scholarly journals Theory of communication in the space of philosophy and scientific thought as a determinant of the analysis of R. Wagner’s creative process

2019 ◽  
Vol 16 (16) ◽  
pp. 52-76
Author(s):  
Oksana Shapoval
Keyword(s):  
Creative Process ◽  
Creative Work ◽  
Philosophical Reflection ◽  
Philosophical Foundations ◽  
New Meanings ◽  
The World ◽  
Self Knowledge ◽  
Opera House ◽  
Conceptual Foundations ◽  
German Composer

Background. The knowledge about R. Wagner has now acquired the status of a significant component of not only music, but also philosophy, cultural studies, literary studies, and in studies the authors address to the intonation-conceptual and philosophical foundations of the artistic concepts of the German composer. Such universality has a basis in the substantial depths of Wagner’ works, which are the embodiment of myth-making, the conceptual ideas of Gesamtkunstwerk and Kunstreligion. Objectives. The purpose of the research is to determine the scientific basis for the implementation of the theory of communication as determinants of the analysis of the creative process by R. Wagner through the prism of the heuristic quest of the genius composer and the inclusion of his achievements in the continuum of culture. Methods. In knowledge about R. Wagner methodological importance have the works of the famous scientist M. Cherkashyna-Gubarenko. The researcher examines the conceptual foundations of R. Wagner’s work: finds the influence of the German composer on the artistic formation of S. Prokofiev, reveals in the works by R. Wagner evangelical motifs, the Faustian model, which is a reflection of the archetypes, the problem of the embodiment of his works in the Opera house of today. Significant representative of knowledge about R. Wagner, the author of the doctoral thesis, the focus of which is the Opera the «Flying Dutchman» is E. Roschenko. Analyzing the embodiment of mythology in the musical art, scientist addressed to the conceptual foundations of the artistic practice of the great mythmaker R. Wagner. Great importance in the understanding of cognitive and communicative activity of Wagner plays familiarization with his euristic quest, which was carried out through the study of the music and book editions. Materials about the libraries of Wagner transferred to the archive of the Kharkiv Wagner society by M. Eger in the form of manuscript. The results of his research contribute to the expansion of ideas about Wagner’s universalism, which, in turn, allows us to hunting the principle of the composer – Gesamtkunstwerk – as not only a union of music, poetry and dance, but comprehensive intellectual and spiritual synthesis. Results. In science, there are many approaches to the study of communication. This publication highlights the scientific provisions that are methodologically important in the study of the process of communicative and creative process of the artist. The roots of the theory of communication reach antiquity. Therefore, first of all addressing to them, correlating philosophical reflections of ancient Greek thinkers with scientific and philosophical thought regarding the understanding of these processes in subsequent eras from the perspective of the chosen discourse of the proposed research. The dialectical method of Socrates, justified by Plato, involves the acquisition of true knowledge through reasoning in the form of questions and answers that can be carried out in conversation with the interlocutor or with yourself, in the process of knowledge or self-knowledge. R. Wagner was reflectional artist, a sage who came to know themselves in unity with the being of the world, the idea is constantly addressing the question of the meaning of human existence and finding it on various options of response. The metaplot of his works delineates reflections on the imperfection of mortal existence, eternal desire for freedom and immortality. R. Wagner’s reflections are related to philosophical reasons of thinkers, but they are expressed in terms of the artistic concept of the work, where the composer reveals his own philosophical beliefs, placing the characters in the realities of ontological reality. Therefore, we can conclude that the infinite knowledge and self-knowledge of the German master is expressed in the form of artistic and philosophical reflection. Wagner’s creative work gradually reveals its depths through its inclusion in the public consciousness, where it finds a lot of interpretative readings; carried out by directors and performers, music lovers and opera audience, reviewers and researchers. The texts of the works of the German genius are in the focus of the interpreters active attention in the conditions of the modern Director’s Opera house, where they appear as an initial source, prompting the search and actualization of deep meanings, which is facilitated by the artistic and conceptual content of these works. Creativity of R. Wagner is included in the communicative and creative process, which is carried out in a dialogue in the big time (concept by M. Bakhtin). In turn, the German genius acted in this process not only as a communicator, but also as a comunicant, as evidenced, in particular, by the reflection recorded on the pages of his publications (an appeal to humanity and at the same time an imaginary conversation with outstanding personalities of the past and present). Conclusions. Consideration of R. Wagner’s creative work and thought through the prism of artistic and philosophical reflection, allows us to interpret dialogue as an endless search for truth, which takes its multiplicity, despite the composer’s desire to find episteme knowledge. Texts by R. Wagner are the embodiment of the author’s picture of the world, which reflects the conceptual ideas of the composer, included in the dialogue in the big time. The tracking of the semantic content of a literary text often generates new meanings, since this process is subjective, which bears the imprint of the interpretation’s perception. In the creative work of R. Wagner, there is an operation with symbols that means by composer as a «significant game», during which there is a comprehension of archetypal information and the generation on its basis of new meanings that arise as a result of knowledge through myth. The author sees the prospect of further research in the present consideration of R. Wagner’s creative work from the standpoint of the theory of communication, covering the level of social existence of the composer and onto-communication in his operas – display of ontological processes of the Universe.

