This essay aims to interconnect the aspects of canon, cultural musicology, music and language with the systematic category of dispositif. In a short overview on the disciplinary canon debate, the essay describes the idea of a musical canon and questions its methodological status in musicology. The conclusion is that (aesthetic) value judgements are to be rejected as scientific (consequently rational or intersubjectively reasonable) selection criteria. The second argument draws on Lawrence Kramer’s notion of “constructive description”, which addresses the relation of music and language and helps in understanding the canon as a specific historical agency of different overlapping discourses. In order to outline an integrative ontology for the epistemological interest of cultural musicology, the last section synthesises these arguments in the Foucauldian idea of dispositif.
The aim of the article is to free the pedagogical monograph method from the limitations imposed on it in the mid-20th century. Descriptions of this research method will be related to the specificity of the context and the needs it was supposed to satisfy at the time. Changes in the socio-economic and technological context will justify the removal of the existing limitations from the pedagogical monograph. As a result of this analysis, I propose ways to use this research method in contemporary pedagogy.
This review study discusses a collection of essays by the Korean-German philosopher Byung-Chul Han, which was published in 2016 by the Prague publisher, Rybka, with the title Vyhořelá společnost (The Burnout Society). The author, on the one hand, positively evaluates Han’s description of negative aspects of the growth in transparency in the area of politics and human relations. On the other hand, however, he shows that Han overlooks the fact that the growth in transparency is asymmetrical and brings with it a growth in inequality with regard to power and wealth. In the concluding part of the review study, Han’s critique of Foucault is rejected and it is shown that one can utilize the concept of dispositif from The Will to Knowledge for the analysis of the power aspects of the growth of digitalisation.
The aim of the article is to analyse the “myth of origin” of the contemporary discourse of creativity and to reveal its constructed character. A sceptical look at the seemingly linear transformation of a popular idea reveals not only discontinuity and numerous ruptures in the process of changing the ways of understanding the concept, but also the unintended functions of contemporary explanations of the genesis of creativity. Analysis of ways of thematizing creativity in religious, artistic, philosophical and scientific discourse serves to answer the question, how creativity has become a core of the modernization narrative tied with the categories of innovation, creative industries, cultural economics and creative cities.
PL
Celem artykułu jest analiza „mitu pochodzenia” współczesnego dyskursu kreatywności i ujawnienie jego skonstruowanego charakteru. Sceptyczne spojrzenie na pozornie linearną transformację popularnej idei ujawnia nie tylko nieciągłość i liczne pęknięcia w procesie zmiany sposobów rozumienia pojęcia, ale także niezamierzone funkcje współczesnych objaśnień genezy kreatywności. Analiza sposobów tematyzowania kreatywności w dyskursie religijnym, artystycznym, filozoficznym i naukowym służy odpowiedzi na pytanie, w jaki sposób kreatywność stała się współcześnie filarem narracji modernizacyjnej wiązanej z kategoriami innowacji, przemysłów kreatywnych, ekonomii kultury czy tworzeniem „kreatywnych miast”.
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