scholarly journals Reflection on the Problem of Expressiveness in Modern Culture: A Methodological Aspect

2021 ◽  
pp. 86-92
Author(s):  
М.В. Логинова
Keyword(s):  
Systems Approach ◽  
Cultural Practices ◽  
The Other ◽  
Methodological Principle ◽  
Philosophy Of Art ◽  
Philosophical Perspective ◽  
Modern Culture ◽  
Ontological Approach ◽  
The World ◽  
Definition Of

Основная проблема исследования – определение выразительности в качестве методологического принципа современной культуры. Материалами при этом послужили результаты научных изысканий российских и зарубежных философов, культурологов, литературных критиков. Отмечено, что выразительность дает представление о формировании нового понимания взаимосвязи мира и человека, и ее обоснование является основой трансформация современной культуры. Проанализированы концепции Б. Кроче (выразительность как выражение духа в первичной форме), С. Лангер (выражение чувств символически), Т. Адорно (выразительность как критика невыразительного и узнавание выразительности фрагментарного), В. С. Соловьева (выразительность как выражение всеединства), П. А. Флоренского (выражение антиномичности феноменов культуры), А. Ф. Лосева (выразительность как мера человеческого). Выделены и классифицированы основные подходы к проблеме выразительности и определению собственной позиции категориального статуса данного понятия. The main problem of the research is the definition of expressiveness as a methodological principle of modern culture. The research materials were the results of investigations of Russian and foreign philosophers, culturologists, literary critics. The ontological approach allowed treating the expressiveness problem as something that assumes meeting the Other, as the expression of focusing on the Other. Moisei Kagan’s synergetic and systems approach contributes to the determination of the methodological significance of the expressiveness problem. This approach helps reveal the spirit of the transformations in modern culture, identify the connection between its different forms, and perceive the content of culture expression in the 21th century. The author notes that expressiveness gives an idea of how a new understanding of the relationship between the world and man forms. The substantiation of expressiveness is the basis for the transformation of modern culture. It is argued that in the existing humanitarian paradigm, when the consequences of a person’s self-expression in the world are ambiguous and an objective view cannot claim to be the world’s foremost authority, expressiveness is the condition for self-expression in the world, and it provides the opportunity to follow the transformation of self-expression in modern cultural practices. Reflection on expressiveness in modern culture is connected with social creativity, which brings the problem out of linguistics and art history towards a larger axiological context. The analysis of the problem of expressiveness in the humanities has made it possible to single out the following schools: artistic aspects of expressiveness (S. M. Volkonsky, S. M. Eisenstein); linguistic and literary aspects of linguistic expression (Yu. M. Lotman, A. A. Potebnya, E. Sapir, A. Hansen-Loeve, et al.); existentialist and philosophical perspective of expressiveness (M. M. Bakhtin, A. F. Losev, V. A. Podoroga, et al.). The connection with the philosophy of art and the history of philosophy creates new perspectives for the study of methodological aspects that influence the modern humanitarian paradigm. Reference to the concepts of B. Croce (expressiveness as a genius expression in its primary form), S. Langer (symbolic expression of feelings), T. Adorno (expressiveness as a criticism of the inexpressible and recognition of frank expression), V. S. Solovyov (expressiveness as an expression of unity), P. A. Florensky (expressiveness as an expression of antinomic cultural phenomena), A. F. Losev (expressiveness as a human dimension) allowed classifying the main approaches to the problem of expressiveness and defining its categorical status.

Modernism, Empiricism, and Rationalism

2016 ◽  
Vol 46 (1) ◽  
pp. 38-47
Author(s):  
Geoffrey Squires
Keyword(s):  
Twentieth Century ◽  
The Other ◽  
Modern Poetry ◽  
Philosophical Perspective ◽  
Irish Poetry ◽  
Dimensional Spectrum ◽  
Culture History ◽  
The World ◽  
The Impact ◽  
Rule Out

Modernism is usually defined historically as the composite movement at the beginning of the twentieth century which led to a radical break with what had gone before in literature and the other arts. Given the problems of the continuing use of the concept to cover subsequent writing, this essay proposes an alternative, philosophical perspective which explores the impact of rationalism (what we bring to the world) on the prevailing empiricism (what we take from the world) of modern poetry, which leads to a concern with consciousness rather than experience. This in turn involves a re-conceptualisation of the lyric or narrative I, of language itself as a phenomenon, and of other poetic themes such as nature, culture, history, and art. Against the background of the dominant empiricism of modern Irish poetry as presented in Crotty's anthology, the essay explores these ideas in terms of a small number of poets who may be considered modernist in various ways. This does not rule out modernist elements in some other poets and the initial distinction between a poetics of experience and one of consciousness is better seen as a multi-dimensional spectrum that requires further, more detailed analysis than is possible here.

