In November of 1997, a letter from my professor AM came to my name. Hoodies from Ternopil Medical Academy named after. V.Ya. Gorbachevsky The letter mentioned that Arsen Richinsky was born in Kremenets'kyi, therefore the Department of Religious Studies at the Institute of Philosophy named after GS Pots of the National Academy of Sciences of Ukraine want to hold a scientific conference, whose participants should be taken immediately. [Mazur P., The immortalism of Arsen Rychinsky's memory on his native land // (...) Arsen Rychinsky - prominent Ukrainian public figure and scholar and religious scholar. Science collection. - Kyiv-Kremenets, 2007. - P. 27-32]. Motivating that the conference should be carefully prepared, we agreed with scientists of the National Academy of Sciences of Ukraine to hold the first Rychinsky readings on the basis of the school in the spring of 1998. (shrink)

In this paper, I combine sources from environmental psychology with insights from the everyday aesthetics literature to explore the concept of ‘everyday heritage’, formerly introduced by Saruhan Mosler. Highlighting the potential of heritage in its everyday context shows that symbolic, aesthetic, and broadly conceived affective factors may be as important as architectural, historical, and artistic issues when it comes to conceiving of heritage value. Indeed, there seems to be more to a heritage site than its (...) official inscription on the UNESCO register. A place is included as part of our heritage primarily because it matters to us. People live in, form relationships with, and derive existential and affective meanings from it. Above and beyond its official significance, a heritage site is thus a living dimension that plays a vital role in the everyday life and social practices of people, who transform it into a place of human significance. (shrink)

Do members of cultural groups have special claims to own or control the products of the cultures to which they belong? Is there something morally wrong with employing artistic styles that are distinctive of a culture to which you do not belong? What is the relationship between cultural heritage and group identity? Is there a coherent and morally acceptable sense of cultural group membership in the first place? Is there a universal human heritage to which everyone has (...) a claim? Questions such as these concern the ethics of cultural heritage (or heritage ethics, for short). This entry seeks to provide an overview of the philosophical work on topics in heritage ethics, as well as introduce readers to some of the most philosophically relevant literature from other disciplines. (shrink)

In this paper, I combine sources from environmental psychology with insights from the everyday aesthetics literature to explore the concept of ‘everyday heritage’, formerly introduced by Saruhan Mosler. Highlighting the potential of heritage in its everyday context shows that symbolic, aesthetic, and broadly conceived affective factors may be as important as architectural, historical, and artistic issues when it comes to conceiving of heritage value. Indeed, there seems to be more to a heritage site than its (...) official inscription on the UNESCO register. A place is included as part of our heritage primarily because it matters to us. People live in, form relationships with, and derive existential and affective meanings from it. Above and beyond its official significance, a heritage site is thus a living dimension that plays a vital role in the everyday life and social practices of people, who transform it into a place of human significance. (shrink)

New technologies provide great opportunities for cultural heritage to become more widely accessible and for cultural experience to be more meaningful. The COVID-19 pandemic has highlighted the strengths and vulnerabilities of the cultural heritage sector and the need to accelerate its digital transformation to make the most of the opportunities it provides. The Commission Recommendation on the digitisation and online accessibility of cultural material and digital preservation (2011/711/EU) concluded that there is an urgent need to protect and preserve (...) European cultural heritage, and, in particular, endangered cultural heritage is still present. However, the diversity of legal approaches to cultural heritage by the Member States discourages the creation of a common European data space for cultural heritage as the European Commission recently proclaimed. In Greece, there have been significant efforts in recent decades to digitise and digitally preserve cultural heritage goods. However, the attention was not drew upon the accessibility and reuse of the digitized cultural heritage content. According to the relevant regulatory framework the existing rules on the use of digital technologies for the reproduction, use and preservation of cultural heritage content is obviously outdated. According to the paragraphs 4 and 5 of article 46 of the Greek Code for the protection of antiquities and cultural heritage in general (Law 4858/2021), a previous permission granted by the Ministry of Culture is required for the production, reproduction and dissemination to the public of impressions, copies or depictions of monuments belonging to the Public Sector, or immovable monuments that are located within archaeological sites and historical places or are isolated, or movable monuments that are kept in museums or public collections, in any way and by any means whatsoever, including Information Communication Technologies. Such permission is granted to natural or legal persons for a fee paid to the Hellenic Organization of Cultural Resources Development (HOCRED) upon the decision of the Minister of Culture, while the decision also specifies the temporal validity of the permission, the terms on which the permission is granted and the fee that must be paid. The production, reproduction and use of the aforementioned goods for other purposes, such as artistic, educational or scientific purposes, is again allowed for a fee paid to HOCRED, however, the fee can be waived upon the decision of the Minister of Culture. This Paper will examine the existing Greek legal framework and will attempt to propose an appropriate framework that will ensure open access to the digitized cultural heritage assets, enhance the recovery and transformation of the cultural heritage sector and support cultural heritage institutions in becoming more empowered and more resilient in the future. (shrink)

The aim of this paper is to focus on the specificities of the creative processes in taste industries: industries that have connected the artistic and industrial dimensions to supply goods and services—demand for which derives not from the logic of needs and necessity, but from the logic of pleasures, tastes, ethic preferences and hedonism. These taste industries belong to the creative industries but, unlike scientific and technological production, they work not on the basis of cumulative knowledge but through the (...) creation of ideas, drawings, recipes, goods and services which pass through time, and which constitute heritages. Thus, creativity works on the basis of heritages: that is, past and accumulated creativity. The paper considers how the different types of heritage contribute to creative process. It concludes on the double-edged effect of heritages, which while bestowing competitive advantages and favouring the development of creativity, do orient development along a given path, promoting a certain kind of creativity that may lead to lock-in effects, and build obstacles in the way of development. (shrink)

This article draws parallels between the representations of the classics of Eurasianism and their contemporaries, namely N. K. Roerich, H. I. Roerich and Y. N. Roerich, on the peculiar mid-world that is formed by Russia within and around it. It is indicated that the concept of interrelation of biogeosystems with peoples and civilizations inhabiting them, defined by the Eurasian term “developmental site”, is familiar from natural-philosophic concepts of the earlier period. In the era of the development of the ideas of (...) noospherism, it obtained natural-scientific substantiation and new interpretation not only in L. N. Gumilyov original theory of ethnogenesis, but also in representations of the Russian cosmism, which can be correlated with the scientific-philosophical, literary-artistic heritage of the Roerichs. Unlike geosophy of the Eurasians, the holistic views of Roerichs imparted a rather synthetic character to the historical science. At the same time, Y. N.Roerich distinguished geopsychology as a research instrument for cross-civilizational dialogue. One of the most remarkable episodes in implementation of the Eurasian vision by the Roerichs was their Central Asian expedition and peacekeeping activity, associated with unification of the peoples of Eurasia on the basis of broad cooperation. The article demonstrates the possibility of synthesizing Eurasian theories, spiritual-ethical teachings, and natural scientific research within the framework of integral philosophy for elaboration on the concept of sustainable development. Besides the need for international cooperation, the cultural-philosophical heritage of the Roerichs, which includes “Living Ethics or the Teaching of Life”, infeasibility of evolution of mankind detached from the planet and Cosmos also received its ontological substantiation. Such an in-depth consideration of the fate of Eurasia by the Roerichs, associated with the civilizational foundations of the crossing “Russia — Mongolia — China — India” and the leading role of Siberia in the future, allows filling the gaps in the construction of the classics of Eurasianism and utilize sociocultural potential of Eurasia to the fullest. (shrink)

