scholarly journals “Natural” in the philosophical and moralistic literature of the XVII century

2021 ◽  
pp. 33-45
Author(s):  
Nataliya Vladimirovna Zaуtseva
Keyword(s):  
Crucial Importance ◽  
Work Of Art ◽  
External Reality ◽  
Philosophical Thought ◽  
Xviii Century ◽  
Xvii Century ◽  
History Of ◽  
Historical Tradition ◽  
The Aesthetic ◽  
Aesthetic Ideal

In philosophy, “natural” is viewed as an ontological characteristic of the objects of internal and external reality along with the concept of “artificial”. However, in the XVII century, the philosophical and moralistic literature undergoes aestheticization. Numerous appeals of the writers, moralists and philosopher, as well as dialogues and arguments on the topic of “natural” indicate that this was of crucial importance for the aesthetic thought of the XVII century. The answer to the question ‘what natural is’ has become the cornerstone of the new gallant aesthetics, and in behavior was associated with fluency and aristocratic inattention, which are opposed to pomposity and affectation. In art, “natural” was perceived as a desire to purge from the Baroque ostentation. In literature, it is the result of hard work on the language that allows achieving lightness and fluency. Ultimately, in the philosophical thought, “natural” is perceived as the correspondence with truth. Until the present, the question of aestheticization of the “natural” did not draw the attention of Russian researchers. This is partly explained by the historical tradition. Russia enters the European philosophical thought only in the Era of Enlightenment in the XVIII century; thus, the XVII century seems somewhat archaic on the background of the topical issues. However, the XVII century is the advent of the history of modern philosophical and aesthetic thought, and creates the foundation of modern European mentality. This period marks the formation of the new aesthetic ideal, new aesthetic norms, and the system for assessing the work of art, which assign an important role to the “natural”.

COMPARATIVE LITERATURE: EAST AND WEST STUDIES

2021 ◽  
Vol 02 (09) ◽  
pp. 8-14
Author(s):  
Aziza Komilovna Akhmedova ◽  
Keyword(s):  
Comparative Literature ◽  
Professional Ethics ◽  
Research Work ◽  
Literary Studies ◽  
The Novel ◽  
World Science ◽  
History Of ◽  
The Aesthetic ◽  
Aesthetic Ideal ◽  
The Ideal

The article analyzes the results of the research on the representation of the aesthetic ideal through the image of the ideal hero in two national literatures. For research purposes, attention was paid to highlighting the category of the ideal hero as an expression of the author's aesthetic views. In Sinclair Lewis’s “Arrowsmith” and Pirimkul Kodirov's “The Three Roots”, the protagonists artistically reflect the authors' views on truth, virtue, and beauty. In these novels, professional ethics is described as a high noble value. The scientific novelty of the research work includes the following: in the evolution of western and eastern poetic thought, in the context of the novel genre, the skill, common and distinctive aspects of the creation of an ideal hero were revealed by synthesis of effective methods in world science with literary criteria in the history of eastern and western literary studies, in the example of Sinclair Lewis and Pirimkul Kodirov.

Philosophical Aspects of Literary Objectiveness

1998 ◽  
pp. 77-84
Author(s):  
Endre Kiss
Keyword(s):  
Literary Work ◽  
Philosophy Of Art ◽  
Crucial Importance ◽  
Work Of Art ◽  
Artistic Experience ◽  
Scientific Analysis ◽  
The Status ◽  
The Aesthetic ◽  
Definition Of ◽  
General Fact

Gadamer’s hermeneutic philosophy avoids the problem of literary objectiveness altogether. His approach witnesses the general fact that an indifference towards literary objectiveness in particular, leads to a peculiar neglect of par excellence literariness as such. It seems obvious, however, that the constitutive aspects of the crisis of literary objectiveness cannot be shown to contain the underlying intention of bringing about this situation. At this point, one can identify what could probably be the most important element in a definition of literary objectiveness. In contrast to ‘natural’ objectiveness and objectiveness based on various societal conventions, the legitimacy of a literary work is solely guaranteed by its elements being organized in accordance with the rules of literary objectiveness. Thus when the crisis of literary objectiveness intensifies, literariness will also find itself in a crisis. This crisis detaches new, quasi-literary formations from various definitions of literariness. When literary objectiveness ceases, however, to be understood as a system constituted by various objective formations aiming to correspond in one way or another to the ‘world’, scientific analysis of literary objectiveness will be rendered impossible. The crisis of literary objectiveness thus brings about the crisis of the theory of literature and the philosophy of art. Gadamer explicitly argues that the scientific approach proves to be inadequate in the analysis of artistic experience. This attitude results in the categorical rejection of a scientific orientation (and so in a complete indifference towards literary objectiveness), but he seems to overemphasize an otherwise correct thesis on the non-reflexive character of artistic experience. It is the anti-mimetic and Platonic character of Gadamer’s aesthetic hermeneutics that determines the status of literary (artistic) objectiveness in his system of thought. What is of crucial importance, however, is to point out that this aesthetics entails a fundamental reduction of the significance of literary objectiveness. As soon as the essence of aesthetic object-constitution is taken to be re-cognition (plus the emanating aesthetic possibilities), the absolutely natural interest in the original object represented by a work of art.Undoubtedly, Gadamer’s conception answers a number of questions that tend to be ignored by other theories. It is just as obvious, however, that Gadamer completes here the aesthetic devaluation of the objective domain. It is not the characteristics of the ‘original’ that constitute the image, but in effect the image turns the original into an original. Paraphrasing this claim one arrives at a near paradox: not objectiveness makes a work of art possible, but a work of art lends objects their objectiveness.

