scholarly journals SYNCRETISM OF THE SACRED IN ANNA BAGRYANA’S LYRICS

2021 ◽  
pp. 22-27
Author(s):  
Moskvych Yu.V.
Keyword(s):  
Human Life ◽  
Spiritual Values ◽  
Protective Function ◽  
A Value ◽  
Common Motif ◽  
New Meanings ◽  
Scientific Approach ◽  
The Aesthetic ◽  
The One ◽  
Historical Methods

The article presents an analysis of sacred syncretism as one of the leading motifs of the work of the modern Ukrainian writer Anna Bagryana. It is noted that the phenomenon of this transcendent phenomenon is interpreted by modern Ukrainian literature based on the aesthetic practices of postmodernism and traditionalism in culture.It is emphasized that Ukrainian poetry of the XXI century, having absorbed these opposite trends, uses them, on the one hand, to formalize the linguistic and communicative shell of the poem, on the other, to reflect the exclusivity of the national character, creating a type of new worldview not on differences, but on syncretism, the interpenetration of various trends, in which the whole diversity of the world is revealed.With the help of cultural, phenomenological, comparative-historical methods that study the philosophical perception of the sacred by the author, as well as using aesthetic, biographical approaches and psychoanalysis to understand the artistic world of her poems, the research has achieved its purpose: the eclectic nature of the sacred in the lyrics of Anna Bagryana is revealed.The article notes that, following the main trends of postmodernism, including the loss of the highest meaning of human life, reflection, relativism and internal confusion, the manner of presentation of the writer is also characterized by specific features: a certain theocentricity, religiosity, the desire to preserve spiritual values. In the conflict of these polarities, a synergistic transformation of the sacred matures, its so-called illogical form, characterized by the sublimity of the supernatural and at the same time its ordinariness.The results of the work are implemented tasks: the concept of the sacred in the poems of Anna Bagryana is clarified, its syncretism is revealed and the change in the aesthetics of the transcendent is reflected; the eclecticism of the feeling of the supernatural by the lyrical heroine is characterized; the protective function of the sacred in the artistic work of the poetess is analyzed. Conclusions. The sacred, which is a common motif of Anna Bagryana’s poetry, is perceived by her in the context of a scientific approach. This understanding implies a distinction between the human and otherworldly worlds. The traditional aesthetics of the sacred is based on beauty as a means of sensory-spiritual worldview, which led to the replacement of the material worldview with a value one. Postmodern stylistics reproduces the syncretism of the sacred, adding to its interpretation the illogical nature of used images, the search for new meanings, and internal expression. Recognizing the specifics of Ukrainian literature, which in modern social theory does not break with the achievements of previous eras, the writer retains the human-centered and imaginative richness of her lyrics.Key words: sacrum, eclecticism, postmodernism, tradition, symbolism. У статті подано аналіз синкретизму сакрального як одного із провідних мотивів творчості сучасної української письменниці Анни Багряної.Зазначено, що феномен цього трансцендентного явища сучасна українська література інтерпретує, виходячи з естетичних практик постмодернізму та традиціоналізму в культурі.Підкреслено, що українська поезія ХХІ ст., увібравши ці протилежні тенденції, послуговується ними, з одного боку, для оформлення мовно-комунікативної оболонки вірша, з іншого, щоб відобразити винятковість національного характеру, створюючи тип нового світовідчуття не на розбіжностях, а на синкретизмі, взаємопроникненні різних тенденцій, у якому розкри-вається вся багатоплановість світу.За допомогою культурологічного, феноменологічного, порівняльно-історичного методів, що досліджують філософське сприйняття сакрального авторкою, а також послуговуючись естетичним, біографічним підходами та психоаналізом для розуміння худож-нього світу її поезій, у розвідці досягнуто поставлену мету: розкрито еклектичну природу сакрального в ліриці Анни Багряної.У статті зауважено, що, наслідуючи основні тенденції постмодерну, серед яких втрата вищого сенсу життя людини, рефлексія, релятивізм і внутрішня розгубленість, манера викладу письменниці характеризується й специфічними рисами: певною теоцентричністю, релігійністю, прагненням зберегти духовні цінності. У конфлікті цих полярностей визріває синергетична трансформація сакрального, його т.зв. алогічна форма, що характеризується піднесеністю надприродного та водночас його буденністю.Результатами роботи є реалізовані завдання: з’ясовано поняття сакрального у віршах Анни Багряної, розкрито його синкретизм і відображено зміну естетики трансцендентного; схарактеризовано еклектику відчуття надприродного ліричною героїнею; проаналізовано захисну функцію сакрального в художній творчості поетеси.Висновки. Сакральне, яке є поширеним мотивом поезії Анни Багряної, сприймається нею в контексті наукового підходу. Таке розуміння передбачає розрізнення світу людського та потойбічного. Традиційна естетика сакрального ґрунтується на красі як засобі чуттєво-духовного світогляду, що спричинило заміну матеріального світосприйняття ціннісним. Постмодерна стилістика відтворює синкретизм сакрального, додаючи до його інтерпретації алогічність уживаних образів, пошук нових смислів, внутрішню експресію. Визнаючи специфіку української літератури, яка в сучасній соціальній теорії не пориває з надбаннями попередніх епох, письменниця зберігає антропоцентричність та образне багатство своєї лірики. Ключові слова: sacrum, еклектика, постмодерн, традиція,символізм.

