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1

Two cultures

100%
Marcelli M.
Human Affairs
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2011
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vol. 21
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issue 2
108-118
EN
This paper begins by considering the specific position of philosophy on culture: philosophy is part of culture as well as being a reflection of the whole complex. Thus, culture finds in philosophy its own meta-cultural account. One of the results achieved by this philosophical approach might be the diagnosis of the cultural split and the symptoms of anthropological regress. On the other hand, the example of Michel de Certeau’s work shows us that from this point of view it is possible to develop philosophical anthropology as a performative discipline, studying the activities of transformation, and appropriation at the level of everyday life. This anthropological approach leads us to an awareness of the principal openness of the cultural field and even to a new understanding of balkanization.
2
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Expansion as a Culture-Creating Principle of Post-Modernity: Semantic Contexts and Aesthetic Practices

72%
Marchenko O., Pushonkova O., Gladun O., Kolomiiets O., Protsyshyn V., Pianzin S.
Journal of Education Culture and Society
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2023
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vol. 14
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issue 2
57-77
EN
Aim. The purpose of the study is to analyse the structural aspects of expansion, which find expression in cultural metaphors and philosophical concepts, the transformation of the content of which is evidence of the emergence of new aesthetic practices. Methods. The research methodology involves the use of a systemic approach and such methods as analytical, comparative, axiological, and hermeneutic to understand the patterns of formation of paradigms of visual culture and contexts of expansion in postmodern culture. Results. The metaphor of glass during the 20th century loses its meaning as a source of the effects of refraction of reality in perception, the excessive complexity of which forms a tendency for simplifying and zeroing. The expansion becomes an important principle of cultural dynamics, extends to space and time, communication and identity in the world of the rapid circulation of information and its instant obsolescence. The patterns of expansion are observed in the processes of aestheticisation and aesthetic experience as the breaking out of form, perspective, perception and inclusion of the Self in the profound contexts of collective practices. Conclusions. Through mastering new sensual modalities in the photo, film reality, and the latest Internet technologies, there is an expansion of perception as an expansion of media. Therefore, at the level of identity the practices of focus, concentration, and slow contemplation gain importance. In the cultural aspect, the expansion enables a return to tradition in a new capacity.
3

The Labyrinth: Revisited and Reinhabited. Interpreting the Minoan Myth as a Metaphor For Contemporary Culture

58%
Gladden-Obidzińska B. J.
Dialogue and Universalism
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2018
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issue 1
177-194
EN
This article reconstructs and interprets the evolution of the Minoan myth’s reception in literature, fine arts, and urban development during the twentieth century. The author’s understanding of this evolution is based on three assumptions: a) myth is a polysemantic symbol of metaphysical and historical origins and function; b) myth reflects the relationship of the cognitive vs. creative mechanisms of human activity; and c) as symbolic, myth’s form must be treated as an image as much as it is a (discursive) narrative. As a motif in literature and the arts, the Minoan myth in particular has displayed all three of these aspects by allowing first its heroic narrative and, more recently, its formal structure (i.e., the tragic maze of moral and intellectual values) and visual setting (i.e., the actual labyrinth) to serve as porte-paroles of ongoing social and civilisational transformations: aestheticisation, deconstruction of cognitive and political hierarchies, technicisation, and intensive urbanisation. The displacement of the narrative and of the figure of the Minotaur is interpreted from the perspectives of psychoanalysis and post-structuralism.
4
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“Theoretical turn” in post-avant-garde art and the aesthetics of de-differentiation

58%
Lorenc I.
Art Inquiry. Recherches sur les arts
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2015
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vol. XVII (XXVI)
59-68
EN
In this article I use the term “theoretical turn” to refer to phenomena in contemporary art that incorporate theory into their body and mode of action. I understand this incorporation similarly to Arthur Danto, Robert Jauss and Scott Lash. Within the domain of aesthetics these developments are related to a new philosophical, conceptual framework, open to the changes taking place in contemporary culture (particularly its mediatisation and aestheticisation). This involves de-differentiation and the blurring of borders between the aesthetic and the non-aesthetic rather than the Kantian criteria of differentiation. It acknowledges the tendencies of late modernity (e.g. the avant-gardes) to autonomise the aesthetic and rewrites them as a temporary element of cultural transformations. The aesthetic no longer occupies a separate domain; it concedes the existence of borders, but at the same time, points to the processes in which they dissolve.
PL
W niniejszym artykule używam pojęcia „zwrotu teoretycznego” w stosunku do tych zjawisk sztuki współczesnej, które wcielają teorię w swój byt i sposób oddziaływania. Inkorporację tę rozumiem w duchu ujęć Arhura Danto, Roberta Jaussa czy Scotha Lasha. W polu estetyki wspomnianym zmianom odpowiada nowa filozoficzna siatka pojęciowa, otwarta na przeobrażenia zachodzące we współczesnej kulturze (zwłaszcza na zjawiska medializacji i estetyzacji). Wydobywa ona raczej aspekt odróżnicowania i zacierania granic między tym, co estetyczne i nieestetyczne niż przejęte po Kancie kryteria odróżniania tego, co estetyczne od tego, co nieestetyczne, zaś charakterystyczne dla późnej nowoczesności (m.in. dla awangard) tendencje do autonomizacji tego, co estetyczne, czyni historycznie uwarunkowanym, przejściowym elementem kulturowych przekształceń. To, co estetyczne nie zajmuje już wydzielonej przestrzeni. Zakłada zarówno istnienie granic, jak i procesy ich zacierania.
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