Misconceptions of Metrology and Calibration

2021 ◽  
Author(s):  
Christopher Herrmann ◽  
Keyword(s):  
Metrological Traceability ◽  
The Other ◽  
Clear Understanding ◽  
New Meanings ◽  
The World ◽  
Definition Of

In today’s world of manufacturing, R&D, and testing across diverse industries, the definition of Metrology and calibration has taken on new meanings, whether it is right or wrong. With the evolving requirements for defining traceability, which is impacted through ISO/IEC 17025: 2017 as well as the NIST’s definition of Metrological Traceability, we must step back and truly understand what the differences are between these 2 terms. In this paper, we will evaluate the definitions of Metrology and calibration. We will also look at the importance of each and how one affects the other. While both terms are important, as liaisons within the Science of Measurement, we need to be able to articulate the differences between both terms to assist in bringing the representatives working in various industries to a clear understanding of how calibration is an action within the world of Metrology.

Introduction

2019 ◽  
pp. 1-10
Author(s):  
Samy Cohen
Keyword(s):  
Great Majority ◽  
Peace Movement ◽  
The Other ◽  
Israeli Society ◽  
Sociological Factors ◽  
Emotional Factors ◽  
The World ◽  
Definition Of ◽  
Sociological Variable ◽  
Peace Camp

This introduction raises two fundamental questions: the first one tries to give a definition of what a peace camp is. What we call “the peace movement” in Israel is, in fact, an indistinct galaxy, a world that subdivides into a multitude of organizations and individuals, some highly prominent, and others completely unknown. It is a complex realm, crisscrossed by multiple currents that are often at variance with one another. It resembles no other peace movement in the world. Four main tendencies can be distinguished within this heterogeneous movement in Israel. The second question is that of the decline in the movement's capacity to organize mass demonstrations. Some argue that it is a result of a host of sociological changes that have come about in Israeli society. But the weight of sociological factors is secondary to emotional factors. The feeling of fear inspired by the Palestinians, the lack of confidence in the “other” that a great majority of Israelis refuse to consider a “partner for peace” weighs far more heavily than any sociological variable. This is one of the book's central arguments.

A Techno-Philosophical Perspective on How Acceleration Becomes Autopoietic

2019 ◽  
Vol 23 (2) ◽  
pp. 204-231
Author(s):  
Yu-cheng Liu ◽  
Keyword(s):  
General Theory ◽  
Philosophy Of Technology ◽  
The Other ◽  
Philosophical Perspective ◽  
The World ◽  
System Functioning ◽  
Writing Tools ◽  
Incomplete Picture

This study examines mainly two subjects: “Why do we accelerate?” and “How does acceleration become autopoietic?” The answers to these questions may be derived from technical, social, or psychological approaches. However, they provide only an incomplete picture if a perspective from the philosophy of technology is not considered alongside. In addition to offering different viewpoints on the essence of technology, technics, or technē, this study will focus on the notion of distance as a key to answering the above questions. Conventionally, people usually understand that technology distances humans from nature. However, what does that mean? First of all, the idea of “nature” considered in this research refers to a distinction of non-nature/nature. A distinction implies a distance between both sides. Technology belongs to the side of non-nature, and creates a distance with the other side. The distance is getting enlarged when humans depend heavily on technology to reconnect humans to nature. In shortening or overcoming the distance, acceleration becomes autopoietic and leads to a paradox that can be unfolded only through accelerating more. In this study, technology is considered as a system functioning as simplification to create and to overcome alternately a distance with its environment, including nature. Through which technology not only acquires a tendency of acceleration, but also self-produces it. The development of writing tools from knots to tactile technology is investigated to provide a better understanding of the phenomenon of acceleration and its impact on humans and the world. In the end, it may be possible to think of a general theory of how acceleration becomes autopoietic.

