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1
Veríssimo Serrão, Adriana. "O Adeus à Essência. Natureza, Cultura e Carácter na Antropologia Filosófica da Época Moderna." Philosophica: International Journal for the History of Philosophy 8, no. 15 (2000): 135–49. http://dx.doi.org/10.5840/philosophica200081510.
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L’extrordinaire essor de l’intérêt anthropologique, que la seconde moitié du XVIIIème siècle a connnu dans des domaines aussi différents que les sciences de la nature ou les études géographiques et ethnologiques, a demandé à la philosophie d’élaborer, de sa part, de nouvelles bases théoriques et conceptuelles pour l’établissement d’une réflexion sur l’homme désormais libérée de l’abstraction et des dualismes de la pensée métaphysique et théologique précédente. Les notions de nature humaine et de genre humain ont permis a la philosophie de parvenir à une vision concrète et dynamique, surmontant la clôture des anciennes définitions de l’être humain comme “animal rationel” ou “image de Dieu”. Dans cet article on cherche à saisir ce mouvement d’un “adieu à l’essence” en anthropologie philosophique, en suivant les conceptions de perfectibilité dans le Discours sur l'inégalité de Rousseau, de culture dans l'Essai sur l'origine du langage de Herder et de caractère dans l’Anthropologie pragmatique de Kant.
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Malherbe, Jean-François. "La théologie dans le champ spéculatif." Thème 1, no. 1 (March 13, 2009): 101–22. http://dx.doi.org/10.7202/602384ar.
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RÉSUMÉ Dans la culture actuelle, la théologie souffre d’un discrédit qui procède de la fascination générale à l’égard de disciplines opératoires privilégiées par un monde universitaire devenu largement scientiste. La théologie elle-même entretient, sans doute involontairement, ce discrédit à partir d’une image de soi négative. Or, cette situation est totalement injustifiée aux yeux de la raison philosophique qui, à travers la mise en oeuvre de l’analyse logique des langages spéculatifs, souligne la parenté très profonde qui existe entre théologie, philosophie et sciences opératoires. De reconnaître la validité de cette perspective, la théologie posséderait toute la vis medicatrix naturae pour se remettre en accord avec elle-même et retrouver sa dignité dans le concert des disciplines universitaires.
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Ma, Shasha. "Sade and Infanticide in China: around La philosophie dans le boudoir and Justine." Human and Social Studies 7, no. 3 (October 1, 2018): 98–110. http://dx.doi.org/10.2478/hssr-2018-0028.
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Abstract The present study will introduce us into a new world of Chinese imagology in the 18th century in France. Different from the negative side of the “sinophobes” such as Montesquieu and François Melon, Sade built a universe of a perfect China in which all crimes were justified. Nevertheless, as a libertine, his point of view was also different from the famous “sinophiles”, La Mothe Le Vayer, Pierre Bayle, Leibniz or Voltaire, for example. China as imagined by Sade was full of infanticide, murder and incest. The pictorial description he uses was largely drawn from the Jesuit literature of that time and some famous travelers’ “relation”, time of the famous theological quarrels about the ritual, easily interested Sade. But, was Sade faithful to these sources or not? Could a libertine moralize about public denunciation? By this foreign image as a mirror, what did he want to explain, taking China as an example, for his own culture? We will give the answers in this article.
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Rohozha, M. М. "PHILOSOPHER IN SPACE AND TIME OF CULTURE (CHRONOTOPE OF MAÎTRE À PENSER) PART I." UKRAINIAN CULTURAL STUDIES, no. 1 (2017): 47–51. http://dx.doi.org/10.17721/ucs.2017.1.10.
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The paper deals with the research of philosophic way of life as an invariant of the Western culture. The author tries to revealthe answers to the questions: What is the influence of the time and place of life on a thinking person? Is it possible to put a question in such away? The first part of the paper gives methodological explanation for such putting the questions. Two conceptual strategies of thinking in the contemporary history of philosophy are mentioned – compartmentalismand biographical method. The latter one allows to understand philosophizing through research of maître à penser. Such approach makes possible cultural studies prospect for the life of a philosopher in the context of unique time and space. To designate the uniqueness of time and space, the category of chronotope (M. Bakhtin) is introduced in the paper. Chronotope sets condensed signs in a definite period at the result of which a unique image of a thinker is born in a definite cultural space. The Antiquity image of philosopher is Socrates. Not a biographical person but a mythologized image, Socrates entered the great time of culture and influenced on the Western civilization. Since Socrates, the philosophizing of Antiquity is considered as the spiritual exercises (P.Hadot), in which the spirit of publicity is combined with the inner dialoguewith oneself. Late Antiquity changed practical orientation ofphilosophy by contemplative one. Plotinus is considered as the example of such life style. Medieval culture transmits philosophizing from agora to the monastery, and since the 13thcentury, philosophizing came back to the city space again – tomedieval university. Two opposite images of medieval philosophers are considered, Thomas Aquinas and Siger de Brabant, who were didactic examples, full of moral content. Stories about Siger’s life were spread at once after his death as the warning from inheritance; later on hewas forgotten. Thomas Aquinas’ life is known as hagiography, didactic story free from details of private life.
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Mezhuev, Boris. "Vasily Rozanov and Moscow University." Almanac “Essays on Conservatism” 60 (December 12, 2019): 269–78. http://dx.doi.org/10.24030/24092517-2019-0-4-269-278.
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Abstract. In the article the author attempts to examine V.V. Rozanov’s early philosophic works through the prism of his declared aspiration for formulating the theoretical basics of prospective Russian science. The author comes to the conclusion that the main goal of the early pursuits of the philosopher was the wish to present to the Moscow University the image of integral science, and to the Russian culture – the new spiritual paradigm that would agree with its claim to individuality. The author notes that Rozanov’s failure in those attempts caused his affinity with the decadent circles in 1897. At the same time the author points out that the university failed to serve as support and bulwark of order for the autocracy against revolution.
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Xu, Ting. "A Comparative Analysis of “Sense of Music” and “Sense of Guilt” in Chinese and Western Films." Journal of Education and Educational Research 4, no. 1 (July 1, 2023): 11–18. http://dx.doi.org/10.54097/jeer.v4i1.9945.
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The differences between Chinese and Western cultures result in systematic differences in the forms and styles of film art, the deep psychological patterns of a culture are more or less influenced by the society and ideology that gave birth to them. However, due to the natural environment, living conditions, especially the different forms of economic production and activities, people from different religious beliefs, different spiritual cores, different cultural development models. As a form of cultural presentation, Chinese and Western films show different ways of dealing with the same type of events, as well as different narrative philosophies. This paper analyzes the “Music culture” and “Guilt culture” in the image narrative strategy of Chinese and foreign films on this subject, to explain the source of the cultural differences.
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Montesinos Castañeda, María. "Variación en la imagen de la Prudencia: entre la tradición y la «nueva visualidad»." IMAGO. Revista de Emblemática y Cultura Visual, no. 11 (January 28, 2020): 153. http://dx.doi.org/10.7203/imago.11.15428.
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ABSTRACT: Although Italian influences prevail in the visual tradition of Prudence, beginning in the 15th century a new iconographic type emerges as a result of a «new visuality» deriving from French art. This innovation has been considered «monstrous» and breaking with the preceding visual tradition. However, this new visual manifestation is a result of the continuation of philosophic theories about Prudence. What is more, Italian art offers a response to the «new visuality» with another new iconographic type of the Prudence.
KEYWORDS
Prudence; Iconography; Visual Culture; Italian Art; French Art; Early Modern Age.
RESUMEN: Aunque en la tradición visual de la Prudencia imperan las influencias italianas, a partir del siglo XV surge un nuevo tipo iconográfico fruto de la «nueva visualidad» procedente del arte francés. Dicha innovación ha sido considerada «monstruosa» y rompedora con la tradición visual precedente. Sin embargo, esta nueva manifestación visual es fruto de la continuación de las teorías filosóficas sobre la Prudencia. Además, el arte italiano ofrece una respuesta a la «nueva visualidad» con otro nuevo tipo iconográfico de la Prudencia.