scholarly journals The Imperceptibility of Style in Danto's Theory of Art: Metaphor and the Artist's Knowledge

CounterText ◽  
2015 ◽  
Vol 1 (3) ◽  
pp. 366-381 ◽  
Author(s):  
Stephen Snyder
Keyword(s):  
Work Of Art ◽  
Theoretical Concepts ◽  
Alternative Approach ◽  
Aesthetic Style ◽  
Artistic Interpretation ◽  
History Of ◽  
Artistic Theory ◽  
The Aesthetic ◽  
The Mind

Arthur Danto's analytic theory of art relies on a form of artistic interpretation that requires access to the art theoretical concepts of the artworld, ‘an atmosphere of artistic theory, a knowledge of the history of art: an artworld’. Art, in what Danto refers to as post-history, has become theoretical, yet it is here contended that his explanation of the artist's creative style lacks a theoretical dimension. This article examines Danto's account of style in light of the role the artistic metaphor plays in the interpretation of the artwork, arguing that it is unable to account for the metaphorical power he claims is embedded within the work of art. An artist's style issues from a unique perspective, the way an artist inhabits a specific spot in history. Though each person has such a perspective, when applied aesthetically, it is the key to the articulation of a unique historical meaning in the work of art. At the same time, artists' knowledge of their contribution remains cut off from this perspective, for they are unaware of their self-manifestation of the historical concept of style. This article makes the case that Danto's notion of style, based on Sartre's notion of being-for-itself, cannot fulfil the role he allots it in his theory because, at some level, artists must apprehend their style to create a work of art capable of functioning critically as a countertext. It is only through the apprehension of their style, and dialogical activity that takes place between the artist and the beholders, that the unseen body of artworld theory is formed. Without this, when oriented to the aesthetic, style provides no concept or theory for the mind to behold. This article presents an alternative approach to style that recognizes the role of theory in the creation of metaphor, which would circumvent this problem.

scholarly journals РИСИ СУСПІЛЬНО-ПОЛІТИЧНИХ ТРАНСФОРМАЦІЙ У МОСКОВСЬКІЙ ДЕРЖАВІ В XVII СТ.

2021 ◽  
pp. 63-81
Author(s):  
Олег Марченко
Keyword(s):  
Old Regime ◽  
Russian Government ◽  
Xviii Century ◽  
Xvii Century ◽  
New Beginning ◽  
Russian State ◽  
History Of ◽  
Time Of Troubles ◽  
The Russian Empire ◽  
Boris Godunov

