scholarly journals НАДЦІННІСТЬ ЗЛА ТА ЙОГО ОНТОЛОГІЧНІ ВИМІРИ У ФІЛОСОФІЇ Ж. БАТАЯ

Author(s):  
Савонова Ганна Іванівна

Aspects of evil are revealed as the aesthetic inspiration of art, mainly of literature, and of the natural necessity of the existence of evil as the basic plane of being. It is explored the idea of death as a manifestation of evil and the need for death to develop life. G. Bataille discloses the philosophy of death through a system of sacrifice of the best achievement in accordance with the religious beliefs of ancient peoples. The Christian model of rejecting the death of an innocent victim and the Protestant ethic of accumulating wealth are defined by the philosopher as an unnatural phenomenon and a threat to life. It is stated that man perceives death through the prism of exclusively evil and, unlike an animal, scrolls death through the process of knowing good and evil. Attention is paid to identifying evil as the primary need for good. The question of suffering, the creator of which the philosopher defines God, is explored. In the same context, the essence of God is revealed as well as the role of the Devil in becoming God as the absolute of good. Evidence has been shown to be a necessary value that promotes communion with God.

2019 ◽  
Vol 22 (9-10) ◽  
pp. 29-36
Author(s):  
Г. І. Савонова

The article examines the role of value conglomerate currents in sections of willing machines inthe philosophy of G. Deleuze and F. Guattari. The movement and current of value conglomeratesthrough the person turned away from God is refined and formed. Accordingly, the essence of theconcepts introduced by the philosophers of the «wanting machine» and «body without organs»is clarified. It is noted that the specificity of the terminological apparatus of the collaborationof philosophers is built on the defined ontological plane of diversity and the dichotomouscontradiction of mental and schizoid judgments, where meaning loses the usual forms of logicand is replaced by singularities. The dichotomy of singularities was developed by G. Deleuzein the treatise «The Logic of Meaning», during the study of planes of meaning in the worksof L. Carroll. It is established that the desiring machine becomes the presentation of the basiccomponent of the person - as an organism, mental thinking and unconscious consumption. Havingthe constituent organs of activity, a person is unconsciously formed into a willing machine, thatis, a person moves at will, which is modeled in his instructions for using his own organism. It isnoted that the machine that desires is not just a symbiosis of spare parts, which can be noticed inthe philosophy of G. Deleuze and F. Guattari in the first place, but is a machine that constantlydesires, even when something sucks in itself. Desire pushes the machine to interconnect withother machines, so it becomes a slave of its own desires, and the range of these desires expandsand then narrows like a pendulum oscillation. The desires themselves are irresistible, so someof them are controlled by capitalism and psychiatry through the structure of a society of control,digitization and detritorialization. It is the machines that desire to do everything by the body, butit causes the body to suffer, because the body is already a concept of docking, levers, standards ofconnection, moral regulators of the superconscious. It is determined that the body without organscomes into conflict with the wanting machine, because the body searches for the cause of sufferingin the presence of organs, and therefore removes them, becomes sterile. However, philosopherspoint to the constant repetition of motions not only of the desiring machine, but also of the bodywithout organs: decipherment returns to digitization, the body being filled by the organs of desire.The processes of constant return are deteritized by capitalism. Value conglomerates themselvescombine into the horrible twin of God and the devil, good and evil. The minority replaces themajority. An example of the metamorphosis of a minority homosexual into the majority of LGBTpeople is given. It is stated that the most valuable conglomerates are embedded in the ontologicalmetamorphosis, not in the dualism of the pairs of good and evil. The values themselves are definedas the lines of cutting a person through the pendulum movements of the jacket of good and evil,and therefore, as such, they are not internal to the wanting machine. The model of movement ofthe flows of value conglomerates, which is represented as a continuous cutting of the lines of thegood and evil desires of passive thinking machines, driven into the judgment of the social systemby the method of psychoanalytic compulsion, is defined. In this model, the face of God is alwaysturned away from man, and the desire of man crosses God as if sewing him to his own judgment.


2020 ◽  
Vol 22 (11) ◽  
pp. 20-24
Author(s):  
Ponomareva L.I. ◽  
Gan N.Yu. ◽  
Obukhova K.A.

