No 8 (2024)
Articles
To the issue of specifics of Vasiliy Rozanov’s creativity (the experience of the interpretation of suppositions)
Abstract
This article is devoted to the analysis of several suppositions, related to Rozanov’s creativity and options of it’s interpretation. We mean by the supposition the guess and at the same time the concrete plan. This position makes it possible for us to bring together the different treatments to Rozanov’s creativity that can be found in the history of Russian philosophy. Simultaneously we consider as the supposition the convergence between different schemes of the mind and sides of the world, that Rozanov had suggested in his first book “On Understanding”. This approach helps us to realize, that the prepositions of the interpreters concerning the creativity of Rozanov are connected with his own suppositions. We presume the phenomenon of the potentiality is the general base of Rozanov’s vision, that links Rozanov’s suppositions to the conceptions of researchers and puts early and late Rozanov’s works together. We suggest, that the late works of Rozanov are the realized potentialities of his early ideas, that he expressed in his treatise “On Understanding”. Rozanov’s creativity gives us the opportunity to examine Rozanov’s spiritual search as the movement from the concrete particular images to the general (Rozanov’s metaphysics). Our theory basis on the conception of the hermeneutic circle. We come to the conclusion, that the main statement of Rozanov’s creativity, integrating it’s different features is the symbolism of Rozanov’s world. This symbolism can be explained by means of A.F. Losev's theory of the interpreted symbol and by some aspects of the doctrine of the chronotope by M. M. Bakhtin. We try to unite these theories, according to the creativity of Rosanov and understand his searches in such way. This approach gives us the opportinity to realize the ideas of Rozanov better.
Philosophy and Culture. 2024;(8):1-20
1-20
The interaction of social reality and cultural values in the art of installation
Abstract
The subject of the study is the cultural definition of the phenomenon of installation as a phenomenon of modern art, in which there is an interaction of social reality and cultural values of society. The author examines in detail the development of installation art, which originated in the 1960s and developed under the influence of Dadaism, surrealism and environmental art. It is shown that the art of installation, which has unique advantages such as conceptuality and openness, has redefined the role and importance of works of art in socio-cultural discourses. Special attention is paid to the importance of various types of representation in works of art – installations – of the nature of social reality and cultural values. At the present stage, the development of installation art not only expands the boundaries of artistic innovation and promotes interdisciplinary research, but also has a significant impact on the development of the value sphere of society. Using the methods of scientific analysis, comparative research, generalization and literature review, the authors analyzed specific manifestations of installation art in modern socio-political realities: the impact on the formation of cultural identity in the context of globalization, the role in public life and public art, reflections on memory and history, as well as on future development. The main conclusions of the study are the provisions that installation art through its works reflects and criticizes social phenomena, identifies problems and contradictions in society, promotes cultural exchange and understanding, and also stimulates the creative abilities of viewers through involvement in active interaction with works of installation, strengthening the social function of public art. These provisions are confirmed by the analysis of examples of modern installation art, which allowed the author to determine the immediate prospects for development. In the forecast for the future, the author notes that installation art will depend on interdisciplinary cooperation with technology and social sciences, while such cooperation will provide opportunities for the development of not only culture and art, but also high-tech technologies and the social sphere.
Philosophy and Culture. 2024;(8):21-33
21-33
Individual images of holy wives in ancient Russian iconography of the XIV–XVI centuries
Abstract
Among the works of ancient Russian art of the XIV–XVI centuries, the images of holy wives are of particular interest in terms of the specific features of their iconography. In the art of Orthodox countries, the images of the saints we are considering, as a rule, do not deviate from strict iconographic norms, which indicates the stable semantic meaning that these figures are endowed with. However, in ancient Russian art we find noticeable discrepancies with this principle, which brings special connotations to the artistic structure of such monuments. The subject of the research in the work is the originality of iconographic variations of icons with the sole image of holy women in ancient Russian art of the XIV–XVI centuries. The purpose of this article is to determine the specifics of the perception of images of holy women in the art of Ancient Russia at the time we are interested in. To do this, we will resort to the iconographic method of research, as well as to the methods of typological and comparative analysis. The comprehensive analysis made it possible to conclude that the iconographic confusion in the images of holy women, which is not uncommon in ancient Russian art, indicates a pronounced tendency to combine these figures into a single syncretic image. We believe that the fusion of their attributes indicates a more significant status of images of female holiness in the art of Ancient Russia compared to the wider Byzantine world. In the monuments of Byzantine art, the iconographic features of the images of the saints we are interested in are expressed with greater consistency. In ancient Russian art, the specificity of the perception of individual images of holy women is associated not only with the motives of steadfastness in defending the true faith, but also with the expression of the hope of Orthodox Christians for the intercession of their images.