Ключові слова: Московська держава в XVII ст., династія Романових, самодержавство, абсолютизм, станово-представницька монархія. Анотація На основі новітніх історичних досліджень поданий неупереджений погляд на розвиток Московської держави в XVII ст. через призму соціокультурного, проблемного підходу до суперечливих в історіографії питань, що турбують сьогоднішніх істориків, політиків, звичайних людей України, Росії, інших країн світу і стають предметом численних спекуляцій та маніпуляцій. У результаті проведеного дослідження висвітлено основні риси суспільно-політичних трансформацій у Московській державі в XVII ст., акцентовано увагу на спростування радянських та сучасних російських міфів щодо розвитку централізованої самодержавної моделі Московії, визначаються можливості цивілізаційного вибору Московської держави XVII ст. між станово-представницькою та абсолютистською моделями розвитку. Посилання Andreev, 2003 – Andreev I.L. Aleksey Mihaylovich [Alexey Mikhailovich]. Moskva: Molodaya gvardiya, 2003. 638 s. [in Russian] Ahiezer, 2013 – Ahiezer A., Klyamkin I., Yakovenko I. Istoriya Rossii: konets ili novoe nachalo? [History of Russia: end or new beginning?] / 3-e izd., ispr. i dop. Moskva: Novoe izdatelstvo, 2013. 496 s. [in Russian] Bogdanov, 2009 – Bogdanov A.P. Nesostoyavshiysya imperator Fedor Alekseevich [Failed Emperor Fyodor Alekseevich]. Moskva: Veche, 2009. 320 s. [in Russian] Volodihin, 2013 – Volodihin D.M. Tsar Fedor Alekseevich, ili Bednyiy otrok [Tsar Fyodor Alekseevich, or Poor youth]. Moskva: Molodaya gvardiya, 2013. 267 s. [in Russian] Danilov, 2007 – Danilov A.G. Alternativyi v istorii Rossii: mif ili realnost (XIV–ХІХ vv.) [Alternatives in the history of Russia: myth or reality (XIV – XIX centuries)]. Rostov-na-Donu: Feniks, 2007. 303 s. [in Russian] Zarezin, 2018 – Zarezin M.I. V puchine Russkoy Smutyi. Nevyiuchennyiy uroki istorii [In the abyss of the Russian Troubles. Unlearned history lessons]. Moskva: Veche, 2018. 400 s. [in Russian] Istoriia Rosii, 2013 – Istoriia Rosii (z naidavnishykh chasiv do kintsia XVIII st.) [History of Russia (from ancient times to the end of the XVIII century)]: navch. posib. /avtor-uklad. V.M. Mordvintsev. Kyiv: Znannia, 2013. 346 s. [in Ukrainian] Kozlyakov, 2004 – Kozlyakov V.N. Mihail Fedorovich [Mikhail Fedorovich]. Moskva: Molodaya gvardiya, 2004. 352 s. [in Russian] Kozlyakov, 2017 – Kozlyakov V.N. Boris Godunov. Tragediya o dobrom tsare [Boris Godunov. The tragedy of the good king]. Moskva: Molodaya gvardiya, 2017. 330 s. [in Russian] Lobachev, 2003 – Lobachev S.V. Patriarh Nikon [Patriarch Nikon]. Sankt-Peterburg: Iskusstvo-SPb, 2003. 416 s. [in Russian] Lukin, 2000 – Lukin P.V. Narodnyie predstavleniya o gosudarstvennoy vlasti v Rossii XVII v. [Popular ideas about state power in Russia in the XVII century].Moskva: Nauka, 2000. 296 s. [in Russian] Marchenko, 2015 – Marchenko O.M. Istoriia slovianskykh narodiv. Chastyna persha. Istoriia Rusi, Moskovskoi derzhavy, Rosiiskoi imperii do kintsia XVIII st. Kurs lektsii dlia studentiv vyshchykh navchalnykh zakladiv: Navchalnyi posibnyk [History of Slavic peoples. Part one. History of Russia, the Moscow State, the Russian Empire until the end of the XVIII century. Course of lectures for students of higher educational institutions: Textbook]. Druhe vydannia, pereroblene y dopovnene. Kirovohrad, POLIMED-Servis, 2015. 385 s. [in Ukrainian] Narysy istorii, 2007 – Narysy istorii Rosii [Essays on the history of Russia]: per. z ros. /B.V. Ananich, I.L. Andreiev, Ye.V. Anisimov ta in.; Za zah. red. O.O. Chubariana. Kyiv: Nika-Tsentr, 2007. 800 s. [in Ukrainian] Nefedov, 2004 – Nefedov S.A. Pervyie shagi po puti modernizatsii Rossii: reformyi seredinyi XVII v. [First steps towards modernization of Russia: reforms of the middle of the XVII century] // Voprosyi istorii. 2004. №4. – S. 33–52. [in Russian] Payps, 2012 – Payps R.E. Rossiya pri starom rezhime [Russia under the old regime]. M.: Zakharov. 2012. 480 s. [in Russian] Pisarkova, 2007 – Pisarkova L.F. Gosudarstvennoe upravlenie Rossii s kontsa XVII do kontsa XVIII veka. Evolyutsiya byurokraticheskoy sistemyi [Russian government from the end of the XVII to the end of the XVIII century: the evolution of the bureaucratic system]. Moskva: ROSSPEN, 2007. 743 s. [in Russian] Svetova, 2013 – Svetova E.A. Dvor Alekseya Mihaylovicha v kontekste absolyutizatsii tsarskoy vlasti [The courtyard of Alexei Mikhailovich in the context of the absolutization of the tsarist power]. Moskva: MGU, 2013. 212 s. [in Russian] Sedov, 2006 – Sedov P.V. Zakat Moskovskogo tsarstva: Tsarskiy dvor kontsa XVII veka [The decline of the Moscow kingdom: the royal court at the end of the XVII century]. Sankt-Peterburg: Dmitriy Bulanin, 2006. 604 s. [in Russian] Skryinnikov, 1988 – Skryinnikov R.G. Rossiya v nachale XVII v. Smuta [Russia at the beginning of the XVII century. Troubles]. Moskva: Myisl, 1988. 283 s. [in Russian] Stanislavskiy, 1990 – Stanislavskiy A.L. Grazhdanskaya voyna v Rossii XVII v. [The Civil War in Russia in the XVII century]. Moskva: Myisl, 1990. 270 s. [in Russian] Talina, 1996 – Talina G.V. Tsar Aleksey Mihaylovich: lichnost, myislitel, gosudarstvennyiy deyatel [Tsar Alexei Mikhailovich: personality, thinker, statesman]. Moskva: Magistr, 1996. 144 s. [in Russian] Ulyanovskiy, 2006 – Ulyanovskiy V.I. Smutnoe vremya [Time of Troubles]. Moskva: Evropa, 2006. 448 s. [in Russian] Cherepnin, 1978 – Cherepnin L.V. Zemskie soboryi Russkogo gosudarstva v XVI – XVII vv. [Zemsky Cathedrals of the Russian State in the XVI – XVII centuries]. / Moskva: Nauka, 1978. 420 s. [in Russian] Shokarev, 2013 – Shokarev S.Yu. Smutnoe vremya v Moskve [Time of Troubles in Moscow]. Moskva: Veche, 2013. 320 s. [in Russian]