Transcendence

2018 ◽  
Author(s):  
Merold Westphal
Keyword(s):  
Speech Acts ◽  
Religious Life ◽  
Frames Of Reference ◽  
Human Consciousness ◽  
Directed Attention ◽  
Philosophical Concept ◽  
Philosophical Reflection ◽  
The World ◽  
Divine Transcendence ◽  
Self Knowledge

The concept of transcendence has its primary home in philosophical theology. Drawing on symbols of height that are widespread in prereflective religious life, it suggests that God or the gods are above and beyond the worlds of nature and history and thus above and beyond ourselves as individuals and communities. In philosophical reflection the spatial metaphors are translated into the concept of difference or alterity. Thus, as Rudolf Otto puts it, the holy is that which is ‘wholly other’. We can distinguish three modes of divine transcendence. Cosmological transcendence, by which theism is distinguished from pantheism, signifies that, while there cannot be the world without God, there can be God without the world. The world does not emanate from God out of necessity; creation is a free act of purposive choice. Epistemic transcendence signifies that God is mysterious and incomprehensible, in two ways. First, God’s being exceeds our ability to bring it without remainder into our conceptual and linguistic frames of reference. Second, God’s knowledge of the worlds of nature and history and thus of ourselves as individuals and communities is qualitatively superior to our own knowledge and self-knowledge. Ethical-religious transcendence signifies that God’s transcendence is that of a person who sees us and speaks to us in a voice not our own. The prereflective background here is the biblical experience of covenant in which the speech acts by which God defines our identity and agenda are promises and commands. The philosophical concept correlative to this experience is that of inverted intentionality. Human consciousness is not just its own directed attention to whatever ‘objects’ it can perceive, think, remember, imagine, desire and so forth. In addition, we are aware of being addressed by a voice not our own and called to a vocation we did not initiate. We can welcome this calling as a divine gift or defend against it as a threat to freedom and autonomy.

Method emerging: a statement of poetics for a project-based PhD

2014 ◽  
Vol 14 (2) ◽  
pp. 134-149
Author(s):  
Mark Lyall
Keyword(s):  
Design Methodology ◽  
Integrated Approach ◽  
Theory And Practice ◽  
Creative Work ◽  
Creative Arts ◽  
Content Type ◽  
The World ◽  
Self Knowledge ◽  
Initial Choice

Purpose – The purpose of this paper is to give an account of the methods used for the author's project-based doctoral thesis, Hatred and History. The methodology is offered not as an exemplar, but rather as a case study of an integrated approach where exegesis and creative work are conceived as intertwining explorations of the same research materials. Design/methodology/approach – Hatred and History creatively explores the idea that science and intuition frame our experience of the world in distinct ways, and is expressed across an audio production and a written exegesis. The dyad of scientific and intuitive knowledge is embedded deeply within the production, from the initial choice of subject through the structuring and writing of the script to the techniques employed to write the music. This paper traces the transformation of the dyad from academic construct to creative construct, and should therefore be considered a statement of poetics. Findings – The creative exploration of science and intuition encouraged me to consider the “double articulation” of theory and practice, where poetics ceases to be merely a theory of rhetorical design and is assimilated into a theory of self-knowledge. Originality/value – This paper is offered in the hope that it will be of value to commencing PhD candidates in the creative arts who must navigate the waters between exegesis and creative output for themselves.

scholarly journals Contemporary art in the development of a gifted child’s art-aesthetic thesaurus