Philosophy and Culture. 2024;(8):34-44
34-44
The "Global Art Project" in Empirical Aesthetics
Abstract
The article reveals the interdisciplinary potential of empirical aesthetics, including from the perspective of the formation of the concept of a "global art project". The main emphasis in the material is on the conceptualization of empirical aesthetics in comparison with other levels of aesthetic scientific reflection, such as philosophical aesthetics, analytical, receptive and others. It is shown that it is precisely in the aspect of the development of empirical aesthetics that relevant research practices have been developed that make it possible to study art from the point of view not of a form of social consciousness, but as an independent phenomenon of individual and collective human life. The article also provides arguments in favor of the opinion that art grasps reality, revealing its consolidating properties. Thus, the background of empirical aesthetics is revealed, which is necessary for understanding its scientific strategy. The research methodology is based on an interdisciplinary approach, as well as system analysis. These directions allow us to reveal the purpose of the article and solve the tasks set in it, in particular, the use of such a method as event analysis contributes to the formation of the so-called "global art project". The evaluation of this project is carried out at the theoretical and applied levels. A special contribution of the authors to the study of the "global art project" is the chosen perspective of the conceptualization of this research area, as well as the assessment of the heuristic value of the proposed methods and research practices in line with empirical aesthetics, confirming the importance of the "global art project". The main results of the undertaken work include the following provisions: (1) the specificity of empirical aesthetics in the study of the deployment of social reality and the meanings of human individual and collective existence in art is revealed; (2) it is established that the theoretical background of empirical aesthetics arises not only under the influence of the philosophy of art or classical aesthetics, but also in interaction with social knowledge and in particular, with the sociology of art; (3) The experience of using event analysis in the study of art is summarized.
Philosophy and Culture. 2024;(8):45-57
45-57
An innovative city in modern culture
Abstract
The article analyzes the phenomenon of an innovative city from a cultural and philosophical perspective. The paper substantiates the characteristic features of an innovative city, namely: the tendency to move forward, dissatisfaction with the existing existence, the development of the category of opportunity from the point of view of assessing the innovative prospects of the city. The concept of "innovative city" in this study was compared with similar concepts of "ideal city", "city of the future", "fast city", "creative city". The distinction was made regarding the substantive, operational and dynamic aspects of the innovative potential of cities. In particular, for the concepts of "ideal city" and "city of the future", the most important is the substantive side of the innovation process, embodied in the ideal image of the city; while for the "fast city" the potential of innovation is associated with the idea of movement, trend, speed and multi-vector flow of change. The theoretical and methodological basis of the study is a phenomenological approach that substantiates the city as a semantic space-time construct with innovative development potential. The authors consider the substantive, operational and dynamic aspects of the concept of "innovation" in relation to urban transformation projects. Special attention is paid to the phenomenological aspects of the generation, implementation and translation of innovations to determine the strong semantic dominants of the "creative city", "fast city", "ideal city", "city of the future", innovative city as a whole. Analyzing the models of urban development, the difficulties of innovative programs related to the problem of determining the specific results of transformations, the lack of processality as such, inconsistency, utopianism, the predominance of the effect of the significance of mega-events over the practical results of innovation are emphasized. The methods of neutralizing the negative consequences of innovative strategies by maintaining a wide range of semantic alternatives that identify strong semantic dominants of the city; controlling the speed of changes that allow to "remove" the conflict between the anthropological and innovative dimension of the city; overcoming the ratio of innovativeness and trendiness, in favor of building the city's own unique imagery.
