Thematische Bibliographien / Philosophy of art

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Auswahl der wissenschaftlichen Literatur zum Thema „Philosophy of art“

Autor: Grafiati

Veröffentlicht am 4. Juni 2021

Zuletzt aktualisiert am 27. Juli 2024

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Zeitschriftenartikel zum Thema "Philosophy of art"

Süzen, Hatice Nilüfer, und Nuray Mamur. „Reflection of “Philosophy” on Art and Philosophy of Art“. Procedia - Social and Behavioral Sciences 122 (März 2014): 261–65. http://dx.doi.org/10.1016/j.sbspro.2014.01.1339.

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Cooper, Neil. „The Art of Philosophy“. Philosophy 66, Nr. 256 (April 1991): 169–75. http://dx.doi.org/10.1017/s0031819100053043.

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Any account of knowledge has to take account both of the contribution of the world and the contribution of man. Every human endeavour, every activity, every art, every science is a product of a unique interaction between man and the world. Where man is most passive, he merely reflects and reports the world; this is pure discovery, if it ever exists. Where man is most active, the world's contribution lies merely in the provision of the raw material; this is pure invention, if it ever exists. All the arts, all the sciences can be ordered in a continuous array or spectrum ranging from pure discovery to pure invention. That they are all at some point on this continuum gives them a common but fragile thread, justifying our thinking and talking of the unity of the arts and sciences. Philosophy is neither pure discovery nor pure invention; it bears resemblances to both a science and an art. In this paper I propose to try to give reasons why we should regard the philosopher as an artist and philosophy as an art; or, at any rate, I shall try to show that there is an Art of Philosophy.

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Dahlstrom, Daniel O. „Philosophy and Art“. Journal of Aesthetics and Art Criticism 53, Nr. 1 (1995): 101. http://dx.doi.org/10.2307/431750.

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Somerville, James. „Philosophy of Art“. International Philosophical Quarterly 41, Nr. 3 (2001): 375–77. http://dx.doi.org/10.5840/ipq200141326.

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Goehr, Lydia. „Philosophy Without Art“. New Nietzsche Studies 8, Nr. 1 (2009): 34–57. http://dx.doi.org/10.5840/newnietzsche2009/201081/24.

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D'Amico, R. „Philosophy for Art“. Telos 1987, Nr. 74 (01.01.1987): 177–83. http://dx.doi.org/10.3817/1287074177.

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Negrin, Llewellyn. „Art and philosophy“. Philosophy & Social Criticism 31, Nr. 7 (November 2005): 801–22. http://dx.doi.org/10.1177/0191453705057304.

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Seel, Gerhard. „Rethinking Art and Philosophy of Art“. Journal of Philosophical Research 37, Nr. 9999 (2012): 77–84. http://dx.doi.org/10.5840/jpr201237supplement27.

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Bulkina, Polina, und Hanna Novik. „PHILOSOPHY OF THE ART OF LAND ART“. Theory and practice of design, Nr. 26 (2022): 268–74. http://dx.doi.org/10.32782/2415-8151.2022.26.32.

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Havas, Randall E., und Julian Young. „Nietzsche's Philosophy of Art.“ Philosophical Review 103, Nr. 2 (April 1994): 377. http://dx.doi.org/10.2307/2185753.

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Dissertationen zum Thema "Philosophy of art"

Lafferty, Michael Gerald. „Arthur Danto's philosophy of art“. Thesis, University of Warwick, 2006. http://wrap.warwick.ac.uk/42211/.