2020 ◽  
Vol 9 (4) ◽  
pp. 301-306
Author(s):  
Larisa Yurievna Kalinina ◽  
Dmitry Viktorovich Ivanov ◽  
Nikolay Aleksandrovich Nikitin
Keyword(s):  
Contemporary Art ◽  
Creative Process ◽  
Semantic Space ◽  
Educational Environment ◽  
Fundamental Difference ◽  
Body Of Knowledge ◽  
New Meanings ◽  
The World ◽  
Adults And Children ◽  
Contemporary Author

The authors substantiate the expediency of referring to the forms and artistic means of contemporary art as integrating mechanisms of the semantic space common to adult authors and children who are passionate about creativity. According to the most important understanding of childhood in the thesaurus approach according to Val.A. Lukov, the preserved past in its correlation with the peculiarities of the childrens subculture, the idea of matching the spontaneous creative actions of the child and the well-thought-out creative method of modern authors who seek to show the creative process itself is justified. The contradiction between the fundamental difference of the adults and children thinking models disappears when the child in the game acts on behalf of the Contemporary Author, showing his talent as actions to structure the fruitful disorder of an unfamiliar educational environment. The thesaurus helps to discover new meanings an accumulated body of knowledge about the world and how it is reflected in art products, sufficient for orientation in this environment. Taking into account the complex effects of the digital age on the child from the real and virtual subspaces, the presence in his thesaurus of contemporary art concepts, embodied in words, visual and musical images, it will contribute to a bright, obvious manifestation of giftedness at the age of 67 years.

ON EVALUATION OF THE ROLE OF THERMAL AND WIND FACTORS FOR A PHYSICAL MODEL OF THE WORLD OCEAN GENERAL CIRCULATION SYSTEM

2019 ◽  
Vol 47 (3) ◽  
pp. 80-91
Author(s):  
V. G. Neiman
Keyword(s):  
Physical Model ◽  
Ocean Circulation ◽  
General Circulation ◽  
World Ocean ◽  
Circulation System ◽  
The Public ◽  
The World ◽  
Almost All ◽  
Conceptual Foundations

The main content of the work consists of certain systematization and addition of longexisting, but eventually deformed and partly lost qualitative ideas about the role of thermal and wind factors that determine the physical mechanism of the World Ocean’s General Circulation System (OGCS). It is noted that the conceptual foundations of the theory of the OGCS in one form or another are contained in the works of many well-known hydrophysicists of the last century, but the aggregate, logically coherent description of the key factors determining the physical model of the OGCS in the public literature is not so easy to find. An attempt is made to clarify and concretize some general ideas about the two key blocks that form the basis of an adequate physical model of the system of oceanic water masses motion in a climatic scale. Attention is drawn to the fact that when analyzing the OGCS it is necessary to take into account not only immediate but also indirect effects of thermal and wind factors on the ocean surface. In conclusion, it is noted that, in the end, by the uneven flow of heat to the surface of the ocean can be explained the nature of both external and almost all internal factors, in one way or another contributing to the excitation of the general, or climatic, ocean circulation.

Interpretation of Nonsense as a Method of Children Imagination Development (as exemplified in Carroll L. «Through the Looking-Glass and What Alice Found There»)

2020 ◽  
pp. 200-212
Author(s):  
Larisa V. Kalashnikova
Keyword(s):  
Creative Thinking ◽  
Language Model ◽  
Word Formation ◽  
The Third ◽  
New Meanings ◽  
The World ◽  
Looking Glass ◽  
Rules Of The Game ◽  
Powerful Incentive ◽  
Algorithmic Thinking

The article enlightens the probem of nonsense and its role in the development of creative thinking and fantasy, and the way how the interpretation of nonsense affects children imagination. The function of imagination inherent to a person, and especially to a child, has a powerful potential – to create artificially new metaphorical models, absurd and most incredible situations based on self-amazement. Children are able to measure the properties of unfamiliar objects with the properties of known things. It is not difficult for small researchers to replace incomprehensible meanings with familiar ones; to think over situations, to make analogies, to transfer signs and properties of one object to another. The problem of nonsense research is interesting and relevant. The element of the game is an integral component of nonsense. In the process of playing, children cognize the world, learn to interact with the world, imitating the adults behavior. Imagination and fantasy help the child to invent his own rules of the game, to choose language elements that best suit his ideas. The child uses the learned productive models of the language system to create their own models and their own language, attracting language signs: words, morphs, sentences. Children’s dictionary stimulates word formation and language nomination processes. Nonsense-words are the result of children’s dictionary, speech errors and occazional formations, presented in the form of contamination, phonetic transformations, lexical substitution, implemented on certain models. The first two models are phonetic imitation and hybrid speech, based on the natural language model. The third model of designing nonsense is represented by words that have no meaning at all and can be attributed to words-portmonaie. Due to the flexibility of interframe relationships and the lack of algorithmic thinking, children can not only capture the implicit similarity of objects and phenomena, but also create it through their imagination. Interpretation of nonsense is an effective method of developing imagination in children, because metaphors, nonsense as a means of creating new meanings, modeling new content from fragments of one’s own experience, are a powerful incentive for creative thinking.