Philosophy and Culture. 2024;(8):58-69
58-69
About the specifics of mythodesign in social networks
Abstract
The object of the study is the technology of mythodesign. Today, it is actively used by the "electronic nomads" on their own social networks accounts, leading to the transformation of his worldview and perception of himself. The purpose of the study is to demonstrate the changes of a "nomad" who divert the reality because of the large amount of time spent on social networks. The research methods are analytical and phenomenological. As a result of the analysis of the problem, it was revealed that in modern times mythodesign is becoming a popular technology, the development of which is not difficult. With the help of mythodesign, electronic nomads construct myths that create spaces for communication, and images in the form of photographs or small videos. Mythodesign includes two elements – a myth and an image. The myth highlights a fantasy element that allows you to convey the plot more vividly and draw attention to the "electronic nomad". The image in social networks is a construct with staged features, which allows hiding the real face of the "electronic nomad"; the "nomad", wanting popularity, erases his real image replacing it by an avatar. As a result, the external success hides the internal crisis of the "nomad". But, experiencing psychological discomfort, the "electronic nomad" is unable to critically approach the situation and even avoids such an action. As a result, the social pages of "electronic nomads" are virtual biographies, which only partially reflect the real life of a person.
Philosophy and Culture. 2024;(8):70-79
70-79
The evolution of the idea of the “beautiful soul” in Friedrich Schiller’s dramas
Abstract
The article examines the evolution of the views of the German poet and playwright Friedrich Schiller on the concept of a "beautiful soul" as a harmonious combination of mind (form) and sensuality (matter). The idea of this evolution is formed on the basis of the poet's artistic works. The main objects of research are six of Schiller's dramas ("The Robbers", "The Fiesco Conspiracy in Genoa", "Don Carlos, Infante of Spain", "Mary Stuart", "The Maid of Orleans" and "William Tell"), which most vividly depict the poet's attempts to resolve the conflict between form and matter. A number of Schiller's theoretical works are considered as additional sources: on physiology, history and aesthetics. In turn, additional sources allow us to form an idea of the socio-political significance that Schiller attached to his vision of a "beautiful soul." The research is based on the following methods: descriptive, comparative and biographical methods of analyzing works of art. The author of the article proceeds from the premise that the poet, who began under the strong influence of the literary movement "Storm and Onslaught", quickly became disillusioned with Sturmer's individualist hero, whose goal was to maximize his own potential, albeit to the detriment of society. At the same time, it is noted that Schiller did not have confidence in the state and its laws, which seek to simplify the diversity of life by subordinating it to ideal forms. It is concluded that the existence of a "beautiful soul" acting at will and not limited by the law is possible only in a society in which the state has disappeared as an independent institution, merging with the people; in which there is no class stratification and a gap between ordinary citizens and rulers. The contribution of the author of the article is to develop the idea of Schiller as a kind of "ideologue" of a stateless society. The results obtained are planned to be developed in a series of articles devoted to the consideration of Schiller's philosophical views.
Philosophy and Culture. 2024;(8):80-96
80-96
Title "σωτήρ" in Ancient Culture and Biblical Discourse: on the problem of semantic evolution of the concept
Abstract
The article is devoted to the problem of semantic evolution of pagan terminology in Christian theology. A specific token becomes the subject of consideration "σωτήρ", which has gone through a long history of semantic transformation: from the savior to earthly adversities and misfortunes in the pagan world (natural objects, people, mythological creatures could act as saviors and even the gods) to the Savior of human souls in Christianity. The authors demonstrate how the content of the concept was modified and how, along with the religious meaning, a political component emerged and established itself in the structure of meaning by the Hellenistic era, and then was again pushed into the background. It is suggested that the political connotations are caused not so much by the "power ambitions" of the Church, but, firstly, by the socio-cultural context in which Christianity arose, and, secondly, by the specifics of the pagan worldview in which the idea of sacralizing power was rooted. The task of the authors, who worked with rather archaic material, was not only to reveal the logic of semantic shifts, to understand how Christian theology could become heard in the space of pagan culture. The authors believe that the success of Christian preaching was not least due to the cognitive strategies chosen by the Church, which were directly poisoned by pagan concepts in the work.