The article is the first exploration of Mārganāṭyam, a new tradition in the performing arts of modern India, created from the beginning of the XXI century by an outstanding researcher of musical, theatrical and dance culture, Kalamandalam Piyal Bhattacharya and his students. It is based on the many years of the author’s personal observations, interaction, interviews and discussions with the participants of “Chidakash Kalalay. Centre of Art and Divinity”, an artistic community based on the direct transfer of knowledge and (...) skills from teacher to students, which has developed around Piyal. The features of the method of reconstruction of the ancient Indian theater, the flexible application of the legacy of the past in modern conditions are under study. Particular attention is paid to the artistic interpretation and comprehension of the Indian philosophical heritage, and above all the concepts and worldview of Nyaya and Vedanta systems, transferring them to the space of scenic images. The presented material demonstrates that an integrated approach to the artistic heritage, a metatheater, combined with individual pedagogical unfold of the personality of the artists, creates the possibility of recreating the long-vanished tradition and complex philosophical issues in a way that is well understood today, relevant and reflects the essential needs of modern creators and viewers of the Indian theater at large. (shrink)

The contribution attests a research project coordinated by the Department of Human Sciences for Education “Riccardo Massa” and led in Mantova and Sabbioneta UNESCO sites. The project aims at accompanying citizens and visitors along a participative, sensorial and emotional path towards the cultural heritage’s enhancement and interpretation. Inspired by the desire to promote experiences helpful for an encounter between human beings and the environment, the body and the mind, the scientific and poetic dimension, we wanted to investigate and further (...) explore the possibility to plan and start exploratory itineraries and artistic-expressive-performing actions both for daily and one-day passers-by. These are meant to feel, to live and inhabit these places not only through a rational and intellectual awareness but, more importantly, through a bodily and emotional one. (shrink)

Patrimônio de Fé e Religiosidade: os Bens Culturais inseridos na Festa do Senhor dos Passos em São Cristóvão, Sergipe, Brasil. (Heritage of Faith and Religiosity: Cultural Objects inserted on the Festival of Senhor dos Passos in São Cristóvão) - DOI: 10.5752/P.2175-5841.2013v11n31p1018 O conceito de Bens Culturais de uma localidade vem passando por novos paradigmas quanto à abrangência e relevância. Nesse âmbito, além do Patrimônio Material de ruas, praças, igrejas, objetos artísticos e históricos, o discurso e ações dos órgãos oficiais (...) e da comunidade, devem também se pautar pela valorização das produções imateriais da cultura. Esses elementos envolvem os sujeitos e os sons produzidos por eles, seus ofícios, memórias, festas e religiosidade. Nesse sentido, o presente artigo visa analisar os Bens Culturais que compõem o cenário da celebração do Senhor dos Passos e descrever os seus valores histórico, religioso e artístico. A metodologia utilizada foi: pesquisa bibliográfica, documental e de campo. Após as três etapas da pesquisa e observação no local, constatado que a Festa do Senhor dos Passos em São Cristóvão possui elementos patrimoniais conectados que a transforma em um evento vinculado à identidade cultural-religiosa da região. Alguns desses elementos já são tombados nos níveis estadual, nacional e mundial, enquanto que outros, embora não reconhecidos pelos órgãos oficiais de salvaguarda do Patrimônio, são valorizados pela comunidade no que concerne a afetividade, memória, dádiva e pertencimento: Patrimônios de Fé, Religiosidade e Culto em Sergipe. Palavras-chave : Patrimônio Cultural. Festa. Religiosidade. Senhor dos Passos. São Cristóvão (Sergipe).The concept of cultural property that belongs to one locality has been going through new paradigms regarding the scope and relevance. In this context, in addition to material assets (streets, squares, churches and historical-artistic objects) the speech and actions of official bodies and the community, should also be guided by the appreciation of intangible productions. Such elements involve the subjects and the sounds produced by them, their crafts, memories, parties and religiosity. In this way, this article aims at analyzing the aspects that make up the scene of the festivities of Senhor dos Passos as a Cultural object and describes its historical, religious and artistic values. The methodology used was the bibliographic, documental and field research. After the three stages of research and on-site observation, it was found that the Festival of Senhor dos Passos in São Cristóvão owns connected heritage elements which turn it into an event linked to the religious-cultural identity of the region. Some of these elements are already safeguarded statewide and at national and global levels, while others, though not recognized by the official bodies of safeguarding of heritage are valued by the local community by affection, memory, donation and belongingness: Heritage of Faith, Religiosity and cult in Sergipe. Keywords : Cultural Heritage. Festivity. Religiosity. Senhor dos Passos. São Cristóvão (Sergipe). (shrink)

Coping with recent heritage is troublesome for history of science museums, since modern scientific artefacts often suffer from a lack of esthetic and artistic qualities and expressiveness. The traditional object-oriented approach, in which museums collect and present objects as individual showpieces is inadequate to bring recent heritage to life. This paper argues that recent artefacts should be regarded as “key pieces.” In this approach the object derives its meaning not from its intrinsic qualities but from its place (...) in an important historical event or development. The “key pieces” approach involves a more organic way of collecting and displaying, focussing less on the individual object and more on the context in which it functioned and its place in the storyline. Finally, I argue that the “key pieces” approach should not be limited to recent heritage. Using this method as a general guiding principle could be a way for history of science museums to appeal to today’s audiences. (shrink)

The visual creativity of famous Russian ballerina Anna Pavlova is studied in the article within the context of the synthetic approach to working on stage roles. There are data on Anna Pavlova that have not been included in existing publications concerning her artistic, mainly sculptural experiments. This information provides understanding of not only professional tasks that the ballerina has set, but of the tools through which these tasks have been dealt with in a gradual process of formation of plastic (...) dance images. At the same time, the data reflect the very essence of her unordinary poetically-plastic talent. The author systemizes and analyzes extant sculptural and graphic works created by the ballet dancer that are scattered on various, mostly private collections and often known only by copies. There are rare documentary material and sources confirming the basic conclusions of the article. The main purpose of the article is to reveal visually depictive aspects of the formation of the stage means of А. Pavlova, which have played important role in her art, to trace way to the mastery of the concrete stage subjects, which go through the mastery of plastic material. Accentuation of the synthetic sense of A. Pavlova’s heritage is determined by the fact that her sculpture has focused or refracted the dance. After mastering academic construction of form, ballerina filled it with new content provided not only by her fantasy, but also by detailed study of the phenomena of nature, plastic of organic forms. It is possible to say with confidence that the fixed image could serve as the excellent model of the study of the motives of stage behavior and dynamic manifestations of her personality in choreography. It is obvious that the study of the artistic style of A. Pavlova reveals not only her plastic uniqueness, but also the mysterious aspiration of the skill of ballerina to the embodiment of her romantic searching in the dance. (shrink)

