scholarly journals Ethics and aesthetics of Russian rock (as exemplified by K. Kinchev`s creative work)

2021 ◽  
Vol 61 ◽  
pp. 345-356
Author(s):  
Dmitry I. Ivanov ◽  
Vladimir V. Varava
Keyword(s):  
Point Of View ◽  
Creative Work ◽  
Art World ◽  
Moral Issues ◽  
Negative Image ◽  
Artistic Creation ◽  
Literature And Philosophy ◽  
Mutual Transition ◽  
Religious Concept ◽  
Spiritual Conflicts

The paper deals with the analysis of ethical and aesthetic aspects of Russian rock by the example of the work of one of its prominent representatives Konstantin Kinchev. The authors suggest that Russian rock poetry is an organic and distinctive element of the large text of Russian culture, reflecting its deep typological characteristics. This is primarily a synthesis of literature and philosophy with a prevalence of moral issues. The mutual transition between the ethical and the existential, which is characteristic of Russian philosophical culture finds its highest embodiment in the work of K. Kinchev. From this point of view, the paper addresses some important aspects of the rock poet’s creative career, which are characterized by very strong spiritual conflicts, manifested in such topics as a painful search for truth, rushing from darkness to light, immersion in infernal areas, etc. The paper shows that these states are necessary for generating of a full-fledged art world, which is unthinkable without such contradictions. Thus, the authors debunk traditionally reduced and openly negative image of the representative of rock culture as a carrier of aggressive and destructive principles. The feeling that a poetic gift of the creator makes him a part of the divine being, and, accordingly, morally responsible for each word spoken comes to be important for all the work of K. Kinchev. As the paper identifies this is an essentially religious concept of artistic creation, rooted in the ideas of N. V. Gogol.

Vídeo experimental e autorretrato

2021 ◽  
Author(s):  
Filomena Antunes Sobral ◽  
Daniela Morgado Oliveira
Keyword(s):  
Crucial Role ◽  
Point Of View ◽  
The Self ◽  
Self Awareness ◽  
Cindy Sherman ◽  
Artistic Creation ◽  
Multiple Variable ◽  
The Relationship ◽  
Theoretical Foundations ◽  
Creative Production

In the development of the relationship between the artist and his artistic creation, the deconstruction of concepts and ideas within the scope of artistic praxis leads to the reflection of the crucial role that the artist has in the conception and meaning of the work. His creative production, in turn, appropriates not only the expressive force of the author to assert itself as an artistic creation, but can also assume to be the reflection of the self, its identity and materializes in the form of self-portrait. The self-portrait expands the artist’s interiority, externalizing concerns and questions, and conveys a subjective point of view about himself and his view of art. But how does self-portrait contribute to self-awareness? And how does the artist reveal himself and communicate beyond his appearance?Based on these questions, the objective of this paper is to provide a reflection on self-portrait presenting the results of an artistic installation project that involved photographic language in the form of self-portrait and experimental video to represent feelings of disquiet. Influences such as Cindy Sherman, Lais Pontes or Francesca Woodman, whose creations approach the self-portrait in a not only original, but critical style, stand out.It is a project of academic and artistic nature supported by theoretical foundations. The results allow us to conclude that the artistic installation, which began by presenting a self-portraying self-seeking identity, frees itself from its creator to enhance multiple variable interpretations depending on the observer’s attention.

The confrontation between essence and existence in Plato and Aristotle’s ideas in art

2015 ◽  
Vol 16 (SE) ◽  
pp. 161-170
Author(s):  
Ramin Keshavarz ◽  
Moheb Ali Absalan
Keyword(s):  
Point Of View ◽  
The Other ◽  
Human Being ◽  
Art World ◽  
Art And Science ◽  
Other Hand ◽  
Art Philosophy ◽  
Theory Of Forms

