Search results

1

Harmonie v nesnázích: několik poznámek k Hábově Neue Harmonielehre

100%

Spurný L.

Hudební věda (Musicology)

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2007

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vol. 44

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issue 3-4

261-288

EN

This article is a critical interpretation of selected theoretical musical ideas of the Czech composer Alois Hába (1893–1973), which first appeared in his book Neue Harmonielehre (1927). This work is generally considered to be the author‘s individual expression of his own creative ideas. However, it also links to the past, specifically to the Bohemian theorists who were not influenced by Riemann’s Funktionstheorie. Hába‘s work becomes of greater value when one considers its links to the work of Arnold Schönberg. The interpretation uses a copy of Hába‘s Neue Harmonielehre annotated by Schönberg, now in the Arnold Schönberg Center in Vienna. Much of what has been said by Schönberg (in the field of Harmonielehre), appears in a different forms in Hába‘s work. His effort to differ Schönberg, whilst at the same time finding a common ground, can easily be followed in the discussion on dissonances (including harmonic dissonances), as well as accentuating the importance of keys and the harmony of fourths. The passage on aesthetic production (principles of the creation of a work of art) is of special interest.

2

The Organizing Power of Harmony in the Chinese Tradition of Thought

80%

Bin Z., Vaitkevičius J.

Dialogue and Universalism

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2020

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issue 3

75-88

EN

Early and later Confucians, known in Chinese as the “ruists” school of ancient origins, perceived the idea of “harmony” as a fundamental concept that lies at the basis of self-cultivation, society and governance. In modern times this idea still plays in one or another form a dominant note in Chinese politics and social life. The article attempts to search for causes of the significance of “harmony” by focusing on analyzing two pivotal Confucian texts compiled in the Han dynasty, namely, Records of Music [Yue ji 樂記] and Divination of Music [Yue wei 樂緯]. The analysis shows that ruists belonging to Zhou dynasty’s imperial class of music officials, gradually developed the aesthetics of music into a complex idea of „harmony” that contains the highest aesthetical way—“Dao”—which guides both the whole universe as well as the evolution of human society.

3

An ecological perspective in the evolutionary theology

70%

Grygiel W. P.

Studia Philosophiae Christianae

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2020

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vol. 56

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issue 4

277-292

EN

A new paradigm in theology, termed evolutionary theology, supports the understanding of ecology as the proper ordering of the relations between living organisms and their environment. It is argued that evolutionary theology yields a unique conceptual framework in which the human species share a common history with the entire Universe and respecting nature’s integrity means securing a common destiny to everything that exists. This is a powerful motivation for adopting a balanced ecological attitude aimed at respecting nature’s inherent integrity. Furthermore, proposing theological arguments to substantiate ecological claims will help neutralize the objections that religion as such promotes anti-ecological attitudes. Such objections become more pressing when religion focuses exclusively on the afterlife in the immaterial and eternal world to come, and neglects the well-being of the material and temporal Universe.

4

The Problem of the Status of Harmony in Pythagorean Philosophy

70%

Świercz P.

Horyzonty Polityki

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2019

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vol. 10

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issue 32

105-118

EN

RESEARCH OBJECTIVE: The aim of this article is to analyze the ontic status of harmony in Pythagorean philosophy. THE RESEARCH PROBLEMS AND METHODS: The main problem undertaken in the article is an analysis of the ontic status of harmony in Pythagorean philosophy, conducted within the context of the theory of principles. The research method is based on an analysis of source texts. THE PROCESS OF ARGUMENTATION: The article begins with an analysis of passages from the works of Philolaus of Croton. Next, the treaty Peri archan attributed to Archytas of Tarentum is analyzed. The analysis of the source texts includes references to the main interpretative positions contained in the secondary literature. RESEARCH RESULTS: The most important result of the scientific analysis conducted here is the organization of the possible interpretations of the ontic status of harmony and indication of the main difficulties associated with them. CONCLUSIONS, INNOVATIONS, AND RECOMMENDATIONS: In his conclusions, the author indicates interpretative possibilities resulting from the perspective taken in the article, as well as areas that require further study, concerning such issues as the relationship between Pythagorean and Orphic thought.

