Olga Tobreluts: Stiob Beauty
In the 1990s a number of Western art critics, with Dave Hickey foremost among them, rejected the critical aesthetics of negation and distance as elitist, favoring a more mutualist, egalitarian potential they associated with beauty. This article tests the legitimacy of paralleling the New Academy and the concurrent beauty trend in the West. The focus of my analysis falls on the career of Olga Tobreluts between 1990 and 2003. As I argue, the similar appeal to beauty in the work of Tobreluts and the New Academy in fact partakes of both negation and affirmation while ignoring their difference, undermining the opposition between enthrallment and estrangement (or beauty and the sublime) that made the Western debate about beauty possible.
A largely unquestioned assumption of (musical) aesthetics holds that art should imitate nature or try to reproduce in its own sphere the effects of natural beauty on the perceiver. The paper introduces a third dimension of the concept of beauty: 'cultural beauty', designating objects of art which have aesthetic value because of their relation to the culture we live in.
The close conceptual tie between music and nature originated in the aesthetic debates of the 18th century. Even Adorno is still indebted to this basic tenet of romanticism. Compositions by Ives (Central Park in the Dark) and Cage (Concert for Piano) negate this close connection between music and nature as a place of order: They relate to the world we live in and mirror its fragmentary, chaotic reality. Therefore, only if we take them to have cultural beauty, may we understand them properly.
The article analyses the relationship of a prominent group of Russian artists, who were active from the 1860s to the 1890s, with the state institutions: the imperial Academy of Arts and with the Court.
Zimmermann (1824–1898) contributes an important Ästhetik to the history of aesthetic formalism and he is a major representative of Vienna Herbartianism. In my analysis I show, on the one hand, that he aims at delivering a systematic work, based on the insights which Herbart had already provided, without treating them exhaustively. On the other hand―I argue―it is not unproblematic to reconcile Zimmermann’s views with Herbart’s ideas, especially when crucial notions such as ‘form’ and ‘relationship’ are considered. Paradoxically, the distance between the two thinkers ultimately emerges from the essay in which Zimmermann examines the analogy Herbart himself had drawn between music theory and practical philosophy. My conclusion thus is: where Zimmermann broadens Herbart’s theories, pursuing their explanation and systematic completion, he betrays the main issues of Herbartian formalism and philosophy; Herbart’s most profitable theories―concrete formalism and functionalism―are abandoned in favour of abstract, void constructions.
In this article one can find a treatment of early Wittgenstein’s conception of sense of the world in “Tractatus Logico-Philosophicus”. What makes a physical fact to be a murder or a prayer? Wittgenstein considered that facts had no relations with sense, in other words, with Ethics. Facts are accidental. Only their logical structure is necessary. The sphere of necessity, or not accident, is the sphere of Aesthetics. It contains logic and Ethics as vision of the world from the point of view of what one ought to do. Aesthetics is located outside the world and cannot be expressed.
The present catalogue contains abstracts for some 150 volumes, among which books, periodicals, miscellanies, published by the Institute of Philosophy of the Russian Academy of Sciences, the principal institute in Russia for academic research in all kinds of philosophical knowledge. These works, written by eminent Russian scholars, cover such fi elds as the history of Russian, Western and Oriental philosophy, ethics and aesthetics, synergetics and epistemology, social and political philosophy and concentrate on problems that have attained particular importance in the age of globalization and growth of national self-consciousness.
This article explores the sociocultural situation of the Petersburg Cooperative of Artists (Artel) and the Peredvizhniki and in doing so interprets the nature of Russian realist (in many respects, populist) art through the prism of the new reality artists of the time faced: the commodification of art and the commercialization of art’s circulation and distribution.
The paper is focused on the study of reaction of italian literature critics on the publication of the Boris Pasternak's novel "Doctor Jivago". The analysys of the book ""Doctor Jivago", Pasternak, 1958, Italy" (published in Russian language in "Reka vremen", 2012, in Moscow) is given. The papers of italian writers, critics and historians of literature, who reacted immediately upon the publication of the novel (A. Moravia, I. Calvino, F.Fortini, C. Cassola, C. Salinari ecc.) are studied and analised.
In the article the patterns of the realization of emotional utterances in dialogic and monologic speech are described. The author pays special attention to the characteristic features of the speech of a speaker feeling psychic tension and to the compositional-pragmatic peculiarities of dialogic and monologic text.