Challenging topics in museums can guide museum professionals in developing modern methods of displaying their heritage, but also in offering reinterpretations of existing collections. The public also looks for challenging topics—injustice, loss, pain, or death—and many museums manage to attract visitors by offering them places to debate, reflect, or take action. These topics, if presented in an exhibition, could engage practising artists in an ideological exchange with the museum institution. Our statement is that artists with curatorial interest can scrutinise (...) the ways in which cultural heritage is revealed or interpreted for the contemporary public. The uncomfortable or uncertain aspects of recent and contemporary history are of great interest for contemporary artists and we assume that the Communist era in Romania could be further interpreted by artists in future museum places. (shrink)

This article analyses a range of discourses articulated around the figure of the film archive between the late nineteenth and the early twenty-first centuries, accounting for the various possibilities that they open up for considering audiovisual heritage as a potential space either for revolutionary change or for political or textual resistance. Focused mainly on archival discourses in Mexico, the article traces their interaction with both national-historical and anti-imperialist narratives, and the implications of digital and online culture for the encounter (...) between the archiving of film and resistance. It accounts for the position of the archive in negotiations between state and private capital and spaces of artistic autonomy, and for the relationships between the archive, modernity, postmodernity and the notion of posterity. (shrink)

Lenin, the great teacher of the proletariat, was deeply concerned with both the development of socialist literature and the problem of the correct critical acceptance of the literary heritage by the proletariat. Lenin frequently spoke of the works of Pushkin, Lermontov, Gogol, Tolstoy, Turgenev, Nekrasov, Shchedrin, Chekov, and others. Among the western European classical authors he particularly respected Shakespeare, Goethe, Heine, Hugo, Dickens, and Zola. In the brilliant classical writings which Lenin has left us he frequently made use of (...) artistic images, first molded in classical literary works, with which the people were familiar in order to expound problems of a theoretical nature. Furthermore he used them as tools for carrying on ideological education for the people. For example, in his writings Materialism and Empiriocriticism, and "The Marxist Critics and the Land Question," he used the image of Voroshilov, the false man of learning in Turgenev's novel Smoke, to elucidate a problem; he used the satirical images of bourgeois liberals from Shchedrin to reveal the basic nature of the enslavement and oppression of the people by the reactionary party, and so on. In addition, Lenin has left us in his works many incisive views directly related to the problem of the critical acceptance of the literacy heritage. They constitute an indivisible part of Lenin's theoretical estate. To study new Lenin's theories on the problem of the critical acceptance of the literacy heritage can be of great help to us today for our own correct treatment of the classical literacy heritage. (shrink)

Culture is the bloodline of the nation and the spiritual home of the people. Intangible cultural heritage belongs to the field of culture, and the transmission of ICH is a kind of human-based cultural transmission, which is the shaping of people’s morality, character, sentiment, will, ideals and beliefs, value orientation, humanistic cultivation, artistic taste, way of thinking, wisdom, and ability in the practice of production and life of various ethnic groups. Based on the status acquisition model, this study (...) analyzed the human capital, social capital, and psychological capital of ICH bearers from three perspectives. In addition to the conventional socio-demographic factors such as gender, age, place of residence, and education level as control variables, status attainment was introduced as a dependent variable, and occupational identity, job satisfaction, and entrepreneurial ability were introduced as mediating variables to construct a conceptual model in the hope of exploring the multiple influencing factors of status attainment among ICH bearers. Interviews were used to gain, the feelings and knowledge of experts, scholars, and ICH bearers, to lay a solid qualitative research foundation for this study. A questionnaire survey was also conducted to obtain basic information and professional experiences of ICH bearers to provide real support for the research analysis and discussion. As per the results of this research, all the hypotheses were supported except, HC did not have any significant impact on JS. Furthermore, SC was not in a significant association with career identity. Moreover, career identity and status attainment did not have a significant relationship. (shrink)

In the 1920s, London was a city on the cusp of change. Just as dance halls and jazz-age decadence displaced wartime austerity, a new generation of artists and designers sought to enliven the city's architecture, erecting dazzling buildings in the emerging art deco style. In contrast with the aging Victorian structures that dotted the city, these bright and colorful buildings--from the Hoover factory to the Ideal House by Raymond Hood, who later designed New York's Rockefeller Center--communicated the city's aspirations as (...) a thriving, modern metropolis. In the decades since, London's art deco buildings have lost none of their appeal. Millions of visitors gaze up at the headquarters of the Daily Telegraph and the nearby Daily Express, take in the elegance of Eltham Palace, or sip a martini at the Savoy. The city's most popular art deco attraction, however, is the London Underground, which boasts a series of art deco and modernist stations, designed throughout the 1920s and '30s by noted architect Charles Holden. In Modernism London Style, architectural historian Christoph Rauhut, with the help of three hundred photographs by Niels Lehmann, captures the architectural art deco heritage of London in a thrilling photographic tour. A portrait of the city during the interwar years, it chronicles the creativity of the artists and designers of the period--and the currents in the city's culture that helped shape their work. Insightful essays and an introduction by architecture scholar Adam Caruso shed light on some of the key features that characterize art deco, from floral and animal motifs to Egyptian themes. For readers planning a trip to London and hoping to place these striking buildings, the book also includes a detailed register and maps. (shrink)

The northern creative trips of the People's Artist of the USSR Vladimir Alexandrovich Igoshev (1921-2007) represent important and vivid pages in his creative biography. The object of this research is the creative heritage of the artist V.A. Igoshev. The subject of the study is the creative trips of the artist V.A. Igoshev to the North (Sverdlovsk and Tyumen regions) of the 1950s and 1960s. The purpose of this study is to reconstruct the overall picture of the northern creative trips (...) of the artist V.A. Igoshev of the 1950s–1960s on the basis of paintings and graphic works of the early "northern cycle", archival materials, exhibition catalogues, Soviet periodicals, individual scientific articles and information from informants. The novelty of the research lies in the most complete and detailed consideration at the moment of the issue of the northern creative trips of the artist V.A. Igoshev in the 1950s and 1960s. Previously, this topic has not received special coverage. Modern researchers of the creative heritage of the artist V.A. Igoshev in their review articles practically did not touch on this problem, limiting themselves to mentioning individual episodes from the creative biography of the master. The author of the study provides historical facts related to specific dates of trips, introduces a list of paintings and graphic works, with all the circumstances of their creation and further exposure at major art exhibitions of the 1950s and 1960s. (shrink)