5

РОЗВИТОК ЕСТЕТИЧНИХ ПОЧУТТІВ У ДІТЕЙ МОЛОДШОГО ШКІЛЬНОГО ВІКУ ЯК ОСНОВА ФОРМУВАННЯ ЇХ ЕСТЕТИЧНОЇ КУЛЬТУРИ

70%

Грищенко Т.

Педагогічні науки: теорія, історія, інноваційні технології

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2015

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issue 6(50)

53-59

EN

Personality without a high level of aesthetic culture cannot meet the needs of the society that claims to be a new historical identity. So, today it is raised the urgent question about the need for significant increase in aesthetic culture of the younger generation. Upbringing of aesthetic culture of modern pupils should go in the organic unity with the problem of combining humanitarian and science education in different types of educational institutions on the basis of cultural correspondence, humanization and aesthetics of the educational process. This combination can reduce the utilitarian idea in the public mind concerning spirituality. Spirituality of a personality is the expression of the individual forces of the human spirit that unites the ideals of Truth, Goodness, Beauty, Wisdom. The range of aesthetic feelings is great and varied as to its content, nature and detection of the stimuli (the objects of beauty) that cause them. Depending on the content of the objects of beauty and attitudes of a person to them there appear senses of beauty, high sense, tragic or comic. Each of these aesthetic feelings has its own peculiarities, is uniquely experienced, and requires moral and psychological culture. All these categories of aesthetic sense are of great value. They are more or less accessible to children of the primary school age, and therefore should be subject of their being brought up. Aesthetic education is the process of developing children’s aesthetic senses, aesthetic relationship to reality. One of the first steps in aesthetic education is to promote emotional tone that accompanies a sense of harmony. One must pick up such items of beauty that would cause not only vivid sensation, but positive emotional accompaniment, «joyful surprise». It is here where the first child’s echo appears to aesthetic beauty of perceived objects. Thorough fullness of detection of aesthetic relationship to reality is one of the main features of aesthetic culture. Of course, the aesthetic sense of a person can be broader and narrower. There are people who deeply perceive beauty in the sounds and colors and are barely sensitive to movements in harmony. Therefore, the leading task of aesthetic education of children of the primary school age is forming broad aesthetic culture, not the development of a single capability. Thus, we can state that the aesthetic sense is only possible in the presence of an adequate level of a sensible touch of culture, art direction of the cognitive activity, high moral development. The aesthetic sense acquires aesthetic content only with the development of sensory culture of a child as in the process of bringing up its realization on harmony in the phenomena of the surrounding reality they become of a certain value for a child on condition of the positive attitude to the objects.

6

Harmonika Mazurków op. 50 Karola Szymanowskiego — da capo. Do problematyki

61%

Zawadzki M. K.