Plato by proposing the "theory of forms" changed the essence of truth and he converted it from sensorial case to extrasensory. As a result, he disparaged art and beauty that they were depended with world of phenomena and senses. He considered idea’s position in the sphere of institute and episteme and placed sensorial case, "Doxa" and "Eikon" as base of art that from his point of view is not world of "to be" and "not to be", but its world of representation and as a result he interpreted art world and it’s product as a false phenomena. He claimed that art relates with revealed component of ego that causes irreparable ruin for human being and has relationship with "Episteme". In the other hand, Aristotle unlike Plato believed in art and existence originality and considered art as a result of human’s episteme and rationality. He introduced adequacy, cognition natural talent as three principle of art. He claimed art and science deal with episteme and knowledge and they are common at the end. But what is Plato and Aristotle disagreement in sphere of art and from where it originates? And which cases are not similar in the sphere of art? The following essay will explain Plato and Aristotle’s art philosophy and comparing and explaining their ideas with relating existence originality and essence originality.  

Eleonora Duse: An Actress-Manager for the Italian Film Industry in the 1910s

2018 ◽  
Vol 45 (1) ◽  
pp. 81-95
Author(s):  
Maria Pia Pagani
Keyword(s):  
Nobel Prize ◽  
Film Industry ◽  
Silent Film ◽  
White Hair ◽  
Point Of View ◽  
Artistic Creation ◽  
Box Office ◽  
Original Case ◽  
Italian Film

From a historiographical point of view, the Italian diva Eleonora Duse (1858–1924) as an actress-manager offers an original case study in relation to her only film performance in Cenere ( Ashes, 1916). This is a film adapted from the eponymous novel by Grazia Deledda (Nobel Prize for Literature in 1926). In the 1910s, when Duse decided to work in the Italian film industry, she was a celebrity and her name was a guarantee of success for the Ambrosio Company in Turin. The film producers wanted to use her celebrity in order to ensure success at the box office. As an actress-manager with a long and acclaimed international career in the theatre, Duse knew this mechanism very well, but her position was contrary to their expectations. In fact, she aimed to present herself as an anti-diva, with her wrinkle-furrowed face and white hair, proposing a fascinating artistic creation based on the ‘mother roles’ that she had created for the theatre. This paper explores new elements concerning the position of Duse as an actress-manager for the Italian film industry in the 1910s. It is focused on her strategy of reiterating her stage success in playing a mother. On film, she did not want to be an instrument used for commercial purposes, and she did not want to create a common popular diva film. With Cenere, Duse's capability as an actress-manager can be seen in her creation of this non-conventional, poetic role for the silent film industry in wartime Italy.

scholarly journals The Rainbow Land: Exploring How Children Accept Diversity

K ta Kita ◽  
2018 ◽  
Vol 6 (2) ◽  
pp. 165-172
Author(s):  
Jossy Vania Christiani
Keyword(s):  
Point Of View ◽  
The Other ◽  
Creative Work ◽  
Main Character ◽  
Only Children

For years, cases related to intolerence of races, religions, and ethnicities have been used for political weapons in Indonesia. This cases has affected children's point of view and behaviour on diversity around them. In order to help not only children, but also parents and educators to be aware of it, I created a 70 minute play for children that discusses how children tolerate differences. I use Indonesia's folktales characters as my characters, and also use Indonesia as the setting. The first main character of the story, Nawang Wulan, struggles on how she tries to be accepted by her new friends who are different from her. While the other main character, Bawang Merah, insisting on excludes Nawang Wulan from her groups because she feels insecure of Nawang Wulan's differences. At the end of the story, Nawang Wulan finally learns that she has to accept her friends' differences first to be accepted. While Bawang Merah finally learns that even though Nawang Wulan is different, her differences are not a threat for her. I use theory of Diversity and Differences in childhood stageand also the theory of inferiority to justify my characters' behavior towards the conflicts. Through this creative work, I want to raise an awareness that diversity is inevitable, even around children. Therefore, it is better for them to learn how to tolerate it so they can accept it rather than misused it. 