scholarly journals MODERASI PEMIKIRAN HUKUM ISLAM IMAM SYAFI’I

2018 ◽  
Vol 9 (1) ◽  
pp. 175
Author(s):  
Abdul Haris Naim
Keyword(s):  
Human Life ◽  
Value System ◽  
A Value ◽  
Other Hand ◽  
Universal Truth ◽  
The One

Almost every life is always characterized by motion and dynamics.<br />Starting from the movement and dynamics of change and<br />development of thought with a variety of variants, always occur<br />continuously without knowing the limits. Likewise in religion, the<br />existence of a religion will be judged to have a function for a life, if<br />religion in practice opens a wide space for the demands of motion<br />and the dynamics of life as intended. The same thing happens also<br />in Islam, on the one hand it is considered a value system that is<br />able to provide guidance and direction for human life, but on the<br />other hand it requires dynamic space constructed from the basics<br />of norms that have the essence of universal truth, because in life<br />always requires constant movement and change from situation to<br />situation and from conditions to other conditions. <br /> <br /><br />

scholarly journals Activity of the T. Shevchenko Kharkov Theater in the coverage of theatrical criticism (the second half of the 1930s – 1940s)

2018 ◽  
Vol 51 (51) ◽  
pp. 84-101
Author(s):  
O.Yu. Dorofieieva
Keyword(s):  
Careful Analysis ◽  
Socialist Realism ◽  
Avant Garde ◽  
Literary Source ◽  
Wide Range ◽  
The Aesthetic ◽  
The One ◽  
Historical Methods ◽  
Theatrical Criticism ◽  
Stylistic Changes