Aspekty Muzyki

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2015

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vol. 5

125-153

EN

This article is a broad and detailed discussion of the complex harmonic issues of Karol Szy- manowski’s Mazurkas Op. 50. It outlines the current state of research on the harmony of the Mazurkas, beginning with the work by Adolf Chybiński (1920s), through the monograph by Stefania Łobaczewska (1950s) (now obsolete), studies by Józef M. Chomiński, articles by Zofia Helman, Antoni Poszowski, and Piotr Dahlig, the monograph of the twentieth century Polish mazurka by Anna Nowak, the great biography of Szymanowski written by Teresa Chylińska and, above all, the classic works by Tadeusz Andrzej Zielinski, fundamental to the issue of the mazurka harmony, the only ones so attentive and so focussed on the detail, and yet formulating such an appropriate and clear conceptual apparatus. The results of Zieliński’s research and analyses make an obvious starting point for contemporary music theorists interested in the issue of harmony throughout the twentieth century. Capturing and naming the entire complex of phenomena encountered in the Mazurkas Op. 50 is not easy. Mazurkas Op. 50 are characterized by a vast variety of har- monic phenomena, innovative treatment of the piano texture and the use of various sound effects stylising the folk music of the Polish Highlands. Moreover, the ways in which the music material is organised often blend with one another or coexist in the course of the piece within the intersect- ing old and new rules (harmonic eclecticism). The article examines a broad spectrum of har- monic phenomena, proposed by Zielinski, occurring in Opus 50. These are: relics of function harmony system, the interaction of the so-called non-function thirds harmony and the ‘sound spot’ technique, tinting chords with dissonances, using multi-tonal saturated chords, percussive use of half-step intervals, using the fourth structures, emancipation of dissonant intervals, various types of ostinato and burdon formulas, repeated chord complexes, the bimodal phenomena, the double- and multilayer harmonic complexes, the parallel intervals and chords, the bitonal co-occurrences of bass fifths and triads. The article gives examples of all the phenomena, but only the selected ones were fully discussed, focusing on other issues: the types of dual melodic lines, formula of half- and whole-step movement between chords, monophonic fragments or the whole tone scale order. The horizontal scale orders were not discussed, unless it was necessary for the understanding of the harmonic issues in question.

7

Book of Changes: Cosmological and Anthropological Metaphors in Chinese Philosophy

61%

Sertdemir İ.

Academicus. International Scientific Journal

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2021

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vol. 12

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issue 24

214-225

EN

Ancient Chinese history holds a quality which has syncretized traditional thought with its cultural wealth unified of mystical and mythological figures in the background. Such that classical documents, which had begun to be written before Common Era, has directly influenced the political regime, education system and status of society in China. One of the most prominent features of these works is to propound collective knowledge about perception of cosmology, attitudes to earthiness, community standards, policy and morality. Among Five Classics works of these masterpieces of Chinese philosophy, Book of Changes which stands closest to metaphysical narrative, mainly consists of the texts about prophecy. While this piece of work had been referred as a divination guide in Western Zhou Dynasty (1046-771 BC), it turned into a cosmological text that included a range of philosophical commentary during Warring States Period (475-221 BC). The mainstay of this remarkable change is the direct correlation of all the concepts and terms that characterize the worldly beyond along with the relevant text, especially yin-yang dualism, which symbolizes an extraordinary harmony in early Chinese thought. Traditional idea suggests reciprocity in which heaven, earth and man are interconnected to maintain natural order. However, the superiority attributed to human beings also brings compulsive responsibilities to idealize a compatible society. This paper aims to discuss influences of cosmological and anthropological items on human behaviors explained in prescriptive perspective.

8

Harmonia obydwu Testamentów w świetle najnowszych badań

61%

Kudasiewicz J.

The Biblical Annals

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1963

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vol. 10

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issue 1

51-75

PL

The present paper is an attempt of a synthesis of and comment on the consonance of both Testaments. There are two trends of exegesis in this matter: one is closely connected with the biblical paralelisms method, based on the ,style anthologique’ or, procedimiento imitativo’. This method has proved very useful in interpretation of more difficult texts of the New Testament, and especially so in biblical theology. The other trend could be called that of the literary consonance of both Testaments: with this method we first study literary structures of a Gospel as a whole and its models in the Old Testament, and then concrete examples of various literary forms in the Gospels, in the light of the Old Testament, e. g. Annuciation, the Gospel of Infancy. This method of investigation has on one hand stressed the remarkable unity and harmony of both Testaments, but, as it is based on evidence strictly internal and often subjective, it has weakened the historical valour of certain episodes of the Gospel of Infancy (Luc 1- 2 i Mat 1-2) on the other. From the point of view of Catholic hermeneutics its great lack is its neglect to confront its findings with inerrancy and inspiration of the Bible, as well as its complete disregard of the testimony of the Tradition of the Church.

9

Ecological Spirituality as a new Approach to the Relationship of God, Man, and Nature

61%

Zalewski S.

