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Journal articles on the topic 'Artistic Philosophy'

To see the other types of publications on this topic, follow the link: Artistic Philosophy.

Author: Grafiati

Published: 10 December 2022

Last updated: 29 January 2023

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Krasnoyarova, N. G. "PHILOSOPHICAL STATUS OF ARTISTIC AVANT-GARDE." Review of Omsk State Pedagogical University. Humanitarian research, no. 33 (2021): 35–40. http://dx.doi.org/10.36809/2309-9380-2021-33-35-40.

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The article asserts the exhaustion of art criticism and culturological approaches to the artistic avant-garde. The context of the philosophy of culture as an actual section of philosophy makes it possible to reveal the essential moments of culture as a whole in the artistic avant-garde and to manifest the function of the avant-garde as a special “new phenomenon” imparting dynamism to culture in ways of accepting or rejecting cultural values.

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12

Emmer, Michele. "Artistic and mathematical creativity." World Futures 40, no. 1-3 (July 1994): 49–61. http://dx.doi.org/10.1080/02604027.1994.9972417.

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13

Dilworth, J. "Artistic Expression as Interpretation." British Journal of Aesthetics 44, no. 1 (January 1, 2004): 10–28. http://dx.doi.org/10.1093/bjaesthetics/44.1.10.

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14

Davies, David. "Artistic Crimes and Misdemeanours." British Journal of Aesthetics 59, no. 3 (May 10, 2019): 305–21. http://dx.doi.org/10.1093/aesthj/ayz012.

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Abstract Denis Dutton claimed that, to grasp why it matters to the artistic value of a painting like The Disciples at Emmaus that it was painted by van Meegeren in the first half of the twentieth century rather than by Vermeer in the seventeenth century, we need to locate what van Meegeren did in a wider class of ‘artistic crimes’ involving ‘misrepresented artistic performances’. I begin by clarifying how the notions of ‘artistic performance’ and ‘misrepresentation’ are to be understood in the context of Dutton’s paper. I survey a range of examples of misrepresented artistic performances in Dutton’s sense, and ask when they involve ‘artistic crimes’. I then seek a principled way of justifying what seem to be our clear intuitions—apparent in our artistic practice—as to which ‘misrepresented artistic performances’ are artistic crimes and which are not.

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15

Wertz, S. K. "Sport and the Artistic." Philosophy 60, no. 233 (July 1985): 392–93. http://dx.doi.org/10.1017/s0031819100070236.

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Recently David Best has advanced the claim that sport is not an art form, and that although sport may be aesthetic, it is not artistic. Such a claim is false and runs counter to ordinary usage and sport practice. On behalf of sport practice, let me cite as an example the world-class Canadian skater, Toller Cranston, who thinks there are such things as ‘artistic sports, those being gymnastics, diving, figure skating’. (I might add trampolining and power- or weight-lifting to this category.) Best claims that athletes like Cranston are conceptually confused and that they endow sport with greater respectability than should be allowed. Ascribing the predicate ‘artistic’ to sport performances reflects ‘barbarous usage’. Why does Best exclude the artistic from the realm of sport? Upon examination of his argument, one finds that this exclusion derives mainly from his concepts of art and sport. He thinks that art has a subject-matter, a content, and that sport does not. Sport is contentless, so ‘sport’ and ‘art’ are two logically distinct regions. But is this so? Are we to accept Best's argument or are we to listen to accomplished, reflective athletes in the area of artistic sports? It seems the most reasonable analytic procedure would be to listen to Cranston's case and decide whether such a piece of intentionalist criticism5 should override Best's premises.

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16

Dimic, Zoran. "On artistic shaping of citizens’ political gatherings." Filozofija i drustvo 24, no. 3 (2013): 23–33. http://dx.doi.org/10.2298/fid1303023d.

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Following the new reading of Kant?s third critique, which was proposed by Hannah Arendt in her Lectures on Kant?s Political Philosophy, in this paper, the author deals with the function of art in the establishment, organization and profiling of political communities. The focus is primarily on the field of music. The analysis begins with ancient philosophers (Pythagoras, Plato, Aristotle) and continues with the problems which relate to artistic shaping of citizens? lives in modern epoch (Rousseau, Kant, Schiller). The goal of the paper is to show that the philosophy of art and the philosophy of music, could be taken as a political philosophy, precisely because the analysis of these phenomena constantly convinces a close intertwining of politics and aesthetics, i.e. art and power, music and power. As a conclusion, we might say that a general aesthetic sense can be seen as a kind of human organ for public aesthetic gathering of citizens. Music, poetry, visual arts, etc., have become tools for the political shaping of citizens, i.e. the tools of their political life.