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The thesis is a critical examination of Danto's philosophy of art. It begins with his article 'The Artworld' where he proposes a special is of artistic identification to distinguish artworks. Danto's idea of the artworld is discussed, a historical and contextual theory of art, which arose from his attempt to explain the difference between Warhol's Brillo Boxes sculpture and an indiscernible stack of everyday Brillo boxes. It is argued that Danto unsuccessfully attempts to shore up his artworld concept with the special is. The technique of comparing indiscernible counterparts, from Danto's book The Transfiguration of the Commonplace, is examined. It is argued that the technique is philosophically redundant, but it is a redundant premise which has been added to a valid inference (Danto's historical and contextual view of art: his artworld theory) therefore, this does not make the original inference invalid. Danto's treatment of metaphor, expression, and style is shown to result in four claims. First, artworks embody rhetorical ellipsis. Second, artworks share features of metaphor: they are intensional (with an s) in structure and cannot be paraphrased. Third, a work of art expresses what it is a metaphor for by the way it depicts its subject. Fourth, artworks embody style. The conclusion, has two parts. The first part gives a summary of the criticism of Danto's theory of art: (1) there are logical inconsistencies in his concept of the is of artistic identification and in his use of indiscernible counterparts, (2) his theory suffers by being over-inclusive and (3) he uses circular arguments. The second part is based on a response to the criticism: it provides a definition of art. This has three elements. First, an argument is proposed for a spectrum of artistic presence in which all human activity and artefacts can be placed. Second, there is an acceptance of Danto's view of art (or artistic presence) being both intentional (with a t) and intensional (with an s); however, by applying these concepts to a spectrum, the problem of over-inclusiveness is avoided. Finally, it is argued there can he no wholly non-circular account of art.

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Gustafsson, Daniel. „A philosophy of Christian art“. Thesis, University of York, 2014. http://etheses.whiterose.ac.uk/8052/.

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This thesis offers an original and comprehensive philosophical approach to the understanding of Christian art. It draws on a range of sources, from analytic and theological aesthetics, philosophy and theology, to interpret and articulate a vision of the aims and prerogatives of Christian art. Works by William Blake, David Jones, and R. S. Thomas are among those receiving close attention; works which yield a picture of art and creative labour as deeply implicated in the central mysteries and practices of the Christian faith. In five chapters, the thesis addresses the nature and the implications of the Form, the Beauty, the Good, the Ontology, and the Love of Christian art. It is the aim of Christian art to manifest God under the particular forms and beauty of the artwork. These forms are realised and discerned in the context of a Christian life. The artwork’s beauty invites a response of delight, gratitude, and the reorientation of our desires and dispositions towards the infinite beauty of God. As a sacramental object, the Christian artwork is positioned in a Christian ontological narrative, in which we humans are entrusted with transformative stewardship of the world. Outside this conceptual and ontological context, the work will not be experienced as what it is. Ultimately, the Christian artwork begs to be perceived and engaged with – as indeed it is created – as an object of love. Thus the artwork finds its place within an understanding of Christian faith as the striving for a personal union with God. Above all, Christian art is made, received and loved as part of our calling to grow in the divine likeness. In presenting this vision, the thesis breaks new ground, and not only makes significant contributions to analytic and theological aesthetics, but also offers material with implications for philosophy and theology more widely.

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Peters, Julia Helene. „Art and philosophy in Hegel's system“. Thesis, University College London (University of London), 2009. http://discovery.ucl.ac.uk/18022/.

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My thesis addresses a puzzle concerning Hegel's notion of the value of beauty. On the one hand, the contemplation of beauty, in particular artistic beauty, has the same status for Hegel as philosophical knowledge, since through both, we come to grasp the absolute truth: the unity of spirit and nature, or of the human individual and the world it lives in. On the other hand, Hegel thinks that the aesthetic unity of spirit and nature is in some way deficient, when compared to the unity we come to grasp through philosophical knowledge. Thus Hegel claims that philosophy and art have the same content, while philosophy is higher than art. I suggest that this puzzle can be dissolved if we consider that beautiful art, for Hegel, is associated with a form of life, in which the aesthetic unity of spirit and nature becomes social and political reality: the ancient Greek polis. Since the social and political structure of the polis inevitably leads to tragic collisions, Hegel concludes that the value of beauty provides no ground for establishing an ultimate unity of the human individual and the world it lives in. In Hegel's view, it is only philosophical reflection, and the social and political institutions which emerge from such reflection, which can provide an adequate ground for ultimate reconciliation. Nevertheless, I argue, the contemplation of beauty remains a perfectly adequate way of grasping, if not establishing, this unity. Hence according to the interpretation I propose, philosophy is higher than art in a twofold sense for Hegel. On the one hand, it serves a critical function with respect to the value of beauty: it points out the limits of beauty, in particular the fact that beauty is incapable of making the unity of spirit and nature concrete and real, by turning it into social and political reality. On the other hand, philosophy redeems the promise which is left unfulfilled by beauty: to establish an ultimate unity of spirit and nature, of human individual and the world it lives in.

