The issues of holistic world
Reference:
Akimov O.Y.
To the issue of specifics of Vasiliy Rozanov’s creativity (the experience of the interpretation of suppositions)
// Philosophy and Culture.
2024. ¹ 8.
P. 1-20.
DOI: 10.7256/2454-0757.2024.8.71359 EDN: QSKWLT URL: https://en.nbpublish.com/library_read_article.php?id=71359
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.
Keywords:
search, ideas, symbolism, interpretation, supposition, creativity, World, theory, mind, potentiality
Philosophy and art
Reference:
ZHang R.
The interaction of social reality and cultural values in the art of installation
// Philosophy and Culture.
2024. ¹ 8.
P. 21-33.
DOI: 10.7256/2454-0757.2024.8.71412 EDN: QNIOYH URL: https://en.nbpublish.com/library_read_article.php?id=71412
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.
Keywords:
cultural identity, work of art, cultural exchange, globalization, interactivity, cultural value, installation art, installation, contemporary art, cultural diversity
Philosophy and art
Reference:
Pshenichnyi P.V.
Individual images of holy wives in ancient Russian iconography of the XIV–XVI centuries
// Philosophy and Culture.
2024. ¹ 8.
P. 34-44.
DOI: 10.7256/2454-0757.2024.8.71418 EDN: PKFCKS URL: https://en.nbpublish.com/library_read_article.php?id=71418
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.
Keywords:
image, attributes, iconography, Anastasia, Paraskevi, Barbara, single image, female saints, icon, feminine holiness
Axiology: values and relics
Reference:
Popov E.A., Zabneva E.I.
The "Global Art Project" in Empirical Aesthetics
// Philosophy and Culture.
2024. ¹ 8.
P. 45-57.
DOI: 10.7256/2454-0757.2024.8.71484 EDN: OQKEGP URL: https://en.nbpublish.com/library_read_article.php?id=71484
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.
Keywords:
The existential experience, World Values Survey, the axiological approach, cultural traditions, methodological approaches, methodology, theoretical approaches, values and norms, spiritual culture, art