Philosophy and Culture. 2024;(8):97-107
97-107
Pentecostalism: the problem of definition
Abstract
In just a century, the Pentecostal movement has become a numerical force in world Christianity and the largest movement in Protestantism. But there are many different movements recognised by scholars as ‘Pentecostalism’, and there is absolutely no uniformity among these movements. There is no single form of Pentecostalism, nor are there clear theological criteria by which it can be defined. Researchers wonder whether it is even possible to speak of global Pentecostalism as a single phenomenon. It is similarly impossible to define what Pentecostalism is without understanding how the movement originated. Until recently, the historiography of the movement has been based on North American history, but recent research has increased the complexity of defining Pentecostalism. This paper examines the following scholarly approaches to defining Pentecostalism: phenomenological, historical, sociological, theological, and global perspective approaches. These approaches do not exclude each other, but are interdependent and complementary. As a result, it is shown that through the ‘global perspective’ approach Pentecostalism can be defined as a global network movement. From the historical and theological approaches, it is revealed that Pentecostalism cannot be seen as a movement with a clear beginning in the USA or elsewhere, nor as a movement based on one particular theology. It is a movement in constant flux, whose followers' spirituality is expressed in a constant search for an “experience of the Spirit” and spiritual gifts. It is a movement that took several years and several different formative ideas and events to emerge, a movement that from its inception has had a global character. It is therefore best thought of as an early 20th century Protestant global networking movement with an emphasis on the ‘experience of the Spirit’ and the application of spiritual gifts.
Philosophy and Culture. 2024;(8):108-128
108-128
Aspects of Romantic Mentality: Ludwig Tieck
Abstract
Aesthetic views of Ludwig Tieck, one of the prominent Romantics, are analyzed and explored. The article uses a complex philosophical-aesthetic method of analyzig texts. It shows that Tieck demonstrates the high status of art (according to him, it exceeds human abilities) using the example of painting. In the process of creative activity the painter lives an enlightened life that is different from ordinary life. He contemplates alternative worlds that are similar to the worlds of dreams and phantasies and attempts to portray them in his creations. The painter sees all that he depicts as a reality, which, according to Tieck, harmonizes the human being with him or herself and with the entire world. Tieck pays a special attention to landscape painting as it expresses the beauty of the world in which God manifests himself to the world. Tieck’s aesthetics pays significant attention to the sources of realist art. Tieck claims that art is useless in a utilitarian sense. In its essence it is symbolic and it elevates the human spirit over mundane reality. Tieck outlines a Romantic ideal of the woman, which lies at the foundation of many Romantic works, especially literature. The poet uses inspiration in his creativity, which Tieck elevates to prophecy. The basis of artistic creativity is the irrational, which is nevertheless arranged by reason. “Sensory joy” and “tendency to pain and suffering” are important in poetry. However, upon this sensory foundation the poet creates a sublime work that is aimed at the invisible and heavenly. Overall, Tieck reveals both the otherworldly character of poetry and its patriotic and nationalist foundations. He creates one of the paradigms of Romantic irony. Tieck’s aesthetics demonstrates essential aspects of Romantic creativity.
Philosophy and Culture. 2024;(8):129-161
129-161
Aesthetic quests of early French romanticism. Joseph Joubert
Abstract
The subject of the study are the fundamental philosophical and aesthetic problems in the aesthetics of the early French romantic Joseph Joubert. His ideas about the essence of art, its intrinsic value are revealed; analyzed problems of imitation and depiction as a figurative multiplication of life, the relationship between art and nature; talent, inspiration and creative imagination of the artist, reality and illusion; trends in the synthesis of arts, the predominance of the spiritual principle over the material. Emphasis is placed on the role of associative memory and suggestion in the creative process. His concept of expressiveness of artistic form and artistic style, closely related to the problems of aesthetic taste, aesthetic evaluation, and the priority of the ideal in art, is analyzed. The special importance that Joubert, as a strict moralist, attached to the relationship between aesthetics and ethics, the educational role of art, and the specifics of its perception is shown. The multifaceted nature of this study predetermined the use of a number of methodological approaches: philosophical and aesthetic approach, art historical analysis, comparative, interdisciplinary methods. The main conclusion of the study is that Joubert created an original aesthetic concept that was in demand both in mature French romanticism and in the symbolism of the 19th-20th centuries. Many of its lines remain relevant in the 21st century, in particular, the increased interest of artists in the non-rational, invisible ideas of the suggestive influence of art and trends in the synthesis of arts. The author's special contribution is that the study of Joubert's aesthetic theory and artistic practice is based on original material. The author of the article analyzed the aesthetic views of one of the significant early French romantics, which had not previously been the subject of special research in Russian science.