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Thompson, Seth Aaron. „Art Unfettered: Bergson and a Fluid Conception of Art“. Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1248388/.

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This dissertation applies philosopher Henri Bergson's methodology and his ideas of duration and creativity to the definitional problem of art, particularly as formulated within analytic aesthetics. In mid-20th century, analytic aesthetics rejected essentialist definitions of art, but within a decade, two predominant definitions of art emerged as answers to the anti-essentialism of the decade prior: functionalism and proceduralism. These two definitions define art, respectively, in terms of the purpose that art serves and in terms of the conventions in place that confer the status of art onto artifacts. Despite other important definitions (including historical and intentionalist definitions), much of the literature in the analytic field of aesthetics center on the functional/procedural dichotomy, and this dichotomy is an exclusive one insofar as the two definitions appear incompatible with each other when it comes to art. I use Bergson's methodology to demonstrate that the tension between functionalism and proceduralism is an artificial one. In turn, abandoning the strict dichotomy between these two definitions of art opens the way for a more fluid conception of art. Using Bergson's application of duration and creativity to problems of laughter and morality, I draw parallels to what a Bergsonian characterization would entail.

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McGuiggan, James Camien. „This is art : a defence of R.G. Collingwood's philosophy of art“. Thesis, University of Southampton, 2017. https://eprints.soton.ac.uk/407958/.

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Al-Obaid, Hanan. „Philosophy of Islamic ornament in Islamic art“. Thesis, Cardiff University, 2005. http://orca.cf.ac.uk/55634/.

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The view of Islamic art as a minor art and its various ornaments as without any purpose or meaning is questionable since such a perspective ignores the great influence of the Islamic religion on it. This study investigates in close detail the philosophy of ornament in Islamic art. Clearly, Islamic ornamentation plays a central role in Islamic art and architecture. It is divided into four main elements: Arabic calligraphy, vegetal and geometric ornament, and human and animal figural representation. Due to the significance of Islamic ornamentation, this study will examine its origins, development and impacts on the art and architecture of other cultures as well as the influence of other cultures on the development of Islamic ornamentation. It will also examine the rich historical and cultural background from which the art of Islamic ornament emerged in order to identify the characteristics of Islamic ornament in the context of history, its development, its aesthetic values and its underlying philosophy and forms of expression. In this study the historical survey method is employed to examine the development of Islamic ornamental elements. This study also explores the various Islamic ornamental methods and techniques that artists used to create beautiful Islamic ornaments as well as the meanings of Islamic ornamental symbols in both Islamic art and architecture. This study identifies the most important factors contributing to the beauty of Islamic ornamentation. The nature of the relationship between Islamic artists and spectators and their roles in the context of Islamic art also is examined. The thesis concludes that Islamic ornamentations are based on a divine philosophy that stimulates contemplation of God's Majesty and transcendence through wonder at the cosmos He has created. Another important characteristic of Islamic culture is its acceptance of cultural variations which it absorbed and then used to develop its own unique character and identity. Finally, the study identifies two types of Islamic ornamentation, namely, secular ornamentation and pure Islamic ornamentation, and offers a contrastive definition of both.

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Engstrom, Timothy Hildreth. „Pragmatic rhetoric and the art of philosophy“. Thesis, University of Edinburgh, 1988. http://hdl.handle.net/1842/18866.

