Relevant bibliographies by topics / Artistic Philosophy

Academic literature on the topic 'Artistic Philosophy'

Author: Grafiati
Published: 10 December 2022
Last updated: 29 January 2023

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Journal articles on the topic "Artistic Philosophy"

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Nickolsky, Sergey A. "The Artistic Philosophy. On the Methodology of Research of Artistic Philosophy." Russian Journal of Philosophical Sciences 63, no. 3 (July 10, 2020): 24–55. http://dx.doi.org/10.30727/0235-1188-2020-63-3-24-55.

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Stoner, Samuel A. "Critical Philosophy as Artistic Endeavor." Southwest Philosophy Review 26, no. 1 (2010): 181–87. http://dx.doi.org/10.5840/swphilreview201026120.

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Talon-Hugon, Carole. "The Artistic Disenfranchisement of Philosophy." Diogenes 59, no. 1-2 (February 2012): 168–76. http://dx.doi.org/10.1177/0392192113492068.

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Liakh, Tetiana. "Philosophy of Overcoming as a Constant of Creative Thinking of Lesia Ukrainka." Balkanistic Forum 31, no. 1 (January 10, 2022): 241–54. http://dx.doi.org/10.37708/bf.swu.v31i1.12.

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The article explores the philosophy of overcoming in the Lesia Ukrainka’s creative work. This constant of the author’s artistic thinking is consistent with the meaning of “existentialist humanism” according to Sartre, who postulates the existence of man in the world, not introversion. The key to understanding the Lesia Ukrainka’s philosophy of overcoming is the poetry “Contra spem spero!” The artistic reception of the author of the myth of Sisyphus agrees with her understanding of Camus, however, unlike the French philosopher, Lesia Ukrainka sees the meaning of life in the movement to goal, creativity. Another cornerstone of Lesia Ukrainka’s philosophy of overcoming is a resistance to national enslavement and spiritual slavery. The writer dedicates a num-ber of dramatic poems on biblical and mythological themes to this topic, in which the existential mode of national enslavement is projected onto the realities of the author’s day. Lesia Ukrainka reflects the overcoming the “existential vacuum” (Frankl) by heroes, their acquisition of harmony with world through death in her dramas “The Noble Woman [boiarynia]”, “The Forest Song [lisova pisnia]”, and “The Blue Rose [blakytna troianda]”. Studying the philosophy of overcoming in the Lesia Ukrainka’s artistic reception ascertains once again that her creative work, philosophic discourse assonant, on one hand, with the Western European thought of the late 19th – early 20th centuries, and, on the other hand, an original phenomenon in the Ukrainian literature of the outlined period due to projection of individual existence of the poetess.
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Dixon, Daisy. "The Artistic Metaphor." Philosophy 96, no. 1 (September 14, 2020): 1–25. http://dx.doi.org/10.1017/s0031819120000273.

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AbstractPhilosophical analysis of metaphor in the non-linguistic arts has been biased towards what I call the ‘aesthetic metaphor’: metaphors in non-linguistic art are normally understood as being completely formed by the work's internal content, that is, by its perceptual and aesthetic properties such as its images. I aim to unearth and analyse a neglected type of metaphor also used by the non-linguistic arts: the ‘artistic metaphor’, as I call it. An artistic metaphor is composed by an artwork's internal content, but also by its external content, which is provided by the work's artistic properties such as its history. The artistic metaphor has been gestured at but not afforded a considered analysis; I aim to do this. Identifying the artistic metaphor has at least two benefits. It shows how curation plays a role in generating metaphors in artworks, which has been overlooked, and it illuminates a potentially powerful tool to interpret and understand ‘conceptual’ art.
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Lychkovakh, V. A. "PHILOSOPHY OF ETHNOCULTURE – ЕТНNОCULTUROLOGY – ЕТНNОCULTUROGRAPHY." UKRAINIAN CULTURAL STUDIES, no. 1 (2) (2018): 20–25. http://dx.doi.org/10.17721/ucs.2018.1(2).04.