In the presented study, the authors raise the question of the need to include in the educational process of a preschool institution to familiarize children with some philosophical categories. The educational system in which the child is included, starting from preschool childhood, provides him with the opportunity to gradually and continuously enter the knowledge of the world around him. It is in preschool childhood that the child is exposed to various relationships, values of culture and health, diverse patterns in the field of different knowledge. This contributes to a broader interaction of the preschooler with the world around him, which, in turn, ensures the assimilation not of disparate ideas about objects and phenomena, but their natural integration and interpenetration, which means understanding the integrity of the picture of the world. The authors prove the idea that the assimilation of philosophical categories by children contributes to the understanding of the structure of the surrounding world. The analysis of research is presented, proving that children's fiction in an understandable and accessible language, life examples and vivid images is able to explain to children the laws of the functioning of nature and society, as well as to reveal the world of human relations and feelings. Fiction surrounds the child from the first years of his life. It is she who contributes to the development of thinking and imagination, enriches the sensory world, provides role models and teaches you to find a way out in different situations. Philosophical categories such as "love and friendship", "beautiful and ugly", "good and evil" are represented in children's literature very widely, and the efficiency of mastering philosophical categories depends on the skill of an adult in conveying the content of a work, on correctly placed accents.


2014 ◽  
Vol 59 (1) ◽  
pp. 105-140 ◽  
Author(s):  
Alessandro Bertinetto

Die Hauptfrage, die ich in diesem Aufsatz diskutieren will, ist die folgende: Welche sind die ästhetisch-normativen Voraussetzungen für das richtige Verständnis und die richtige Evaluation von Jazz? Meine These lautet: Die Jazzästhetik ist eine Ästhetik der gelungenen Performanz. Sie ist nicht eine Ästhetik der Unvollkommenheit. Ich werde meine Argumentation in die folgenden Abschnitte gliedern. Nach der Einleitung (I.) wird in Abschnitt II. die ›These der Unvollkommenheit‹ dargestellt und in III. werden anschließend einige Argumente dagegen diskutiert. In den Abschnitten IV. und V. werden die für die Jazzästhetik wichtige Frage nach dem »Fehler« und das entscheidende Thema der Normativität untersucht. Dazu werde ich geltend machen, dass die ›These der Unvollkommenheit‹ insbesondere deswegen unbefriedigend ist, weil sie die spezifische Normativität von Jazz als Improvisationskunst missversteht. In Abschnitt VI. wird schließlich erklärt, in welchem Sinne von einer Normativität der gelungenen Performanz die Rede sein kann und warum dies für unser Verständnis von Jazz bedeutend ist. Abschließend (VII.) wird diese Idee gegen mögliche Einwände verteidigt.<br><br>In this paper I aim at discussing the aesthetic-normative conditions for the right understanding and the right evaluation of jazz. My main point is this: The aesthetics of jazz is an aesthetics of the successful performance, rather than an aesthetics of imperfection. The paper will be structured as follows. SectionI introduces the topic. SectionII presents the ›imperfection thesis‹, while III discusses some arguments against it. Sections IV and V investigate two related questions: the first is about the role of the »mistake« in jazz; the second concerns the crucial topic of normativity. At this regard I will maintain that the ›imperfection thesis‹ does not work, especially because it misunderstands the specific normativity of jazz as improvisational art. Section VI is devoted to clarifying both in which sense the idea of a normativity of the successful performance is sound and why this idea is important for understanding jazz. Finally (VII) I defend this view against possible objections.


2020 ◽  
Author(s):  
Francesco Rigoli

Research has shown that stress impacts on people’s religious beliefs. However, several aspects of this effect remain poorly understood, for example regarding the role of prior religiosity and stress-induced anxiety. This paper explores these aspects in the context of the recent coronavirus emergency. The latter has impacted dramatically on many people’s well-being; hence it can be considered a highly stressful event. Through online questionnaires administered to UK and USA citizens professing either Christian faith or no religion, this paper examines the impact of the coronavirus crisis upon common people’s religious beliefs. We found that, following the coronavirus emergency, strong believers reported higher confidence in their religious beliefs while non-believers reported increased scepticism towards religion. Moreover, for strong believers, higher anxiety elicited by the coronavirus threat was associated with increased strengthening of religious beliefs. Conversely, for non-believers, higher anxiety elicited by the coronavirus thereat was associated with increased scepticism towards religious beliefs. These observations are consistent with the notion that stress-induced anxiety enhances support for the ideology already embraced before a stressful event occurs. This study sheds light on the psychological and cultural implications of the coronavirus crisis, which represents one of the most serious health emergencies in recent times.