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Rampley, Matthew. „Dialectics of contingency : Nietzsche's philosophy of art“. Thesis, University of St Andrews, 1993. http://hdl.handle.net/10023/14775.

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This thesis examines the function of art in Nietzsche's philosophy. Its primary concern is with Nietzsche's turn to art as the means to counter what he terms metaphysics. Metaphysics is a metonym for the system of beliefs sustaining our culture whereby human judgements about the world are perceived as uncovering an objective truth antecedent to those judgements, with an implicit faith in the possibility of exhausting the totality of these antecedent truths. This thesis consequently has two principal strands. The first is to analyse Nietzsche's criticism of metaphysics. The second is to explore the way in which, using a specific understanding of art, Nietzsche attempts to reconcile extreme scepticism towards all forms of human knowledge with a continued belief in their necessity. The thesis argues that Nietzsche lays an importance on art as providing an aesthetic education to replace the misguided theoretical orientation of metaphysics. Nietzsche criticises metaphysics for its inability to recognise that its interpretations are mere interpretations, that logic and the rational serve as means to make the world meaningful from the human perspective. My thesis explores how he sees art, and in particular the tragic, as constituting a mode of world interpretation which declares its status as such. I argue that for Nietzsche this is crucial inasmuch as a failure to recognise the contingency of our interpretations results in a refusal to give value in any interpretations. For Nietzsche the advent of the Modern age heralds the danger of such refusal, and hence I argue that his turn to art is a response to the specifically Modern temptation to descend into mere cynical Nihilism.

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Fidalgo, Christopher J. „Art, Gaut and Games: the Case for Why Some Video Games Are Art“. Digital Archive @ GSU, 2012. http://digitalarchive.gsu.edu/philosophy_hontheses/5.

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In this paper, I argue that there are some video games which are art. I begin my paper by laying out several objections as to why video games could not be art. After laying out these objections, I present the theory of art I find most persuasive, Berys Gaut’s cluster concept of art. Because of the nature of Gaut’s cluster concept, I argue that video games, as a medium of expression, do not need to be defended as a whole. Rather, like all other media of expression, only certain works are worthy of the title art. I then introduce and defend several games as art. After, I return to the initial objections against video games and respond in light of my defended cases. I conclude that video games, as a medium of expression, are still growing, but every day there are more examples of video games as art.

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Hanson, Louise Mary. „Conceptual art : what is it?“ Thesis, University of Oxford, 2011. http://ora.ox.ac.uk/objects/uuid:1ce65d49-6864-4a29-8600-5c54e405ef5e.

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Conceptual Art (henceforth CA) has the peculiar status of being at once a neglected topic in philosophical aesthetics, and one on which a degree of philosophical weight disproportionate to the attention it has received is placed. On the one hand it is frequently mentioned by philosophers as a problematic case, one that general theories of art have difficulty dealing with, but on the other, there is a notable lack of philosophical research taking CA as its focus. It is largely taken as a given that CA is radically different from other art in various ways and thus poses problems for some of the general statements about art that philosophers tend to make. But it is striking that these claims are not, for the most part, grounded in a thorough investigation into the nature of CA. The purpose of my research is to conduct such an investigation; to address the question of what CA is, and what makes it different from other art, in order to come to a clearer view of what particular philosophical issues or difficulties CA raises for the philosophy of art. In existing literature on CA, it is standard to take CA’s distinctiveness to have something to do with the importance of ‘ideas’. I investigate what could be meant here by ‘idea’, and identify two broad schools of thought as to what form this emphasis on ideas in CA takes: Priority Accounts, which claim that in CA ideas are the most important aspect of the work and Constitution Accounts, which claim that works of CA are ideas. I identify serious problems for Constitution Accounts, in general, and for some kinds of Priority Account. I then put forward a new kind of Priority account which I think overcomes the problems faced by its rivals.