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Dorofeev, Daniil Yu, Roman V Svetlov, Mikhail I Mikeshin, and Marina A Vasilyeva. "Iconography of Plato in antiquity and in medieval orthodox painting." ΣΧΟΛΗ. Ancient Philosophy and the Classical Tradition 15, no. 1 (2021): 31–52. http://dx.doi.org/10.25205/1995-4328-2021-15-1-31-52.
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The article is devoted to the topic of visualization, which is relevant for the modern world in general and scientific knowledge in particular, investigated through the image of Plato in Antiquity and in medieval Orthodox painting. Using the example of Plato’s iconography as a visual message, the authors want to show the great potential for the development of the visual history of philosophy, anthropology and culture in general, as well as the new visually oriented semiotics and semantics of the image. This approach reveals expressively and meaningfully its relevance for the study of Plato’s image, together with other ancient philosophers’ images, in Orthodox medieval churches in Greece, Serbia, Romania, Bulgaria and, of course, ancient Russia in the 15th-17th cc, allowing to see the great ancient Greek philosopher from a new perspective.
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Rohozha, M. М. "PHILOSOPHER IN SPACE AND TIME OF CULTURE (CHRONOTOPE OF MAÎTRE À PENSER) PART II." UKRAINIAN CULTURAL STUDIES, no. 1 (2) (2018): 41–45. http://dx.doi.org/10.17721/ucs.2018.1(2).09.
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The paper deals with the research of philosophic way of life as an invariant of the Western culture. The author tries to reveal the answers to the questions: What is the influence of the time and place of life on a thinking person? Is it possible to put a question in such a way? The second part of the paper givse methodological explanation for such putting the questions. Two conceptual strategies of thinking in the contemporary history of philosophy are mentioned – compartmentalism and biographical method. The latter one allows understanding of the philosophizing through research of maître à penser. Such approach made possible cultural studies prospect for a philosopher’s life in the context of unique time and space. To designate the uniqueness of time and space, the category of chronotope (M. Bakhtin) was introduced in the paper. Chronotope sets condensed signs in a definite period of time at the result of which a unique image of a thinker is born in a definite cultural space. Uniqueness of time and space sets originality of philosophical quest of a thinker. Analysis of one’s philosophizing through the prism of one’s life allows us to compare proved and practiced dimensions, and affirm a status of “maître à penser”, if these dimensions are coincided. The second part of the paper is focused on the time and space of the epoch of Modernity, where public space of the city as a place of activity for a philosopher is inseparably linked to critically directed an self-organized general public. Special attention is focused on life activity of Albert Schweitzer and Hannah Arendt. The author concludes that unlike Antiquity and Middle Ages where we were focused on the images of philosophers, Modernity deals with personalities of philosophers. Schweitzer as well as Arendt personally testify to their life and philosophical practice. The point is that definite life experience according to personal philosophy is purely important moral milestone, transforming the person to worthy exemplary.
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Morawska, Kamila. "Gaston Bachelard’s theory of four poetic temperaments: On the affinity of the poet." Vestnik of Saint Petersburg University. Philosophy and Conflict Studies 38, no. 2 (2022): 165–76. http://dx.doi.org/10.21638/spbu17.2022.202.
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If Bachelard as a philosopher of science reveals in his epistemological works the negative significance of the image as a factor inhibiting scientific progress, as well as the source of epistemological obstacles, then as a poetry philosopher he aims to determine its positive value in the poetic-oniric domain. By discovering the value of the fertility of images and the existence of material images dictated by presocratic elements of nature — fire, water, air and earth — he proves the importance and autonomy of the image in the field of aesthetics and artistic creativity. Together with the application of the method appropriate for these studies, bringing the subject closer to the subject in close subjective experience, as opposed to its “cold” form, the image becomes known as the essential activity of the psyche. Imagination, “as the first and vital function” (Bachelard) of the psyche, delves into its first being, which is an image. Imagination — so deeply inscribed in the creative, affective, but also the unconscious constitution of the subject — from the point of view of its content appears as material imagination. We know that the image gains a material meaning in contact with cosmological substances — it derives its content from the symbolism of the four elements: fire, earth, water and air — which Bachelard calls “imagination hormones” — thanks to them “man grows mentally”. This article presents the first definition of a Bachelardian image: an image as a composite and combination of archetypal forms of the unconscious that belong to man/poet with material materiality of the perceived external world independent of him.
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Alessiato, Elena. "Fichte im Wilhelminischen Reich: Idealisiertes Bild, patriotische Vorbildhaftigkeit und nationale Bildung." Fichte-Studien 48 (2020): 358–85. http://dx.doi.org/10.5840/fichte20204823.
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In Germany at the turn of the 20th century the interest in Fichte’s philosophy was growing remarkably.This phenomenon has to be considered as a part of a broader “German movement”, i. e. a collective cultural trend aiming at pinpointing what had been properly “German” in the last two centuries. This need became even more acute by the outbreak of the Great War.In that context Fichte’s work was used as a benchmark for creating and elaborating on the myth of “the German character.” Many intellectuals of that time interpreted Fichte’s personality and thought as representing ideas, ethical values, spiritual positions, cultural attitudes and political stances which accounted for the specificity of “Germanness”. Since these ideas and values were believed to be particular to the German culture, Fichte was celebrated all across the nation as an exemplary German.Harkening back to contemporary sources the following paper aims to illustrate how Fichte’s image was moulded in order to meet needs and issues emerging from the War and its philosophical-ideological interpretations. At the same time it suggests that the “Fichte case” from the beginning of the 20th century can be interpreted as a paradigmatic example of how philosophical and cultural issues can be ideologically (mis-) interpreted and used to give support to a particular political view.Die Jahrzehnte um die Jahrhundertwende erlebten im wilhelminischen Deutschland eine starke Zunahme des Interesses an der Philosophie Fichtes.Die kollektive Begeisterung für Fichte lässt sich auf der Folie einer ‚deutschen Bewegung‘ betrachten, deren Ziel die Suche nach dem eigentumlichen ‚Deutschen‘ in den letzten zwei Jahrhunderten war. Diese Suche intensivierte sich noch mit dem Ausbruch des Ersten Weltkrieges.In diesem Zusammenhang wurde Fichtes Denken zu einem Bezugspunkt fur die Ausarbeitung des Mythos von der Besonderheit des deutschen Wesens. Viele Intellektuelle zu Beginn des 20. Jahrhunderts und während der Kriegszeit wollten Fichte als Vorbild einer Persönlichkeit sehen, die edle Ideale, anspruchsvolle Vorstellungen, deutschen Geist und starken Willen vertrat gegenüber einer geistlosen, ethisch verdorbenen Welt, gegen ein intellektualisiertes Leben und die ‘zivilisierte Un-Kultur’ der modernen Menschheit.Im Bezug auf die Verflechtung von philosophischen Begriffen, idealisierter Kriegsvergeistigung, patriotischem Glauben und Willen nach nationaler Bildung setzt sich das Paper zum Ziel die Vorbildhaftigkeit, die Fichte damals zugeschrieben wurde, zur Darstellung zu bringen und quellenmäßig zu analysieren. Der ‚Fall Fichte‘ wird aber zugleich als historisch kontextualisiertes Erlebnisbeispiel des Ineinanderfließens von kulturellen Überhöhungen und politischen Anforderungen betrachtet: ein exemplarischer Fall vom ideologischen (Miss-) Verständnis des Geistigen.
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STREBKOVA, Julia, and Iryna KRAVCHENKO. "TREVELLING PHILOSOPHY OF HRYHORIY SKOVORODA IN THE REFLECTIONS OF NEURAL NETWORKS." Almanac of Ukrainian Studies, no. 31 (2022): 47–53. http://dx.doi.org/10.17721/2520-2626/2022.31.6.