An introduction to the history of modern Persian Sufism, Part I: The Ni'matullāhī order: persecution, revival and schism

1998 ◽  
Vol 61 (3) ◽  
pp. 437-464 ◽  
Author(s):  
Leonard Lewisohn
Keyword(s):  
Religious Tradition ◽  
Point Of View ◽  
The Political ◽  
Religious Thought ◽  
Literature And Philosophy ◽  
Modern Period ◽  
Modern Development ◽  
Mystical Tradition ◽  
History Of ◽  
The Subject

Following the political upheavals of 1978, the history and development of Shiite religious thought in modern-day Persia has been the subject of detailed scholarly studies, but the modern development of Sufism—the mystical tradition that lies at the heart of traditional Persian culture, literature and philosophy, which is, from the cultural and literary point of view at least, the most fascinating aspect of the Perso-Islamic religious tradition—remains almost completely uncharted. In contrast to the classical and medieval periods of Persian Sufism which have undergone much scholarly investigation in recent years, the study of the modern period of Iranian tasawwuf, though far better known and documented, has been seriously neglected by scholars.

THEMATIC AND IDEOLOGICAL FEATURES OF THE STORIES OF Zh. NAZHIMEDENOVA

2021 ◽  
Vol 76 (2) ◽  
pp. 55-65
Author(s):  
R.K. Zhetybai ◽  
◽  
Sh.A. Saparova ◽  
Keyword(s):  
Point Of View ◽  
Art World ◽  
Advantages And Disadvantages ◽  
Similarities And Differences ◽  
The 1960S ◽  
Main Ideas ◽  
Good Rating

The article comprehensively analyzes the stories of Zhumeken Nazhimedenov “Солай, ұлым”, “Азамат ауылы”, “Көне жұрт”, “Бақсы”, “Оркиік”. The analysis of the plot is carried out from the point of view of the author's process, from the point of view of the artistic structure. There are thematic features and ideological features. There is also an overview of the literary processes of the 60-80s. It is analyzed from the point of view of content and form, and an overview of the art world is made. Current ideas are discussed and topics are classified according to the literary classification. The relevance of the article is to analyze the thematic and ideological features of conversations that are not analyzed in the prose of past eras, to identify the main topics and current ideas of that era, to compare the advantages and disadvantages of stories of that period. Comparing the topics raised in the stories of Zhumeken Nazhimedenov, we can give an example of the main themes and main ideas of the stories of prose writers who received a good rating in their period, such as Sh.Murtaza, S. Muratbekov, A. Suleimenov, written in the 1960s and 1980s. He clearly showed their similarities and differences in the works of other writers.

The Philosophy of Artistic Creation: Phidias, the Ideas, and Cicero

Apeiron ◽  
2018 ◽  
Vol 51 (3) ◽  
pp. 325-344 ◽  
Author(s):  
Anna Motta
Keyword(s):  
Point Of View ◽  
Artistic Creation ◽  
Platonic Theory ◽  
Human Eyes ◽  
Human Hands ◽  
The Way

Abstract Since Antiquity Phidias seems to be the best sculptor of Gods, because he carved great statues with his human hands and succeeded in giving a physical look to that which is not visible to human eyes. This paper is devoted to Cicero’s attention on the imaginative creation of the artist and on the philosophical features of that demiurgical activity which the Roman philosopher links to his interpretation of the Platonic theory of the Forms. The survey led on some Ciceronian texts shows, from a philosophical and philological point of view, the way in which Cicero reconsiders the role of the phantasia, offering a revalution of the art.

Hidden Creators, Silent Authors

2016 ◽  
Vol 2016 ◽  
pp. 379-385
Author(s):  
Paola Secchin Braga
Keyword(s):  
Creative Process ◽  
Active Role ◽  
Point Of View ◽  
Main Issue ◽  
Contemporary Dance ◽  
Creative Work ◽  
Paris Opera ◽  
The People ◽  
Brazilian Version ◽  
The Creation