The Technocene or Technology as (Neo)Environment

2017 ◽  
Vol 21 (2) ◽  
pp. 243-281 ◽  
Author(s):  
Agostino Cera ◽  
Keyword(s):  
Philosophy Of Technology ◽  
The Other ◽  
Current Form ◽  
Nominative Case ◽  
The Core ◽  
The World ◽  
Conditio Humana ◽  
The One ◽  
Definition Of

Abstract: While putting forward the proposal of a “philosophy of technology in the nominative case,” grounded on the concept of Neoenvironmentality, this paper intends to argue that the best definition of our current age is not “Anthropocene.” Rather, it is “Technocene,” since technology represents here and now the real “subject of history” and of (a de-natured) nature, i.e. the (neo)environment where man has to live.This proposal culminates in a new definition of man’s humanity and of technology. Switching from natura hominis to conditio humana, the peculiarity of man can be defined on the basis of an anthropic perimeter, the core of which consists of man’s worldhood: man is that being that has a world (Welt), while animal has a mere environment (Umwelt). Both man’s worldhood and animal’s environmentality are derived from a pathic premise, namely the fundamental moods (Grundstimmungen) that refer them to their respective findingness (Befindlichkeit).From this anthropological premise, technology emerges as the oikos of contemporary humanity. Technology becomes the current form of the world – and so gives birth to a Technocene – insofar as it introduces in any human context its ratio operandi and so assimilates man to an animal condition, i.e. an environmental one. Technocene corresponds on the one side to the emergence of technology as (Neo)environment and on the other to the feralization of man. The spirit of Technocene turns out to be the complete redefinition of the anthropic perimeter.While providing a non-ideological characterization of the current age, this paper proposes the strategy of an ‘anthropological conservatism,’ that is to say a pathic desertion understood as a possible (pre)condition for the beginning of an authentic Anthropocene, i.e. the age of an-at-last-entirely-human-man.

scholarly journals Still Ekphrasis? Visual and Non-Visual Art in Contemporary Anglophone Fiction

2020 ◽  
Vol 44 (2) ◽  
pp. 15
Author(s):  
Jarosław Hetman
Keyword(s):  
Visual Art ◽  
The Other ◽  
Artistic Expression ◽  
The Novel ◽  
Literary Context ◽  
Contemporary Novels ◽  
The World ◽  
The One ◽  
Definition Of

<p>The article explores the ancient notion of ekphrasis in an attempt to redefine it and to adjust it to the requirements of the contemporary literary and artistic landscape. An overview of the transformations in the world of art in the 20<sup>th</sup> century allows us to adjust our understanding of what art is today and to examine its existence within the literary context. In light of the above, I postulate a broadening of the definition of ekphrasis so as to include not only painting and sculpture on the one side, and poetry on the other, but also to open it up to less conventional forms of artistic expression, and allow for its use in reference to prose. In order to illustrate its relevance to the novel, I have conducted a study of three contemporary novels – John Banville’s <em>Athena</em>, Kurt Vonnegut’s <em>Bluebeard</em> and Don DeLillo’s <em>Mao II </em>– in order to uncover the innovative ways in which novelists nowadays use ekphrasis to reinvigorate long prose.</p>

scholarly journals Architecture and the Dilemma of Aesthetics: Towards an Alternate Defintion and Approach to Architecture

1995 ◽  
Author(s):  
Gunter Dittmar ◽  
Keyword(s):  
Paradigm Shift ◽  
The Other ◽  
Natural Order ◽  
The Real ◽  
Societal Relevance ◽  
Real Issue ◽  
Outer World ◽  
Ontological Approach ◽  
The World

The paper calls for a paradigm shift in the definition and approach to architecture to reverse the erosion of its societal relevance, and the loss of its identity as a discipline. The paper contends that this development originated with the Renaissance when architecture evolved from a craft into an art, and the pursuit of beauty became the foremost ideal: the aspect that distinguishes architecture from “mere building”. Ever since, architecture has tried-and failed- to solve the dilemma of aesthetics: the integration of utility, technology and beauty. However, neither beauty, nor the question of aesthetics, are really the problem. The real issue is that architecture is, ultimately, about more than beauty or aesthetics: it is about our life and our existence; about creating a place for our being in the world. Architecture is, thus, grounded in an ontological paradigm rather than an aesthetic one. This has far-reaching, theoretical implications. The paper then proceeds to delineate some of the premises fundamental to an ontological approach to architecture, based on the notion that architecture makes possible the congruence between human and natural order, between our inner and our outer world. Beauty is present when one resonates and reveals itself through the other.

scholarly journals Subject Matter and Pre-Requisites for Protection of Non-Conventional Trademark

2019 ◽  
Vol 8 (1) ◽  
pp. 61-80
Author(s):  
Aishwarya Vatsa
Keyword(s):  
United States ◽  
Subject Matter ◽  
The United States ◽  
The Other ◽  
Trademark Law ◽  
Other Hand ◽  
The World ◽  
Definition Of