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Bücher zum Thema "Philosophy of art"

Taubes, Timothy. Art & philosophy. Buffalo, N.Y: Prometheus Books, 1993.

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Kunstverein, Neuer Berliner, Hrsg. Kunst und Philosophie: Art and philosophy. Köln: Verlag der Buchhandlung Walther König, 2012.

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Carroll, Noël. Philosophy of Art. London: Taylor & Francis Group Plc, 2004.

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Tamm, Michael. Art of philosophy. [United States]: M. Tamm, 1993.

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Rozok, Stefan. Truth, art, philosophy. Philadelphia, PA]: [publisher not identified], 2007.

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O, Dahlstrom Daniel, Hrsg. Philosophy and art. Washington, D.C: Catholic University of America Press, 1991.

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Ron, Hubbard L. The artist: Art and philosophy of art. [California?]: L. Ron Hubbard Library, 1998.

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Heidegger's philosophy of art. Cambridge: Cambridge University Press, 2001.

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Feldman, Edmund Burke. Philosophy of art education. Upper Saddle River, N.J: Prentice-Hall, 1996.

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E, Benjamin Andrew, Hrsg. Complexity: Architecture, art, philosophy. London: Academy Group, 1995.

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Buchteile zum Thema "Philosophy of art"

Michaud, Nicolas. „Are Tattoos Art?“ In Tattoos - Philosophy for Everyone, 29–37. Oxford, UK: Wiley-Blackwell, 2012. http://dx.doi.org/10.1002/9781118252789.ch3.

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Vandenbussche, Hanne, und Elisabeth De Schauwer. „Disability-Philosophy-Art“. In The Routledge International Handbook of Transdisciplinary Feminist Research and Methodological Praxis, 225–37. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003303558-29.

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Meyer, Ingo. „Philosophy of art“. In The Routledge International Handbook of Simmel Studies, 184–95. Gregor Fitzi. Description: 1 Edition. | New York : Routledge, 2020. |: Routledge, 2020. http://dx.doi.org/10.4324/9780429297502-12.

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Silberbusch, Oshrat C. „Philosophy of Art, Art of Philosophy: Adorno’s Aesthetic Utopia“. In Adorno’s Philosophy of the Nonidentical, 123–84. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-95627-5_4.

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Harrison-Barbet, Anthony. „The philosophy of art“. In Mastering Philosophy, 324–38. London: Macmillan Education UK, 2001. http://dx.doi.org/10.1007/978-1-137-03589-9_10.

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Harrison-Barbet, Anthony. „The Philosophy of Art“. In Mastering Philosophy, 286–301. London: Macmillan Education UK, 1990. http://dx.doi.org/10.1007/978-1-349-20916-3_9.

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Flanagan, Ben, und Owen Flanagan. „Anguished Art“. In Blues-Philosophy for Everyone, 75–83. Oxford, UK: Wiley-Blackwell, 2012. http://dx.doi.org/10.1002/9781118153284.ch7.

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Ghosh, Ranjan K. „Emotions in Art“. In SpringerBriefs in Philosophy, 23–34. Singapore: Springer Singapore, 2018. http://dx.doi.org/10.1007/978-981-13-2460-4_3.

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Johnsen, Hans Christian Garmann. „A king's art“. In Science Meets Philosophy, 1–18. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003326878-1.

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Kobayashi, Nobuyuki. „Nishida’s Philosophy and Art“. In Tetsugaku Companions to Japanese Philosophy, 183–94. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-319-41784-4_13.

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Konferenzberichte zum Thema "Philosophy of art"

Wenting Xie und Ren Peng. „Philosophy of art & arts in philosophy“. In Conceptual Design (CAID/CD). IEEE, 2008. http://dx.doi.org/10.1109/caidcd.2008.4730806.

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de Oliveira Gelape, Lucas, und Thiago Álvares Feital. „From Art to Politics: challenging representation“. In XXVI World Congress of Philosophy of Law and Social Philosophy. Initia Via, 2015. http://dx.doi.org/10.17931/ivr2013_wg141_03.