Extensive scientific, philosophical and artistic activities were carried out in the Islamic World’s various science and civilization centers during the early Middle Ages. In these centers, noteworthy works of mathematics, astronomy, geography, medicine, pharmacology, optics, botany, chemistry and other fields of science, which would later determine improvement paths for these fields, were created. Abu al-Izz Ismail ibn al-Razzaz al-Jazari (12th-13th centuries), was a magnificent Muslim scientist known for his work named The Book of Knowledge of Ingenious Mechanical Devices (Kitab (...) fi ma‘rifati’l-hiyal al-handasiyya) and he was born in geography where many scientists were trained. He contributed to the development of science and civilization, the joint legacy of humanity and demonstrated his true capability and success in the field of ilm al-hiyal (the scientific field which addresses the information and practices regarding mechanical technology and engineering in Islamic science history). From this perspective, it is evident that al-Jazari had a wide field of interest, made his mark in the age he lived in with his brave and innovative ideas, and was a wise engineer. al-Jazari’s detailed descriptions and explanations of water clocks, oil lamp clocks and water pumping machines, as well as their construction, were astounding. In addition, al-Jazari’s studies on metal casting techniques, cone valves, wheel balance and the real-world use of aspiration tubes are important in contemporary engineering studies. When all these are considered, it becomes clear that his designation as the “Leonardo da Vinci of the Islamic World” is not a coincidence. Many studies on al-Jazari’s scientific legacy have been conducted in various parts of the world. There are various manuscripts of his aforementioned book. Based on these manuscripts, the work has been -fully or partially- translated into many languages, including Turkish. The German and English translations served as a basis for studies on al-Jazari in other languages. In recent years, studies conducted on al-Jazari in Türkiye (books, articles, domestic and international symposiums, congresses etc.) have demonstrated his brilliance and competence as a scientist. Furthermore, studies on al-Jazari are still ongoing in Türkiye. As for Russia, the scientific legacy of the scientists raised in the Islamic World such as Avicenna, al-Farabi, Abu Bakr al-Razi, Abu Rayhan al-Biruni, Abu al-Qasim al-Zahrawi, Muhammad ibn Musa al-Khwarizmi, al-Battani, al-Kashi, Abd al-Rahman al-Khazini, Nasir al-Din al-Tusi was researched within the scope of a special plan and program. Depending on the relevant studies, al-Jazari and his work drew attention as well. A small portion of the aforementioned Russian studies is known in Türkiye. It is safe to assume that al-Jazari studies in Russia are virtually unknown in Türkiye. The present study primarily aims to contribute to the literature on the scientific legacy of al-Jazari, a Middle Age Islamic scientist best known for his famous work in the mechanical field. More specifically, the present study aims to: 1) to identify the studies on al-Jazari in Russia, and in the former USSR countries, where academic studies are still in Russian after the Soviet Union period, to create a chronological biography and to set forth their compilation; in other words, to create a bibliography which includes Russian studies on al-Jazari; 2) to provide information on the structure and content of the studies in question, to detect the methodological issues encountered in these works, and make solution recommendations to solve these issues; 3) to contribute to continuing and future studies in Türkiye on al-Jazari in terms of source and material index. In conclusion, it should be stated that comparative reading was conducted centered on The Book of Knowledge of Ingenious Mechanical Devices (Kitab fi ma‘rifati’l-hiyal al-handasiyya). It should also be noted that Russian popular internet publications (which are not based on academic research and are created/reproduced for commercial and personal purposes) were excluded from the assessment. (shrink)

Simone de Beauvoir is a representative of one of the leading philosophical schools in the middle of the 20th century. The article presents Beauvoir’s artistic method, applied in her novel The Mandarins, and examines the theoretical and biographical sources of the novel. The author demonstrates the place that the novel has in the Beauvoir’s literary and philosophical heritage and reveals the genre features of the work, introducing some special terms such as engaged, modern or philosophical novel and testimonial (...) autobiographical project. The article also analyzes the novel’s literary form and the binary structure of the narrative. The study of the main characters, who are Henri Perron, Anne Dubreuilh and her husband Robert, allows to give a couple of narrative lines. First of them is the inner line that opens the reflective, contemplative and intimate life of one of the main characters – Anne. The second one is the outer line that means that the reader receives the information about characters from the Henry’s actions. Basing on this structure, we draw a conclusion about the modifications in the genre of existential novel in the postwar years. The new themes can be found in the literature. Authors introduce to readers the certain social reality through the inner life of some characters – intellectuals, novelists or philosophers. The thesis about the inner transformation of the genre is proved on Beauvoir’ and Jean-Paul Sartre’s works and on the prewar works of Sartre and Albert Camus. Beauvoir’s new literary methods and plots, which are the logical development of her work, made her novel one of the pioneers in the postwar literature. (shrink)

Philosophers have recently paid increasing attention to the aesthetic and artistic worth of food (Korsmeyer 2005, 1999; Kuhen 2005; Monroe 2007; Myhrvold 2011.

The article studies the Jewish cemetery which provides a significant amount of historical information about various aspects of the life of the Jewish community which have long been out of focus. The objective of the research lies in proving the relevance of marginal culturally significant objects in the context of postmodern philosophy, as well as explaining and analyzing the compositional ways and peculiarities of plastic images of the facades of the gravestones in Kremenets, one of the Volyn areas of the (...) Jewish culture in the 18th century – the early 19th century. The article focuses on the most common method of studying the monuments of Jewish gravestone epigraphy. The methodology of the research is based on the regionalist approaches to the problem and the application of culturological, retrospective comparative-historical methods and the use of critical analysis. For the first time, the artistic and style peculiarities of the memorial plastic arts of Jewish cemetery in Kremenets are analysed and the historical factors that influenced them are explicated. It was proved that the historical and cultural value of the Jewish necropolis in Kremenets lies in its originality. The cemetery is one of the oldest in Europe and contains unique information on the history, customs and culture of the Jewish people. It can become a promising object of visit for postmodern consumers, interested in unpopular and marginal tourist artefacts. (shrink)

The study of the artistic heritage of neo-academicians in the context of the study of mixed techniques is quite relevant. To date, the analysis of the creativity of artists, representatives of non-academism as an artistic trend of the late twentieth century in Russia, is based on the artistic criticism of art critics, art critics who were part of this trend and considered the work of non-academicians from the perspective of the artistic life of this period (...) in the context of the socio-cultural processes of Russia during the Perestroika era. Also, the works of neo-academist artists are studied from the position of "creative rebellion" and the search for new forms in art. In this article, the works of T. Novikov, G. Guryanov, K. Goncharov, V. Mamyshev-Monroe and other representatives of NAII are studied from the position of "mixed techniques" in art objects. The main emphasis is placed on the analysis of art objects in mixed techniques in the context of overcoming formalism, embodying stylistic diversity, metamorphosis of forms and states, pictorial symbols and universal meanings. The realization of the principle of the infinity of choice and the infinity of meaning and diversity is associated with postmodernism in art, the introduction to which became decisive in Russian art of the late twentieth and early twenty-first centuries. The appeal to the study of art objects of neo-academicians made in mixed technique allows us to enrich and supplement the understanding of the term "mixed techniques" in modern art practices related to the search for new forms, compositional solutions, the formation of a unique author's language, the originality of the work. (shrink)

