osip Mandelstam whose heritage is largely a continuation of Russian “poetry of thought” tradition. As known, the “philosophy of life” ideas formed Silver age culture intellectual background and were actively rethought which can also be traced in Mandelstam’s work, extent). The article sets a task, firstly, to consider “philosophy of life” as integral phenomenon, secondly, to propose conceptual solutions in the framework of which poet's heritage can be investigated as refracting “philosophy of life’s” ideas. This required, on the one hand, relying on existing research, on the other hand, polemicizing with them. Special attention is paid to Mandelstam’s temporal concept. It is shown to what extent it is conditioned by the concepts of the philosophy of life and in what extent by Silver Age philosophical context, namely, by poet's interest in contemporary Russian religious thought. Some “philosophy of life” concepts and constructions in the poet's reception are outlined (the oppositions Apollonian/Dionysian, Aryan/Judaic and the eternal return idea by F. Nietzsche; H. Bergson’s concept of time and memory; the prime symbol and morphology of culture concepts by of O. Spengler, whose influence on Mandelstam’s work has not been studied in this aspect). It is concluded that priority factor that determined poet's attention to “philosophy of life” is its attitude to comprehend time as a derivative of life processes among which the most important place is occupied by culture and cultural creativity.

scholarly journals ON THOMAS BERNHARD’S NARRATIVE THINKING: «ETERNAL RETURN» AND A POLYPHONIC WRITING

2020 ◽  
pp. 27-54
Author(s):  
V.V. Kotelevskaya
Keyword(s):  
The Other ◽  
Literary Interpretation ◽  
Eternal Return ◽  
Multiple Points ◽  
Traumatic Memories ◽  
Narrative Thinking ◽  
Other Hand ◽  
Thomas Bernhard ◽  
Points Of View ◽  
The One

The article explores the typological principles and genesis of narrative thinking of Thomas Bernhard (1931-1989). It reveals the paradoxical nature of his writing, which combines, on the one hand, archetypal structures, implied ‘genre memory’, and on the other hand, a unique, innovative style. Bernhard’s constructive principle is repetition, which allows the embodiment of the idea of «eternal return» (Eliade) throughout the poetical structure, whether it is a sacred event of a myth or an «obsessive repetition» (Freud) of the traumatic memories of the protagonist or the narrator. The fragmented world is under constant reorganizing with the help of Bernhard’s polyphonic writing, which finds itself mostly in the imitation of the non-figurative, purely expressive, self-referential «art of fugue» (Bach), oriented to the cyclic, rather than linear-historical concept of time. In contrast to the literary interpretation of the «polyphonic novel» (Bakhtin) with its coexistence of multiple points of view, our attention is shifted to the musicological interpretation of the fugue’s polyphony as the embodied idea of the continuity of time, the closeness and infinity of the divine universe.

Adorno, Theodor Wiesengrund (1903–69)

2018 ◽  
Author(s):  
Vincent P. Pecora
Keyword(s):  
Status Quo ◽  
The Other ◽  
Aesthetic Theory ◽  
Political Transformation ◽  
Crucial Element ◽  
Anti Semitism ◽  
Social Theorist ◽  
The Status ◽  
The One ◽  
Historical Necessity

Born Theodor Ludwig Wiesengrund to an Italian Catholic mother and an assimilated Jewish father, Adorno would take his mother’s vaguely aristocratic last name. Philosopher, aesthetician, social theorist, and musician, Adorno throughout his life remained committed to a decidedly secular and socialist European consciousness, even when dissecting German anti-Semitism in the 1940s. Yet his notion of utopian political transformation owed much to his early reading of Ernst Bloch’s insistence on a hunger for the transcendent that Bloch added to Marxian materialism. Adorno’s understanding of the work of art—a crucial element of his thinking, culminating in his Aesthetic Theory—was equally in tension over the historical necessity of its progressive secularization and rationalization. On the one hand, any "contamination of art with revelation" would uncritically embrace the mystical, fetish character of art. On the other hand, "the eradication of every trace of revelation from art" would reduce the artwork to a mere repetition of the status quo—that is, the lifeless routines of an administered society, including film and jazz, both of which Adorno denigrated.

Dekadencka Madonna, Biała Diablica, Lorelei... Zinaida Gippius w egodokumentach współczesnych

2017 ◽  
Vol 10 (0) ◽  
pp. 112-126
Author(s):  
Iwona Krycka-Michnowska
Keyword(s):  
The Other ◽  
Internal Conflict ◽  
Silver Age ◽  
Literary Portraits ◽  
The One ◽  
Significant Figures ◽  
Zinaida Gippius

The paper is devoted to Zinaida Gippius’s literary portraits left on the pages of ego-documents, especially memoirs. She was one of the most significant figures of the Russian Silver Age. At the end of the 19th and the beginning of the 20th centuries, the writer created her own legend and image based on internal conflict, which in turn influenced the diversity of her portraits in memoirs. Their analysis leads to the conclusion that these portraits fit into the stereotyped, ambivalent perception of a woman, and majority of the authors reveal the tendency to mythologize and dehumanize her heroine: on the one hand her divinization, and on the other – reification. It also proves that the memoirist had perpetuated and widened the legend about her.