We have been gifted with senses other than our eyes, which the non-conventional trademarks aim to employ and have thus gained popularity. These marks have gradually acquired acceptance and have been included under the ambit of trademarks in various countries of the world. Trademark law aims at facilitating profit and strengthening the identity of a business. Non-conventional marks too, perform the same function. The United States has taken a similar approach and has thus provided protection to various such non-conventional marks. India, on the other hand, is yet to take a similar approach. The present law in India disallows the registration of such marks, proving to be a hindrance in their registration, rather than a facilitator. This paper discusses the concept and definition of non-conventional marks, its subject matter and the prerequisites for its registration. By comparing the different approaches to non-conventional trademarks and the procedure for their registration across different countries, this paper aims at suggesting a model suitable for adoption in India.

scholarly journals Late transition in Serbia and (im)possibility to 'enlighten' the Serbian elites

2008 ◽  
pp. 7-30
Author(s):  
Milan Tripkovic ◽  
Gordana Tripkovic
Keyword(s):  
Crucial Role ◽  
The Other ◽  
Regional Association ◽  
Other Hand ◽  
The World ◽  
Mancur Olson ◽  
Late Transition ◽  
Definition Of

The paper presents results of the latest authors' research on elitization criminalization and late transition of Serbian society. Those issues are considered to be the most important obstacle for modernization and for internal and external integration of Serbian society, in other words, they are treated as a key element of Serbia's isolation and its non-adjustment and conflicts with the rest of the world, as well as with itself. In that context, special attention is given to the definition of Serbian society's disintegrative characteristics, and also to recognizing its integrative potentials. Such orientation set the two directions of the research: on one hand, authors tried to define substantial elements of Serbian elites and to determine their crucial role and biggest responsibility in the processes of(dis)integration of Serbian society in the time of late and accelerated transition; and, on the other hand, authors tried to identify conditions under which the elites could become interested in democratization and stabilization of the society, as well as in the institutionalization of 'socially contrived market' (Mancur Olson), which can certainly be considered as the best and most lasting basis of regional association and in?clusion in the so called, 'wider European integrations'. SA U radu su predoceni nalazi najnovijih istrazivanja autora, koji su posveceni problemu elitizacije, kriminalizacije i zakasnele tranzicije srpskog drustva.1 Ti problemi se smatraju jednom od najvaznijih prepreka njegove modernizacije i unutrasnje i spoljasnje integracije, odnosno tretiraju se kao kljucni cinilac izolacije Srbije i njenih ne-prilagodjenosti i sukobljavanja, kako sa svetom, tako i sa samom sobom. U tom kontekstu posebna paznja posvecuje se preciziranju dezintegrativnih obelezja srpskog drustva, kao i prepoznavanju njegovih integrativnih potencijala. Takva orijentacija usmerila je istrazivanje u dva pravca: s jed-ne strane, autori nastoje da definisu sustinska obelezja srpskih elita i da odrede njihovu presudnu ulogu i najvecu odgovornost u procesima (dez)integracije srpskog drustva u doba zakasnele i ubrzane tranzicije; a, s druge strane, pokusavaju da identifikuju uslove pod kojima bi te elite same mogle postati zainteresovane za demokratizaciju i stabilizaciju drustva, kao i za institucionalizaciju 'drustveno ugovorenog trzista' (Mankur Olson), sto se svakako moze smatrati najboljom i najtrajnijom osnovom regionalnog povezivanja i ukljucivanja u tzv. sire evropske integracije.

scholarly journals Humorism and Characterization in Topan’s Mfalme Juha

2018 ◽  
Vol 6 ◽  
pp. 62-78
Author(s):  
Emiliano Minerba
Keyword(s):  
The Other ◽  
The Core ◽  
Critical History ◽  
Other Hand ◽  
The World ◽  
Core Feature ◽  
Art And Culture ◽  
Definition Of ◽  
Inner Contradictions

This paper discusses the character of King Juha, the protagonist of the comedy Mfalme Juha by Farouk Topan, using an approach that considers the humoristic dimension of this character. The definition of humorism employed here is that given by Pirandello: the result of an aesthetic process in which the comic effect deriving from an object of laughter is tempered and contrasted by a “sentiment of the contrary” that observes and builds empathy with the inner contradictions of the object itself. After a short outline of Mfalme Juha’s critical history which shows that the humoristic dimension of King Juha has never been considered in critiques, this paper focuses on an analysis of this character, in which the core feature of egocentricity is identified. Juha’s egocentricity and its humoristic nature are analysed in the character’s relationship with his subjects as their king and in his idea of art and culture; in both cases it is shown that what is important is not the wickedness or egoism of Juha, but his lack of comprehension of the world. Juha is incapable of understanding his environment and other people, since he can not doubt his own superiority: this puts him in several comic situations, but on the other hand makes him a victim of his smart subjects, so that he arouses a feeling of sympathy in which Pirandello’s sentiment of the contrary can be traced.

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