This collection brings together a selection of writings on art by the internationally acclaimed novelist, historian and critic Marina Warner. For 30 years Warner has published widely on a range of art-world subjects and objects, from contemporary installation and film works to paintings by Flemish and Italian Renaissance masters, through Victorian photography and twentieth-century political drawings and prints. Warner's extraordinary curiosity in art and culture is conveyed in writing that is at once poetic and playful, elegant and rigorous, training our (...) eyes on the smallest of details while painting a broad-brushstroke landscape of art past and present. Themes familiar to Warner's readers--myth and fantasy, psychic and sexual experience, the vast and marvelous expanse of the human imagination--are treated in the lectures and articles, stories, interviews and essays contained here, some of which are published for the first time or republished from out-of-print sources. For the first of two volumes, editor Vivian Sky Rehberg has assembled themed sections titled "Playing in the Dark," "Telling Tales" and "Phantom Technologies." Texts include interviews with Tacita Dean and Paula Rego; catalogue essays on Leonora Carrington, Henry Fuseli, Zarina Bhimji, Tony Oursler and Fischli/Weiss; articles on Tracy Emin, Marlene Dumas, Louise Bourgeois; stories for artist's books by Kiki Smith and Helen Douglas; and lectures on Francis Bacon, Hieronymous Bosch and William Kentridge. "The Symbol Gives Rise to Thought" invites us to explore new ways of seeing and engaging with the traces of our artistic heritage. Marina Warner is a writer of fiction, criticism and history. Holder of 12 honorary degrees and two honorary fellowships, Warner is a Fellow of the British Academy and of the Royal Society of Literature. She has judged the The Jerwood Drawing Prize and the Turner Prize; she is a regular broadcaster on the BBC, and has taught and given lectures worldwide, including the National Gallery and ICA, London and the Prado in Madrid; she has delivered the Presidential Lecture at Stanford University and the Carpenter Lecture at Harvard. She has been awarded a CBE, Chevalier de l'Ordre des Arts et des Lettres, France and Commendatore dell'Ordine della Stella di Solidareità, Italy. Warner is a winner of the Aby Warburg Prize and a Getty Scholar. Vivian Sky Rehberg is an art historian and critic based in Paris and Rotterdam. A founding editor of "Journal of Visual Culture," she is a contributing editor of "Frieze," and has written for numerous contemporary art publications. Previously Chair of the department of Critical Studies at Parsons Paris School of Art + Design, where she taught modern and contemporary art, Rehberg is currently Course Director for the Masters in Fine Art at Piet Zwart Institute in Rotterdam.. (shrink)

Purpose of the essay is to outline the theoretical roots of Ricci’s museum and publishing policies, inscribed within a visual disclosure plan of our archaeological artistic heritage identified as the pivot on which to build a collective identity of our nation at the dawn of its unification. These policies are closely linked to Ricci’s conception of art, recognized by himself as the formal expression of a – both individual and collective – historical feeling, finding its immediate grip on (...) the public in the optical vividness of its representational form. This conception, however, finds its aesthetic-anthropological foundation in a book belonging to Ricci’s early production: “The art of children”. (shrink)

I read Stefan Collini’s What are Universities For? last week with very mixed feelings. In the past, I’ve much admired his polemical essays on the REF, “impact”, the Browne Report, etc. in the London Review of Books and elsewhere: they speak to my heart. If you don’t know those essays, you can get some of their flavour from his latest article in the Guardian yesterday. But I found the book a disappointment. Perhaps the trouble is that Collini is too decent, (...) too high-minded, has too unrealistically exalted a view about what actually happens in universities which is too coloured by attitudes appropriate to the traditional humanities. And he is optimistic to the point of fantasy if he thinks that people are so susceptible to “the romance of ideas and the power of beauty” that they will want, or can be brought to want, lots and lots of universities in order to promote the ideas (as if they would suppose that the task of “conserving, understanding, extending and handing on to subsequent generations the intellectual, scientific, and artistic heritage of mankind” was clearly ill-served when there were only forty universities in England, as opposed to a hundred and whatever). (shrink)

The paper addresses the scarcity of research on the new rich in urban anthropology. It argues that sumptuary spending is meant to establish and display an honourable ascendancy, and stems from a need for public recognition. This is particularly visible in the palaces of the nouveau riche in Eastern Europe. Too often, these buildings are unduly ethnicized; the paper claims that this ideological approach aims at denying Easter European Roma the possibility of taking part in the urban competition of the (...) new rich and at excluding them from the wider urban context of the new rich in the post-Socialist territories, from Bucharest to Batumi and Astana. From Roma businessmen to a parvenu doctor in Cluj, the identity strategies of the new rich resemble each other. They draw on universal artistic heritage to create an image of ancient virtue for their owners. (shrink)

The paper addresses the scarcity of research on the new rich in urban anthropology. It argues that sumptuary spending is meant to establish and display an honourable ascendancy, and stems from a need for public recognition. This is particularly visible in the palaces of the nouveau riche in Eastern Europe. Too often, these buildings are unduly ethnicized; the paper claims that this ideological approach aims at denying Easter European Roma the possibility of taking part in the urban competition of the (...) new rich and at excluding them from the wider urban context of the new rich in the post-Socialist territories, from Bucharest to Batumi and Astana. From Roma businessmen to a parvenu doctor in Cluj, the identity strategies of the new rich resemble each other. They draw on universal artistic heritage to create an image of ancient virtue for their owners. (shrink)

The paper addresses the scarcity of research on the new rich in urban anthropology. It argues that sumptuary spending is meant to establish and display an honourable ascendancy, and stems from a need for public recognition. This is particularly visible in the palaces of the nouveau riche in Eastern Europe. Too often, these buildings are unduly ethnicized; the paper claims that this ideological approach aims at denying Easter European Roma the possibility of taking part in the urban competition of the (...) new rich and at excluding them from the wider urban context of the new rich in the post-Socialist territories, from Bucharest to Batumi and Astana. From Roma businessmen to a parvenu doctor in Cluj, the identity strategies of the new rich resemble each other. They draw on universal artistic heritage to create an image of ancient virtue for their owners. (shrink)

The organization of the mobile atomic exhibition, Mostra Atomica, designed by the United States Information Service to travel through Italy in 1954–55, had to meet technical, scientific, artistic, and political challenges. The head of the group in charge of the exhibition was architect Peter G. Harnden whose pedigree in the intelligence and training in architecture were an ideal match for leading the unit dedicated to exhibitions. The political sensitivity of the Mostra Atomica also required the intervention of the Italian (...) Ministry of the Interior to guarantee safe mobility and secure shows. In every major town, American and British diplomats attended the local opening ceremony, while the very symbol of science diplomacy was Enrico Fermi, whose recorded message praised international cooperation. All in all, the USIS campaign promoting peaceful applications of nuclear physics was successful in reaching and involving Italian society. Visual and spatial aesthetics were particularly relevant: the geometrical design of the exposition rooms conveyed a strong sense of modernity that contrasted with the artistic heritage of Italian cities. The present article is based on archival files, newspaper reports, and photographs that document who was responsible for planning, setting up, and reporting this Cold War propaganda event. (shrink)

The philosophical inheritance of Mykola Shlemkevich remains small worked out for today. In part because his works have been scattered, published in various publications under pseudonyms, in part, because of the fact that he has long been is attached the label "nationalist" and sometimes "nationalist fascist. Mykola`s Shlemkevich works fold the philosophical system and it is an obvious fact. They are incorporated by structural and methodological community. It is important to consider the Shlemkevych`s philosophical system it in its fullness and (...) integrity, as in his writings thinker pointed not only to the problems faced by Ukrainian, but also on ways to overcome them. Mykola Shlemkevich always marked practical character of philosophy, he considered that philosophy must be added to practice. He also mentioned this in his work "The essence of philosophy", for which in 1926 got in the Viennese university rank of Ph.D. Slemkevich defines philosophy as the inner essence symbolic systems of science, religion, art, culture. He calls philosophy "the queen of sciences." "Lost Ukrainian man" published in New York in 1954 is a perfect example of deep understanding of the social, political, cultural and philosophical problems faced man of modern times. Thinker notes that everyone naturally seeks happiness, but Ukrainians believe that happiness is oblivion. Shlemkevich emphasizes that it is not true.He notes that there is no oblivion for Ukrainians. He sees solution in leadingout of all complexes on a surface. Solving these problems is the responsibility of the elite, because that philosophers, politicians and artists should be support for people. Also a philosopher investigates the question of the political system that would answer the necessities of Ukrainians most. In his "Ukrainian synthesis or Ukrainian civil war" published in 1946 philosopher considers the title of "creative forces". They are: Ukrainian autocracy - the monarchy, Ukrainian democracy - democracy and the Ukrainian leadership. Contrary to the creative forces are the forces of anarchy. Creative forces can not overcome force of anarchy because operate separately. Also creative forces argue among themselves. One`s of creative forces victory is undesirable because will result in totalitarianism, and it unusual to Ukrainians. Thus a thinker talks about a necessity to find a consensus, because only together they will be able to bringUkraineover to prosperity. (shrink)