MYTH IN SAM SHEPARD’S “THE GOD OF HELL” AND ITS POLITICAL IMPLICATION

2019 ◽  
pp. 32-38
Keyword(s):  
Literary Criticism ◽  
American Culture ◽  
The Political ◽  
Creative Work ◽  
Political Implication ◽  
Major Work ◽  
Sam Shepard ◽  
Long Period ◽  
Political Myth ◽  
The World

The article introduces the creative work of the famous American playwright Sam Shepard, whose works are almost unknown to our Uzbek reader. His plays are well known throughout the world; they influenced the formation of the worldview of readers of different nations and show the peculiarities of American culture. Despite the worldwide fame of Sam Shepard’s works, they are not studied well by literary critics. In America and Europe his works have been studied in details for a long period, and even several monographs in English have been written. However, neither in the Russian speaking, nor in the domestic literary criticism there is yet no major work on Shepard's works. The article also deals with the artistic features of the political myth of the “American dream” in one of the most scandalous plays, “The God of Hell,” dedicated to the protest against the war in Iraq. Thus, this study, which touches upon some issues of Shepard's creative work in connection with his innovative artistic originality, to a certain extent, seeks to fill this gap.

O curso de Geografia Física de Immanuel Kant (1724-1804): uma contribuição para a história e a epistemologia da ciência geográfica

GEOgraphia ◽  
2010 ◽  
Vol 10 (19) ◽  
pp. 103
Author(s):  
Alexandre Domingues Ribas ◽  
Antonio Carlos Vitte
Keyword(s):  
Immanuel Kant ◽  
Epistemic Justification ◽  
Physical Geography ◽  
Transcendental Philosophy ◽  
Philosophical Reflection ◽  
General Surface ◽  
The World ◽  
The Subject ◽  
The Creation ◽  
Modern Geography

Resumo: Há um relativo depauperamento no tocante ao nosso conhecimento a respeito da relação entre a filosofia kantiana e a constituição da geografia moderna e, conseqüentemente, científica. Esta relação, quando abordada, o é - vezes sem conta - de modo oblíquo ou tangencial, isto é, ela resta quase que exclusivamente confinada ao ato de noticiar que Kant ofereceu, por aproximadamente quatro décadas, cursos de Geografia Física em Königsberg, ou que ele foi o primeiro filósofo a inserir esta disciplina na Universidade, antes mesmo da criação da cátedra de Geografia em Berlim, em 1820, por Karl Ritter. Não ultrapassar a pueril divulgação deste ato em si mesma só nos faz jogar uma cortina sobre a ausência de um discernimento maior acerca do tributo de Kant àfundamentação epistêmica da geografia moderna e científica. Abrir umafrincha nesta cortina denota, necessariamente, elucidar o papel e o lugardo “Curso de Geografia Física” no corpus da filosofia transcendental kantiana. Assim sendo, partimos da conjectura de que a “Geografia Física” continuamente se mostrou, a Kant, como um conhecimento portador de um desmedido sentido filosófico, já que ela lhe denotava a própria possibilidade de empiricização de sua filosofia. Logo, a Geografia Física seria, para Kant, o embasamento empírico de suas reflexões filosóficas, pois ela lhe comunicava a empiricidade da invenção do mundo; ela lhe outorgava a construção metafísica da “superfície da Terra”. Destarte, da mesma maneira que a Geografia, em sua superfície geral, conferiu uma espécie de atributo científico à validação do empírico da Modernidade (desde os idos do século XVI), a Geografia Física apresentou-se como o sustentáculo empírico da reflexão filosófica kantiana acerca da “metafísica da natureza” e da “metafísica do mundo”.THE COURSE OF PHYSICAL GEOGRAPHY OF IMMANUEL KANT(1724-1804): CONTRIBUTION FOR THE GEOGRAPHICALSCIENCE HISTORY AND EPISTEMOLOGYAbstract: There is a relative weakness about our knowledge concerningKant philosophy and the constitution of modern geography and,consequently, scientific geography. That relation, whenever studied,happens – several times – in an oblique or tangential way, what means thatit lies almost exclusively confined in the act of notifying that Kant offered,for approximately four decades, “Physical Geography” courses inKonigsberg, or that he was the first philosopher teaching the subject at anyCollege, even before the creation of Geography chair in Berlin, in 1820, byKarl Ritter. Not overcoming the early spread of that act itself only made usthrow a curtain over the absence of a major understanding about Kant’stribute to epistemic justification of modern and scientific geography. Toopen a breach in this curtain indicates, necessarily, to lighten the role andplace of Physical Geography Course inside Kantian transcendentalphilosophy. So, we began from the conjecture that Physical Geography hasalways shown, by Kant, as a knowledge carrier of an unmeasuredphilosophic sense, once it showed the possibility of empiricization of hisphilosophy. Therefore, a Physical Geography would be, for Kant, theempirics basis of his philosophic thoughts, because it communicates theempiria of the world invention; it has made him to build metaphysically the“Earth’s surface”. In the same way, Geography, in its general surface, hasgiven a particular tribute to the empiric validation of Modernity (since the16th century), Physical Geography introduced itself as an empiric basis toKantian philosophical reflection about “nature’s metaphysics” and the“world metaphysics” as well.Keywords: History and Epistemology of Geography, Physical Geography,Cosmology, Kantian Transcendental Philosophy, Nature.