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Hryhorii Skovoroda is the most prominent figure in the history of Ukrainian philosophy. His works also had been elaborated in detail. The article substantiates the relevance of further studies of the image and creativity of the philosopher, their importance for the image of modern Ukrainian studies. The author stated that a new look at the social reality of the 21st century is impossible without taking into account the development of digital technologies. The interaction of the participants of the modern Internet goes beyond the scope of improved communication. The use of neural networks for socio-philosophical studies of visual culture is a new stage in the development of visual research methods. In the article, we had been tried to combine the theories of visual analysis with empirical sociophilosophical research. It was concluded that the use of a neural network has a considerable heuristic potential, complements, strengthens and enriches scientific analytics on the problems of Skovorodology. The textbook doctrine of Hryhorii Skovoroda about the three worlds inspired us to explore the world of texts, the world of images, and the world of symbols. H. Skovoroda’s author’s texts named skovorodians in Ukrainian language had been analyzed in the study. Emphasis was placed on the availability and distribution of full-text works in the Internet network. Key words and concepts in the scientific works of Ukrainian researchers in various fields of knowledge were analyzed. The world of symbols that make up the sacralized space of the culture of the modern world had been processed with the help of the Google image search engine. The work examines how the general features of the biography and personality of the philosopher and writer, as well as the philosophical and literary heritage of the thinker, are reflected in the symbolic world. In the theories of symbolism of H. S. Skovoroda, we relied on the developments of D. Chyzhevsky, T. Lutoy, M. Ryk. The world of images had been explored using the Midjourney neural network query generation. It was concluded that adressing to the neural network leads the research of Hryhoriy Skovoroda's artistic images beyond the boundaries of aesthetics and philosophy of arts into the existence of "living Ukrainian philosophy". Carrying out an interpretive analysis of images generated by a neural network, the authors are faced with the question: is the generated image a new source of primary information for analysis? This article describes the search for an answer to this question.
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Lanovyk, Mariana, and Zoriana Lanovyk. "‘Eastern Poems’ by P. Kulish at Crossroads of Asian Mysticism and European Romanticism." Слово і Час, no. 8 (August 11, 2019): 56–75. http://dx.doi.org/10.33608/0236-1477.2019.08.56-75.
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The paper considers the main Panteleimon Kulish’s epic poems “Marusia Bohuslavka”, “Baida, Prince Vyshnevetskyi”, “Muhammad and Hadiza” with the focus on their oriental background. The idea of the eastern orientation of P. Kulish originates from the works of V. Shchurat, V. Ivashkiv and others. The main attention is drawn to the fact that Kulish was considerably acquainted with eastern cultures and religious systems (especially those of Near East and Middle East which he had to know as a translator of Bible) and often used eastern concepts in his philosophic and literary works. The researcher traces the influence of different factors in Kulish’s ‘Eastern poems’ at the levels of ideology and imagery. The analysis reveals that the main sources of the author’s creative ideas were the eastern religious mystical systems (such as Islam, Sufi sm) as well as European Romantic works, in particular those by Lord Byron and P. B. Shelley, that were created under the same influence of the eastern philosophic doctrines and philosophy of Spinoza. This content was most vividly embodied in Kulish’s ‘cordocentric’ doctrine contrasting with ‘ratiocentric’ European philosophies. The emphasis on the concept of the heart and emotional sphere is most eloquent and obvious in the image of Woman that is interpreted as the eastern category of eternal femininity. The eastern focus is also noticeable at the thematic level (the concepts of Truth, Love, and Eternity). The main poetical peculiarities of the analyzed works are found in the mystical thinking and belief in the sacred power of the Word. Thus the language of the poems is very allegoric, enigmatic, and mysterious; it rather veils the main meaning than reveals it. So it results in double meaning or multiplicity of interpretations and demands reading the poems with a search for a certain code or cipher for decoding the author’s imagery and parabolic content. That is why the poems leave the impression of paradoxical thinking and remain difficult for understanding which relate them to the works by Lord Byron and P. B. Shelley (“Revolt of Islam”). Probably this combination of Asian mysticism and European philosophies was the main reason why some critics accused Kulish of being ‘non-synthetic’ personality (S. Yefremov). But oriental focus reveals the new way for understanding and interpreting the poems by Kulish, as well as his philosophic doctrine and personal position in life.
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Błocian, Ilona. "Evolving images of intimacy and sexuality." Vestnik of Saint Petersburg University. Philosophy and Conflict Studies 38, no. 4 (2022): 622–30. http://dx.doi.org/10.21638/spbu17.2022.415.
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Images of intimacy and human sexuality have evolved in our culture. They have long been recognized for their great importance to the individual, community and culture. They were recognized better by studying their images, practices and symbols in other cultures, as well as changes in European culture itself and social change processes. The concepts of the turn of the century and the 20th century discovery of the meaning of these spheres of human life (Freud, Foucault) were also of considerable importance. Images have evolved, knowledge and tolerance seemed to increase (Giddens), but their changes have not ceased to occur and this is assessed in a variety of ways today; there is no definitive assessment. They strongly penetrate the iconosphere of our culture, but they did not automatically caused growth of the consciousness of the importance of fusing them with the differing emotional sphere; it seems, therefore, in some theoretical approaches that it is the thing that lacks most in contemporary imagery. This article analyzes the development of image of intimacy and sexuality in European culture from Freud to the present day. The transformation of the perception of these images is justified by the trends of social development associated with the development of new communication channels; the cosmetic medicine industry based on the self-perception of a person in society. And all this is happening under the pressure of the digital society on the sphere of communications, which massively broadcasts stereotypes through new media that form both individual and collective culture.
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Usachev, Alexander. "F. M. Dostoevsky – a writer or a thinker?" Культура и искусство, no. 10 (October 2020): 29–35. http://dx.doi.org/10.7256/2454-0625.2020.10.32501.
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The object of this research is the works of the prominent Russian writer F. M. Dostoevsky. The subject of this research is the opinion whether F. M. Dostoevsky first and foremost is the Russian philosopher and thinker, and only then a writer. The author examines the peculiarities of such roles in culture as philosopher, thinker and writer, which gives grounds to question unambiguous reference of the works of prominent Russian writer as activity of the thinker. The peculiarity consists in the fact that F. M. Dostoevsky’s literary texts is so rich in images and themes, that shifting the specificity of his artistic image into the background is not quite justified. Special attention is given to clarification of the essence of activity of the philosopher and the writer. The key research method is the comparative analysis of the facts of such types of social practice as the profession of writer, philosopher and thinker in their relation to the fundamental concepts of time, space, text and nature of its perception from the outside perspective .The main conclusion consists in the statement that the philosophical text maintains neutrality in relation to time, as is being written from the standpoint of eternity. Literary text, in turn, is “submerged” in time and space of the events taking place within it, and relies on recognizability of the characters and their existential characteristics. F. M. Dostoevsky appears to the audience as the creator of storylines and images, rather than a person who sets the trends and concepts of social movements.
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Bakshutova, Ekaterina V. "The problem of faith and trust in philosophical ideas Martin Buber and Lev Shestov." Vestnik of Samara State Technical University. Series Philosophy 4, no. 3 (November 29, 2022): 87–88. http://dx.doi.org/10.17673/vsgtu-phil.2022.3.8.
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The article discusses the problem of two images of faith in two aspects: the image of faith as a similarity to a way of life, as a way of thinking, and the image of faith as an experience of the representation of a higher reality. The author appeals to the works of L.I. Shestov and M. Buber, who had a similar blood origin, embodied the existential tradition in philosophy, L.I. Shestov remained in history as a Russian philosopher, M. Buber as a Jewish, while they both left their national, moved into a wider cultural field, enriching it. Both of them in their philosophical quests correlate with both Judaism and Christianity the religious origins of the two ways of thinking in culture. And the phenomenon of minimal faith that has formed in modern times opens up the opportunity for a person to return to the religious experience before, after and outside religions, in direct interaction with the Creator.
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Lingua, Graziano. "The secularizing nature of Christian choice for images." Aisthesis. Pratiche, linguaggi e saperi dell’estetico 16, no. 2 (February 6, 2024): 91–98. http://dx.doi.org/10.36253/aisthesis-14707.
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Daniele Guastini’s book Immagini cristiane e cultura antica is one of the most significant contributions to the current debate on the role of Christian images. The choice of images made by Christianity since the third century – this is the main thesis of the work – represents one of the generative moments of the long-lasting process of secularization that came to characterize Western culture. This essay aims to discuss this thesis, contextualizing it both from a theological point of view and in relation to its philosophical and cultural-historical significance. I then dwell on two questions more directly related to the interpretation of the Christian image in the first millennium: the relationship that the iconographic practice of the Christian origins has with the Jewish and pagan context, and the role that the interpretation of the “Byzantine turn” plays in the overall structure of the Guastini’s book.