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2017

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vol. 64

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issue 5: Teologia duchowości - English Online Version

115-134

EN

An article presents environmental issues of spirituality in their relationship to God, man and the environment on the basis of the encyclical of Pope Francis Laudato Si'. The Pope took up the current and complicated issue, analysis of which is exposed to various forms of reductionism or ideologies. His view of ecological spirituality is based on the foundation of God the Creator, who gave the world the natural order and also created and shaped the hierarchy of beings. This premise protects against reductionist looking at the man and at the same time—before usurp his absolute power. On this foundation, the Holy Father could develop postulate of the contemplative perception of the world in which he discovers the creatures as objects to use, but above all he sees in them a gift and value given to the man. Such a deep vision can rediscover anew God as Creator and Father for the love of establishing the human world into existence. Thanks to the origin of coming from one Father, Christian sees in others, especially in the weakest and defenceless a brother with whom he has ties of solidarity and love. Finally, the world is seen not as a place of exploitation and prey, but as a mystery that leads to God and God is the full explanation of it. The deeper the mind enlightened by faith contemplates the world, the more he sees beauty and infinity of God. And at the same time more closely connects with God, the more the world reveals to him its beauty and close relationship with the Creator.

10

Muzykanci z Bremy albo zwierzoczłekoświat

57%

Maleszyńska J.

Polonistyka. Innowacje

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2017

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issue 5

73-84

EN

The classic Brother Grimm fairy tale is a story about animals – not human issues, but the animals themselves. A donkey, a dog, a cat and a rooster do not stand for humans or human types, but they are independent subjects. Their anthropomorphic treatment does not serve to illuminate purely “human” issues, but rather allows the leader or listener to find empathy towards our lesser brothers. The music the animals play is a catalyst for their liberation. The old and slaughterhouse-bound escape not only to the town of Bremen, but into the saving realm of art. Solidarity and harmony, agreement and collaboration – that is what the amateur animal musical quartet represents, and the lesson they impart to, often pragmatic and uncaring humans, is how to be good.

PL

Klasyczna baśń braci Grimm jest opowieścią o zwierzętach; nie o problemach ludzi, ale o zwierzętach samych. Osioł, pies, kot i kogut nie są tu potraktowane jako figury ludzi, ludzkie typy i reprezentacje, lecz jako samodzielne podmioty. Antropomorfizacja zaś nie służy ukazaniu i oświetleniu spraw czysto „ludzkich”, lecz pomaga czytelnikowi i słuchaczowi empatycznie odnieść się do sytuacji braci mniejszych. Muzyka, której uprawiania podejmują się zwierzęta, jest katalizatorem ich wyzwolenia. Stare i przeznaczone na rzeź uciekają nie tylko do Bremy, ale i w przestrzeń ocalającej sztuki. Solidarność i harmonia, zgoda i współpraca – oto co reprezentuje kwartet zwierzęcych, amatorskich muzyków. Uczą one, jak być dobrym dla pragmatycznych i często nieczułych ludzi.

11

Doom and Democracy: An Essay in Political Soteriology

51%

Kohák E.

Human Affairs

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2010

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vol. 20

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issue 2

95-107

EN

The essay explores the philosophical (metatheoretical) presuppositions of democratic social strategy in the current "apocalyptic age". Here democracy means a way of life based on the assumption that individual freedom, mutual respect and fundamental good will toward the other can be taken for granted; as a feasible and a desirable way of ordering human affairs. In this broadly cultural sense, democracy is an outgrowth of a deeply rooted consensus on the posture of respect and good will toward all. Yet democracy, with its Enlightenment heritage of sober rationality, seems ill-equipped for dealing with apocalyptic threats. That what makes our age apocalyptic is truth denied. The arrogant posture of omnipotence leads to paralysis. A democratic strategy needs to be one that has the courage to face the truth and the commitment to deal heart and will with the finite tasks we recognise once we give up the arrogance of infinite ones.