To be interpreter and at the same time creator seems to be the rule in contemporary dance. It is expected of the dancer to contribute to the making of the piece in which he will appear. Similarly, the choreographer's assistant (also referred as rehearsal assistant) has an active role in the process of creating a dance piece. This paper proposes an analysis of a creative process in which the question of authorship emerges—in our point of view—as the main issue. The onomastic pieces of French choreographer Jérôme Bel will serve as the basis of our analysis, and especially the piece called Isabel Torres, in which the interpreter and the choreographer's assistant had a much more important role in the creation than the choreographer himself. Premiered in 2005, Isabel Torres was supposed to be a Brazilian version of Véronique Doisneau (created in 2004, for the Paris Opera). The creative work made by the dancer and the rehearsal assistant made of it more than a mere version: Isabel Torres is an autonomous piece—so autonomous that Bel offered it to both dancer and assistant, to present it wherever they wished. Who signs Isabel Torres? In which terms is it presented in programs? Do dancer and assistant consider themselves as authors? How does the choreographer deal with it? The absence of the choreographer, the people involved in it, and the kind of work developed in the creative process makes us question the notion of authorship in contemporary dance pieces.

The Empirical Study of Literature. How Empirical can it be?

1989 ◽  
Vol 7 (2) ◽  
pp. 115-130 ◽  
Author(s):  
Dieter Freundlieb
Keyword(s):  
Empirical Study ◽  
Literary Criticism ◽  
Text Comprehension ◽  
Point Of View ◽  
Significant Part ◽  
Literary Texts ◽  
Empirical Science ◽  
Moral Issues ◽  
Constructive Process ◽  
Ideological Background

This article addresses some of the problems of an empirical study of literature resulting from the fact that it cannot, qua empirical science, engage in the evaluation of literary texts and the moral issues those texts exemplify as well as the further fact (if it is a fact) that statements about textual meanings in the context of literary interpretations are not empirically true or false. Traditional interpretive literary criticism has always played a significant part in the reproduction and modification of culture. From this point of view, an empirical science of literature must appear severely limited. However, it can be argued that such an empirical study of literature can show that interpretation is necessarily a constructive process and therefore always, to a large extent, determined by (often ideological) background assumptions. An empirical study of literature would make interpretation one of its objects of study and explanation. Such investigations would further our understanding of processes of text comprehension in general, but it would also allow us to reconstruct the background assumptions guiding traditional interpretations.

The anthropology of creativity in the context of S.N. Bulgakov’s sophiology

2019 ◽  
pp. 140-153
Author(s):  
O.V. Shchekaleva
Keyword(s):  
Creative Process ◽  
Human Life ◽  
Creative Work ◽  
Creative Activity ◽  
Ontological Status ◽  
Artistic Creativity ◽  
Artistic Creation ◽  
True Meaning ◽  
The Impact

This paper deals with Bulgakov’s doctrine on the human being and creative work. The reason why it is possible to interpret and understand Bulgakov’s conception of creativity in the light of anthropology is justified in the paper. It is indicated that many researchers of Bulgakov's philosophy did not make an explicit connection between anthropology and creativity and did not raise the question why man is capable of creativity. Anthropology and the concept of creativity are reconstructed using Bulgakov's texts. The role of Sofia in the creative process and her role in human life as a whole are determined. The change of the ontological status of man as a result of the original sin is analyzed. The specificity of Bulgakov's understanding of the creative act and its influence on man is revealed. The impact of creativity on a person is analyzed in the paper. It is proposed to consider artistic creation separately from self-creation, as it is fundamentally different from artistic creativity. It is emphasized that according to Bulgakov, self-creation can lead a person to salvation and even to Holiness. It is argued that self-creation as the implementation of one's own idea-norm is the true meaning of human life. Attention is drawn to the tragedy of creativity, which every person-creator experiences. In conclusion, it is pointed out that in the future the concept of Bulgakov's creativity can be ap-plied to the evaluation of works of art. The article concludes that, according to Bulgakov's philosophy, the main characteristics of a person that make him capable of creativity are his freedom, genius and talent. This way the importance of creative activity, both for an individual and for the whole world, is proved and the eschatological role of creativity is indicated.

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