The article examines the argumentative strategies carried out by the Dominican theologist Francisco de Vitoria (c.ca 1483 - 1546) in his famous Relectiones theologicae. The study focuses upon the aporetic notion of the international sociability in Vitoria, making an attempt of a thorough investigation of the juridical and exegetical arguments in the treatise. This approach gives an opportunity to contrast Relectiones to the tradition of the historiographic apology of interventionism, on the one hand, and to the exegetical tradition of the justification of the king’s and Pope’s ‘rights’ on the discovered lands – on the other. It has been shown that we may consider the notion of the ‘just war’ (bellum justum) as a limit-concept, based on the paradoxical structure of ‘exclusion/ inclusion’ in the G. Agamben’s sense. Therefore, this category can be ranked among the numerous limit-concepts of the Early-modern jurisprudence and political theory, such as international sociability, state of exception, and state of nature.
In the existential analytics of Martin Heidegger temporality is seen as a fundamental ontological attribute of human existence: existence is ecstatic temporality which provides a horizon for understanding the notion of being, attributed by its nature to Dasein. Heidegger calls temporality interpreted this way a source of ontological difference between being as entity and being itself. The study of temporality redefines the sense of art temporality.
In theory of art of the second half of XX century we see a conflict between two approaches, anti-essentialism and institutionalism. But if we will redefine essentialism in the way Karl Popper did, the opposition between this approaches will turn out to be false. In this context, comparing the positions of Morris Weitz and George Dickie, we try to provide a kind of working synthesis of the both approaches.
The article reveals the problems of definition of historical film, its elusiveness in the situation of digital culture. Pragmatics of contemporary historical film and other forms of history’s instrumentalization in media as well as the objectives of Public History in the sphere of medialization of historical knowledge are also studied.
The paper analyzes narratives by Western-educated hadji and proves the deep character of their Westernized view on the nature of political power, history and historical monuments, sources of cultural norms, social character of historical knowledge, apart of their personal religious beliefs. This under construction system of civilized representations influences on their structural view on Mecca, through introduction of such categories as archaic, old, modern and contemporary, artistic value and other marks of Western touristic experience, oddly transformed. Urban reconstructions in Saudi Arabia attempted to win over history, making alternative to Western historicist policy.
The concept of “les lieux de mémoire” (Memory Sites) was originally based on the disciplinary conventions of historical studies and then it was appropriated by a number of discourses: cultural studies, urban studies, social anthropology, and contemporary arts. Due to the metaphorical potential of this concept adepts of the “memorial turn” speaking about the past in academic manner actualize more direct and vital experience, taking distance from traditional historians dealing with texts and archeology. In the process of academic discussions the connotations of “lieux de mémoire” were deeply transformed. Urban memory studies as field of research was constituted through these discussions in the humanities, social sciences and arts. Its coherency based on metaphorical using of certain number of crucial dichotomies and combined urban phenomena which are associated usually with different disciplines.
The paper gives an analysis of the main periods of the transformation of city images in the European painting of XVII – XVIII centuries, from the very formation of urban landscape as an independent genre up to the differentiation of various poetics of the urban space. Analyzing three traditions of the urban landscape, the Flemish, Venetian and Roman veduta, the author describes three models of the presentation of urban space (city as an everyday environment, city as a theater scene, city as a museum) and three models of visual poetics (poetics of mirror reflection, poetics of illusion, poetics of imagination).
The Russo-Japanese War of 1904-5 became, in many ways, a precursor of the two world wars of the 20th century, first and foremost as a war of the urbanized civilization. The paper focuses on the poetic projection of this war as perceived by a city far away from the military action, the city as a locus of the war’s premises and consequences, and proposes a general approach towards the poetics of verse in the perspective of the urban projections as well as examines the reception of Port-Arthur in the poems of 1904-6.
Based on American and British television shows of 2006-2011 as examples, this article is focused on specificities of representation of professional environment of post-industrial society in the crisis era. The main characters of serials combine crucial traits of “information labor” notion with members’ of traditional society features. The latter coincides with some “network society” definitions.
The proposed article is based on the results of content analysis of informational TV programs of major Russian TV channels. Historical persons mentioned in these programs are considered in general context. Main conclusion is that some of the references are made in the context of fixing the characters move from the present to history. Other references are connected with the process of legitimization of current events by putting them into historical context.
An emergence of China as a new center of power causes hot debates about its possible positive and negative impacts on the system of international relations. In an attempt to explain the present and predict what is awaiting the world in the future, the humankind traditionally refers to the history. Meanwhile, in the age of new media and a rapid development of technologies this branch of knowledge inevitably undergoes changes, for example, the role played by public history is gradually increasing. For China, which focuses on soft power and the country image in the international arena, this aspect is very important, although for many centuries there is already a quite special, different from Western worldviews, relation to the history in the Chinese society. Obviously, there is a need to explore and subject to comprehensive analysis a number of features that characterize a process of a formation of Chinese historical narratives.
Korean landscape painting developed in several directions in XV – XVII centuries. The article discusses landscapes of panoramic view. The author describes main examples of Korean panoramic landscapes, shows the influence of Chinese pictorial tradition. The content of the pictures is discussed in the context of sijo poetry of XV – XVII centuries
Keywords: Korean panoramic landscape paintings, Korean art, sidjo poetry, Choson era, Neo-Confucianism.
Article is devoted to the problems of representation of World War II in one of the most popular media in USSR called “Soviet photo”. This article describes the stages ofevolution of historical policy in relation to World War II, as well a number of popular images published in the magazine will be explored and described. The second part of the article is an attempt to identify new (still unexplored) forms and methods of representation of the Second World War in the Soviet media of the 2nd half of XX century.
Revolutionary in art, Malevich left reach theoretical legacy behind, that often differenciates from an image, that have been made about him. Theoretical tractate “Suprematism. World as non-objectivity or eternal peace” have been written after suggestion of Mikhail Gershenzon to write down philosophical ideas appeared in the mind. In this tractate Malevich revealed himself as a classical thinker – he meditates on God, his perfection and other attributes, such as eternity. He recalls Descartes ontological argument and the problem of cogito. Afterwards, he speculates on man’s nature after the Fall and on eternal peace of God, evoking reminiscences with Leibniz’s “Theodicy”. Ideas of Malevich can also be juxtaposed with Plato’s path to inteligible Forms and Kant’s thanscendental subject, as well as ideas of St Augustin, Anselm of Canterbury and Nicolaus of Cusa. I would like to draw new picture of intellectual world of Malevich the thinker, that certainly would illuminate the sense of his works of art.