Full-text resources of CEJSH and other databases are now available in the new Library of Science.
Visit https://bibliotekanauki.pl

Results found: 8

first rewind previous Page / 1 next fast forward last

Search results

Search:
in the keywords:  symbolic form
help Sort By:

help Limit search:
first rewind previous Page / 1 next fast forward last
1

The Influence of Gestalt Theory on Ernst Cassirer’s Phenomenology of Symbolic Forms

100%
Parszutowicz P.
Dialogue and Universalism
|
2015
|
issue 4
87-99
EN
In the opinion of many scholars the notion of symbolic pregnancy is one of the key concepts in Ernst Cassirer’s philosophy of symbolic forms. Without a proper under-standing of its conceptual frame Cassirer’s philosophy lacks a consistent foundation. The notion symbolic pregnancy offers the mechanism of distinction of symbolic forms. The newest investigations (also in unpublished or less known, neglected writings of the philosopher) has shown that the key-notion of symbolic pregnancy has its roots in Ge-stalt theory (Gestalt psychology). In this school Cassirer saw the most important exam-ple of the general tendency in scientific thought, according to which the primacy of the notion of function has to override the primacy of the notion of substance, the idea of integrated whole as well as the notion of primary elements.
2
Content available remote

Co ma do powiedzenia o współczesnym dziele sztuki hermeneutyka rozumiana jako interpretacja symbolu i metody?

100%
Winnicka - Gburek J.
Estetyka i Krytyka
|
2013
|
issue 2(29)
185-200
EN
In the article I propose an analysis of both the opinions about “the end of art,” that have been appearing for a long time and the changes in understanding the meaning of symbols in culture. In connection with the problem of symbols, I refer to the philosophy of Hans Georg Gadamer and Paul Ricoeur, as well as to the personalistic hermeneutics of Luigi Pareyson. Asking if there exist such concepts of culture that would make the use of the term “end of art” irrelevant, I answer yes and I give the example of the concept of form by Pareyson. Additionally, I make the point that Pareyson’s form is a symbolic one. Finally, I try to outline a hermeneutic interpretation of one of the art works shown at the 54 Venice Biennale
3
Publication available in full text mode
Content available

ИСПОВЕДАЛЬНОСТЬ В ПОЭЗИИ ВЯЧЕСЛАВА ИВАНОВА: ПРЕДВАРИТЕЛЬНЫЕ ЗАМЕЧАНИЯ

75%
Быстров Н.
Conversatoria Litteraria
|
2020
|
vol. 14
|
issue XIV
139-150
PL
The article traces parallels between some confessional situations in the poetry of Vyacheslav Ivanov and the Confessions of St. Augustine. The question is raised about the ability of Ivanov`s symbolism to reproduce the existential uncertainty (ignorance of the further path, the actual rejection of its foreshadowing by culture and intellectual experience), to which the confession should lead the subject, if s/he follows the principle of Augustine`s „transcende te ipsum”. When the state of confession is pre-established by a system of symbols with a „ready” meaning, it risks losing its uniqueness: the confession can be replaced by some universal „scheme” of confessionality, which happens in a number of the Ivanov`s poems. Thus, the article delineates one of the possible perspectives of the further study of the claimed topic.
4
Publication available in full text mode
Content available

Akord à rebours. O muzyce i „duchowej inteligencji” w filmie Interstellar Christophera Nolana