The article is devoted to the theme of childhood – one of the main creative lines in the artistic heritage of Vladimir Alexandrovich Igoshev. The artistic development of the distant and previously little-known periphery began with the first graphic works and individual sketches in March 1954, dedicated to the little inhabitants of the harsh earth, and ended with heartfelt masterpieces created in the last years of the master's life, when all the strength was taken away by illness. (...) Based on the art criticism analysis of V.A. Igoshev's works of art from the funds of the state museums of Ugra, the figurative and stylistic originality of the children's theme in the context of the "northern cycle" is revealed, the general evolution of portrait creativity is indicated. It is proved that as artistic tasks changed, as a result of deep creative immersion in the original and organic world of the North, the figurative interpretation of the children's theme, which acquires an aesthetically autonomous meaning, also changed. (shrink)

Mediteransko nasljeđe kulture, filozofije, povijesti i umjetnosti nepregledan je univerzum procesa, informacija, sinteza i imaginacija. Sam po sebi, Mediteran se predstavlja kao jedna opća imenica takvog opsega da predstavlja rod u kojem je velik dio opće europske kulture uvijek jedna od njegovih vrsta. No, ipak, riječ je o dojmu koji ne može težiti precizno utvrđenoj konstataciji već jednoj općoj opservaciji koja samo pokazuje da zamisao o zahvaćanju u smisao Mediterana kao nasljeđa ili suvremenosti predstavlja jedan ogroman, ali nikad dokraja dovršen (...) posao.Kao opće i široko obuhvatno ime, mediteranski prostor, onaj virtualni i onaj stvarni, otvorio je prostor mnogim iznimnim osobnostima. koje ukazuju na pojedinačni značaj svake od njih. Neizbježno, one ne mogu u kontekstu mediteranskog prostora predstavljati više od pojedinačnog slučaja koji nikad ne može obuhvatiti cjelokupni doseg pojma mediteranskog. Ali ono što mogu jest obznaniti one vlastite dosege koji ukazuju na vrijednost onoga što im je u mediteranskom prostoru otvoreno da misle, stvaraju i žive. U kontekstu Mediterana tu je uvijek prisutna jedna dimenzija napetosti između općeg i pojedinačnog, između napora da se izrazi duh vremena i nasljeđa, vlastito slaganje i neslaganje s njim, ali i promišljanje koje može probiti duh danog. Jedan od takvih filozofskih i umjetničkih osobnosti jest Albert Camus. Kao jedna od danas gotovo zaboravljenih figura mišljenja i umjetnosti, njegovo propitivanje humaniteta u djelima kao što su Mit o Sizifu i Pobunjeni čovjek svojevremeno su ostavili dubok trag iza sebe. Iako on nije napisao svoje pismo o humanizmu kao što je to učinio Heidegger , njegovo se djelo čini kao poseban slučaj jednog općeg govora o humanizmu suprotstavljen i zasigurno najpoznatijem intelektualcu svog doba, Jeanu Paulu Sartreu, intelektualnom hegemonu onoga doba. Postoji iskušenje da se Camusa u toj konstelaciji dovede u vezu s, recimo, stoicizmom, no time bismo promašili bit u odgovaranju na pitanje koliko bi njegov humanizam imao snage biti suvremeni humanizam, a koliko nova tehnika interpretiranja istog. Stoga mi je namjera propitati, suvremenu mogućnost tvorbi Camusovih promišljanja o povijesti, humanizmu, politici i umjetnosti, kao i danas uočljivi pomak u odnosu na prijašnje dosege u propitivanju etičnosti, politike i umjetnosti na mediteranskom prostoru.The cultural, philosophical, historical and artistic heritage of the Mediterranean is a measureless universe of processes, information, syntheses and imaginations. In itself, the Mediterranean portrays a general noun of such scope that it represents a kind in which a large part of general European culture is always but one of its sub varieties. However, this is but an impression, which cannot aspire to become a precisely verifiable or verified statement, or a general observation, which only demonstrates that the idea of penetrating the meaning of the Mediterranean as a heritage or contemporaneity represents an enormous yet never fully completed task.The Mediterranean space – both the virtual and actual – as a general and widely inclusive toponym has opened its doors to countless exceptional individuals, who point to the particular significance of each. Inevitably, within the context of the Mediterranean space they cannot exemplify more than a particular case that can never embrace the range of the Mediterranean concept as a whole. Yet, what they can do is disclose their own reaches that point to the value of that which is open to them in the Mediterranean realm to be thought, created and lived. A dimension of tension between the general and the particular, between the effort to express thespirit of time and heritage, one’s agreement and disagreement with it, as well as one’s reflections capable of penetrating the spirit of the given – are invariably present within the context of the Mediterranean. One such philosophical and artistic individual is Albert Camus. As one of the almost forgotten figures of thought and art today, his questioning humanity in The Myth of Sisyphus and The Rebel once left a profound trace. Although he never wrote a letter on humanism as Heidegger did , his work appears to be a special case of a general speech on humanism opposed to even surely the most famed intellectual of his time, Jean-Paul Sartre, the intellectual hegemon of his time. Within this constellation one can easily be tempted to compare Camus with, for example, Stoicism, but by doing so one would fail to answer the question of whether his humanism has the strength to be a contemporary humanism or just a novel interpretation technique of the same. This paper intends to examine the contemporary possibilities of constructing Camus’s reflections on history, humanism, politics and art, as well as the today distinct shift in relation to the earlier reaches of the studies into ethicality, politics and art within the space of the Mediterranean. (shrink)

L’héritage dont on a coutume de créditer Marcel Duchamp nous place face à des ambiguïtés que son seul nom ne suffit pas à dissiper. L’artiste le plus cérébral de son temps est aussi celui qui se prête le moins aux « théories » ou aux semblants de définition qu’il a inspirés. La question que pose Duchamp est moins celle de la marque qu’il a durablement imprimée à notre art, que celle de savoir par quelle ironie et à la faveur de (...) quel malentendu on a pu voir en lui l’artisan décisif d’une révolution dont nous serions les héritiers. Duchamp ne parlait pas « au nom de l’art ». On ne peut rien inférer de son « indifférence », sinon les réserves que le mot « art » devrait nous inspirer. (shrink)