A Dialectical Approach to Search Engine Evaluation

Libri ◽  
2020 ◽  
Vol 70 (3) ◽  
pp. 227-237
Author(s):  
Mahdi Zeynali-Tazehkandi ◽  
Mohsen Nowkarizi
Keyword(s):  
Information Retrieval ◽  
Information Science ◽  
Library And Information Science ◽  
Related Literature ◽  
Philosophical Foundations ◽  
Dialectical Approach ◽  
Retrieval Systems ◽  
The World ◽  
Information Retrieval Systems ◽  
Oriented Approach

AbstractEvaluation of information retrieval systems is a fundamental topic in Library and Information Science. The aim of this paper is to connect the system-oriented and the user-oriented approaches to relevant philosophical schools. By reviewing the related literature, it was found that the evaluation of information retrieval systems is successful if it benefits from both system-oriented and user-oriented approaches (composite). The system-oriented approach is rooted in Parmenides’ philosophy of stability (immovable) which Plato accepts and attributes to the world of forms; the user-oriented approach is rooted in Heraclitus’ flux philosophy (motion) which Plato defers and attributes to the tangible world. Thus, using Plato’s theory is a comprehensive approach for recognizing the concept of relevance. The theoretical and philosophical foundations determine the type of research methods and techniques. Therefore, Plato’s dialectical method is an appropriate composite method for evaluating information retrieval systems.

Moral Injury and Biblical Studies: An Early Sampling of Research and Emerging Trends

2021 ◽  
Vol 19 (2) ◽  
pp. 121-144
Author(s):  
Brad E. Kelle
Keyword(s):  
Biblical Studies ◽  
Moral Injury ◽  
Critical Study ◽  
Moral Beliefs ◽  
The Bible ◽  
Biblical Scholarship ◽  
Emerging Trends ◽  
New Meanings ◽  
The World ◽  
Biblical Texts

Moral injury emerged within clinical psychology and related fields to refer to a non-physical wound (psychological and emotional pain and its effects) that results from the violation (by oneself or others) of a person’s deepest moral beliefs (about oneself, others, or the world). Originally conceived in the context of warfare, the notion has now expanded to include the morally damaging impact of various non-war-related experiences and circumstances. Since its inception, moral injury has been an intersectional and cross-disciplinary term and significant work has appeared in psychology, philosophy, medicine, spiritual/pastoral care, chaplaincy, and theology. Since 2015, biblical scholarship has engaged moral injury along two primary trajectories: 1) creative re-readings of biblical stories and characters informed by insights from moral injury; and 2) explorations of the postwar rituals and symbolic practices found in biblical texts and how they might connect to the felt needs of morally injured persons. These trajectories suggest that the engagement between the Bible and moral injury generates a two-way conversation in which moral injury can serve as a heuristic that brings new meanings out of biblical texts, and the critical study of biblical texts can contribute to the attempts to understand, identify, and heal moral injury.

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