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The article investigates interrelation between philosophy of ethnoculture, ethnoculturology and ethnoculturography as components of modern culturological discourse. Aim of the article is to extend the idea about the structure of modern culturological knowledge and, in particular, to analyze how philosophy of ethnoculture, ethnoculturology and ethnoculturography correlate with each other. In connection with this there is an important task − to ground the notion of ethno-culturalography as a discourse of science and art, in particular the discourse in which ideas, archetypes, signatures and values of ethnoculture are represented in a figuratively-artistic form. The methodological value of philosophy of ethnoculture is revealed for the construction of conceptual paradigms and conceptual tools of ethnoculturology and culturological regional studies. The concept of ethnoculturography as representation of ethnoculture in artistic images of literature and art is entered in modern sciences about the culture for the first time. In particular, ethnographic approach to artistic creativity is analyzed on the examples of painting of well known Ukrainian artists Olha Petrova and Anatolii Furlet. The author understands ethnoculturology as synthesis of scientific artistic reflection that combines knowledge of ethnocultures with their pictorial reproduction by means of artistic and aesthetical facilities. For instance, ethnoculturography in painting requires a special type of discourse, where metaphysics, aesthetics, semiotics and chronotopes of the region are crossed with artistic vision, individual practice of the artist. In works of Anatolii Furlet it is manifested through artistic restoration of the mystic world of ancestors connected with "A Stone Grave" near Melitopol − one of the oldest monuments of world and national culture. For ethnoculturology of Olha Petrova the "spirit of nation" in its multicultural measurements was presented at the exhibition "Other Shores". Five "shores" of spiritual oecumene of the artist (France, Spain, Ukraine, Arabic East, Japan) outline ethnic horizons of her real and virtual travels in space and time of Eurasian cultures. Consequently, ethnoculturology practically becomes an original guide-book, a road sign (vade mecum) in the world of ethnocultures.
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Shorkend, Danny. "The Philosophy of Sport as Artistic Expression." International Journal of English and Cultural Studies 1, no. 1 (April 23, 2018): 59. http://dx.doi.org/10.11114/ijecs.v1i1.3227.

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While there is no “expressive theory of sport”, there is certainly, according to Hyland (1984, 1990), Osterhoudt (1973), Kerr (1997) and Weis (1969) a pivotal role played by emotions and feelings in sport which amount to a type of expressive theory and in that sense it parallels expressive theories in art. In this article I will first isolate three moments that capture sports performance and parallel art. Then, I will describe sport as an expression of emotional release, which is often how one understands art. Based on such overlaps, I will argue for two philosophical observations that devolve from such a comparison, namely ineffability and the unity of mind-body (in sport). Finally, I will apply a reading of Kant to sport, in order to substantiate the idea that sport, like art draws from a philosophical heritage.Imagine three isolated “steps” in sport: the focus before performance; the performance itself and the fan’s response as they articulate the emotional basis of sport which is familiar, albeit perhaps subconscious. After a brief analysis of these imagined images, I give a simplified historical outline of sport which describes the feeling-basis of play that forms the foundation for modern sport. I then examine what I have termed the “(surplus) expressive-energy theory of sport” which I have gleaned from the above writers, a theory that argues that sport is the expression of inner emotional states. Such states are in need of expiation of both the practitioner as well as the expression of certain basic emotions on the part of the audience. A narrower version of this theory is that sport is the release of aggressiveness, which coheres with its instinctual origins and the “surplus theory”. A critique of sport as expression (of surplus energy, aggression…) follows with a view to highlight some shortcomings in the ideas presented and thus the need for further theories to account for the multi-faceted nature of sport, a similar requirement that is needed for art given the shortcomings of expressive theories as applied to the arts.
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Ellioti, Shanti. "Icon and Mask in Dostoevsky's Artistic Philosophy." Dostoevsky Journal 1, no. 1 (2000): 55–67. http://dx.doi.org/10.1163/23752122-00101005.

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Kayumov, Abduvakhob. "Artistic Image And Nationality." American Journal of Social Science and Education Innovations 03, no. 04 (April 30, 2021): 252–57. http://dx.doi.org/10.37547/tajssei/volume03issue04-38.

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The article explores the national features of Paulo Coelho's The Alchemist and Isajon Sultan's The Free. The course of events and philosophy of both works are close to each other. The dream-goal of the protagonists is given in a similar way to the images of the journey process. Therefore, the symbolic meanings in the images, in the way of expression of ideas, in the materials that reveal the subject, in some artistic details are analyzed from a national point of view. In this work, the role and importance of the novels "Alchemist" and "Free" in the education of a harmoniously developed person is revealed. Also, the artistic skills and unique styles of the writers were studied.
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Maluleka, P., and T. Mathebula. "Trends in African philosophy and their implications for the Africanisation of the South Africa history caps curriculum: a case study of Odera Oruka philosophy." Yesterday and Today 27 (2022): 65–89. http://dx.doi.org/10.17159/2223-0386/2022/n27a3.

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A Kenyan philosopher, Henry Odera Oruka (1944-1995), conceptualised and articulated the six trends in African philosophy. These are ethno-philosophy, nationalistic-ideological philosophy, artistic (or literary philosophy), professional philosophy, philosophic sagacity and hermeneutic philosophy. In this article, we maintain that the last three of these trends, namely professional philosophy, philosophic sagacity, and hermeneutic philosophy, are useful in our attempt to contribute to Africanising the school history curriculum (SHC) in the Curriculum Assessment Policy Statement (CAPS) in post-apartheid South Africa. Against this background, we make use of Maton's (2014) Epistemic-Pedagogic Device (EPD), building on from Bernstein's (1975) Pedagogic Device as a theoretical framework to view African philosophy and its implications for the Africanisation of the SHC in CAPS in post-apartheid South Africa. Through the lens of Maton's EPD, we show how the CAPS' philosophy of education is questionable; untenable since it promotes 'differences of content'; and is at the crossroads, i.e., it is stretched and pulled in different directions in schools. Ultimately, we argue that Oruka's three trends form a three-piece suit advertising one's academic discipline (professional philosophy); showing South Africa's rich history told in the words ofAfrican elders (sage philosophy); and imploring school history learners to embark on a restless, unfinished quest for knowledge in the classrooms in post-apartheid South Africa.
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Dissertations / Theses on the topic "Artistic Philosophy"