scholarly journals FORMATION OF HUMANISTIC IDEAS IN UKRAINIAN PHILOSOPHICAL THOUGHT

2021 ◽  
Vol 12 (2) ◽  
pp. 29-37
Author(s):  
N. Zlenko ◽  
◽  
R. Mnozhynska ◽  
S. Lysenko ◽  
◽  
...  
Keyword(s):  
Golden Rule ◽  
Social Institutions ◽  
Moral Rule ◽  
Historical Aspect ◽  
Distinctive Features ◽  
Philosophical Thought ◽  
Xvii Century ◽  
Analysis And Synthesis ◽  
History Of ◽  
Xix Century

The urgency of the research topic is necessity to understand the idea of humanism in Ukraine from its formation to development in new cultural and historical conditions. The purpose of the article is to study the formation and development of humanistic ideas in Ukrainian philosophical thought in the historical aspect. To achieve this goal, the following research methods were used: historical – to study the stages of development of humanistic ideas, analysis and synthesis of scientific literature, generalization and systematization – to formulate intermediate and final conclusions. The article highlights the meaning of the concept of "humanism". The preconditions for the formation of ideas of humanism are determined. It was found that the idea of humanism was preceded by the first moral rule of coexistence, which later in the history of philosophy was called talion. The main formation stages of humanistic ideas in the Ukrainian philosophical thought (the first – XIV-XVI centuries; the second – the second half of the XVI – the beginning of the XVII century; the third – the second half of the XVII century; the fourth – the second half of the XVII – the beginning of the XVIII century; fifth – XIX century, sixth – XX century, seventh – XXI century). Distinctive features of the humanistic ideas from talion and the "golden rule of morality" have been formed. Prospects for further scientific research in this area are seen in the study of the mechanisms of restoration of humanistic ideals in such social institutions as the family and school.

scholarly journals Arguing Spanish voseo tuteante verb endings: learning, variation and history with OT

2020 ◽  
Vol 5 ◽  
pp. 123-152
Author(s):  
Miguel Vázquez-Larruscaín
Keyword(s):  
Latin American ◽  
Future Generations ◽  
Xviii Century ◽  
Xvii Century ◽  
Global Properties ◽  
History Of ◽  
Latin American Spanish ◽  
American Spanish ◽  
Historical Trajectory ◽  
Over Time