Background. In the Ukrainian art history, the problems of theatre criticism and the interrelations between criticism and stage art until remain insufficiently studied. The article considers the activities of the T. Shevchenko Kharkov Theatre (until 1935 – the Theatre «Berezil») in the second half of the 1930s–1940s in the coverage of theatre criticism. Since 1933, the aesthetic course of this theatre had changed dramatically from avant-garde searches to socialist realism in connection with the defeat of the position of Les Kurbas and his dismissal from the theatre. This reversal of the creative course of the theatre becomes a subject of reflection in theatre criticism, which during this period also experienced fundamental transformations both in genre-style and in ideological aspects. Thus, the article analyzes the development of theatre criticism in the context of artistic phenomena of the second half of the 1930s–1940s. Objectives and methodology of the research. The objective of this study is to analyze the difficult period of stylistic changes in the T. Shevchenko Kharkov Theatre in the second half of the 1930s–1940s, that was at the stage of formation of socialist realism in the Ukrainian art, from the viewpoint of theatre criticism of that time. System-historical and comparative-historical methods were used in the study. The results of the study. On the basis of the press reports on the activities of the T. Shevchenko Kharkov Theatre the most important features and tendencies inherent in theatrical criticism of this period have been derived. The article deals with editions, in which during the period under study the materials about the T. Shevchenko Theatre appeared most often. These are, in particular, Kharkov newspapers «Krasnoye Znamia», «Sotsialisticheskaya Kharkovshchina», Kiev editions «Sovetskoye Iskusstvo», «Sovetskaya Ukraina», «Kievskaya Pravda», «Pravda Ukrainy», «Literatura i Iskusstvo», «Komsomolskaya Ukraina», «Proletarskaya Pravda», «Literaturnaya Gazeta». The articles about the tour performances of the T. Shevchenko Kharkov Theatre were published in the editions of other cities, including the newspapers «Bugskaya Zarya» (Nikolaev), «Dnepropetrovskaya Pravda», «Zarya» (Dnepropetrovsk), «Bolshevistskaya Pravda» (Vinnitsa), «Lvovskaya Pravda», «Svobodnaya Ukraina» (Lviv), «Voroshilovgradskaya Pravda» (Luhansk), «Moskovskiy Bolshevik», «Komsomolskaya Pravda», «Trud» (Moscow). Since 1933 the theatre had its own edition – «Berezilets», which in 1935 got a new, ideologically correct name – «Za Sotsialisticheskiy Realizm» («For Socialist Realism»). The article outlines the circle of authors who practiced the theatre criticism professionally. It should be noted that the activities of the T. Shevchenko Kharkov Theatre at that time was often described by journalists who published the notices occasionally. Among those who analyzed the theatrical process systematically, the most attention deserve the following critics: V. Morskoy, L. Livshits, B. Milyavsky, V. Chagovets, Y. Shovkoplyas, G. Gelfandbein, A. Gozenpud, V. Gavrilenko, A. Kostrov, A. Lein, D. Zaslavsky, Ya. Gan, Y. Pavlovsky. The critical notices by writers V. Sukhodolsky, Yu. Martych and L. Dmiterko have been considered separately as examples of a rather original glance at the performances and presence in the text of an expressive author’s style. During this period, under the pressure of strict ideological control over the art, quite stable canons of compiling notices were formed and took root, almost not allowing a critic to display his individuality. Among the features peculiar for the theatre criticism there were the uniformity of the titles of articles simply stating the play name, an extremely rare manifestation of specific position of the author regarding the stage work and transition to the level of figurative or conceptual understanding. The main matter of the analysis was rather the performance content, its subject, but not the means by which it is embodied; more attention was paid to the literary source, and not to the performance. In the first part of the notice, the play subject was usually explained from the standpoint of party ideology, often using the quotes from Soviet leaders’ speeches. Usually in a notice, the close attention was paid to acting and the actors performing the main roles. This peculiarity reflects disclosure of the new facets of talent of a number of actors of the T. Shevchenko Kharkov Theatre of that period. It should be noted that actor’s individuality of I. Maryanenko, V. Chistyakova, M. Krushelnitsky, L. Serdyuk and others was displayed more powerful than in «Berezil». Giving priority to an actor in theatre criticism to a certain extent levelled the producer’s role. At that time, the palette of stage producer’s means should not was to be going beyond strict aesthetic requirements. It was necessary to remain in the stylistic framework of a life-like presentation, when a producer was fully focused on the actors, and M. Krushelnitsky, L. Dubovik, R. Cherkashin and others did it skilfully. The best examples of theatre criticism contained careful analysis of originality of their production. A notice briefly described the scenography and sometimes the composer’s work. The final part contained a laconic conclusion. On the one hand, such a scheme of compiling notices impoverished the critic’s possibilities, his freedom in expressing thoughts, and on the other hand, it set a clear structure for presenting the material. In this period, as it has been at all times, the performance notices remained the most popular genre of theatre criticism. Portraits of actors were printed occasionally. Interviews were rather rare (usually with a producer). Conclusions. Theatre criticism of the second half of the 1930s–1940s existed in strict limits dictated by ideological reasons, because of which it only partially elucidated the stylistic changes that took place in the T. Shevchenko Kharkov Theatre in this period. For an objective analysis of the activities of the theatre, it is necessary to address to a wide range of sources, in particular the recollections of the direct participants of the then theatrical process that were published later, in period of ideological “thaw”.