12

Wychowanie do harmonii i piękna duchowego w wizji pedagogicznej Edmunda Bojanowskiego

51%

Jasnos A.

Zeszyty Naukowe KUL

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2017

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vol. 60

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issue 4

173-188

EN

Today’s world is referred to as „shaky reality”. Increasingly visible liberalism in norms and values leads to the loss of man himself in the world. Also, the perception of beauty has been shaken. Many times within the framework of the justification of lack of aesthetic education there is expressed the view of the freedom of subjective perception – beautiful is what a given person considers as such. The beauty identified in history with good and harmony has ceased to matter. The ugliness of a human being has crept into a certain degree of usurpation of consciousness and consequence in creating norms of life. It is necessary to rediscover the value of upbringing for beauty so that a person can re-discover the harmony and the desire for perfection. This article is an attempt to present a vision of education for the harmony and spiritual beauty of Edmund Bojanowski as a contemporary proposition for modern education.

PL

Dzisiejszy świat określany jest mianem „rozchwianej rzeczywistości”. Coraz bardziej widoczny liberalizm w normach i wartościach prowadzi do zagubienia się samego człowieka w świecie. Również postrzeganie wartości piękna zostało zachwiane. Niejednokrotnie w ramach usprawiedliwienia braku wychowania estetycznego wyrażany jest pogląd o wolności subiektywnego postrzegania – piękne jest to, co dany człowiek uważa za takie. Piękno utożsamiane w historii z dobrem i harmonią przestało mieć znaczenie. Do wychowania człowieka brzydota wkradła się niejako ukradkiem, uzurpując sobie świadomość i konsekwencję w tworzeniu norm życia. Potrzeba na nowo odkryć wartość wychowania do piękna, by człowiek na nowo umiał odnaleźć w sobie harmonię i pragnienie doskonałości. Niniejszy artykuł jest próbą ukazania wizji wychowania do harmonii i piękna duchowego w ujęciu Edmunda Bojanowskiego, jako propozycji aktualnej dla współczesnej edukacji.

13

Трансформация духовных ценностей в повести В. Пелевина Желтая стрела

51%

Dżundubajewa A.

humanistica 21

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2018

|

vol. 2

391-415

PL

Artykuł przynosi analizę powieści Wiktora Pielewina Żółty grot. Powieść odzwierciedla nie tylko tendencje postmodernistyczne w twórczości pisarza, lecz także szeroko pojętą specyfikę tekstu postmodernistycznego. Właściwości utworu poetyki postmodernistycznej zostały poddane analizie z punktu widzenia naratologii. Centralnym problemem powieści jest utrata i transformacja wartości duchowych we współczesnym świecie. Metaforą życia człowieka staje się żółty grot – pociąg, wyjście z którego oznacza albo śmierć duchową, albo śmierć fizyczną – to pytanie, które stoi przed czytelnikiem w ciągu lektury całego utworu aż do jego finału. W powieści na poziomie naracii pojawia sie cały szereg zagadek, mających na celu przyciągnięcie uwagi czytelnika i emocjonalne jego zaangażo-wanie w rozwiązaniu głównego problemu utworu. Transformacja powszechnie uznanych wartości społeczeństwa ludzkiego przejawia się w utworze na różnych poziomach naracii przy pomocy użycia intertekstu, dyskursu reklamowego, języka mass mediów itd. Pisarz pokazuje, że współczesny świat jest na tyle pozbawiony wartościowych punktów orientacyjnych, decentrowany, destruktywny, dysharmoniczny, że Pan Bóg – stworzyciel harmonii świata – przetwarza się w nim w pijaka na niebiosach, grającego na brzydkiej harmonijce. Symboliczna jest gra słów: harmonia – harmonijka, odzwierciedliająca ideę pisarza o zagubieniu we współczesnym społeczeństwie. Według zamysłu pisarza, współczesny świat pełnen jest chaosu, człowiek zaś tkwi w nim niczym w niezatrzymującym się pociągu, zmuszony przyjmować reguły życia jakie on wymusza. Jednak Pelevin również pokazuje, że są ludzie którzy usiłują opuścić pociag lub z niego wychodzą. Dla każdego z nich wyjście staje się albo początkiem, albo zakończeniem własnej drogi. Tym samym autor stwierdza, że człowiek zawsze stoi przed możliwością wyboru. Finał powieści jest otwarty, co jest charakterystyczne dla poetyki postmodernistycznej. Dlatego czytelnik pozostaje z pytaniem czym jest moje życie i jaki jest pociąg, w którym jadę?