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Schwartz, Melissa Rachel. "Embodied Ethics : Transformation, Care, and Activism Through Artistic Engagement." UNF Digital Commons, 2012. https://digitalcommons.unf.edu/etd/398.

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In what follows, I highlight negative environmental perspectives and actions based on traditional patterns of Western dualist thought with the ultimate aim of developing an alternative way of relating to the environment and the ‘other’, in general. In pursuit of such an alternative, I utilize embodied artistic practices in order to present the notion that one can engage more holistically with one’s environment, and the other. Through habitual, lifelong ‚Ways‛ cultivating specific practices generally necessary to creating and to viewing art, I argue, one can refine one’s ethical awareness and action. Following the aims of care ethics’ more context and experience-oriented approach to moral concern and to treatment of the other, as well as the philosophies of Japan, and feminist philosopher, Irigaray, I show how these artistic practices form a new awareness and stance that encompasses components of care. Finally, I briefly highlight how art has been used for positive activism.
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Kochman, Sloane. "“Back to Zero:” The Artistic and Pedagogical Philosophy of Anni Albers." Thesis, University of Oregon, 2017. http://hdl.handle.net/1794/22657.

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This thesis investigates Anni Albers’s development from a student at the Bauhaus to a teacher at Black Mountain College, focusing on her unique pedagogical practice that was informed by what she called a “back to zero” approach. My study analyzes the parallels between Albers’s art and teaching by looking at her experience as a student, teacher and artist. Albers’s “back to zero” philosophy frames the narrative of each chapter. In the first chapter, I examine her time as a student at the Bauhaus, exploring precisely which aspects of her Bauhaus education she continued to reference in her own teaching career. The second chapter focuses on Albers’s role as a teacher at Black Mountain College, especially how she viewed self-referential aesthetics (where the surface appearance references internal structure and production methods), the process of haptic creation by which objects signaled their intrinsic connection to the essence of weaving, and the influence of ancient textiles, especially ancient Andean weavings. The third chapter explores the teaching environment that Albers created for her students, ultimately asserting this to be an expression of the same “back to zero” philosophy that she embodied in her artistic practice.
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Elicker, Bradley Joseph. "The Mediated Nature of Literature: Exploring the Artistic Significance of the Visible Text." Diss., Temple University Libraries, 2016. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/381480.

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Philosophy
Ph.D.
My goal in this dissertation is to shed light on a practice in printed literature often overlooked in philosophy of literature. Contemporary works of literature such as Mark Z. Danielewski’s House of Leaves, Jennifer Egan’s A Visit from the Goon Squad, and Irvine Welsh’s Filth each make artistic use of the features specific to printed literature such as font and formatting. I show that, far from being trivial aberrations, artistic use of font and formatting has a strong historical tradition going back to the Bucolic poets of ancient Greece. When these features deviate from traditional methods of inscription and perform some artistic function within the work, they are artistically significant features of the works themselves. The possibility of the artistic significance of these features is predicated on works of printed literature being visually mediated when one reads to oneself. All works of literature are mediated by some sense modality. When a work of printed literature is meant to be read to oneself, it is mediated by the modality of sight. Features specific to this method of mediation such as font and formatting can make artistic contributions to a text as well. Understanding the artistic significance of such features questions where we see literature with respect to other art forms. If these features are artistically significant, we can no longer claim that works of printed and oral literature are both the same performative art form. Instead, philosophy of literature must recognize that works of printed literature belong to a visually mediated, non-performative, multiple instance art form separate from the performative tradition of oral literature.
Temple University--Theses
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Thomas, Christopher. "The place of art in Spinoza's naturalist philosophy." Thesis, University of Aberdeen, 2017. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=237177.