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Fisher, David H., and Sarah B. Fowler. "Reimagining Moral Leadership in Business." Business Ethics Quarterly 5, no. 1 (January 1995): 29–42. http://dx.doi.org/10.2307/3857270.
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Abstract:In this paper we explore challenges facing leadership in a culture of “all consuming images” from a perspective which claims that images have a moral or normative dimension. The cumulative effect of contemporary image saturation is increased resistance to the normative power of an image. We also suggest that in a culturally diverse global economy, it is necessary to expand the moral aspects of good business leadership beyond providing a basis for productive, coherent group identity within a firm at the expense of seeing outsiders as “others.” We also explore what imagining leadership in business might be like in a world in which visual images shape our understandings of individual and group identity. While our focus is on leadership in business, we also use examples from the political arena. We also suggest that imagining business leadership in the ways we propose may be helpful to women, providing them with an image of business leadership more closely reflective of their experience of corporate culture, its limits, and possibilities.
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Langhendries, Maarten. ""Natuer en kunst gaen hier hand aen hand". Duitslandbeelden in de vroege Vlaamse beweging (1844-1848)." WT. Tijdschrift over de geschiedenis van de Vlaamse beweging 78, no. 4 (January 2, 2020): 293–314. http://dx.doi.org/10.21825/wt.v78i4.15778.
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In de jaren 1840 cultiveerde de jonge Vlaamse beweging een sterke band met de Duitse cultuur. Deze bijdrage belicht welk beeld de flaminganten in deze periode hadden van de Duitse gebieden en van de Duitstalige cultuur, met name de Duitse literatuur. Een analyse van de Duitsgezinde tijdschriften De Broederhand en Het Taelverbond toont dat er onder de Duitsgezinde flaminganten een sterk geïdealiseerd beeld leefde van een groen en ruraal Duitsland. Het Duitsland dat in de twee periodieken geschetst werd, is een land van ‘dichters en denkers’, waar muziek en literatuur hun ‘ware’ volkse karakter hebben weten te behouden. Dit authentieke karakter maakte de Duitse cultuur superieur aan met name de Franse. Vlaanderen diende zich volgens de twee tijdschriften te spiegelen aan haar oosterburen in het levend en ‘oorspronkelijk’ houden van haar taal en geschiedenis.__________
“Here, nature and culture walk hand in hand”. Images of German culture in the early Flemish movement (1844-1848).
In the 1840s, the Flemish movement cultivated a strong connection to the German culture. This paper discusses the image of the German territories and German culture, in particular German literature, amongst the Flemish nationalists. An analyses of the pro-German periodicals De Broederhand and Het Taelverbond shows that these nationalists had a very romantic image of Germany as rural and characterized by unspoiled nature. The two periodicals sketch an image of a country where everybody is a poet or a philosopher. In the eyes of the Flemish nationalists, German music and literature managed to keep its ‘true’ folksy character. The authenticity of German culture made it superior to in particular French culture. According to the two magazines, Flanders has to follow the example of the Germans in keeping alive its language and past.
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Langhendries, Maarten. ""Natuer en kunst gaen hier hand aen hand". Duitslandbeelden in de vroege Vlaamse beweging (1844-1848)." WT. Tijdschrift over de geschiedenis van de Vlaamse beweging 78, no. 4 (January 2, 2020): 293–314. http://dx.doi.org/10.21825/wt.v78i4.15778.
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In de jaren 1840 cultiveerde de jonge Vlaamse beweging een sterke band met de Duitse cultuur. Deze bijdrage belicht welk beeld de flaminganten in deze periode hadden van de Duitse gebieden en van de Duitstalige cultuur, met name de Duitse literatuur. Een analyse van de Duitsgezinde tijdschriften De Broederhand en Het Taelverbond toont dat er onder de Duitsgezinde flaminganten een sterk geïdealiseerd beeld leefde van een groen en ruraal Duitsland. Het Duitsland dat in de twee periodieken geschetst werd, is een land van ‘dichters en denkers’, waar muziek en literatuur hun ‘ware’ volkse karakter hebben weten te behouden. Dit authentieke karakter maakte de Duitse cultuur superieur aan met name de Franse. Vlaanderen diende zich volgens de twee tijdschriften te spiegelen aan haar oosterburen in het levend en ‘oorspronkelijk’ houden van haar taal en geschiedenis.__________
“Here, nature and culture walk hand in hand”. Images of German culture in the early Flemish movement (1844-1848).
In the 1840s, the Flemish movement cultivated a strong connection to the German culture. This paper discusses the image of the German territories and German culture, in particular German literature, amongst the Flemish nationalists. An analyses of the pro-German periodicals De Broederhand and Het Taelverbond shows that these nationalists had a very romantic image of Germany as rural and characterized by unspoiled nature. The two periodicals sketch an image of a country where everybody is a poet or a philosopher. In the eyes of the Flemish nationalists, German music and literature managed to keep its ‘true’ folksy character. The authenticity of German culture made it superior to in particular French culture. According to the two magazines, Flanders has to follow the example of the Germans in keeping alive its language and past.
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Katmakov, A. "М. Фуко и Дж. Агамбен: философия киников и роль художника в культуре." Studia Culturae, no. 55 (June 30, 2023): 150. http://dx.doi.org/10.31312/2310-1245-2023-55-150-165.
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What can be common between a politician, a philosopher and an artist? The French philosopher and culturologist Michel Foucault, based on a thorough and detailed analysis of ancient culture, identified several significant problems for European culture: ethics of telling the truth, the meaning of philosophy, the style of existence and the form of subjectivation, which are illustrated by the example of the ancient Socratic philosophical school of the Cynics. Michel Foucault himself suggested that perhaps this philosophical school laid the «matrix of the ethical experience» of European man. The author of this article made an attempt to analyze the image of the artist, formulated by the modern Italian philosopher Giorgio Agamben in his work “The Man Without Content”, in order to confirm or refute the hypothesis about the continuity of the artists of some of the characteristic features of the philosophical school of Cynics.
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Kuzubova, Tamara S. "Dostoevsky’s Christ and Nietzsche’s Jesus as “Conceptual Characters”." Balkan Journal of Philosophy 13, no. 2 (2021): 133–44. http://dx.doi.org/10.5840/bjp202113216.
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In the present article, the author analyses the interpretation of the phenomenon of Christ by Dostoevsky and Nietzsche. The author uses comparative and hermeneutic methods of historical and philosophical research. Dostoevsky's Christ and Nietzsche's Jesus are interpreted as “conceptual characters” (G. Deleuze), occupying an important place in the philosophical constructions of both thinkers. Stating the epoch-making event of the “death of God” in European culture, they discover the origins of nihilism in Christianity itself and attempt (each in his own way) to recreate the original, pristine Christianity. Reconstruction of the original image of Christ makes it possible to comprehend not only the historical destiny of Christianity and the European portion of humanity, but also the prospects for overcoming the crisis of European and Russian (in the case of Dostoevsky) self-consciousness. It is argued that both interpretations, although far from orthodox Christianity, play the role of a central link in the development of the philosophic thinking of the Russian writer and German philosopher from the critical deposition of European humanism and metaphysics to new projects of human existence in the world. The conceptual images of Dostoevsky's Christ and Nietzsche's Jesus personally embody the spiritual attitudes and models of life that are timeless in nature, and at the same time serve as an expression of the “fundamental metaphysical positions” (M. Heidegger) of existential thinkers. The assertion of the absolute genuineness and beauty of the moral ideal of Christ allows Dostoevsky to return transcendence to the godless world – to substantiate the neo-Christian version of metaphysics, the religious-existential ontology. The “Glad Tidings” of Jesus, his life and death, appear in Nietzsche’s works as a practical elimination of transcendence, the Platonic dualism of the “true” and “visible” worlds. The spiritual attitude of Jesus reveals a direct affinity to Nietzsche's anti-metaphysical “philosophy of becoming”.
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Ali, Forkan. "Connecting East and West through Modern Confucian Thought." Asian Studies 8, no. 3 (September 22, 2020): 63–87. http://dx.doi.org/10.4312/as.2020.8.3.63-87.