Alcalá de Henares ya era una ciudad importante cuando Francisco Jimenez de Cisneros la eligió para fundar su nueva Universidad. Desde la creación de esta institución en 1499, Cisneros auspició una serie de reformas urbanísticas que convirtieron la ciudad en uno de los núcleos urbanos más notables de la Península. La fama de la Universidad y la ubicación de la ciudad, cerca de una importante vía de comunicación propiciaron que numerosos viajeros extranjeros la visitaran durante el siglo XVI. En este (...) artículo estudiaré la imagen de la ciudad a través de la literatura de viajes europea de este siglo. (shrink)

L’artiste Sarah Ndele mêle une réflexion sur sa propre pratique, nourrie de l’art Yombé, à un plaidoyer en faveur du renouvellement de l’enseignement artistique au Congo qui intègrerait une histoire de l’art classique africain. Sarah Ndele explique comment ses propres créations de masques interrogent la fracture héritée de la colonisation qui est venue rompre les transmissions intergénérationnelles, produisant des « trous » de mémoire. Dans son œuvre, le plastique a remplacé le bois et les matières végétales des masques d’autrefois ; (...) la fonte des matières plastiques récupérées forme des « larmes », qu’elle agence avec la volonté de se recomposer soi-même par son art. Les performances, réalisées au sein d’un collectif d’artistes kinois, investissent la rue et l’espace public pour interpeller les passants sur des sujets politiques parfois sensibles. Cette pratique collective de la performance est rattachée à tout un héritage culturel africain, défendu par l’artiste. (shrink)

This chapter contains sections titled: Further Reading.

L'héritage du siècle des Lumières a été le fer de lance de puissants mouvements éducatifs, sociaux et artistiques qui traversent la société française de la Révolution à nos jours. Ces mouvements sont parmi les principaux vecteurs préalables à la constitution théorique du champ de la communication.The legacy of the Enlightenment has been the spearhead of powerful educational, social and artistic through French society from the Revolution to the present day. These movements are among the main drivers pre-theoretical constitution of (...) the field of communication. (shrink)

This is a systematic study of the conceptual framework used by critics and scholars in their discussions of influence in art and literature. Göran Hermerén explores the key questions raised in scholarly debate on the topic: What is meant by "influence"? What methods can be used to settle disagreements about influence? What reasons could be used to support or reject statements about artistic and literary influence? The book is based on descriptive analyses in which the author has tried to (...) make explicit what is said or implied in a number of quotations from scholarly writings on art and literature. Throughout, the emphasis is on clarifying the assumptions on which the use of the concept of influence is based, thus describing the limitations and merits of this kind of comparative research for critics and scholars. Originally published in 1975. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905. (shrink)

The article is devoted to the analysis of the influence of the ancient Chinese philosophy of Taiji on artistic creativity and the development of the internal evolution of artistic culture. Taoist philosophy of nature and Confucian ethics synthesized the philosophical core of the traditional Chinese worldview with its emphasis on the simplicity and naturalness of the world order, and formed the fundamental principles of Taiji. Fundamental to Taiji, the concept of Yin and Yang emphasizes the dual nature of (...) the existence of movement and variability as a balance of opposing forces of development. The Taiji philosophy of dialectical development is supplemented by the idea of ​​the genesis of renewal energy - Qi. The main research method is the method of revitalizing traditional systems on a new intellectual basis. The method of diachronic analysis of the social situation that influenced the development of Chinese neorealism in art was used. As a result of the study, the functional significance of the influence of the principles and philosophical ideas of taiji on the evolution of neorealism is described. Using the example of the work of Chinese neorealist artists Xin Dongwan and Zheng Yi, the authors come to the conclusion that there are three driving factors of artistic motivation for creativity: internal, external and subjective. The basic principles of Taiji philosophy and ethics, such as: the naturalness of change without the use of force (Wu Wei), change as the only constant in the existence of the world and its stability, gentleness - help develop the creative power of renewal. The idea is shown that in the ancient Chinese philosophical heritage, Confucianism and Taoism became two full-fledged directions, functionally complementing each other in explaining differences in cultural, political, philosophical and social environments. (shrink)

Our culture of appreciation of old buildings today is a product of the heritage culture of the eighteenth-century Central European upper class. While we find it pleasant and historically informative to have buildings well preserved, we find the absence of critical questioning of the practice surprisingly absent, although we observe an increasing number of academic discussions in the field of heritage studies, informed by decolonisation, climate change activism, and sustainability issues. Critical artistic practices have too been venturing (...) into heritage and memory politics. The extensive costs of preserving old architecture raise eyebrows mainly only in the far- and alt-right circles, but as late reactions by parts of the global community, such as the attacks on statues as part of the Black Lives Matter movement, signal, there might be a change coming regarding our relationship to the built material past. We offer a reading of the history of the phenomenon, which will make it easier to, first, see it as an ethnic and class construct, and then sketch out a new perspective on its metaphysics, from memory to identity, to discourse. We include voices external to the world of heritage­­ – one that is still run by a privileged group that often claims to speak for others, and whose aims and practices are often, at least for now, accepted by others. We then proceed to discuss what kind of a role a curatorial approach could have in questioning and rethinking the idea of preserving. (shrink)

Les formes et enjeux d’une patrimonialisation post-industrielle débordent la traduction littérale d’un patrimoine entendu comme héritage. Elle nous invite à considérer les traces de l’industrie – en l’occurrence de la mine – comme inscrites dans un processus toujours inachevé de protection, d’interprétation et de création, dont les enjeux ne sont assurément pas réductibles à la passion du collectionneur, ni même à la mise en tourisme d’un patrimoine envisagé comme vitrine culturelle d’une région. À partir d’un travail de recherche-accompagnement réalisé en (...) 2002-2003 pour la région Nord – Pas-de-Calais, nous interrogeons les formes de communication et de patrimonialisation du bassin minier visant, notamment, à le faire reconnaître au titre d’un patrimoine mondial de l’UNESCO. La problématique d’une reconversion prend ici son sens dans des formes actives d’interprétation culturelle, notamment artistique et environnementale, qui participent d’une relecture de l’activité économique et sociale passée et présente.The questions raised by post-industrial museums and their different forms challenge the idea of “heritage” taken as meaning an “inheritance”. They are an invitation to consider the traces of an industry – mining in this case – as part of an unfinished process of conservation, interpretation and creation, which is driven by more than a passion for collection or even the need to attract the interest of tourists in a heritage collection intended as a showcase for a region. A research and accompaniment project in 2002-2003 for the Nord – Pas-de-Calais region was our starting point for this investigation into the forms of communication and the treatment of heritage in this mining area, which was aiming, in particular, to achieve recognition as a UNESCO world heritage. Here, the economic conversion issue takes on particular significance in the active forms of cultural – and especially artistic and environmental - interpretation that stem from new ways of envisaging economic and social activities past and present. (shrink)