The full historical trajectory of voseo (second plural) forms becoming (deferent) second singular forms — as in Latin vos amātis (2pl) > Medieval Spanish vos amádes (2sg formal) — is a central chapter in the history of Spanish. In many Latin-American Spanish vernaculars, classical voseo fused with the original tuteo, giving rise to a new neutral address paradigm, voseo tuteante (Pre-classical Spanish voseo: vos amádes, amáes, amáis, amás (2sg formal) > Latin-American Spanish voseo tuteante: vos amáis, amás (2sg informal)). After a process of selection from the available options, four sets of endings have survived in those varieties: (áis, éis, ís / ás, és, ís / áis, ís, ís / ás, ís, ís). Why these four? The analysis proposed here builds on global properties of the verb system: (i) the verb suffix -is definitively replaced -des in the second half of the XVII century and the early XVIII century, and (ii) the four sets of endings now extant are exactly the ones that can be learned by Optimality-Theoretic grammar-inductive algorithms. This analysis supports the generative view that only languages with learnable grammars are passed on to future generations. Unlearnable languages are most likely to be lost over time. Similarly, variation is also constrained by the limits set by learnability conditions.

scholarly journals Open-air museums: digital cultures, aesthetics and everyday life

Vista ◽  
2021 ◽  
pp. e021003
Author(s):  
Vincenzo Susca
Keyword(s):  
Everyday Life ◽  
18Th Century ◽  
Cultural Industry ◽  
Work Of Art ◽  
Ordinary Life ◽  
The Public ◽  
History Of ◽  
The Aesthetic ◽  
Digital Cultures ◽  
The Relationship

At a time when everything becomes art, art no longer belongs to itself, to the point of overflowing from the frames that have enclosed it for several centuries – museums, galleries, churches – with unprecedented effects not only in the field of aesthetics, but above all in ordinary life. To understand this in depth, it is necessary to take into account the digital reproducibility of the work of art as a dynamic that upsets the relationship between work and spectator, subject and object, politics and everyday life. From the second half of the 18th century onwards, we saw a dynamic of "aestheticization of the public" parallel to the birth of the cultural industry and, therefore, the transformation of culture into merchandise. It is an ambiguous process, as it implies the emergence of the mass as the central subject of our culture, but also its definitive reification. What about aesthetics in such a condition? This study explores the genology and history of this process by updating Walter Benjamin's thinking in relation to the cultural emergencies of our time. In particular, it seems essential to understand what happens to the aura in the context of a condition in which the aesthetic object, the work of art and, more generally, the area that concerns beauty is available, used and consumed in everyday life, to the point of placing our cities as "open air museums".

scholarly journals "Insza prostota szczera, cnotliwa, przystojna; insza prostota co ją głupstwem zowią". O rozwoju jednego ze znaczeń prostoty

2015 ◽  
Vol 48 ◽  
pp. 21-42
Author(s):  
Beata Raszewska-Żurek
Keyword(s):  
Xviii Century ◽  
Religious Attitude ◽  
Xvii Century ◽  
Short Period ◽  
History Of ◽  
Polish Language ◽  
Xix Century ◽  
Religious Aspect ◽  
The Way

The transformation of a meaning of prostotaThis article is dedicated to the evolution of one of prostota lexeme meaning (and prostoć, prostość as well) – its human mental sphere significance. The analysis (definitions and examples) expands over the Polish language dictionary since its beginning till modernity. There were two main meanings of a lexeme prostota from the Old Polish till the end of the XVII century – positively characterised straight meaning regarding morality, directly linked to religious attitude and the second one, referring to mental and intelectual ability of individual, negatively regarding its undernormative features.It transformed during the XVIII century – the disredarding meaning disappeared, the first, religious aspect expanded over morality, customs, the way of living, simultanously drifting away from its religious significance.Throught the history of the prostota lexeme there was a short period regarding to a lack of culture and misbehaviour but dissapeared quickly with uprising of a prostactwo lexeme. Since the XIX century the dominating feature of prostota lexeme is being natural in a positive way. Besides the modifications of the lexeme and the transformation of its meanings prostota was mostly referring to positive values, which are the only meanings now.

LA FISICA DELLA MUSICA

Nuncius ◽  
1999 ◽  
Vol 14 (1) ◽  
pp. 69-111
Author(s):  
ELISA BENSA ◽  
GIANNI ZANARINI
Keyword(s):  
Mathematical Models ◽  
Music Theory ◽  
Scientific Revolution ◽  
Xviii Century ◽  
Xvii Century ◽  
Musical Acoustics ◽  
History Of ◽  
Musical Sounds ◽  
Physics Experiments

Abstracttitle SUMMARY /title The scientific revolution of XVII century concerned also the domain of music theory, deeply investigating the nature of musical sounds and the physics of their production. Also the classical explanations of musical consonance were questioned, looking for its hidden causes through physics experiments and mathematical models. The passionating history of musical acoustics from Galileo to the end of XVIII century is revisited, with a particular emphasis on consonance theories.

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