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The lack of discussion on art in Spinoza's works has led to the belief that a) the principles of his philosophy are actively hostile to art, and b) that his philosophy has nothing to offer regarding art's theorisation. This thesis examines the few places that Spinoza refers to art in order to discern three things: I) what Spinoza's thoughts on art are; II) how his views on art fit into the wider themes of his philosophy; and III) how his general philosophical position as well as his specific ideas on art might contribute to new models of theorising art. In Chapter One I develop Spinoza's relational and naturalistic concept of individuation, therein providing the theoretical ground for the subsequent chapters which, following Spinoza, treat the work of art as a complex body that conforms to the rules of individuation as they are developed across the Ethics. Chapter Two locates Spinoza's views on the creative act from what he notes of architecture, painting, and other 'things of this kind' in IIIP2Schol. Here I argue that Spinoza radically naturalises the creative act, deriving it from the complex causal activity of extended substance itself. To this extent art is given in IIIP2Schol as an expression of the complexity of Nature. Chapter Three turns to Spinoza's brief words on art and culture in IVP45Schol to ascertain his position on artistic experience. Here I argue that according to IVP45Schol art's necessity for the wise man lies in its ability to foster affective complexity. Chapter Four turns to that other peculiarly human artefact, Holy Scripture, to identify how 'nonnatural' objects come to be differentiated from merely 'natural' objects in Spinoza's strong naturalism. Finally I end with an appendix that brings Spinozistic principles to bear on a consideration of a poem by Futurist poet Mina Loy.
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Lambie, Eileen. "A phenomenological explication of the artistic creative experience of a painter, a writer and a playwright." Thesis, Rhodes University, 1988. http://hdl.handle.net/10962/d1004605.

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The aim of the thesis was to explore two focus questions using the phenomenological approach. Firstly, what it meant to be an artist for three particular artists; a painter, a writer and a playwright. Secondly, what a general explicitation (after Van Kaam, 1958) of the three subjects' artistic creative experience and working processes revealed in essence. The taped data of the three artists were reduced and explored through a number of phenomenological strategies. This led to the formulation of four essential descriptions for each artist, which were based structurally on Van den Berg's experiential categories in A Different Existence. Thus, the essential descriptions reflect each artist's relationship with his/her world, body, fellow people and time. The final step was the achievement of a general extended description. The major conclusion arising from the phenomenological explication is that art affords a way through which artists are able to live an authentic existence. That is, the body and world of the artist are in harmony and the artist's art roots him in the past, is manifest in the present and indicates the future direction of his work. Another conclusion is that the artist is Janus-faced and this enables him/her to balance subjectivity and objectivity in the Lebenswelt and to communicate what he/she sees to others in a healthy way through art. The artist's relationship with world, body, fellow people and with time, is postulated as being qualitatively richer than that of the nonartist. The two focus questions were successfully answered through the research explication and were validated by two independent judges. The viability of the phenomenological approach in the field of artistic creativity was therefore demonstrated. Suggestions for future research were made, one of which was that more phenomenological research aimed at eliciting specific information on the creation of art works might render more information on the artistic creative process.
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Leguy, Jean, and José Àngel Sarmiento. "The Artistic Leader : A philosophical reflection." Thesis, Linnéuniversitetet, Institutionen för organisation och entreprenörskap (OE), 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-64560.

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Philosophy, art and leadership have been considered in previous studies, nevertheless rarely have all three been blended in one. The aim of this thesis resided in the attempt to build an unfixed conceptual net, having the ambition to shed light on the innermost parts of the leader; by collecting insights from philosophical notions, the figure of an artistic leader arises. The personal importance of this work was rooted in the hope of a leadership sourced in an inner reflection. Through qualitative research, we made use of concepts derived from Kant, Foucault, Nietzsche, Heidegger and several other thinkers, targeting the ontological, sensible, and reflecting centers of the figure of the artistic leader; which ultimately was completed by primary data retrieved from experts. At the heart of the thesis, namely the fourth strand, these thoughts are developed in two volumes. The first regards the emergence of the artistic leader, a concise ontology of this figure, the suggestion of the paramount importance played by self-reflection and the ‘care’ as found in a Foucauldian understanding, as well as the mechanisms of the mind of the leader. The eventual practices of the artistic leader are developed in the second volume, seen as expressive channels through which this figure could interact with the environment. The thesis - by its very nature - is open ended, as it is a suggestion of a figure drawing its relevance in the continual constructive thinking this work hopes to generate in the reader.
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Wendland, Aaron James. "Freedom as response-ability : agency and artistic creativity in the work of Martin Heidegger." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:833425ce-5a71-4f67-b846-384fe1556e7d.

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The origin of this thesis can be traced back to a deceptively simple question that struck me when reading Hegel for the first time: What, if anything, can be made of human freedom when we live in a world that has a profound impact on who we are and what we do? Unhappy with the way existentialist reactions to Hegel characterized freedom as our ability to step out of our world and determine our identity through our own decisions and will, but nevertheless inspired by Heidegger’s depiction of human agents as always already in the world, this thesis answers the aforementioned question by turning the existentialist conception of freedom on its head: that is, instead of characterizing freedom as detached decisionism, I argue that freedom is a function of our ability to recognize and respond to the disparate demands our world places upon us. Specifically, and unlike Heidegger’s existentialist interpreters, I read Heidegger’s account of authenticity as a case of engaged-agency in which we clarify the possibilities others make available and then act accordingly. There is, however, a certain limitation to this interpretation of human agency: namely, that treating freedom as an active response to the wants and needs of others binds the agent to possibilities present in her current situation and therefore fails to capture the kind of freedom we associate with cultural transformation or artistic creativity. Hence, this thesis addresses a second set of questions: What conditions make historical change possible? And how is it that artists are able to alter the world? In response to the first query, I turn to Heidegger’s claim that we are in truth and in untruth as well as his discussion of Gelassenheit to argue that the play between the possibilities present in a particular culture and those that are excluded by it along with a release from our present activities create the conditions for cultural transformation. In reply to the second question, I examine Heidegger’s account of the happening of truth and show how thinkers and artists are able to reveal the possibilities concealed in their culture through the creative use of language. Finally, I contend that the freedom associated with cultural transformation and artistic creativity is also a form of responsibility insofar as the success of a given transformation depends on others recognizing that transformation as valuable and thus worthy of their support.
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Wertz, Charles Bradley. "Artistic expression in music and poetry." Thesis, connect to online resource, 2007. http://digital.library.unt.edu/permalink/meta-dc-3597.