Humans have engaged in artistic and aesthetic activities since the appearance of our species. Our ancestors have decorated their bodies, tools, and utensils for over 100,000 years. The expression of meaning using color, line, sound, rhythm, or movement, among other means, constitutes a fundamental aspect of our species' biological and cultural heritage. Art and aesthetics, therefore, contribute to our species identity and distinguish it from its living and extinct relatives. Science is faced with the challenge of explaining the (...) natural foundations of such a unique trait, and the way cultural processes nurture it into magnificent expressions, historically and ethnically unique. How do the human mind and brain bring about these sorts of behaviors? What psychological and neural processes underlie the appreciation of painting, music, and dance? How does training modulate these processes? Are humans the only species capable of aesthetic appreciation, or are other species endowed with the rudiments of this capacity? Empirical examinations of such questions have a long and rich history in the discipline of psychology, the genesis of which can be traced back to the publication of Gustav Theodor Fechner's Vorschule der Aesthetik in 1876, making it the second oldest branch in experimental psychology. The Oxford Handbook of Empirical Aesthetics brings together leading experts in psychology, neuroimaging, art history, and philosophy to answer these questions. It provides the most comprehensive coverage of the domain of empirical aesthetics to date. With sections on visual art, dance, music, and many other art forms and aesthetic phenomena, the breadth of this volume's scope reflects the richness and variety of topics and methods currently used today by scientists to understand the way our mind and brain endow us with the faculty to produce and appreciate art and aesthetics. (shrink)

Why do artists, poets, philosophers, writers, and others who are usually classified as intellectuals leave the ivory tower to "dirty their hands" in the political arena? In an effort to illuminate the intellectual's struggle to come to grips with the issues raised by political involvement, David Schalk examines the life and thought of five intellectuels engagés in France during the period between 1920 and 1945. From communist to fascist, these figures—Paul Nizan, Jean-Paul Sartre, Emmanuel Mounier, Julien Benda, and Robert Brasillach—cover (...) the full political spectrum, and Professor Schalk studies their diverse reactions to the social, political, and economic tensions of the interwar period. Broadly defining "engagement" as political involvement that is voluntary, conscious, and freely chosen, usually by intellectuals, the author poses the intellectual's dilemma in the following terms: "When we are engagé," he writes, "we fear that we are debasing our highest values; when we are not, we worry that we have become, in Paul Nizan's trenchant phrase, mere chiens de garde [watchdogs]." He then investigates the origins and the popularization of the concept of engagement in the early 1930s, the arguments used to denounce it and to defend it, its different manifestations, and finally its effects on the socio-political actuality of the world. Originally published in 1979. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These paperback editions preserve the original texts of these important books while presenting them in durable paperback editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905. (shrink)

The head and the stomach January 1996 -- Borges in Sarajevo March 1996 -- Fin de siècle and new millenarium May 1996 -- Cold racism July 1996 -- The last enemy November 1996 -- The grounded plane January 1997 -- Dialectic in the dialectic August 1997 -- Voyage to the country of the last sociologists November 1997 -- Justice in the past April 1998 -- The crisis of art or a crisis of thought July 1998 -- Is cinema to blame (...) March 1999? -- The nameless war May 1999 -- One image right can sweep away another October 1999 -- The syllogism of corruption October 2000 -- Voici/voila : the destiny of images January 2001 -- From facts to interpretations : the new quarrel over the holocaust April 2001 -- From one torture to another June 2001 -- The filmmaker, the people and the government August 2001 -- Time, words, war November 2001 -- Philosophy in the bathroom January 2002 -- Prisoners of the infinite march 2002 -- From one month of May to another June 2002 -- Victor Hugo : the ambiguities of a bicentenary August 2002 -- The machine and the foetus January 2003 -- Death of the author or all too living artist April 2003 -- Logic of amnesia June 2003 -- The principle of insecurity September 2003 -- The new fictions of evil November 2003 -- Criminal democracy March 2004 -- The difficult heritage of Michel Foucault June 2004 -- The new reasons for the lie A\august 2004 -- Beyond art October 2004 -- The politics of images February 2005 -- Democracy and its doctors May 2005. (shrink)

It has become an intellectual commonplace to claim that we have entered the era of 'postmodernity'. Three themes are embraced in this claim the poststructurist critique by Foucault, Derrida and others of the philosophical heritage of the Enlightenment the supposed impasse of High Modern art and its replacement by new artistic forms and the alleged emergence of 'post-industrial' societies whose structures are beyond the ken of Marx and other theorists of industrial capitalism. Against Postmodernism takes issue with all (...) these themes. It challenges the idealist irrationalism of post-structuralism. It questions the existence of any radical break separating allegedly Postmodern from Modern art. And it denies that recent socio-economic developments represent any fundamental shift from classical patterns of capital accumulation. Drawing on philosophy and history, Against Postmodernism takes issue also with some of the most forthright critics of postmodernism -- Jurgen Habermas and Fredric Jameson, for example. But it is most distinctive in that it offers a historical reading of the theories of such currently fashionable thinkers as Baudrillard and Lyotard. Postmodernism, Alex Callinios argues, reflects the disappointed revolutionary generation of '68, and the incorporation of many of its members into the porfessional and managerial 'new middle class'. It is best read as a symptom of political frustration and social mobility rather than as a significant intellectual or cultural phenomenon in its own right. (shrink)

Traces of many past events are often layered or superposed, in brain, body, and world alike. This often poses challenges for individuals and groups, both in accessing specific past events and in regulating or managing coexisting emotions or attitudes. We sometimes struggle, for example, to find appropriate modes of engagement with places with complex and difficult pasts. More generally, there can appear to be a tension between what we know about the highly constructive nature of remembering, whether it is drawing (...) on neural or worldly resources or both, and the ways that we need and use memory to make claims on the past, and to maintain some appropriate causal connections to past events. I assess the current state of work on situated affect and distributed memory, and the recent criticisms of the ‘dogma of harmony’ in these fields. I then deploy these frameworks to examine some affective dimensions of place memory, sketching a strongly distributed conception of places as sometimes partly constituting the processes and activities of feeling and remembering. These approaches also offer useful perspectives on the problems of how to engage – politically and aesthetically – with difficult pasts and historically burdened heritage. In assessing artistic interventions in troubled places, we can seek responsibly to do justice to the past while fully embracing the dynamic and contested constructedness of our present emotions, memories, and activities. (shrink)

Guy Sircello's analysis of the varieties of expression and his use of them to justify a particular view of the human mind clarify a number of controversial topics in contemporary philosophy, among them the notion of "artistic acts," language as expression, the expression of ideas, expressions as "natural signs," and the nature of the causal relationship between an expression and what is expressed. Originally published in 1972. The Princeton Legacy Library uses the latest print-on-demand technology to again make available (...) previously out-of-print books from the distinguished backlist of Princeton University Press. These paperback editions preserve the original texts of these important books while presenting them in durable paperback editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905. (shrink)

Memory has long been a subject of fascination for poets, artists, philosophers and historians. The volume examines how past events are remembered, contested, forgotten, learned from and shared with others. Each author in The Ashgate Research Companion to Memory Studies has been asked to reflect on his or her research companions as a scholar, who studies memory. The original studies presented in the volume are written by leading experts, who emphasize both the continuity of heritage and tradition, as well (...) as the memory of hostilities, traumas and painful events. Comprised of four thematic sections, The Ashgate Research Companion to Memory Studies provides a comprehensive overview of the latest research within the discipline. The principal themes include: ¢ Memory, History and Time ¢ Social, Psychological and Cultural Frameworks of Memory ¢ Acts and Places of Memory ¢ Politics of Memory, Forgetting and Democracy. (shrink)