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Chistyakova, Olga. „Postmodern Philosophy and Contemporary Art“. In 4th International Conference on Arts, Design and Contemporary Education (ICADCE 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icadce-18.2018.26.

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Chen, Zhentao. „Art in Wittgenstein’s Philosophy of Language“. In 2021 6th International Conference on Modern Management and Education Technology（MMET 2021）. Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.211011.059.

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Gunther, York H. „Where(of) Art Cannot Speak“. In Annual International Conference on Philosophy: Yesterday, Today & Tomorrow. Global Science & Technology Forum (GSTF), 2014. http://dx.doi.org/10.5176/2382-5677_pytt14.10.

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Sumaryadi und Sumaryadi Sumaryadi. „Esthetics of Lakon Ketoprak in Java Philosophy“. In Proceedings of the International Conference on Art and Arts Education (ICAAE 2018). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icaae-18.2019.49.

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Wei, Ying. „Environmental Art Design Based on Ecological Philosophy Perspective“. In 2016 International Conference on Education, Sports, Arts and Management Engineering. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/icesame-16.2016.58.

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He, Shuqing. „Beauty and Art in the Oriental Philosophy. An Aesthetic Study in the Traditional Chinese Philosophy“. In 3rd International Conference on Arts, Design and Contemporary Education (ICADCE 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/icadce-17.2017.20.

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Sevcik, Milos. „ART AS EDUCATION: JAN PATOCKA ON THE RELATION OF ART TO DEEP AND SUPERFICIAL HISTORY“. In SGEM 2014 Scientific SubConference on ANTHROPOLOGY, ARCHAEOLOGY, HISTORY AND PHILOSOPHY. Stef92 Technology, 2014. http://dx.doi.org/10.5593/sgemsocial2014/b31/s11.091.

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Aleksandr, Borshchov, Romashchenko Mariya, Romashchenko Aleksandr, Dovgalenko Natalya und Bontsevich Natalya. „Art and Philosophy in Engineerrs Training: Individual Pedagogical Experience“. In International Conference on the Theory and Practice of Personality Formation in Modern Society (ICTPPFMS 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/ictppfms-18.2018.42.

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Berichte der Organisationen zum Thema "Philosophy of art"

Savater, Fernando. Education and Citizenship in the Global Era. Inter-American Development Bank, Oktober 2003. http://dx.doi.org/10.18235/0007949.

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Kost’, Stepan. THE CONCEPT OF CREATIVITY IN JOURNALISM. Ivan Franko National University of Lviv, März 2021. http://dx.doi.org/10.30970/vjo.2021.50.11092.

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The article analyzes some theoretical and practical aspects of creativity. The author shares his opinion that the concept of creativity belongs to the fundamental concepts of philosophy, psychology, literature, art, pedagogy. Creativity is one of the important concepts of the theory of journalism. The author does not agree with the extended definition of creativity. He believes that journalistic activity becomes creativity when it is free and associated with the creation and establishment of new national and universal values, with the highest intensity of intellectual and moral strength of the journalist, when journalism is a manifestation of civic position, when this activity combines professional skills and perfect literary form.The author also believes that literary skill and the skill of a journalist are not identical concepts, because literary skill is a component of journalistic skill.

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Webb, Philip, und Sarah Fletcher. Unsettled Issues on Human-Robot Collaboration and Automation in Aerospace Manufacturing. SAE International, November 2020. http://dx.doi.org/10.4271/epr2020024.