Philosophy and Culture. 2024;(8):162-181
162-181
Ecological motivation for cultural and philosophical understanding of color categorization
Abstract
The article considers conceptual ideas of color categorization as a cultural practice. Color categorization is the process of dividing the color continuum into discrete color groups (color categories) and fixing them in the human mind through the cutural sign system. In modern color studies, this process is viewed from the ecocentric perspective. According to ecocentrism, humans and other living being are equal parts of nature, and they should coexist in harmony and peace. In this regard, it becomes important to search for ecological motivation not only in the human body, but also in human activity, especially in cultural practices. Therefore, the purpose of this study was to analyze conceptual ideas of color categorization from the ecocentric perspective. The systematization of the indicated conceptual ideas allowed us to identify three key directions based on ecological motivation: (1) nature-centered, (2) body-oriented and (3) socio-cultural. The mentioned directions are formed on the basis of such concepts as "environment", "corporeality" and "sociality", respectively. Acting as the main factors that determine the content and structure of color categories, environment, human body and culture form the main vector of color categorization. The environment comprises a set of objects with chromatic characteristics. They are the material for color categorization, and their configuration sets examples of color combinations. The physiological and biological features of the human body determine the process of color perception and its cognitive processing resulting into color categories. As the color categories become a part of human activity, their cultural semantics is created in the form of cultural meanings and connotations.
Philosophy and Culture. 2024;(8):182-190
182-190
Calligraphic graffiti of Tsang Tsou Choi, King of Kowloon, as a phenomenon of art and popular culture in China
Abstract
The object of this research is the mass culture and art of China in the second half of the XX – early XXI centuries. The subject of the study is the calligraphic graffiti of Tsang Tsou Choi, the so–called "king of Kowloon", as a phenomenon of art and mass culture in modern China. During the consideration of the topic, questions are raised about the degree of study of the issues under consideration, the problems of research are outlined, the stages of formation of Tsang Tsou Choi as an icon of culture and art of Hong Kong are analyzed. The article traces the content of the artist's work, gives an idea of the specifics of the perception of his works in the mass consciousness, in addition, describes the transformation of the perception of his street calligraphic inscriptions in the context of historical and cultural processes that took place in Hong Kong in the second half of the XX – early XXI centuries. The main methods of the study were historical, cultural, systemic and functional analysis, which allowed us to create an idea of the calligraphic graffiti of Tsang Tsou Choi as a phenomenon of art and mass culture in modern China. For the first time in Russian science, the work attempts to highlight the phenomenon of calligraphic graffiti of King Kowloon and trace their influence on the art world and mass consciousness of Hong Kong in the context of historical and cultural processes that took place in Hong Kong in the second half of the XX – early XXI centuries. The study concludes that for Hong Kong residents, Tsang Tsou Choi's street calligraphy has become a discovery and inspiration, inspiring perseverance and determination in the struggle for their ideals in an era of great change. It is also important that his inscriptions embodied a unique collective memory: they touched on topics that traditionally remained unspoken, such as, for example, the history of mass dispossession. They became a statement that nothing is forgotten. Despite being declared an outsider in academic calligraphy circles, his fame only grew on the streets. Obviously, in the years leading up to the handover of Hong Kong to China, his naive activism became an expression of the general mood of the era. Thus, his figure gained importance not so much as a calligrapher, but as a pioneer of political graffiti.
Philosophy and Culture. 2024;(8):191-198
191-198