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Knackert, Bruce J. "The spiritual, the mystical and the sublime : an artistic search for the absolute." Virtual Press, 1990. http://liblink.bsu.edu/uhtbin/catkey/724949.

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The purpose of this creative project was to explore the need of the artist to represent a spiritual consciousness in a material-dominated society. It was felt that a return to the mythical origins of art and a resurrected faith in the supernatural would help stimulate creativity, promote inward growth and enhance the evolution of consciousness. The artist examined mystical and philosophical literature which lead to the use of the concept of the sublime by nineteenth century landscape painters as well as the "Abstract Sublime" painters of the mid-twentieth century. Also important was the effect of the Theosophic Society's geometric iconography and color theories on two of the pioneers of abstract art, Kandinsky and Mondrian. These inquiries were incorporated into a large,; three-dimensional, mixed-media installation.
Department of Art
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Scheffknecht, Sandra Art College of Fine Arts UNSW. "Doubledeath--the very presence of the absent." Awarded by:University of New South Wales. Art, 2007. http://handle.unsw.edu.au/1959.4/43304.

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The notion of doubledeath, as an idea to generate work, can be seen as both an ironic reflection on the medium of photography and a critical attempt to comment on contemporary culture. In short, the inherent characteristics of the photographic medium and its function within society are combined. Photography embodies both death and the beginning of something autonomous and new in the very moment of the picture-taking process. A photograph is a mere simulation of what was once there, in front of the lens, transformed onto photographic paper. It then opens up a whole range of new possibilities to the viewer. The photograph's almost life-like appearance informs the photographic myth that is the idea that a photograph provides evidence of absolute truth. This characteristic together with the possibility of manipulating and altering a photograph has been continuously exploited by mass media to influence, make and guide our perceptions towards reality. These characteristics of image-making have left the borders between fiction and fact blurred. Living in a world of over-mediation it is hard to escape and find one's way around in this melting pot of the various realities suggested. Reality today is informed by the present trace of an absent original. When this is recorded photographically, it could be described as a doubledeath. Both this research documentation and the studio work are social comments on contemporary life and artmaking. Where photographs record scenes from life informed by visual simulation (the presence of the absent) the notion of doubledeath becomes most obvious. Moreover, they reflect contemporary culture, addressing and investigating concerns fueled by today's omnipresent commodity and life-style culture, and provoking thoughts about illusion and the crises of the real. In the 21st century we interact with, acknowledge, accept or even prefer the surface over the essence of things, and real experience becomes more diluted.
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Books on the topic "Artistic Philosophy"

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Aesthetic and artistic autonomy. London: Bloomsbury, 2013.

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Popescu, Titu. Frumosul natural și frumosul artistic. Cluj-Napoca: Casa Cărții de Știință, 2009.

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Glazer, Frank. A philosophy of artistic performance: (with some practical suggestions). Portland, Maine: XPress Literary Publishing, 2012.

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Ungewitter, Richard. Nakedness: In an historical, hygienic, moral and artistic light. Riverside, Calif: Ultraviolet Press, 2005.

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Walden, Scott. Photography and philosophy: Essays on the pencil of nature. Oxford: Wiley-Blackwell, 2010.

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Shield, Peter. Comparative vandalism: Asger Jorn and the artistic attitude to life. Aldershot, England: Ashgate, 1998.

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Jung, Karl Otto. Seeing colour: A study in the artistic use of colour. Madison, WI: Galda + Wilch, 2004.

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Los Angeles County Museum of Art, ed. Words without pictures. New York: Aperture, 2009.

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Ungewitter, Richard. Nakedness: In an historical, hygienic, moral and artistic light. Riverside, Calif: Ultraviolet Press, 2005.

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Why photography matters as art as never before. New Haven: Yale University Press, 2008.

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Book chapters on the topic "Artistic Philosophy"

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de Mul, Jos. "Artistic development." In Philosophy and Education, 183–98. Dordrecht: Springer Netherlands, 1997. http://dx.doi.org/10.1007/978-94-015-8782-2_13.