scholarly journals Communicative Model – Author, Hero, Text, Recipient in a Postmodern Novel

2021 ◽  
Vol 12 (3) ◽  
pp. 96-106
Author(s):  
Natalia Levchenko ◽  
Pecherskyh Lubov ◽  
Olena Varenikova ◽  
Nataliya Torkut
Keyword(s):  
World View ◽  
The Other ◽  
Communicative Interaction ◽  
Important Place ◽  
Postmodern Novel ◽  
Model Author ◽  
The One ◽  
Literary Model ◽  
Death Of The Author ◽  
The Way

The study deals with the communicative interaction between the author, the hero, the text, the reader in a postmodern novel. A similar and ambiguous reality, on the one hand, sometimes led to the subjectivist hypertrophy, absolutizing the author’s world view, and at times minimized and devaluated the author’s identity, on the other. Therefore, from the end of the 1990s the ways of expressing author’s “Self” changed dramatically, which directly affected the means of creating a hero in the contemporary Ukrainian literature. An important place in the communicative literary model was occupied by the text as an independent semantic unit and the reader as an interpreter of the text. The specifics of deploying the dialog between the author and the hero point to the transformation of their functions in the Ukrainian postmodern novel. Considering the statement of the death of the author proclaimed by R. Barthes, the former stops being the main holistic text creator, thus rather becoming its product and the way of expression. The author, the hero and the text have a certain integrity aimed at the interpretative game with the recipient, who diffuses the newly created semantic integrity into a diversity of meanings.

scholarly journals The Cantatas by Pierre Boulez in the Context of the Main Trends in the Development of Choral Composition of the 20th Century

2021 ◽  
Vol 11 (1) ◽  
pp. 21-38
Author(s):  
Aleksandr S. Ryzhinskii ◽  
Keyword(s):  
20Th Century ◽  
The Other ◽  
Important Place ◽  
Choral Works ◽  
Avant Garde ◽  
Work In Progress ◽  
Pierre Boulez ◽  
Other Hand ◽  
Choral Composition ◽  
The One

The article focuses on Pierre Boulez’s choral style in the cantatas “Le visage nuptial” and “Le soleil des eaux”. The versions of these works, created over the course of almost 40 years (from 1951 to 1989), represent a complex of techniques in regard to texture and timbre, which, on the one hand, are a continuation of experiments by composers of the New Vienna School (A. Schönberg, A. Webern), and on the other hand, they preface a number of innovations in the choral style of Boulez’s contemporaries (L. Nono, L. Berio, K. Stockhausen, I. Xenakis). Evidence is provided in favor of the idea that Boulez’s choral works were the logical link between the vocal and choral opuses of the composers of the first and second Western European avant-garde. The article examines the peculiarities of the interaction between the verbal and musical series, the specifics of the textural organization of Boulez’s works, and systematizes the information about the timbre techniques used. Links are identified between the heterophonic presentation typical of Boulez’s choral works and the use of quarter tone notation, glissando reception, and various variants of speech singing (Sprechgesang). The connections between stereophonic effects in the music of Boulez and Nono are traced. An important place is occupied by the study of vocal sound recovery or “vocal emission” technologies (as defined by Boulez). The significance of Schönberg and Webern’s experience in the formulation of the technical foundations of Boulez’s choral timbres is stressed. Special attention is paid to the problem of “work in progress” as one of the defining features of the composer’s choral heritage. Comparing the works by Nono, Maderna, and Bulez, the author concludes the different reasons for which composers came to the concept of “opera aperta” (U. Eco).

do me twice: An example of the functioning of a text-event

Maska ◽  
2019 ◽  
Vol 34 (198) ◽  
pp. 40-47
Author(s):  
Katja Čičigoj
Keyword(s):  
Critical Reflection ◽  
Case Analysis ◽  
The Other ◽  
Aesthetic Theory ◽  
Ontological Difference ◽  
Contemporary Theatre ◽  
Open Work ◽  
The One ◽  
First Time ◽  
Present Text

Summary The present text is a chapter from the MAthesis Open Work in Contemporary Theatre Writing: Towards the Eventfulness of the Text by Katja Čičigoj (2013). The thesis examines the play do me twice by the acclaimed theatre practitioner Simona Semenič, which was performed for the first time on 20 December 2009 in Glej Theatre, Ljubljana. This chapter performs a case analysis in the context of a revised theory of the open work, which the author develops in the thesis: by drawing upon Deleuze, Guattari, Lyotard and Massumi, the author develops a post-semiotic aesthetic theory to approach contemporary theatre texts The discussed play is an example of contemporary theatre writing that emerges, on the one hand, out of the reflection on the theatre medium (its eventfulness) and the reflection on writing as a practice, on the other. The text incorporates this reflection not so much in terms of explicit thematisation but primarily at the level of its production-reception: this is a text-event, a text that is emerging (is revised and continually developed) during the performance of this same text, while at the same time it also thematises this emerging and revisioning. Precisely this collapse of the traditional chronological succession and ontological difference between production and reception, between text and event, is the aspect which opens up the discussed text to its thinking in terms of the concept of the open work and, at the same time, also enables a critical reflection on the concept itself.