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This SAE EDGE™ Research Report builds a comprehensive picture of the current state-of-the-art of human-robot applications, identifying key issues to unlock the technology’s potential. It brings together views of recognized thought leaders to understand and deconstruct the myths and realities of human- robot collaboration, and how it could eventually have the impact envisaged by many. Current thinking suggests that the emerging technology of human-robot collaboration provides an ideal solution, combining the flexibility and skill of human operators with the precision, repeatability, and reliability of robots. Yet, the topic tends to generate intense reactions ranging from a “brave new future” for aircraft manufacturing and assembly, to workers living in fear of a robot invasion and lost jobs. It is widely acknowledged that the application of robotics and automation in aerospace manufacturing is significantly lower than might be expected. Reasons include product variability, size, design philosophy, and relatively low volumes. Also, the occasional reticence due to a history of past false starts plays a role too. Unsettled Issues on Human-Robot Collaboration and Automation in Aerospace Manufacturing goes deep into the core questions that really matter so the necessary step changes can move the industry forward.

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Obua, Steven. Philosophy of Abstraction Logic. Steven Obua (trading as Recursive Mind), Dezember 2021. http://dx.doi.org/10.47757/pal.1.

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Abstraction Logic has been introduced in a previous, rather technical article. In this article we take a step back and look at Abstraction Logic from a conceptual point of view. This will make it easier to appreciate the simplicity, elegance, and pragmatism of Abstraction Logic. We will argue that Abstraction Logic is the best logic for serving as a foundation of mathematics.

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Obua, Steven. Philosophy of Abstraction Logic. Steven Obua (trading as Recursive Mind), Dezember 2021. http://dx.doi.org/10.47757/pal.2.

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Ivanyshyn, Petro. BASIC CONCEPTS OF YEVHEN MALANIUK’S NATIONAL-PHILOSOPHICAL INTERPRETATION: ESEISTIC DISCOURSE. Ivan Franko National University of Lviv, Februar 2021. http://dx.doi.org/10.30970/vjo.2021.49.11070.

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The purpose of the research is to outline the structure of the main methodological ideas within the frames of interpretive thinking in the essay of the famous Vistnyk’s writer, critic and essayist Yevhen Malaniuk. Considering the purpose and tasks of the studio, an interdisciplinary methodological base, related to the author’s “national approach”, has been worked out. The epistemological potential of national philosophy as a philosophy of national existence, national science as a theory of nation, hermeneutics as a theory and practice of interpretation and post-colonialism as interpretation of cultural phenomena from the standpoint of anti- and post-imperial consciousness are used in the work. The scientific novelty is that on the basis of the previous hermeneutic generalization and definition of national-existential methodology, a propaedeutic outlining of the structure of national-philosophical concepts within the frames of the essayistic interpretation of reality in Ye. Malaniuk is proposed. In the methodological sense, the writer’s essayism is structured by such concepts as nation-centrism, idealism, voluntarism, heroism, and can be considered as one of the variants (close by the experiences of D. Dontsov, Yu. Lypa, M. Mukhyn, etc.) of the Vistnyk’s national-philosophical (national-existential, nationalistic or nation-centric) hermeneutics, that is, the way of understanding, which the author by himself outlined as a “national approach”. The support of Ye. Malaniuk as a culture-philosopher and exegete on the eternal nation-centric values and criteria in his essayistic studies makes his reflections not only historically interesting, but also theoretically productive, classically important for the development of modern Ukrainian hermeneutics and humanities in general.

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Abdula, Andrii I., Halyna A. Baluta, Nadiia P. Kozachenko und Darja A. Kassim. Peculiarities of using of the Moodle test tools in philosophy teaching. [б. в.], Juli 2020. http://dx.doi.org/10.31812/123456789/3867.