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This study is an attempt to establish that 20th century’s canonized Taiwanese philosopher Mou Zongsan (1909–1995) has contributed significantly to the innovative burgeoning of modern Confucianism (or New Confucianism) with the revision of Western philosophy. This is based on the hypothesis that if ideas travel through the past to the present, and vice versa, and if intellectual thinking never knows any national, cultural and social boundaries, then there is an obvious intersection and communication of philosophical thoughts of East and West. This article also contemplates the fact that Western philosophies are widely known as they are widely published, read and circulated. Conversely, due to the language barriers philosophy and philosophers from the East are less widely known. Therefore, this research critically introduces and connects the early 20th century Confucian philosopher Shili Xiong (1885–1968), his disciple the contemporary Taiwanese Confucian intellectual Mou Zongsan, along with the Western philosophers Immanuel Kant (1724–1804), Martin Heidegger (1889–1976), and Herman Bavinck (1854–1921), through ideas like moral autonomy, ethics, ontology, and imago Dei. In so doing, the article delineates the path to study 20th century Taiwanese philosophy, or broadly Chinese Confucian philosophy which makes a bridge between the East and the West through Modern Confucianism prevalently called New Confucianism.
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Gonotskaya, Nadezda. "Can philosophy be autonomous in the XXI century?" Философия и культура, no. 1 (January 2020): 63–70. http://dx.doi.org/10.7256/2454-0757.2020.1.32018.
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This article discusses the image of philosophy in modern world in the context of synthesis of the various intellectual and cultural traditions. The author explores the correlation between philosophy and politics, knowledge and power as a certain discursive practice that in an organic part of Western European culture; demonstrates the limits on establishing dialogue between philosophical traditions, schools and strands of thought. Leaning on the ideas of Kant and Foucault in viewing the phenomenon of Enlightenment, the author analyzes the role and place of a philosopher in the political and intellectual environment. The procedure of double sample realized by the philosopher holds the risk of losing its position on the pedestal taken by intellectualism and serve ideology instead, since orientation towards socially-pragmatic actions inevitably requires involvement into a political game. It demands conscious demarcation of the two types of decisions made: on the one hand, it is an existential choice pertinent to the held by philosopher intellectual position; while on the other – a socially-pragmatic, associated with interval choices, not affecting the ultimate grounds of existence. Due to the fact that preservation of the autonomy of philosophical territory in the era of globalization is an acute problem, there is a need for extremely cautious attitude to any attempts of shifting traditions and cultures, which usually assign primary role to the “philosophical reason”.
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Gaycken, Oliver. "“The Swarming of Life”: Moving Images, Education, and Views through the Microscope." Science in Context 24, no. 3 (July 26, 2011): 361–80. http://dx.doi.org/10.1017/s0269889711000159.
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ArgumentDiscussions of the scientific uses of moving-image technologies have emphasized applications that culminated in static images, such as the chronophotographic decomposition of movement into discrete and measurable instants. The projection of movement, however, was also an important capability of moving-image technologies that scientists employed in a variety of ways. Views through the microscope provide a particularly sustained and prominent instance of the scientific uses of the moving image. The category of “education” subsumes theses various scientific uses, providing a means by which to bridge the cultures of scientific and popular scientific moving images.
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Aliye, Abdurahman Abdulahi. "African Indigenous Leadership Philosophy and Democratic Governance System: Gada’s Intersectionality with Ubuntu." Journal of Black Studies 51, no. 7 (August 10, 2020): 727–59. http://dx.doi.org/10.1177/0021934720938053.
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This paper aims to add to the recent scholarly search for African leadership philosophy to improve leadership effectiveness in Africa. It examines the Oromo Gada system’s democratic governance and leadership principles and argues its relevance to the current and future leadership effectiveness in Oromia, Ethiopia, and Africa. It analyses the literature on the history, culture, and current practices of the Gada system to identify its leadership philosophies. It discusses these principles by comparing with Ubuntu and other indigenous African leadership philosophies on the one hand with UN principles of good governance on the other. Evidences show that in spite of the expansion of modern education and leadership training; there are little or no evidence of leadership effectiveness in Africa. Corruption, poverty, injustice, and lack of legitimacy and accountability have continued to be the images of Africa and its leadership. These leadership failures are attributed to lack of leadership that connects with the societal values and cultures. The adoption of Gada leadership principles of liberty, equality, morality, rule of law, participation and engagement of citizens, decision making by consensus, separation of power and check and balance, decentralized governance, fixed terms office and peaceful transfer of power, accountability, transparency and impeachment of elected leaders, honesty, team leadership and conflict transformation in political, public and private sector organization leadership are discussed. The development and adoption of Gada, Ubuntu, and other indigenous leadership philosophies is recommended as a remedy to Africa’s leadership problems.
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Zawojski, Piotr. "A difficult history of light. About metaphysical ideas of “light writing” formulated before the birth of photography." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 30, no. 39 (December 15, 2021): 281–95. http://dx.doi.org/10.14746/i.2021.39.14.
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The reflections presented in this article are devoted to Junko Theresa Mikuriya’s book, A History of Light. The Idea of Photography. It is a unique view on the search for pre-photographic origins of photography in the field of philosophical writings ranging from Plato, through the neoplatonic philosopher Jamblich’s enquiry, to the texts by Philotheus of Batos and by an early Renaissance philosopher, Marsilio Ficino. When thinking about metaphysics present in (moving and still) images, one should not forget about the metaphysics of the image itself. The idea of photography – regardless of whether we are witnessing a fundamental change in an ontological transition from an analogue to a digital form of image recording – obliges us to discuss the “history of light”, as this is what Mikuriya does. While locating the discussed concepts in the context of the history and theory of photography, as well as the archaeology of media, the author of this essay engages in a dialogue with Mikuriya and polemically discusses many of her hypotheses. Key concepts such as chalepon, photagogia, triton genos, phôteinographeisthai are analysed in order to indicate inspiring moments in the Mikuriya’s reflections, but also a kind of interpretive abuse in the process of reading and analysing philosophical texts addressing the issues of light.
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Feldhay, Rivka. "Knowledge and Salvation in Jesuit Culture." Science in Context 1, no. 2 (September 1987): 195–213. http://dx.doi.org/10.1017/s0269889700000363.
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The ArgumentIn this paper, I argue that the most significant contribution of the Jesuits to early modern science (via Galileo) consists in the introduction of a new “image of knowledge.”In contradistinction to traditional Scholasticism, this image of knowledge allows for the possibility of a science (i. e. certain knowledge) of hypothetical entities.This problem became crucial in two specific areas. In astronomy, knowledge of mathematical entities of unclear ontological status (like epicycles and eccentrics) was nevertheless proclaimed certain. In theology, God's knowledge of the future acts of man, logically considered as future contingents, was also proclaimed certain. In both cases the concept of certain knowledge of hypothetical entities was problematic and challenged a central premise of the accepted canons of logic, i.e., that the objects of true knowledge (“scientia”) must be real objects.The main argument of this paper is that the practical orientation of the Jesuit cultural milieu enabled Jesuit scientists and theologians to ignore accepted logical considerations and to modify traditional Thomist images of knowledge. Nevertheless, this modification was not so radical as to change the contemporary organization of knowledge. This was due to the peculiar status of the Jesuits within the church establishment, which exposed them to harsh criticism and created a deep need for legitimation. Thus, the limitations of Jesuit scientific culture are accounted for in institutional, rather than in logical terms.
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Darenskiy, Vitaliy Yu. "K.P. Pobedonostsev as Philosopher-Personalist." Almanac “Essays on Conservatism” 102 (March 1, 2020): 581–93. http://dx.doi.org/10.24030/24092517-2020-0-1-581-593.