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Hawkins, Jennifer. "Artistic creativity and suffering." In Creativity and Philosophy, 152–69. 1 [edition]. | New York: Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781351199797-10.

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Grant, James. "Creativity as an artistic merit." In Creativity and Philosophy, 333–49. 1 [edition]. | New York: Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781351199797-19.

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Zhirong, Zhu. "Artistic representation of Chinese art." In Philosophy of Chinese Art, 188–253. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003204688-5.

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Adepoju, Oluwatoyin Vincent. "Philosophy and Artistic Creativity in Africa." In The Palgrave Handbook of African Philosophy, 507–23. New York: Palgrave Macmillan US, 2017. http://dx.doi.org/10.1057/978-1-137-59291-0_33.

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Sauchelli, Andrea. "Aesthetic Value, Artistic Value, and Morality." In A Companion to Applied Philosophy, 514–26. Chichester, UK: John Wiley & Sons, Ltd, 2016. http://dx.doi.org/10.1002/9781118869109.ch36.

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Anderson, Douglas R. "Artistic Creativity as Creative Evolution." In Creativity and the Philosophy of C.S. Peirce, 122–47. Dordrecht: Springer Netherlands, 1987. http://dx.doi.org/10.1007/978-94-015-7760-1_5.

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Bertinetto, Alessandro. "Improvisation and Artistic Photography." In The Routledge Handbook of Philosophy and Improvisation in the Arts, 600–616. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003179443-47.

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De Smedt, Johan, and Helen De Cruz. "Human Artistic Behaviour: Adaptation, Byproduct, or Cultural Group Selection?" In Philosophy of Behavioral Biology, 167–87. Dordrecht: Springer Netherlands, 2011. http://dx.doi.org/10.1007/978-94-007-1951-4_8.

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Barrett, D. Cyril. "Phenomenology and 20th Century Artistic Revolutions." In Hermeneutic Philosophy of Science, Van Gogh’s Eyes, and God, 279–86. Dordrecht: Springer Netherlands, 2002. http://dx.doi.org/10.1007/978-94-017-1767-0_23.

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Conference papers on the topic "Artistic Philosophy"

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Butnaru, Tatiana. "Un cercetător consacrat al poeticii mioritice." In Conferința științifică națională "Sergiu Moraru: 75 de ani de la naștere". “Bogdan Petriceicua-Hasdeu” Institute of Romanian Philology, Republic of Moldova, 2021. http://dx.doi.org/10.52505/sm.75.2021.04.

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This article aims at a typical system of artistic images, focused on the principles of popular poetics, elucidated in the scientific investigations of the folklorist Sergiu Moraru. Obsessed with the „mioritic background we carry in our blood”, Sergiu Moraru traveled „from folklore to philosophy” where he foreshadowed some spiritual impulses, based on which are revealed the ontological dimensions of the popular soul, the philosophy of mioritic living, determined by some specific existential turmoil. This article aims at a typical system of artistic images, focused on the principles of popular poetics, elucidated in the scientific investigations of the folklorist Sergiu Moraru. Obsessed with the „mioritic background we carry in our blood”, Sergiu Moraru traveled „from folklore to philosophy” where he foreshadowed some spiritual impulses, based on which are revealed the ontological dimensions of the popular soul, the philosophy of mioritic living, determined by some specific existential turmoil.
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Leshchinskaya, Nadezhda. "ARTISTIC BRONZE WARE OF ANCIENT PERM TRIBES FROM THE VOLGA-VYATKA INTERFLUVE DURING THE I MILLENNIUM AD." In SGEM 2014 Scientific SubConference on ANTHROPOLOGY, ARCHAEOLOGY, HISTORY AND PHILOSOPHY. Stef92 Technology, 2014. http://dx.doi.org/10.5593/sgemsocial2014/b31/s9.043.

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Kalimullin, Dilovar Dilovarovich, Rafael Ravilevich Khairullin, Denis Vladimirovich Mochalov, Kseniya Igorevna Mazilkina, and Gul’zirak Hamzeevna Kalimullina. "The Formation of Artistic Creativity’s Culture of Amateur Team’s Members by Means of Choreography." In International Scientific Conference on Philosophy of Education, Law and Science in the Era of Globalization (PELSEG 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200723.037.

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Vishnevetskaya, V. "Stylistic Devices of Creating a Portrait of the Character Artistic Image (Based on the Work of Thomas Mayne Reid)." In International Scientific Conference on Philosophy of Education, Law and Science in the Era of Globalization (PELSEG 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200723.078.

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Zeng, Siyi. "NOVELTY AND VARIETY — ON THE DREAM NOVELS OF STRANGE STORIES FROM A CHINESE STUDIO." In 9th International Conference ISSUES OF FAR EASTERN LITERATURES. St. Petersburg State University, 2021. http://dx.doi.org/10.21638/11701/9785288062049.09.