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The paper considers the role of philosophy and philosophical disciplines as the means of forming general cultural competences, in particular, in the development of critical thinking. The article emphasizes that the process of forming over-subject and soft skills, which, as a rule, include also critical thinking, gets much more complicated under the conditions of the reduction in the volume of philosophical courses. The paper grounds that one of the ways to “return” philosophy to educational programmes can be the implementation of training, using the e-learning environment, especially Moodle. In addition, authors point to the expediency of using this system and, in general, e-learning as an instrument for collaborating students to the world’s educational community and for developing their lifelong learning skills. The article specifies the features of providing electronic support in philosophy teaching, to which the following belongs: the difficulty of parametrizing the learning outcomes; plurality of approaches; communicative philosophy. The paper highlights the types of activities that can be implemented by tools of Moodle. The use of the following Moodle test tasks is considered as an example: test control in the flipped class, control of work with primary sources, control of self-study, test implementation of interim thematic control. The authors conclude that the Moodle system can be used as a tools of online support for the philosophy course, but it is impossible to transfer to the virtual space all the study of this discipline, because it has a significant worldview load. Forms of training, directly related to communication, are integral part of the methodology of teaching philosophy as philosophy itself is discursive, dialogical, communicative and pluralistic. Nevertheless, taking into account features of the discipline, it is possible to provide not only the evaluation function of the test control, but also to realize a number of educational functions: updating the basic knowledge, memorization, activating the cognitive interest, developing the ability to reason and the simpler ones but not less important, – the skill of getting information and familiarization with it.

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Lara, Juan. Challenges to Classical Liberalism. Instituto de Libertad Económica, August 2023. http://dx.doi.org/10.53095/13582012.

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Which practices put classical liberalism and the free enterprise and free-market philosophy at risk? How do these practices emerge and manifest themselves in an economy? What are the pernicious effects of these practices? What conditions allow or favor the existence of these challenges to classical liberalism?

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Carty, Anthony, und Jing Gu. Theory and Practice in China’s Approaches to Multilateralism and Critical Reflections on the Western ‘Rules-Based International Order’. Institute of Development Studies (IDS), Oktober 2021. http://dx.doi.org/10.19088/ids.2021.057.

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China is the subject of Western criticism for its supposed disregard of the rules-based international order. Such a charge implies that China is unilateralist. The aim in this study is to explain how China does in fact have a multilateral approach to international relations. China’s core idea of a community of shared future of humanity shows that it is aware of the need for a universal foundation for world order. The Research Report focuses on explaining the Chinese approach to multilateralism from its own internal perspective, with Chinese philosophy and history shaping its view of the nature of rules, rights, law, and of institutions which should shape relationships. A number of case studies show how the Chinese perspectives are implemented, such as with regards to development finance, infrastructure projects (especially the Belt and Road Initiative), shaping new international organisations (such as the Asian Infrastructure Investment Bank), climate change, cyber-regulation and Chinese participation in the United Nations in the field of human rights and peacekeeping. Looking at critical Western opinion of this activity, we find speculation around Chinese motives. This is why a major emphasis is placed on a hermeneutic approach to China which explains how it sees its intentions. The heart of the Research Report is an exploration of the underlying Chinese philosophy of rulemaking, undertaken in a comparative perspective to show how far it resembles or differs from the Western philosophy of rulemaking.

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Mandaville, Peter. Worlding the Inward Dimensions of Islam. IIIT, Oktober 2020. http://dx.doi.org/10.47816/01.003.20.

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Muqtedar Khan’s Islam and Good Governance: A Political Philosophy of Ihsan is, above all, an expression of faith.[1] This does not mean that we should engage it as a confessional text — although it certainly is one at some level — or that it necessitates or assumes a particular faith positionality on the part of its reader. Rather, Khan seeks here to build a vision and conception of Islamic governance that does not depend on compliance with or fidelity to some outward standard — whether that be European political liberalism or madhhabi requirements. Instead, he draws on concepts, values, and virtues commonly associated with Islam’s more inward dimensions to propose a strikingly original political philosophy: one that makes worldly that which has traditionally been kept apart from the world. More specifically, Khan locates the basis of a new kind of Islamic politics within the Qur’anic and Prophetic injunction of ihsan, which implies beautification, excellence, or perfection — conventionally understood as primarily spiritual in nature. However, this is not a politics that concerns itself with domination (the pursuit, retention, and maximization of power); it is neither narrowly focused on building governmental structures that supposedly correspond with divine diktat nor understood as contestation or competition. This is, as the book’s subtitle suggests, a pathway to a philosophy of the political which defines the latter in terms of searching for the Good.

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