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The article shows that K.P. Pobedonostsev belongs to the original Russian tradition of philosophical personalism, based not on neo-leibnizianism, but on the disclosure of the Orthodox experience of understanding man as the image and likeness of God. His philosophy agrees with the Russian paradigm of creating “new beginnings of philosophy” (I. Kireevsky), which is based on the principle of “integral mind”. Pobedonostsev’s concept of culture and history has personalistic character, considering any social and historical phenomena in terms of their personal content; and personal content - as the embodiment of the highest religious ideal of man. According to K.P. Pobedonostsev, the knowledge of God is based on the natural abilities of a person and always has personal character. The destruction of Christian moral consciousness, according to K.P. Pobedonostsev, leads to the degradation of man and society in the form of total public life depersonalization – the substitution of personal relations with dead institutions.
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Pollen, Annebella. "‘There is nothing less spectacular than a pestilence’: Picturing the pandemic in Mass Observation's COVID-19 collections." History of the Human Sciences 36, no. 2 (April 2023): 71–104. http://dx.doi.org/10.1177/09526951221134002.
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What is to be gained by studying visual observation in Mass Observation's COVID-19 collections? What can we see of the pandemic through diarists’ images and words? Visual methods were part of the plural research strategies of social research organisation Mass Observation (MO) in its first phase, when it was established in 1937, but remained marginal in relation to textual research methods. This continues with the post-1981 revival of the Mass Observation Project (MOP), with its emphasis on life writing. With wider shifts in technology and accessibility, however, even when they are not solicited, photographs now accompany MOP correspondents’ submissions. In MO’s substantial COVID-19 collections, images appear in or as diary entries across a range of forms, including hand-drawn illustrations, correspondent-generated photographs, creative photomontages, and screengrabs of memes. In addition, diarists offer textual reflections on COVID-19's image cultures, such as the role of photographs in pandemic news media, as well as considering how the pandemic is intersecting with the visual in more abstract ways, from themes of surveillance and ‘Staying Alert’ in public health messaging to internal pictorial imaginaries produced as a result of isolation and contemplation. Positioning these materials in relation to wider patterns in pandemic visual culture, including public photographic collecting projects that make explicit reference to MO as their inspiration, this article considers the contribution of the visual submissions and image-rich writing in MO's COVID-19 collections to the depiction of a virus commonly characterised as invisible.
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Smith, R. R. R. "Late Roman Philosopher Portraits from Aphrodisias." Journal of Roman Studies 80 (November 1990): 127–55. http://dx.doi.org/10.2307/300284.
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The rich finds of statues and inscriptions from Aphrodisias in Caria have done much in recent years to illuminate the world of the late Roman politician, the world of governors and local magnates. Aphrodisias has also recently provided important new evidence for the philosophical image of late antiquity. In 1981–2, the excavations under Professor K. T. Erim recovered a remarkable group of marble shield portraits and busts that represent both contemporary late antique philosophers and ‘classic’ figures of the hellenic past. These portraits add a new dimension to our knowledge of Aphrodisias as an intellectual centre and provide a vivid insight into the pagan culture and education of late antiquity. We are in the world of Eunapius’ Lives of the Sophists. We are probably in the context of a philosophical school, perhaps the philosophical school of late Roman Aphrodisias.
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McGovern, Charles F., and Erika Doss. "Elvis Culture: Fans, Faith, and Image." Journal of American History 88, no. 1 (June 2001): 313. http://dx.doi.org/10.2307/2675079.
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���������� and Larisa Kozhemyakina. "Museum Pedagogics in the Context of Federal State Educational Standard of General Education (on the Example of the Museum n.a. Nicholas Roerich)." Standards and Monitoring in Education 2, no. 4 (August 15, 2014): 41–46. http://dx.doi.org/10.12737/5873.
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The article focuses on capabilities of museum pedagogy (regulated by the Federal State Educational Standard of General Education)as part of the culture
edifying paradigm aimed tocreate a new individual of culture able to perceive personal responsibility for universal cultural and human values, that
enable existence, unity, and evolution of humanity and provide the dialog of cultures, epochs, and nations.
The article reveals the importance of artistic, literary, and epistolary heritage of a famous Russian artist, public figure, philosopher, and historian of culture
� Nicholas Roerich. Artistic heritage of Nicholas Roerich is of particular relevance for modern education, as it points out the spiritual unity of sacred
images and symbols of the East and the West, sets international humanitarian and moral values, helps to comprehend the uniqueness of Russian culture
and cultures of the East.
The author surveys cultural and educational space of the Museum n.a. Nicholas Roerich as part of the complex educational model: the museum educational
Program �Dialog between cultures of the East and the West�. Mastering this Program will contribute to: building the basis of museum culture,
evolving personal need for interaction with works of art andartefacts in the educational space of the Museum; creating emotional and axiological attitude
towards artistic heritage of Nicholas Roerich; accumulating individual cultural experience based on realization of universal human values and
cultural symbols; developing historical consciousness based on understanding particular cultural and social evolutional milestones in the history of
humanity, which are of evolutionary importance for the future unity of mankind; establishing respectful and caring attitude towards both Russian and
Eastern religious and cultural traditions; creating an individual worldview as a system of universal cultural, spiritual and moral values.
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Naumenko, N. V. "INTERACTIONS BETWEEN THE MOTIFS OF WESTERN AND EASTERN PHILOSOPHIES IN THE WORKS BY IVAN KARPENKO-KARYI." Literary Studies, no. 60 (2021): 146–60. http://dx.doi.org/10.17721/2520-6346.60.146-160.
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The author of this article investigated the interactions between the conceits of Occidental and Oriental (Hindu, first of all) philosophies in the play ‘Khazyayin’ (The Master) by Ivan Karpenko-Karyi from the viewpoint of culturological analysis. The ways to interpret the Western paradigm of the writer’s reading were correlated to their hypothetical typological coincidences with Hindu motifs, plots, maxims and realities as the constituents of the play’s artistic world (including the speech and behavior of the characters, their natural and material environment). Therefore, the correlations between the motifs of various philosophies were confirmed as the displays of the writer’s dialogue with Occidental and Oriental cultures on the archetypal level, which is the interpretation of initial philosophical images in their symbolic combinations and, thenceforth, the establishment of their new connotations on Ukrainian cultural background. There was shown that Karpenko-Karyi’s characters set up their own rules of behavior – either for each other or for themselves – which absorb the probable archetypal intentions from West as well as from East. As the matter of fact, the actualization of key maxims and aphorisms of different philosophies (both European and Asian) is apparent in the characters’ appearance and speech. Particularly, it can be epitomized by the figure of Ivan Kalynovych, the teacher, in whose vital philosophy had been quite unexpectedly revealed the Four Noble Truths of Buddhism (the truth of suffering; the truth of the cause of suffering; the truth of the end of suffering; the truth of the path that leads to the end of suffering). On the other hand, the figure of Terentiy Puzyr in Karpenko-Karyi’s comedy is precedent as the collective image of a tyrant described by both Western and Eastern thinkers, considering not only his characteristic appearance (an Ayurvedic Kap’a-type), but also his reluctance to practice what he preached.
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Pierson, Ryan. "Gestalt, Animation, and the Culture of Design." Cinéma & Cie. Film and Media Studies Journal 22, no. 38 (June 27, 2022): 69–81. http://dx.doi.org/10.54103/2036-461x/17107.
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This article explores the affinities between animation practice and experiments in perception by Gestalt psychologists. By drawing out a Gestalt style of seeing — a sensitivity to the visual forces that scaffold an image — we can better describe movements, figures, and spaces in animation. Although these affinities make Gestalt appropriate for discussing animation, they do not necessarily imply that animated films merely illustrate or independently verify Gestalt laws of perception. Rather, they suggest two branches of cultural practice sharing what philosopher of science Ian Hacking calls a ‘style of reasoning’: a regularized procedure whose consistent results form a basis for knowledge in a given culture. This article argues that Gestalt and animation are co-participants in the ‘culture of design’: a project of shaping sensory arrangements in order to shape populations, which began in the nineteenth century and has gained force through the present day. It is this culture of design, which includes the exploration of cinema as an art of graphic arrangement, that has become all-but-ubiquitous in the 21stcentury and has led to the ubiquity of animation.
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Griffiths, Andy, and Allan M. Williams. "Culture, regional image, and economic development in the United Kingdom." World Futures 33, no. 1-3 (April 1992): 105–20. http://dx.doi.org/10.1080/02604027.1992.9972274.