Social Perception of Old Age in the Context of the Family Environment

2021 ◽  
Vol XVII ◽  
pp. 73-92
Author(s):  
Wojciech Piestrzyński ◽  
Dariusz Sarzała
Keyword(s):  
Older People ◽  
Old Age ◽  
Family Environment ◽  
Social Perception ◽  
Human Life ◽  
Young Generation ◽  
The Third ◽  
A Value ◽  
The Family ◽  
The One

Nowadays, geriatrics and gerontology are facing a great social chal-lenge. On the one hand, the age of human life is significantly extended, and on the other hand, families of people in the third age increasingly do not feel obliged to surround their Seniors with support and care. The life of older people, even in modern well-organized and affluent societies, is not free from threats related to their safety. Therefore, the question arises how to act so that people in old age feel satisfied with the fact that they were given to live to a ripe old age? However, taking adequate measures in this area and ensuring them the need for security in all psychosocial dimensions requires, above all, a deeper understanding of the society's attitude towards people of senior age. This study presents the results of research on attitudes towards old age, perception of the senior age as a value in the upbringing of the young generation, and the place and importance of older people in the family.

TEKNIK PENCUCIAN ALAT MAKAN, PERSONAL HYGIENE TERHADAP KONTAMINASI BAKTERI PADA ALAT MAKAN

2017 ◽  
Vol 2 (3) ◽  
pp. 376
Author(s):  
Rara Marisdayana ◽  
Putri Sahara Harahap ◽  
Hesty Yosefin
Keyword(s):  
Human Life ◽  
Food Contamination ◽  
Personal Hygiene ◽  
Cross Sectional ◽  
Food Processor ◽  
A Value ◽  
Body Tissues ◽  
Cross Sectional Design ◽  
Quota Sampling ◽  
The One

<p><em>The food is a important thing in the human life, because the food have fungtion give the power or energy in body, build the new body tissues. Opportunity happenstance of food contamination can happen at every preparation food step. The human factor or food processor has a big important influence in food preparation because the food processor can displace bacterio of E.coli to food and than the instruments as plate is the one of the important factor that can motivate spreading if deases.</em><em>T</em><em>his research was the quantitative with cross sectional design, that purpose to know relationship between personal hygiene and technique of washing plate toward contamination of bacteria on the plate that use by the food stall at Traditional Market of Angso Duo Jambi City. The technique of take sample with quota sampling as many as 30 food stalls and datum was tested by chi-sqaure test.</em><em> </em><em>The results of the analysis found no relationship between washing techniques and personal hygiene to the number of germs in the cutlery used by food vendors Angso Duo Market Jambi City with a value of 1,000 pp.</em><em></em></p>

scholarly journals THE IDEA OF THE POLYFUNCTIONAL ESSENCE OF ART AS A PROBLEM OF MODERN AESTHETICS

2021 ◽  
pp. 91-99
Author(s):  
G.G. Kolomiets ◽  
◽  
Ya.V. Parusimova ◽  
Keyword(s):  
Human Life ◽  
Cultural Knowledge ◽  
Point Of View ◽  
New Meanings ◽  
Phenomenological Methodology ◽  
History Of ◽  
Human World ◽  
The Aesthetic ◽  
Definition Of ◽  
Communicative Discourse