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17

Tkachenko, Oleksandr, and Оleksandr Golubev. "THE PROPHETIC IMAGES OF PETER BRUEGEL’S ARTISTIC PHILOSOPHY." Problems of Humanities. Philosophy, no. 41 (July 8, 2019): 145–54. http://dx.doi.org/10.24919/2522-4727.41.172281.

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18

Fenner, David E. W. "Artistic Value." Journal of Value Inquiry 37, no. 4 (2003): 555–63. http://dx.doi.org/10.1023/b:inqu.0000019031.09129.1e.

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19

Pylkkö, Pauli. "Eliminative Naturalism and Artistic Meaning." Philosophy Today 37, no. 2 (1993): 183–200. http://dx.doi.org/10.5840/philtoday199337225.

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20

Janaway, C. "TWO KINDS OF ARTISTIC DUPLICATION." British Journal of Aesthetics 37, no. 1 (January 1, 1997): 1–14. http://dx.doi.org/10.1093/bjaesthetics/37.1.1.

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21

Olsen, S. H. "The Canon and Artistic Failure." British Journal of Aesthetics 41, no. 3 (July 1, 2001): 261–78. http://dx.doi.org/10.1093/bjaesthetics/41.3.261.

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22

Beach, Dennis. "Artistic Representation and Research Writing." Reflective Practice 2, no. 3 (October 2001): 313–29. http://dx.doi.org/10.1080/14623940120103059.

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23

McFee, Graham. "The Artistic and the Aesthetic." British Journal of Aesthetics 45, no. 4 (October 1, 2005): 368–87. http://dx.doi.org/10.1093/aesthj/ayi049.

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24

Hospers, John. "Artistic Creativity." Journal of Aesthetics and Art Criticism 43, no. 3 (1985): 243. http://dx.doi.org/10.2307/430638.

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25

MILLS, CLAUDIA. "Artistic Integrity." Journal of Aesthetics and Art Criticism 76, no. 1 (February 4, 2018): 9–20. http://dx.doi.org/10.1111/jaac.12413.

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26

HOSPERS, JOHN. "Artistic Creativity." Journal of Aesthetics and Art Criticism 43, no. 3 (March 1, 1985): 243–56. http://dx.doi.org/10.1111/1540_6245.jaac43.3.0243.

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27

Häyry, Heta. "Expression of Emotion and Artistic Truth." Idealistic Studies 24, no. 1 (1994): 43–52. http://dx.doi.org/10.5840/idstudies19942418.

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28

Gilmore, Jonathan. "A functional view of artistic evaluation." Philosophical Studies 155, no. 2 (June 3, 2010): 289–305. http://dx.doi.org/10.1007/s11098-010-9570-8.

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29

Mankovskaya, Nadezhda B. "Maurice Maeterlinck’s Philosophy of Art." Journal of Flm Arts and Film Studies 10, no. 1 (March 15, 2018): 76–90. http://dx.doi.org/10.17816/vgik10176-90.

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In the article the key ideas of Maurice Maeterlincks philosophy of art, inspired by the spirit of German idealism, European Romanticism and also mysticism and occultism are considered. On this basis his own original philosophical-aesthetic and artistic views which have laid down in a basis of philosophy of art of symbolism crystallize. The main problems interesting for Maeterlinck in this sphere are metaphysics of art and its philosophical-aesthetic aspects: silence, hidden, destiny, external and internal, madness, mystical ecstasy; essence of artistic image and symbol in art; aesthetic categories of beauty, sublime, tragical, comic; aesthetic ideal; nature of art novelty; relations between aesthetics and ethics. Artisticity, symbolization in art, suggestion, idealization, spirituality as the main attributes of authentic art, stylized poetic generalizations, laconism of a plot - these are the basis of Maeterlincks poetic world and his art-aesthetic principles which have become the art base for symbolist philosophy. Maeterlinck paid special attention to the art-aesthetic aspects of the art of theatre connected with creative credo of the playwright, his skill. He was also deeply engaged into exploration of the art influencing power as well as questions of aesthetic perception, empathies, and art hermeneutics. The major thrust of his philosophical-aesthetic research was that of an expectance of the approaching era of great spirituality and supreme mission of the artist-theurgist in it - in this respect Maeterlinck going his way, had a lot of common with the ideas of Paul Claudel, let alone representatives of Russian theourgistic aesthetics. In his poeticized meditations over the future of artistic culture Maeterlinck quite often acts as a teacher of life and, like described by him bees, collecting honey of hopes.

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30

Cherepanova, Svitlana Oleksandrivna. "Art within Philosophy of Education. P.1." Filosofiya osvity. Philosophy of Education 20, no. 1 (May 21, 2018): 280–95. http://dx.doi.org/10.31874/2309-1606-2017-20-1-280-295.