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Dorofeev, Daniil. "Ancient Philosophers in Saint Petersburg: Visual-Plastic Forming of City and Person." ΣΧΟΛΗ. Ancient Philosophy and the Classical Tradition 15, no. 2 (2021): 868–93. http://dx.doi.org/10.25205/1995-4328-2021-15-2-868-893.
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The article is devoted to the study of philosophical significance of visual and plastic iconography of ancient philosophers as a special way of education and formation of human image, landscape of the city and culture as a whole. The author seeks to identify and analyze as much as possible the presence of such images in St. Petersburg, primarily in the form of sculptural statues and busts in palaces and parks. For this purpose the article examines what role antique plastic art played in the systems of education and aesthetics of everyday life of in the 18th and 19th centuries men, how and by whom it was perceived, disseminated and propagandized. Particular attention is paid to the history and philosophy of garden art from Ancient Greece to the Enlightenment, since this is where the educational function of the iconography of ancient philosophers (for example, in the Summer Garden and Pavlovsky Park) is expressively revealed. The article uses extensive material to illustrate the peculiarities of ancient art collections and the originality of images of ancient philosophers in European and Russian culture of the 18th–19th centuries.
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Xiang, Shuchen. "Freedom and Culture." Idealistic Studies 48, no. 2 (2018): 175–94. http://dx.doi.org/10.5840/idstudies201941092.
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Through a key passage (Xici 2.2) from the Book of Changes, this paper shows that Ernst Cassirer’s philosophy of symbolic forms shares similarities with the canonical account of symbolic formation in the Chinese tradition: the genesis of xiang (象), often translated as image or symbol. xiang became identified with the origins of culture/civilisation itself. In both cases, the world is understood as primordially (phenomenologically) meaningful; the expressiveness of the world requires a human subject to consummate it in a symbol, whilst the symbol in turn gives us access to higher orders of meaning. It is the self-conscious creation of the symbol that then allows for the higher forms of culture. For both the Xici and Cassirer, symbols and the symbolic consciousness that comes with it is the pre-condition for the freedom, ethics and the cultivation of agency. As for both the Xici and Cassirer, it is human agency that creates these symbols, it will be argued that the Xici is making a Cassirerian argument about the (ethical) relationship between human agency, symbols and ethics/freedom.
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Mayorova, Ekaterina D. "Paradigms of the Image and the Word in Early Italian Renaissance Culture." Voprosy Filosofii, no. 2 (2022): 39–49. http://dx.doi.org/10.21146/0042-8744-2022-2-39-49.
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The article is devoted to the study of the theoretical explication of lore and visual praxis. The research is deal with particular methods of both types of artistic endeavor, as well as to the study of the nature of visual and verbal images. The article is also related to comprehend the fundamental idea of the general correlation of verbal and visual principles in this period. It is aimed to show how the culture itself has been turning towards visuality and it is also proposed to investigate how personal experience could be turned out to be at the same time the universal experience of mankind. The research is focused on how experience, direct comprehension of reality and concept of universe’s diversity have switched the paradigm of the word to the image paradigm in the culture of the period under review. It is interesting mainly due to the fact that in the era of the Italian Renaissance one of the most significant changes has been made not only in history of figurative systems (icon – painting), but also in essential cultural concept (verbal – visual). In the article the author explores how visual arts (and painting in particular) had come up to be not only the surface of the Italian Renaissance but to affect so intense on modern art values.
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Dorofeev, Daniil Yu. "Wanderers of Russian roads: Images of folk religiosity." Vestnik of Saint Petersburg University. Philosophy and Conflict Studies 39, no. 2 (2023): 340–54. http://dx.doi.org/10.21638/spbu17.2023.210.
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The article is devoted to the study of the philosophical, theological and religious significance of the Wandering in Russian Orthodox culture, primarily as a unique image of folk religiosity. The author considers the concept of ‘Wanderer’ as one of the fundamental concepts in Russian culture. Its multiple meanings and semantic heterogeneity are revealed and analyzed both in European and domestic cultures; for this, in particular, the author refers to the experience of European and especially Russian literature of the 19th–20th centuries, in which a polysemantic image of a wanderer appears. The author is indicated value of visual image of Wanderer is studied in more detail in Russian painting of the 19th century. The valuable material on the cultural characteristics of Russian Wandering was collected by S.V.Maksimov in the second half of the 19th century. The main attention is directed to the image of Wanderer in the religious and philosophical perspective of Russian Orthodoxy. The author refers to the Christian origins of the image of Wanderer. The specificity of Wanderer’s attitude to the world, his existence, other people, God is specified, as well as the connection of the concept of Wandering with the principles of Hesychasm. The author draws a special attention to the importance of good looks and tenderness as important characteristics of the image of Wanderer. Through an appeal to the traditions of Christology and patristic Orthodoxy, Hesychasm and eldership, the writings Russian literature, the anonymous author of ‘Frank Stories of a Wanderer to His Spiritual Father’, Russian painting of the 19th century, and modern Orthodox religious and philosophical thought, the author of the article is to reveal the unique meaning of the image of Wanderer and emphasize its special meaning-forming role for Russian Orthodox culture.
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Lund, Jacob. ""An enemy of our times": Godard's aesthetics of contemporaneity as opposition to synchronization." SAJ - Serbian Architectural Journal 7, no. 2 (2015): 231–49. http://dx.doi.org/10.5937/saj1502231l.
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Towards the end of his film essay Histoire(s) du cinéma Jean-Luc Godard calls himself an "enemy of our times", of "the totalitarianism of the present as applied mechanically every day more oppressive on a planetary scale." The article regards Histoire(s) du cinéma (1988-1998) as "a thinking form" that tries to resist the synchronizing, standardizing time of global capital, the pervasive uniformity of the global super-present, brought about by today's televisual and digital communications, which threatens to trivialise the different processes of memory and history, and art and culture in general. According to philosopher Bernard Stiegler, the final stage of capitalism is the control and synchronization of what former CEO of TF1 Patrick le Lay called "available brain time". The paper argues that Godard's work opposes this control and synchronization of our minds through an aesthetics of contemporaneity. The argument is based on the development of a theoretical framework that combines recent theories of contemporaneity with theories of image-politics. Focusing on the interrelation of the individual, the social and the media environments, the paper deals with Godard's image-political creation of temporal contemporaneity through a montage of clips of old films and newsreels, photographs, stills, images of paintings, new footage, advertisements, music, sound and voice recordings, textual citation, narration and commentary.
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Kølle, Anders. "Den udtømte sandhed og den sande uudtømmelighed." Periskop – Forum for kunsthistorisk debat, no. 18 (December 5, 2017): 31–43. http://dx.doi.org/10.7146/periskop.v15i18.110203.
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The Exhausted Truth and the True Inexhaustibility
What are the relations between images and truth? How can truth be represented? In the
article “The Exhausted Truth and the True Inexhaustibility”, the German romanticist and
philosopher Friedrich Schlegel’s theories concerning the great value and unmeasurable
importance of the endless, the unintelligible, and the inexhaustible serves as the opening
to a discussion of what is to be understood by the question of truth. Does truth pertain
to the forever unsayable domains of the oblique and evasive – that which must remain
outside the firm grasp of enlightenment and understanding? Or, on the contrary, is truth
that which not only can be enframed, but also reproduced and represented? The discussion
of this question brings forth a fundamental divide between Schlegel’s and Romanticism’s
idealizations of the creative and vitalistic transgressions of the human limits of
understanding and the boundaries set up in the names of enlightenment and knowledge.
As argued in the article, this divide would also describe a discrepancy between, on the one
hand, a contemplative search into the unknown depths of the world, and, on the other
DEN UDTØMTE SANDHED OG DEN SANDE UUDTØMMELIGHED 43 PERISKOP NR. 18 2017
hand, the desire to bring into light, into form, and into image. The Information Age in
which we are said to live today would appear to provide us first and foremost with the
latter image of truth: The substitution of Romanticism’s inexhaustive image of truth with
the true exhaustiveness of our image culture.
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Endong, Floribert Patrick C. "Images as Afro-positivist narratives and counter hegemonic strategy: A study of #TheAfricaTheMediaNeverShowsYou." International Journal of Modern Anthropology 2, no. 16 (December 10, 2021): 601–28. http://dx.doi.org/10.4314/ijma.v2i16.5.