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There are almost 500 novels included in Pu Songling’s tale collection Strange Stories from a Chinese Studio, of which more than 70 relate to dreams. However, nearly 30 novels can be called dream novels in a formal sense, such as Mural, Becoming Immortal and Fengyang Scholar. The main features of dream novels are novelty and variety. On the basis of inheritance from the previous Chinese dream novels, Pu’s dream novels have innovated in some ways with new changes or development of the theme. Further, novelty in artistic forms lies in the bold and innovative narrative techniques. Also, Pu’s dream novels are more diverse and vary in the content and form which have broken through the plainness of the previous. The content covers a wide range of topics, among which society, love and philosophy are the top three. In the form of writing dreams, there are multiple forms such as whole dreams, intermittent dreams, dreams within dreams, repeated dreams, daydreams, etc.
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Nesterova, T. "PROPORTIONS IN ARCHITECTURE AS A POSSIBILITY OF DETERMINING THE TIME OF ESTABLISHMENT OF HISTORICAL BUILDINGS." In Man and Nature: Priorities of Modern Research in the Area of Interaction of Nature and Society. LCC MAKS Press, 2021. http://dx.doi.org/10.29003/m2595.s-n_history_2021_44/123-133.

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The article discusses the methodology for determining the time of erection of architectural monuments, which is based on the proportions of the volumetric-spatial structure of buildings. In all historical periods, the architecture of buildings was created based on mathematically precise calculations, known as architectural proportions, which acquired metaphysical properties under the influence of ancient philosophy and continued to be used until the late Middle Ages. Depending on the archetype of buildings, the relationship between structural and architectural parts came from a certain part of the building, the so-called module, which changes over time and geographical areas. There are two main types of architectural proportions: constructive and artistic, the first being the most conservative, and the second varying, determining stylistic temporal preferences. In the process of studying the architectural heritage of medieval Moldavia, both types of proportions were identified, amenable to numerical and metrological measurements. In the examples given, the proportions were used to determine the architectural form and antiquity of the buildings.
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Zlotnikova, Tatyana. "Power in Russia: Modus Vivendi and Artis Imago." In Russian Man and Power in the Context of Dramatic Changes in Today’s World, the 21st Russian scientific-practical conference (with international participation) (Yekaterinburg, April 12–13, 2019). Liberal Arts University – University for Humanities, Yekaterinburg, 2019. http://dx.doi.org/10.35853/ufh-rmp-2019-pc02.

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Contemporary Russian socio-cultural, cultural and philosophical, socio psychological, artistic and aesthetic practices actualize the Russian tradition of rejection, criticism, undisguised hatred and fear of power. Today, however, power has ceased to be a subject of one-dimensional denial or condemnation, becoming the subject of an interdisciplinary scientific discourse that integrates cultural studies, philosophy, social psychology, semiotics, art criticism and history (history of culture). The article provides theoretical substantiation and empirical support for the two facets of notions of power. The first facet is the unique, not only political, but also mental determinant of the problem of power in Russia, a kind of reflection of modus vivendi. The second facet is the artistic and image-based determinant of problem of power in Russia designated as artis imago. Theoretical grounds for solving these problems are found in F. Nietzsche’s perceptions of the binary “potentate-mass” opposition, G. Le Bon’s of the “leader”, K.-G. Jung’s of mechanisms of human motivation for power. The paper dwells on the “semiosis of power” in the focus of thoughts by A. F. Losev, P. A. Sorokin, R. Barthes. Based on S. Freud’s views of the unconscious and G. V. Plekhanov’s and J. Maritain’s views of the totalitarian power, we substantiate the concept of “the imperial unconscious”. The paper focuses on the importance of the freedom motif in art (D. Diderot and V. G. Belinsky as theorists, S. Y. Yursky as an art practitioner). Power as a subject of influence and object of analysis by Russian creators is studied on the material of perceptions and creative experience of A. S. Pushkin (in the context of works devoted to Russian “impostors” by numerous authors). Special attention is paid to the early twenty-first century television series on Soviet rulers (Stalin, Khrushchev, Brezhnev, Furtseva). The conclusion is made on the relevance of Pushkin’s remark about “living power” “hated by the rabble” for contemporary Russia.
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Bandalo, Višnja. "ICONOGRAPHIC DEPICTION AND LITERARY PORTRAYING IN BERNARD BERENSON'S DIARY AND EPISTOLARY WRITING." In NORDSCI Conference Proceedings. Saima Consult Ltd, 2021. http://dx.doi.org/10.32008/nordsci2021/b1/v4/18.