65%
Lisiecka K.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
|
2020
|
vol. 28
|
issue 37
177-205
EN
The essay aims to reveal the role of music in the movie Interstellar by Christopher Nolan and its significance in creating an artistic message that relates to the love myths characteristic of European culture and art. The orientation point is the Tristanic myth and the project of musical dramaturgy by Richard Wagner, the founder of the concept of music being the significant layer in a Gesamtkunstwerk, a synthesis of the arts, which strongly inspires i.a. cinema. The article ponders possible messages to be decoded from the music in Nolan’s movie: as a “form of a lover’s discourse” (R. Barthes), “significant form” (Suzanne K. Langer), “symbolic form” (E. Cassirer), responsible for shaping the ambience that constitutes an inherent structural part of the movie in the metaphysical cinema genre. The musical solutions applied by Hans Zimmer in the soundtrack to Nolan’s movie do more than merely imply inspiration from Wagner. They also allow for recognition of the polyphonic way of constructing formal and thematic relations between musical themes and the verbal-visual layer of the movie. This refined artistic project aims at a subtly directed confrontation with the nihilistic picture of love that is representative of melancholic-pessimistic images of the condition of human relationships in the modern culture. The analysed main musical theme, called the “à rebours chord” (i.e. anti-Tristan chord), turns out to be an overt musical manifestation of such a counterpunch and becomes a starting point to telling a story that refers to the concept of love which assumes taking action and fighting for the good of your loved ones, as well as the concept of Caritas and unconditional love. The way that the music and sound of the movie are orchestrated is therefore tightly coupled with its semantic and symbolic message, which allows for perceiving the music as a specific “libration point” of the movie structure. Its function might also be interpreted as a semantic attribute of “a spiritual intelligence”, referring to that which is binding and crucial for the axiological and metaphysical message of the movie.
5
Publication available in full text mode
Content available

Cassirer: The Coming of a New Humanism

63%
Auxier R. E.
Eidos. A Journal for Philosophy of Culture
|
2018
|
vol. 2
|
issue 3(5)
7–26
EN
The various efforts to put the idea of humanity on a secure ethical, political, and social base have not succeeded. The various post-humanist and transhumanist programs are inadequate. Our deep-seated suspicion of our deepest selves and motives is understandable in light of the barbarity of the twentieth century, but humanism is not to blame. The thought of Ernst Cassirer holds a framework for a new humanism, once it is rid of certain colonialist, triumphalist, and Eurocentric ideas that distorted Cassirer’s understanding of the European role in creating the problems of civilization, especially its mistake of thinking that science was a progressive symbolic form of culture. I set out the basis of a new humanism based upon not the problem of knowledge, but the problem of genuine self-situating socialty, a personalist point of view.
6
Content available remote

Perspektive, Symbol und symbolische Form. Zum Verhältnis Cassirer – Panofsky

63%
Hub B.
Estetika: The Central European Journal of Aesthetics
|
2010
|
vol. 47
|
issue 2
144-172
EN
During the last two decades of the twentieth century, there was a sudden surge of interest in Ernst Cassirer’s major work, The Philosophy of Symbolic Forms (1923–29), and Erwin Panofsky’s essay, ‘Perspective as Symbolic Form’ (1927), an interest that has continued uninterrupted to the present day. Particularly amongst art historians, however, a serious misunderstanding remains evident here – the confusing of ‘symbolic form’ with ‘symbol’. Cultural and perceptual mediations, in which objects (and subjects) are only just in the process of forming, are carelessly turned into arbitrary, isolated objects of art history or pictorial history. Every work, in this view, is regarded as a ‘symbolic form’ to the extent that a representation of the world is ‘expressed’ in it. This article initially reviews Panofsky’s essay in order to establish the context in which the art historian uses the term ‘symbolic form’. His use of it is then compared with Cassirer’s original understanding of the term. A careful distinction is made between ‘symbol’, ‘symbolic pregnance’, and ‘symbolic form’, and this is followed by an analysis of scattered remarks in Cassirer’s writings, and particularly in his posthumous manuscripts and notes, on ‘art’ as symbolic form and on the spatial form that is prior to all perception and art production, as well as his call for a kind of art history that conceives of itself as a scholarly discipline. The article concludes with the recognition that Panofsky not only deliberately, but justifiably – that is, in the spirit of Cassirer, at least – transferred the expression ‘symbolic form’ to ‘perspective’.
7
Content available remote