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To arrest the negative stereotypes of Africa in and outside the African continent, a number of civil society organizations and activists have launched various social media-assisted initiatives aimed at showcasing the positive facets of African cultures as well as the beautiful touristic attractions existing on the continent. One of such initiatives is the #TheAfricaTheMediaNeverShowsYou movement launched in 2015 to combat the negative and colonial stereotypes of Africa through the sharing of beautiful images and videos of Africa on Twitter. The movement encouraged Africans of all horizons to share attractive images of Africa, particularly the ones that are rarely or never shown on mainstream media. Six years after the project was launched, it is high time to evaluate its strength and know some of its merits and implications. In line with this aphorism, this paper uses secondary sources and a qualitative analysis of images and videos shared on Twitter to examine the contribution of the #TheAfricaTheMediaNeverShowsYou movement to the imperative of challenging colonial representations of Africa. It specifically discusses the genesis, trans-nationalization and promises of the project; and assesses the movement in the light of two philosophico-cultural currents/theories namely Afro-positivism and counter hegemony. The paper argues that the #TheAfricaTheMediaNeverShowsYou movement put to question the popular but problematic belief that Africa is all about negativisms. It started a visual-assisted conversation not only about the wonders found on African soil but also about some of the cultures which non-Africans have often viewed as problematic or controversial. Such a conversation is a proof that Afro-optimism is still much alive on the continent and that; Africans are conscious that the fight against colonial stereotypes is a perpetual battle which must be fought even with the help of new digital cultures such as digitalized image-based activism.
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Lavrenova, Olga A. "Games With Space." Epistemology & Philosophy of Science 58, no. 1 (2021): 178–96. http://dx.doi.org/10.5840/eps202158117.
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The culture beeing in the geographical space is one of the important problem fields of ontology. The process of understanding the environment has many levels and characteristics. Culture is an universal object of semiotics, in this case it is considered as a subject of the semioticization of geographical space, the formation of the image of the world. Culture inherits and constantly renews the main discourses associated with this ongoing process, the origins of which lie in the deep archaic. As a result, stable representations of geographical objects and/or permanent culturally significant symbols with different degrees of spatial connotations are formed. Much more interesting than the already formed images and symbols is the process of their creation and the patterns and frames that can be traced in it. The meanings created by culture are involved in the process of secondary interpretation. The most common are several areas of interpretation that play an active role in structuring our ideas about the geocultural space. They can be conventionally referred to as “games with space”, because they have a certain amount of arbitrariness, but also have established rules. This article discusses a few of them – games of range, games of geographical modeling, games of structures, of time, of significations, of emotions and institutionalization.
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SHAPINSKAYA, EKATERINA. "RETROTOPIA IN (POST)COMTEMPORARY CULTURE." Культурный код, no. 2022-3 (2022): 49–61. http://dx.doi.org/10.36945/2658-3852-2022-3-49-61.
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The article examines the phenomenon of Soviet retro represented in different cultural forms and texts and its place in Russian popular culture. Theoretic works containing views of different scholars (the concept of retrotopia of Z. Bauman, ideas of F. Jameson about postmodern retro in video and those of J. Baudrillard about simulative character of images of the past) upon the phenomenon of retro have been analysed. Basing on cases from different areas of popular culture such as contemporary cityscape and TV serial the author shows ambivalence of Soviet retro-images. On the one hand, they produce nostalgia about Soviet period, which is represented as an aestheticized myth, on the other - accent is made on rigidity of the epoch which shaped people’s fate in accordance with demands of ruling ideology. Conclusion is made about the reasons of addressing retro images in the context of changes in culture and society, when person needs to examine the past in order to understand adequately the processes going on in today’s world.
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Staley, Kent. "Image and Logic: A Material Culture of Microphysics. Peter Galison." Philosophy of Science 67, no. 2 (June 2000): 339–41. http://dx.doi.org/10.1086/392779.
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Berriet, Margalit. "(HI)STORIES." Design/Arts/Culture 3, no. 2 (March 3, 2023): 19–27. http://dx.doi.org/10.12681/dac.31320.
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The purpose of this paper is to journey through the world of abstract signs, symbols, and images, in an attempt to comprehend the process of constitution of memories, of (hi)stories, of dialects, and of (super)natural realities, as generated by human perceptions of things. Sensitivity and intuition in the process of recording impressions of spaces and places, of nature and of objects, are integral parts of the process of generating and storing memories, shaping associations, and fashioning the storylines that compose our (hi)stories. These are also the sources for comprehending the process by which the mind produces images and other means of communication inventing signs and symbols, composing messages, languages, technologies, and arts. The need to leave a trace is instinctive. Human beings are defined by their capacities to observe, propose ideas, defend hypotheses, and prove objectives. Artistic images and creations, from pre-history to today, convey thoughts, facts, and memories, making the incredible diversity of the human spirit visible. All human actions are based upon cultural, social, and ethical constructions of knowledge, interpretations, awareness, and of engagements. Arts and cultures, then, are mirrors of the journey of civilization, reflecting on the entirety of its expeditions and productions. Imagery and metaphor connect people, continents, philosophies, beliefs, (hi)stories. Languages and arts transcend locations and personal differences, illustrating and enhancing the understanding of realities, ethics, and aesthetics. Nowhere on earth do people exist without language, art, or culture.
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Halfmann, Jost. "Community and Life-Chances: Risk Movements in the United States and Germany." Environmental Values 8, no. 2 (May 1999): 177–97. http://dx.doi.org/10.1177/096327199900800204.
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The connotations attached to the concept of ‘risk’ have changed over the last several decades. In particular, the image of risk, at least in the world's most economically advanced countries, has turned from predominantly positive to highly critical. A sociological look at this historic change reveals the emergence of a plurality of risk definitions that can be attributed to different risk cultures. We can distinguish risk cultures by their proximity to the dominant social practice of risk taking; namely risk cultures belong either to the centre or the periphery of society. Social movements that resist risky technologies are examples of a peripheral risk culture. Due to a certain concept of social community their perception of risk differs fundamentally from that of the centre. In addition, cultural variation across countries leads to different representations of risk-avoidance in social movements. This contribution illustrates these differences by comparing the American and German anti-nuclear movements.
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Gurevich, Pavel. "Paul Ricoeur about Man." Philosophical anthropology 7, no. 1 (2021): 6–23. http://dx.doi.org/10.21146/2414-3715-2021-7-1-6-23.
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The article analyzes a wide range of philosophical and anthropological subjects in the works of the French philosopher Paul Ricoeur. Rejecting the idea of system-creation, Ricoeur creates a generalized image of a person in the form of polemical, sometimes marginal notes in relation to other European thinkers. His works reveal an original view on the problems of human subjectivity, Ego, personality, selfness, identity, etc. The author of the article shows that all the variety of anthropological topics in Ricoeur can be clarified through the phenomenon of human subjectivity, which the philosopher connects with spirituality, which is born in pre-reflexive forms of life and culture. Special attention is paid to the consideration of the personality as an individuality of a special kind and to the process of identification of the person as an individual. P. Ricoeur managed to give a new interpretation to the concept of identity through a complex dialectic of internal and external self-identity.
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Gao, Xiu. "The Image of Jews as Constructed by Lexical Items." European Judaism 51, no. 2 (September 1, 2018): 205–12. http://dx.doi.org/10.3167/ej.2018.510227.
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Abstract In the Western world, Shakespeare’s The Merchant of Venice is controversial due to its stereotypical description of Jews as evil and greedy. In China, the work was not widely known until its translations came out. This article deals with two Chinese renderings of Shakespeare’s classic, by Laura White (1914–1915) and Shiqiu Liang (2001/1936) respectively, which reconstruct the image of Shylock and Jews on the basis of the translators’ perceptions of the original figure, combining their identities and social backgrounds. In imagology, based on the ideas of Pageaux (1989/1994), the image of the ‘other’ can be analysed on three levels: lexical items, larger textual units, and plot. On the face of it, the image of the ‘other’ in translation can originate in either the source or target culture. However, the present article, which focuses on the lexical level, shows that there is a third possibility – a lexicon that blends two or more cultures.