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Man, culture and art are a unique integrity. Philosophy generalizes the world-view bases of a definite historical form of culture and determines to a great extent the character of the process of cognition, including the artistic one (the harmonization of sensual and rational spheres of consciousness, the optimization of various types of information - verbal, sensory, structural ones, the development of productive thinking, etc.). Culture is equal to creative activity. So, creativity is a cultural activity with characteristic innovative approaches to solving social, professional and personal problems. The article defines art as a special form of culture and the concept of philosophy of education. Ideological and philosophical, multicultural, and trans-disciplinary approaches to the analysis of art and the dynamics of culture creation become methodologically important. Philosophy, science and art are complementary. The philosophical, scientific, artistic knowledge, the spiritual and practical development of the world reveal new cultural senses of the sign-symbol. Philosophy of education, focused on the value of a human being and creativity, involves the development of culture and art, contributing to personal creative development. Unfortunately, modern youth have a very limited knowledge of classical, especially sacred art. It is personality orientation that reveals the dialogue of art, artistic traditions, the functioning of philosophy of education as an open system capable of multicultural communication.

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31

Argüello Manresa, Gemma. "Philosophy of Disturbatory Feminist Art." Aesthetic Investigations 2, no. 1 (December 29, 2017): 94–103. http://dx.doi.org/10.58519/aesthinv.v2i1.11984.

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In this paper I will show how contemporary feminist artists whose works concern femicides address three senses of the term “to disappear”. These works can be particularly disturbing, along the lines of Danto’s notion of disturbatory art, since these kinds of works use artistic means to unveil the social and subjective implications of gender crimes.

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32

Dickie, George. "An Artistic Misunderstanding." Journal of Aesthetics and Art Criticism 51, no. 1 (1993): 69. http://dx.doi.org/10.2307/431973.

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33

STECKER, ROBERT. "Artistic Value Defended." Journal of Aesthetics and Art Criticism 70, no. 4 (November 2012): 355–62. http://dx.doi.org/10.1111/j.1540-6245.2012.01527.x.

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34

DICKIE, GEORGE. "An Artistic Misunderstanding." Journal of Aesthetics and Art Criticism 51, no. 1 (December 1, 1993): 69–70. http://dx.doi.org/10.1111/1540_6245.jaac51.1.0069a.

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35

Parovel, Giulia. "Gestalt qualities and artistic experience." Axiomathes 10, no. 1-3 (December 1999): 179–94. http://dx.doi.org/10.1007/bf02681822.

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36

Zehou, Li. "The Image Level and Artistic Sedimentation (Excerpts)." Contemporary Chinese Thought 31, no. 2 (December 1999): 77–88. http://dx.doi.org/10.2753/csp1097-1467310277.

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37

Ghosh, Ranjan K. "ARTISTIC COMMUNICATION AND SYMBOL: SOME PHILOSOPHICAL REFLECTIONS." British Journal of Aesthetics 27, no. 4 (1987): 319–25. http://dx.doi.org/10.1093/bjaesthetics/27.4.319.

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38

Goodrich, R. A. "DANTO ON ARTISTIC INDISCERNIBILITY, INTERPRETATION AND RELATIONS." British Journal of Aesthetics 31, no. 4 (1991): 356–62. http://dx.doi.org/10.1093/bjaesthetics/31.4.356.

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39

Arnheim, Rudolf. "THE COMPLETENESS OF PHYSICAL AND ARTISTIC FORM." British Journal of Aesthetics 34, no. 2 (1994): 109–13. http://dx.doi.org/10.1093/bjaesthetics/34.2.109.

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40

Dutton, Denis. "KANT AND THE CONDITIONS OF ARTISTIC BEAUTY." British Journal of Aesthetics 34, no. 3 (1994): 226–39. http://dx.doi.org/10.1093/bjaesthetics/34.3.226.

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41

Davies, D. "ARTISTIC INTENTIONS AND THE ONTOLOGY OF ART." British Journal of Aesthetics 39, no. 2 (February 1, 1999): 148–62. http://dx.doi.org/10.1093/bjaesthetics/39.2.148.

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42

Hanson, Louise. "The Reality of (Non-Aesthetic) Artistic Value." Philosophical Quarterly 63, no. 252 (June 18, 2013): 492–508. http://dx.doi.org/10.1111/1467-9213.12026.

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43

van Gerwen, Rob. "Artistic Truth: Aesthetics, Discourse, and Imaginative Disclosure." British Journal of Aesthetics 46, no. 2 (April 1, 2006): 217–19. http://dx.doi.org/10.1093/aesthj/ayj030.