O związkach filozofii form symbolicznych z psychologią postaci

63%
Parszutowicz P.
Filozofia i nauka. Studia filozoficzne i interdyscyplinarne
|
2016
|
vol. 4
349-359
PL
Pojęcie symbolicznej pregnancji uchodzi w opinii wielu badaczy za kluczowe pojęcie Cassirerowskiej filozofii form symbolicznych. Właściwe zrozumienie tego pojęcia i jego miejsca w systemie filozoficznym Cassirera pozwala na ugruntowanie tej koncepcji oraz uchwycenie mechanizmu podziału i struktury form symbolicznych. Pojęcie symbolicznej pregnancji ma swoje źródło w teorii Gestalt. W dokonaniach Berlińskiej Szkoły Psychologii Postaci Cassirer widział najważniejszy przykład generalnej tendencji myśli naukowej, zgodnie z którą pojęcie funkcji ma prymat nad pojęciem substancji, a idea systematycznej całości nad pojęciem pierwotnych elementów. Przedstawione w niniejszym artykule wzajemne związki Cassirerowskiej myśli z myślą gestaltystów dają wyobrażenie o zakresie projektu filozofii form symbolicznych, która ma za zadanie objąć wszystkie możliwe dziedziny rozwoju ludzkiego ducha.
EN
The concept of “symbolic pregnancy” is in the opinion of many scholars one of the key concepts in Ernst Cassirer’s philosophy of symbolic forms. Without a proper understanding of its conceptual frame Cassirer’s philosophy lacks a consistent foundation. The concept “symbolic pregnancy” offers a mechanism of the distinction of symbolic forms. The newest investigations (also on unpublished or less known, neglected writings of the philosopher) has shown that the key-notion of “symbolic pregnancy” has its roots in Gestalt Theory (Gestalt Psychology). In this school Cassirer saw the most important example of a general tendency in scientific thought, according to which the primacy of the notion of “function” had to override the primacy of the notion of “substance”, the idea of “integrated whole” the notion of “primary elements”.
8
Publication available in full text mode
Content available

O związkach filozofii form symbolicznych z psychologią postaci

63%
Parszutowicz P.
Filozofia i Nauka
|
2016
|
vol. 4
349-359
EN
The concept of “symbolic pregnancy” is in the opinion of many scholars one of the key concepts in Ernst Cassirer’s philosophy of symbolic forms. Without a proper understanding of its conceptual frame Cassirer’s philosophy lacks a consistent foundation. The concept “symbolic pregnancy” offers a mechanism of the distinction of symbolic forms. The newest investigations (also on unpublished or less known, neglected writings of the philosopher) has shown that the key-notion of “symbolic pregnancy” has its roots in Gestalt Theory (Gestalt Psychology). In this school Cassirer saw the most important example of a general tendency in scientific thought, according to which the primacy of the notion of “function” had to override the primacy of the notion of “substance”, the idea of “integrated whole” the notion of “primary elements”.
PL
Pojęcie symbolicznej pregnancji uchodzi w opinii wielu badaczy za kluczowe pojęcie Cassirerowskiej filozofii form symbolicznych. Właściwe zrozumienie tego pojęcia i jego miejsca w systemie filozoficznym Cassirera pozwala na ugruntowanie tej koncepcji oraz uchwycenie mechanizmu podziału i struktury form symbolicznych. Pojęcie symbolicznej pregnancji ma swoje źródło w teorii Gestalt. W dokonaniach Berlińskiej Szkoły Psychologii Postaci Cassirer widział najważniejszy przykład generalnej tendencji myśli naukowej, zgodnie z którą pojęcie funkcji ma prymat nad pojęciem substancji, a idea systematycznej całości nad pojęciem pierwotnych elementów. Przedstawione w niniejszym artykule wzajemne związki Cassirerowskiej myśli z myślą gestaltystów dają wyobrażenie o zakresie projektu filozofii form symbolicznych, która ma za zadanie objąć wszystkie możliwe dziedziny rozwoju ludzkiego ducha.
first rewind previous Page / 1 next fast forward last
JavaScript is turned off in your web browser. Turn it on to take full advantage of this site, then refresh the page.