The appeal to the problem of polyfunctionality of art is caused by the modern post-postmodern situation in the field of philosophical and cultural knowledge, which raised the problem of understanding the essence of art and its existence. A stochastic state was revealed, an uncertainty in view of the transformations of art itself, following not only the footsteps of the changing world, but also anticipating civilizational shifts, guessing a lot of probabilities and possibilities in the cultural movement of humanity. In this regard, the article rethinks the problem of the polyfunctionality of art and puts forward the idea of the polyfunctionality of art in the problematic field of aesthetics. Art is considered by the authors from the point of view of phenomenology and axiology as an aesthetic way of being in the human world, as a valuable interaction of a person with the world, as a subject of constructing new meanings and meanings by the consciousness when meeting with art. The article asserts the polyfunctional essence of art, which, according to the authors, stems from the variety of interpretations of the concept of «art» in the history of aesthetic thought and modern discourse, due to the multidimensional nature of its manifestations in the human life world. After analyzing various approaches to the understanding of art, and following the phenomenological methodology, as well as the ontological method and axiological approach, the authors came to the conclusion that definitions do not answer the question «what is art?», they rather say «what is art for?». In other words, it is not «what is» that is defined, but «what it means». It is noted that the leading functions recognized in aesthetics, such as aesthetic, communicative, harmonizing, transforming, are predominant at certain stages of culture, but they are separate functions of art that do not exhaust the fullness of the multifunctional essence, the ideological integrity of art in culture. It is pointed out that at the present stage, the features of openness, isolation, and «atomicity» of the communicative discourse are becoming more and more acute, leading to a change in the models of art functions, determining the problematic nature of the aesthetic «super-function» of art in the promotion of civilizational and cultural space. The idea of the polyfunctional essence of art presupposes a specific form of mental development of the polyfunctionality of art, is the principle of explaining the existence of art and includes the process of further searching for the definition of art on the basis of its multi-valued existence in culture.

scholarly journals Poetry as a “Sanctuary” Amidst Barbed Wire: The Dialogue of Symbols

2020 ◽  
Vol 9 (2) ◽  
pp. 24-33
Author(s):  
Daniel Magdalen
Keyword(s):  
Human Condition ◽  
Communist Regime ◽  
Trauma Studies ◽  
Collective Memories ◽  
Former Prisoners ◽  
New Meanings ◽  
Memory And Trauma ◽  
Life Threatening ◽  
The Aesthetic ◽  
The One

With the 1990s, after the communist regime collapsed in Romania, the reading public could see the rapidly increasing publication of poetry composed by former prisoners of conscience. Still, to this day, such works have remained a somewhat peripheral concern of literary critics and the society alike. These writings, nevertheless, have a lot to offer in terms of meanings, beyond the aesthetic plane, in gaining further insight into the human condition and creativity amid traumatic circumstances. One may find studies about Romanian prison poetry, on the one hand, describing the abusive political power as well as victims’ resistance to it and, on the other, identifying elements of collective memories transmitted through literary discourse. However, the unique ways in which these texts have been able to help their authors maintain their moral values and identity have not undergone a thorough exploration. This article aims to offer a glimpse into this very issue and emphasise its relevance to literary, memory and trauma studies. This brief analysis hermeneutically approaches the poetry created by Bishop Ioan Ploscaru during his ideologicallymotivated incarceration. More specifically, it focuses on how, amid the dynamics between the poetic act and the prisoner’s mental state, his “rhymed reflections” gain the qualities of a ‘memory sanctuary’. This notion derives from that of symbolic “sites of memory” and relates to processes of remembering, contemplating and seeking protection. In their original, unwritten state, Ioan Ploscaru’s poems - later featured in the volume Cruci de gratii (Crosses of Prison Grates) - evoke an inner space of representation, where detention experiences get invested with new meanings. In the circumstances of life-threatening abuses, these verses illustrate how the mental (re)composing of personal poems works towards achieving the survival of conscience.

Conceptual and Aesthetic Dimensions of an ECG/RESP Sensor Artwork

Leonardo ◽  
2017 ◽  
Vol 50 (1) ◽  
pp. 68-69 ◽  
Author(s):  
Yi-Huei Chen ◽  
Wen-Shu Lai
Keyword(s):  
Optical Fibers ◽  
Human Life ◽  
The Body ◽  
New Meanings ◽  
The World ◽  
The Aesthetic ◽  
Inside Out

This article aims to explore an innovative application pairing optical fibers with an electrocardiography (ECG)/respiration (RESP) sensor in art. The constructed interactive work Clock Inside Out not only reflects multifaceted human life but also coexists with the body in the world. Thus, the body is extended to take on a technological character and portrayed as a heteromerous embodiment. Following an analysis of the artwork, the article elaborates on the aesthetic and corporeal phenomena arising from it and concludes with the new meanings and implications carried by the artwork.