Deleuze and Kuki: The Temporality of Eternal Return and ‘un coup de dés’

2014 ◽  
Vol 8 (1) ◽  
pp. 94-110
Author(s):  
Tatsuya Higaki
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
The Other ◽  
Western Philosophy ◽  
Eternal Return ◽  
Kyoto School ◽  
The Third ◽  
European Philosophy ◽  
The Subject ◽  
The One

Shuzo Kuki is a Japanese philosopher, belonging to the Kyoto school, who lived about a hundred years ago. He learned philosophy in Europe and developed an original theory of contingency, by accommodating the Asiatic way of thinking on the one hand, and Western philosophy (Bergson, Heidegger and neo-Kantianism) on the other. In this article, I show that we can find similarities between his theory of contingency and the philosophy of Deleuze, especially in regard to the subject of temporality and eternal return. Needless to say, the theory of the third time is a crucial theme in Difference and Repetition, and is closely related to the time of eternity, and the original or primitive contingency. Taking into consideration these aspects of time is indispensable in examining in depth the concepts of difference and virtuality. Kuki's theory of contingency, which incorporates early twentieth-century European philosophy, elucidates these concepts in an unexpected way. Therefore, my aim in this article is not to attempt a comparison between Eastern and Western thought by quoting Deleuze, but to illustrate a hidden lineage of thought, which runs from the nineteenth century (neo-Kantianism, Bergsonism, and so on) into the philosophy of virtuality of the twentieth century. This same lineage appears in Japan in Kuki's theory, and Deleuze's thought is, at least in one aspect, a modern manifestation of the same roots.

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 Right Way Through the Region of Sin: Islam, Bioethics and New Reproductive Technologies

2010 ◽  
Vol 5 (3) ◽  
pp. 133-163
Author(s):  
Marko Pišev
Keyword(s):  
Reproductive Technologies ◽  
The Other ◽  
Religious Thought ◽  
Islamic Ethics ◽  
House Of Lords ◽  
Scientific Approach ◽  
The Difference ◽  
Religious Dogma ◽  
The One ◽  
The Right

In the 1980s numerous debates were held in the House of Lords on the scientific research of embryos, with certain participants attempting to point out the difference between two styles of thought, namely, religious and scientific thought. Yet was the conflict in the House of Lords between two styles of thinking, or rather between the proponents of the scientific approach, on the one hand, and the proponents of religious thought, on the other, for intellectual and moral domination in society? Clearly, these debates hinted at something beyond and something more complex than a mere concern about embryos. What was actually being problematized? Or, to put it differently, to what extent does the use of bioreproductive technologies call into question the notions and issues of ethics, procreation and kinship, regardless of the religious dogma that considers the possibilities of their application? This paper will be confined to an analysis of Islamic dogma and any correspondences between this dogma and certain aspects of the new reproductive technologies. Still, in order to be able to discuss the relation between the new reproductive technologies and Islamic ethics, it is necessary to devote the greater part of this paper to an interpretation of how man is perceived in the context of the Koran.

scholarly journals Leo Tolstoy's moralizing in context of ethical and aesthetic synthesis

2021 ◽  
Vol 10 (43) ◽  
pp. 257-263
Author(s):  
Svetlana A. Simonova ◽  
Tatiana V. Shvetsova ◽  
Marina A. Shtanko ◽  
Denis G. Bronnikov ◽  
Alexei A. Mikhailov
Keyword(s):  
The Other ◽  
Leo Tolstoy ◽  
Childhood And Adolescence ◽  
Aesthetic Theory ◽  
Russian Culture ◽  
Works Of Art ◽  
Aesthetic Pleasure ◽  
The Aesthetic ◽  
The One

The article examines the moralizing of Leo Tolstoy on the example of his theoretical ideas. The authors, examining their genesis, come to the conclusion that the writer formed his ideas under the influence of French enlighteners and sentimentalists, on the one hand, and absorbed the ethical dominant of Russian culture, on the other hand. The article analyzes the idea of absolutizing good, which runs through Tolstoy's entire aesthetic theory as a leitmotif. As a result of the study of the aesthetic views of the writer, it is concluded that Tolstoy understood the role of art solely as a translation of feelings and a means of communication. The writer deprives art of its aura of mystery and does not recognize the latter as a source of aesthetic pleasure and spiritual enrichment. The article analyzes the worldview of the writer, reveals the influence on him of the experience acquired by Tolstoy in childhood and adolescence. Tolstoy's works of art and theoretical views are another example of the fact that the artist's worldview does not always coincide with his work.

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