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Poststrukturalizm a myśl etyczna Nietzschego

100%
Choińska B.
Filo-Sofija
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2012
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vol. 12
|
issue 1(16)
183-194
EN
In the article I discuss the post-structuralist ethics in relation to Nietzsche’s thought. The point of view of some French post-structuralists seems to be situated far away from Nietzsche’s ethical ideas, at the most reaching the camel’s and lion’s stage. Lyotard and Derrida opt for a relational ethics while Foucault chooses the strategy of local resistance to the symbolic violence. Paradoxically, Lacan turns out to be closest to Nietzsche, with his theory of exceeding the phantasm in the direction of the Real Order.
2

SKUTOČNÉ VO FILME A JEHO PÔSOBENIE

86%
Oniščenko J.
Filozofia (Philosophy)
|
2011
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vol. 66
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issue 7
655 – 666
EN
The paper examines the relationship between film and reality, which on the author’s view cannot be grasped without taking into account the viewer. For Bela Balazs the viewer is a part of the film world. Jean Epstein goes even further in his substituting an actor for a viewer. Balazs develops the concept of identification while Epstein’s idea is to subvert the viewer’s world of peace and certainties. Benjamin shows that watching a film is a two-way effect. Barthes’ aim is to show the place, from which this effect comes. Lyotard describes another particularity of the film. The stasis represents a situation when the film shows the limits of perception.
3

TOUCHING MATTER IN ART: TOWARDS A ‘MATTERIST’ AESTHETIC WITH FRA ANGELICO, VERMEER, LUCEBERT, DE BRUYCKERE, AND MOREAU

86%
Vandenabeele B.
Filozofia (Philosophy)
|
2017
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vol. 72
|
issue 10
825 – 833
EN
Drawing on examples of works of art by very diverse artists as Fra Angelico, Vermeer, Lucebert, De Bruyckere, and Moreau, The author aims to show that the specific ways in which artworks yield aesthetic experiences cannot be properly understood without recourse to the peculiar (and all too often neglected) presence of matter in the work of art. In this paper he sketches the contours of what a ‘matterist’ aesthetic fundamentally needs to involve. Unlike ‘significant form’ (Bell & Fry), matter in art is necessarily related to presence, finitude and contingency. Touching matter resists communication through determinate concepts. It constrains the production and receptivity of beauty and coherent meaning, and not so much addresses our faculty of understanding as it touches and stimulates our imagination and our ‘soulflesh’, i.e., what Lyotard calls l’âme-chair. This ‘passibility’ to touching matter (which is not passive) neither presupposes nor procures any dialectic reinstalling of transcendental subjectivity, and resists appropriation by argumentative rationality and rhetoric. On the contrary, it points to a path that necessarily lies always before us: the path out of techno-science’s obsession with consensus, information and superficial entertainment towards communality in and through (aesthetic) affects, which testify to our inevitable human finitude.
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