scholarly journals Contemporary world and the crisis of spiritual values

2003 ◽  
pp. 107-116
Author(s):  
Mirko Zurovac
Keyword(s):  
Subjective Experience ◽  
Technological Development ◽  
Human Life ◽  
Visual Media ◽  
Spiritual Values ◽  
Contemporary World ◽  
Human Power ◽  
Production And Consumption ◽  
The Aesthetic ◽  
The Way

The crisis of contemporary art is a paradigmatic example of the crisis of spiritual values in today's world. The main cause of this crisis, it is argued, lies in the spirit of modern sciences. These do not find their object as a ready given, but rather determine it themselves, from their own standpoint, and thus basically produce it. Due to enormous technological development, modern civilization has turned the whole world into the Eleatic One. In materializing the uniform spirit of technology in our world the role of the new audio-visual media: cinema, radio, television, video and the internet, has been crucial. Technology has become a powerful instrument of modern power: it has enabled a concentration of power in the hands of technical, cultural and political administration, as well as automatically expanding mass production and consumption, and finally subordination of people to methodic education, control and manipulation. These are main features of the spirit of the contemporary technical civilization where technology is not understood as something technical but rather as a mode of existence, connected with science and industry. By changing the way in which human life is lived, and the way in which human community is ordered, the purpose and perception of the work of art has also changed. Beauty is not taken to be a result of subjective experience and something belonging to the object as such. The sphere of the aesthetic has become the ground for manifesting relativism and subjectivism in various forms. With the development of knowledge and human power, the contemporary world has begun to sink into nihilism, losing a sense for anything bearing the stamp of individuality. In such a world, everything, including the sphere of spiritual values, is reduced merely to what is useful and efficient. .

scholarly journals ЕТИКА СПІВ-БУТТЄВОСТІ: УНІВЕРСАЛІЇ І МЕХАНІЗМИ БУТТЯ-РАЗОМ

2020 ◽  
pp. 56-65
Author(s):  
Юлія Бродецька
Keyword(s):  
Common Good ◽  
Human Life ◽  
The Other ◽  
Special Role ◽  
Human Being ◽  
Spiritual Values ◽  
The Common Good ◽  
The Common ◽  
The One ◽  
The Individual

The article focuses on the ontological aspects of the being ethics. Ethical knowledge as the fundamental mechanism for the reproduction of human being-together is implemented in universals such as values, norms, and customs. These structural elements of ethics, therefore, are responsible for the reproduction and translation of the coherence mechanisms of human co-existence both at the individual and social levels.It has been revealed that among all ethical universals, each element is focused on its functional predetermination. However, it is values that play a special role in the formation of human co-existence and the realization of the spiritual potential of the individual as well. In its historical perspective, the problem of values is formulated in the framework of the ancient tradition as the “philosophy of values” (axiology). A “philosophy of values” or ethics arises as a doctrine of good manners, that is, mechanisms and methods of forming a harmonious social personality and harmonious social relations.Socrates, like Plato, equates value with good. Good, in turn, is correlated by philosophers with the knowledge that forms our virtues. Therefore, the main thing for a person, according to most ancient philosophers, is the spiritual state of a person, his virtues, which are the essence of the human happiness condition. In this regard, the good cannot be defined as pleasure, because there are bad pleasures. One cannot call good that only benefits, because the same can harm another person. Good is what improves the inner nature of human.The sacred nature of value, its relation to transcendental being indicates that this phenomenon is a carrier of meanings. Meanings, essence, truth is that which fills, directs and organizes human being-together. Therefore, on the one hand, the ontological purpose of value is to fill a person with meanings, and thus, on the other hand, to form his involvement in co-existence, the common good. This task of values reflects their nature, in which these ethical universals (values-benefits, values-goals, self-worth), on the one hand, reveal the nature of the ontology of being (and this is its difference from non-existence), and on the other, reflect the existential potential of a person. It is about spiritual values.The mystery of this ethical element is that the nature of spiritual values, their assimilation and development exclude any manifestation of consumerism, appropriation, selfishness. Good cannot be only for me, cannot be personal, useful, cannot be relative. Good cannot be manipulated, cannot be used. Therefore, reflecting the essence, meaning, goals of human life, spiritual values cannot be a means of evaluation, that is, an instrument for achieving lofty goals. Value and appreciation is a binary opposition that reflects the pole aspects of life and existence. Otherwise, it is no longer a question of good, but of its simulations, which lead to the predominance and prosperity of evil - their own mercantile interests, goals, selfish aspirations, and hence the suffering of others.Spiritual values need internalization of their experience. Therefore, the way to reach the values-goals can only be an intuitive immersion (in meaning, essence), unity and involvement in this experience. As a result, there is a feeling of inner fullness, realization, happiness. So, it is in this immersion, acceptance, completeness, that our personal experience of harmonious being is laid, together, an order is formed that determines the contribution of each of us in realizing the value of the common good, being We. Thus, reflecting the meaning, goals of human existence, spiritual values cannot be means of human life, creativity, realization, that is, an assessment tool. Their metaphysical purpose requires going beyond pragmatic perception, liberation from the consumer desire to colonize the world around me.