2019 ◽  
Vol 29 (1) ◽  
pp. 189-202

The article advances a hypothesis about the composition of Michel de Montaigne’s Essays. Specialists in the intellectual history of the Renaissance have long considered the relationship among Montaigne’s thematically heterogeneous thoughts, which unfold unpredictably and often seen to contradict each other. The waywardness of those reflections over the years was a way for Montaigne to construct a self-portrait. Spontaneity of thought is the essence of the person depicted and an experimental literary technique that was unprecedented in its time and has still not been surpassed. Montaigne often writes about freedom of reflection and regards it as an extremely important topic. There have been many attempts to interpret the haphazardness of the Essays as the guiding principle in their composition. According to one such interpretation, the spontaneous digressions and readiness to take up very different philosophical notions is a form of of varietas and distinguo, which Montaigne understood in the context of Renaissance philosophy. Another interpretation argues that the Essays employ the rhetorical techniques of Renaissance legal commentary. A third opinion regards the Essays as an example of sprezzatura, a calculated negligence that calls attention to the aesthetic character of Montaigne’s writing. The author of the article argues for a different interpretation that is based on the concept of idleness to which Montaigne assigned great significance. He had a keen appreciation of the role of otium in the culture of ancient Rome and regarded leisure as an inner spiritual quest for self-knowledge. According to Montaigne, idleness permits self-directedness, and it is an ideal form in which to practice the freedom of thought that brings about consistency in writing, living and reality, in all of which Montaigne finds one general property - complete inconstancy. Socratic self-knowledge, a skepticism derived from Pyrrho of Elis and Sextus Empiricus, and a rejection of the conventions of traditional rhetoric that was similar to Seneca’s critique of it were all brought to bear on the concept of idleness and made Montaigne’s intellectual and literary experimentation in the Essays possible.


Author(s):  
Don Garrett

This chapter analyzes Spinoza’s ethical theory in the context of his philosophical naturalism, his doctrine that the actual essence of each thing is its striving for self-preservation (conatus), and his psychology of the emotions as it concerns both “bondage to the passions” and the active emotions such as intellectual joy. It explains how Spinoza’s ethical precepts are expressed chiefly through demonstrated propositions about good and evil, virtue, the guidance of reason, and “the free man.” Particular attention is given to questions about (1) the meaning of ethical language, (2) the nature of the good, (3) the practicality of reason, (4) the role of virtuous character, (5) the requirements for freedom and moral responsibility (especially in light of his necessitarianism), and (6) the possibility and moral significance of altruism. The chapter concludes by briefly assessing the significance of Spinoza’s ethical theory and its place in the history of ethics.


Author(s):  
Bart Vandenabeele

Schopenhauer explores the paradoxical nature of the aesthetic experience of the sublime in a richer way than his predecessors did by rightfully emphasizing the prominent role of the aesthetic object and the ultimately affirmative character of the pleasurable experience it offers. Unlike Kant, Schopenhauer’s doctrine of the sublime does not appeal to the superiority of human reason over nature but affirms the ultimately “superhuman” unity of the world, of which the human being is merely a puny fragment. The author focuses on Schopenhauer’s treatment of the experience of the sublime in nature and argues that Schopenhauer makes two distinct attempts to resolve the paradox of the sublime and that Schopenhauer’s second attempt, which has been neglected in the literature, establishes the sublime as a viable aesthetic concept with profound significance.


2020 ◽  
Vol 71 (1) ◽  
pp. 130-168
Author(s):  
Kirsten Dickhaut

AbstractThe machine theatre in France achieves its peak in the second half of the seventeenth century. It is the construction of machines that permits the adequate representation of the third dimension on stage. This optical illusion is created by flying characters, as heroes, gods, or demons moving horizontally and vertically. The enumeration indicates that only characters possessing either ethically exemplary character traits or incorporating sin are allowed to fly. Therefore, the third dimension indicates bienséance – or its opposite. According to this, the following thesis is deduced: The machine theatre illustrates via aesthetic concerns characterising its third dimension an ethic foundation. Ethic and aesthetics determine each other in the context of both, decorum and in theatre practice. In order to prove this thesis three steps are taken. First of all, the machine theatre’s relationship to imitation and creation is explored. Second, the stage design, representing the aesthetic benefits of the machines in service of the third dimension, are explained. Finally, the concrete example of Pierre Corneille’s Andromède is analysed by pointing out the role of Pegasus and Perseus.


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