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The paper focuses on the interlacement of literary and iconographic elements by displaying an innovatory philological and stylistic approach, from a comparative perspective, in thematizing multilingual translational and adaptive aspects, ranging across Bernard Berenson's diaristic and epistolary corpus, in conjunction with his works on Italian visual culture. This interweaving gives occasion to the elaboration of multilinguistic textual influences and their verbo-visual artistic representations deduced from his innovative interpretative readings in the domain of world literature in modern times. Such analysis of the discourse of theoretical and literary nature, and of the pictoricity, refers to Bernard Berenson's multilingual considerations about canonical authors in English, Italian, French, German language, belonging to the Neoclassical and Romantic period, as well as to the contemporary era, as conceptualized in his autobiographical works, in correlation with his writings on Italian figurative art. The scope of this presentation is to discern and articulate Berenson's aesthetic ideas evoking literary and artistic modernity, that are infused with crucial notions of translational theory and conveyed through the methodology of close reading and comprising at the same time, in an omnicomprehensive manner, a plurality of tendencies intrinsic to social paradigms of cultural studies. Unexplored premises reflecting Berenson's vision of Italian culture, most notably of a visual stamp, will be analyzed through author's understandings of such adaptive translations or volumes to be subsequently translated in Italian, and through their intertwined intertextual applications, significantly contributing to further critical and hermeneutic reception thereof. Particular attention is drawn to its instancing in the field of Romantic literary production (Emerson, Byron), originally underscoring the specificities of each literary genre and expressive mode, of the narrative, lyric or theatrical nature, as well as concomitantly involving parallel notions as adapted variants within visual arts, and in such a way expressing theoretical views pertainable to Italian artworks too. Other analogous elements relevant to literary expression in the most varied cultural sectors such as philosophy, music, civilisational history (Goethe, Hegel, Kant, Wagner, Chateaubriand, Rousseau, Mme de Staël, Taine) are furnished, as well as the examples of the resonances of non-western cultures, with the objective of exploring the effect among readership bringing also to the renewal of Italian tradition.
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Milovanovic-Bertram, Smilja. "Lina Bo Bardi: Evolution of Cultural Displacement." In 2016 ACSA International Conference. ACSA Press, 2016. http://dx.doi.org/10.35483/acsa.intl.2016.61.

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In recent years much has been written and exhibited regarding Lina Bo Bardi, the Italian/Brazilian architect (1914-1992). This paper aims to look at the phenomenon of cultural displacement and the dissemination of her design thinking as a major female figure in a male dominated profession. This investigation is distinguished from others in that it addresses the importance of regional and cultural influences that formed Lina’s design philosophy in her early years in Italy. Cultural displacement has long played a significant role in the creative process for artists. Often major innovators in literature are immigrants as elements of strangeness, distance, and alienation all contribute to their creativity. The premise is that critical distance is paramount for reflection as a change of context unfolds unforeseen possibilities. Displacement was a consistent element throughout the trajectory of Lina’s architectural career as she moved from Rome to Milan, from Milan to Sao Paolo from Sao Paolo to Bahia and back to Sao Paolo. Viewing this form of detachment and dislocation permits insight into her career and body of work as displacement mediates the paradoxical relationship between time and space. The paper will examine three distinct periods in her career. The first period is set in Rome, where she assimilated the city, showed artistic aptitude and spent her university years studying under Piacentiniand Giovannoni. The second period is set in Milan, where she developed impressive editorial and layout skills in publications work with Gio Ponti and BrunoZevi. and was influenced by Antonio Gramsci’s writings. The third is set in Brazil, where she builds and evolves as an architect via what she absorbed in Rome, wrote in Milan, and finally realized in Brazil. After Italy’s collapse in WWII Lina writes, draws, edits, critiques the plight of the Italians in need of better housing and circumstances. She leaves Milan with her new husband, PM Bardi (a prominent journalist, art critic) for Brazil. In Sao Paolo she absorbs the optimism and positive direction of Brazil. Her early design work in Brazil echoes European modernism, but when she travels to Bahia and becomes aware of the social conditions, she draws from her Italian experiences of and ideas of transforming lives through craft. Her architectural projects become directly responsive to the culture of Bahia and the politics of poverty. Lina’s design thinking evolves and parallels George Kubler’s study, The Shape of Time, and the history of man-made objects by bridging the divide between art and material culture.
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Brudasca, Ioana. "Intertextual Projections in the Theater of Matei Vișniec. Case Study." In Conferință științifică internațională "Filologia modernă: realizări şi perspective în context european". “Bogdan Petriceicu-Hasdeu” Institute of Romanian Philology, Republic of Moldova, 2022. http://dx.doi.org/10.52505/filomod.2022.16.06.

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Matei Visniec’s theater is a process of dialogue with other writers and other literary works. Intertextual projections are also present in the play „Attic in Paris overlooking death” through quotes, allusions and a subtle parody. Beyond Visniec’s admiration for the Cioranian opera, the play reveals an identity problem present both in Cioran and Visniec, namely the profile of the Romanian writer exiled in France. We witness a metamorphosis of the philosopher Cioran into the character through memory loss. The presence of quotations from the philosopher’s work denotes in the dramatic work a genuine generic and linguistic hybridization, while the use of cinematographic projections in a stage performance leads to a cultural and artistic symbiosis.
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