scholarly journals "Ultimate Skepsis": Nietzsche on Truth as a Regime of Interpretation

PhaenEx ◽  
2016 ◽  
Vol 11 (2) ◽  
pp. 70-87
Author(s):  
PATRICK WOTLING
Keyword(s):  
English Translation ◽  
Human Life ◽  
The Other ◽  
Close Reading ◽  
Correct Interpretation ◽  
Human Flourishing ◽  
Free Spirit ◽  
Logical Frameworks ◽  
A Value ◽  
The One

PresentationThis article is the first English translation of French scholar Patrick Wotling’s extensive research on Nietzsche. In order to understand Nietzsche’s work, Patrick Wotling follows closely Nietzsche’s well-known injunction to his readers: “learn to read me well!” Hence, he seeks to do a close reading of Nietzsche’s texts, which often resemble a seemingly random juxtaposition of ideas, looking for signs that allow the reader to follow Nietzsche’s thought and weave together a correct interpretation. In so doing it is imperative to reject any reading based on an interpretive framework that is not found in the text itself. This approach is tied to the specificity of Nietzsche’s work in that unlike philosophers before him, he does not hold the pursuit of truth to be the genuine goal of philosophy, and therefore does not write traditional systematic treatises. It is thus necessary to use this close reading approach to reveal the new patterns of thought that Nietzsche uses in place of traditional logical frameworks. Using this method, P. Wotling contends that Nietzsche’s thinking is organized along two tightly bound lines: on the one hand there is a genealogical inquiry, which consists of identifying and evaluating the value of values, and on the other hand there is a concern for the cultivation, or breeding (Züchtung) of human life, which aims at putting in place certain values with the goal of elevating humanity and creating human flourishing. The second goal implies the first, meaning that before knowing what values should be instituted, it is necessary to establish the hierarchy of values, in order to identify which ones are the most useful for the cultivation and enrichment of humanity.  AbstractWhat are Nietzsche’s reasons for criticizing truth? How far does such criticism extend, and how does Nietzsche understand the consequences of his position as regards the philosophical praxis? The discovery of a radical opposition between truth and thought shows that being irrefutable cannot be assimilated to being true, and, at the same time, that truth is interpretation. On closer scrutiny, it appears to be not an essence, but a value, that is to say a type of error that has become essential for the continuation of our life, linked to a long process of physical-psychological absorption, and now productive of a deceptive feeling of necessity. As a consequence, philosophy cannot be equated with the pursuit of truth any longer: first, because, as a free spirit, the genuine philosopher is to be thought of as a lover of riddles, shaped on Epicurus’ pattern rather than on Plato’s; and more importantly, because the philosopher’s real aim is to investigate the value of all particular values (including “truth”) for the development of human life, and, in accordance, to create and impose new “truths.”

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