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44

Adajian, T. "Artistic Judgment: A Framework for Philosophical Aesthetics." British Journal of Aesthetics 51, no. 4 (August 26, 2011): 453–56. http://dx.doi.org/10.1093/aesthj/ayr028.

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45

Cardullo, Bert. "The artistic evolvement ofAndrocles and the lion." Studia Neophilologica 57, no. 2 (January 1985): 187–90. http://dx.doi.org/10.1080/00393278508587919.

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46

Lopes, Dominic McIver. "THE MYTH OF (NON-AESTHETIC) ARTISTIC VALUE." Philosophical Quarterly 61, no. 244 (April 6, 2011): 518–36. http://dx.doi.org/10.1111/j.1467-9213.2011.700.x.

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47

Benson, B. E. "Artistic Truth: Aesthetics, Discourse, and Imaginative Disclosure." Philosophical Review 116, no. 1 (January 1, 2007): 118–21. http://dx.doi.org/10.1215/00318108-2006-025.

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48

Makarchuk, Ivan Yu. "CONCEPTOSPHERE AS AN ELEMENT OF CULTURAL-PHILOSOPHY MODEL OF A LITERARY AND ARTISTIC WORK." Russian Studies in Culture and Society 6, no. 1 (April 30, 2022): 49–58. http://dx.doi.org/10.12731/2576-9782-2022-1-49-58.

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The humanities are in a relentless search for optimal and more effective (compared to existing) research methods and strategies. The author of this article, as a research method, develops the general theoretical foundations of the cultural-philosophical model of a literary and artistic work, which can be used in the study of the creative heritage of various writers. The structural elements of the cultural-philosophical model of a literary and artistic work, along with the concept sphere of the corresponding literary and artistic work, include: the sum of humanitarian studies of a literary and artistic work, its main cultural and philosophical idea, genre, as well as a writer’s biography. Description of the concept sphere as an element of the cultural-philosophical model of a literary and artistic work is the purpose of this article. The basis of the research is formed by general scientific methods and interdisciplinary methods of scientific knowledge. In the course of working on the article, the author turned to cultural and philosophical analysis, as well as content analysis of scientific literature. Based on the results of the study, the author comes to the conclusion that one of the conditions for the productivity and completeness of the cultural-philosophical study of a literary and artistic work is the review and analysis of existing concepts. At the same time, the concept sphere is positioned as the most important means of interpreting literary and artistic works. The results of the study can be used not only in research of philosophical and cultural content, but also in works of a wide humanitarian profile, as well as in the educational process.

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Zhukova, Olga A. "O.E. Mandelstam’s Works in the Context of Russian Modernist Philosophy and Artistic Practice." Russian Journal of Philosophical Sciences 64, no. 2 (May 23, 2021): 7–20. http://dx.doi.org/10.30727/0235-1188-2021-64-2-7-20.

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The article proposes a philosophical interpretation of the poetic heritage of O.E. Mandelstam. The approach to characterizing the artistic experience of the Russian poet, through the prism of the philosophy of creativity and the philosophy of culture, seems to be significant and productive. This position is substantiated by the fact that in modern scientific literature there are still few works in which Mandelstam’s poetry would be elucidated within the framework of the philosophy of Russian culture and the ontology of creativity. In the article, Mandelstam’s creative phenomenon is shown in connection with the aesthetic program of artistic modernism. The philosophical foundations of Russian modernism are rooted in theissue of the spiritual self-awareness of Russian culture. Since Russian modernism reflects the transformation of artistic and spiritual culture that took place in Russia in the late 19th and early 20th centuries, the author tries to highlight and analyze the leading philosophical and aesthetic principles of Symbolism and Acmeism, discussed by poets of the Russian Silver Age. Special attention is given to Mandelstam’s theoretical works. The cultural-philosophical analysis makes it possible to trace the internal relationships between aesthetic attitudes and the artistic imagination of Russian Symbolists and Acmeists, to determine the specifics of the aesthetic self-awareness of Russian culture, its practices in selecting ideas, symbols, images of national and world artistic culture in the early 20th century. The author describes the logic of the continuity of the artistic ideas of Russian and world literature in the aesthetic concept of Mandelstam. In order to demonstrate the close connection of the philosophical and aesthetic ideas of classical culture with postclassics, the research brings together literary, philosophical and memoir sources in the context of the heritage of Mandelstam and the poets of his circle.

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Proskurina, E. N. "Artistic philosophy of death in short stories by G. Gazdanov." Sibirskiy filologicheskiy zhurnal, no. 2 (January 1, 2031): 72–82. http://dx.doi.org/10.17223/18137083/55/9.

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