EN

The article brings a narrative analysis of Victor Pelevin’s novel the Yellow arrow. The novel reflects post-modern tendencies in work of the writer, as well specific of post-modern text on the whole. The features of post-modern poetics of work are investigational by us from the point of view of narratology. To lead a central problem there are a loss and transformation of spiritual values in the modern world. A yellow arrow becomes the metaphor of life of man is a train, an exit from that means either death spiritual or death physical is a question standing before a reader during reading of all work up to his finale. In a story at the level of narration a number of riddles, called to attract attention reader and call him to participation in the decision of basic problem of work, is presented. Transformation of the universally recognized values of human society shows up at Pelevin on the different levels of narration due to the use of myth, intertext, advertisement discours, language of mass-media of and other. So, a singer GunaTamos wishes a sunny day the habitants of train – guna darkness in Indian mythology; silense violates sounds, but not sounds violate silense; a personage by name Abel goes around with a tooth brush, reminding a dagger is obvious transformation of myth about Cain and Abel. The loss of holiness of spiritual values in the modern world is reflected in mionectic characters of priests, being incarnated in this story as an explorer (symbolics of word – an explorer in a train becomes allusion on character of explorer between God and man) and fellow playing three thimbles (again a symbolics of word is a fellow as bearing character on itself finger Divine, finger of fate, finger in-dicative). A writer shows that the modern world is so deprived the valued reference-points, destructive, disharmonious, that God in him is a creator of world harmony – becomes the drunk fellow on sky, playing the greasy accordion. A word-play is symbolical: harmony is an accordion, evidently demonstrating the idea of author about a decline and complete destruction of norms and foundations of human society. By plan of writer, the modern world is full chaos in that a man forces constantly to be, as in a going without stops train and to accept the rules of life of this train. However Pelevin shows that is those, who try to go out and go out a train, and for each such exit becomes either beginning or completion of way. An author tells the same: a man always has a choice, and him he does. To lead a finale open, how does it can to post-modern aesthetics, and a reader remains with the question turned rather already to itself, but not to the author: and that is my life and which a train in that I go is?

14

Wprowadzenie do estetyki chińskiej. Kategorie harmonii i wieloznaczności

51%

Świętek E.

Estetyka i Krytyka

|

2014

|

issue 2(33)

11-29

EN

The article presents the fundamental assumptions of Chinese aesthetics. Chinese philosophy and aesthetics are as rich as Western aesthetics, and avoiding the implications of that fact may slow the development of aesthetics as a whole. In this article, the etymology and sources of aesthetics are discussed, and the range of research interests of comparative aesthetics of China and the West is outlined. The author also describes selected categories of Chinese aesthetics – suggestiveness (analyzed with the idea of hanxu) and the concept of fǎ, which is considered a law within Chinese tradition. The category of harmony is discussed in reference to music, as well as to nature and society.

15

Akordické paralelismy a jejich funkce v Ostrčilově opeře Poupě

51%

Zapletal M.

Hudební věda (Musicology)

|

2015

|

vol. 52

|

issue 3-4

365-394

XX

Studie Miloše Zapletala se zabývá hudebně-analytickým rozborem funkce akordických paralelismů v opeře Poupě od hudebního skladatele Otakara Ostrčila.

16

Passions of the Soul and the Humanistic Society in the Theories of Plutarch, Aristotle, the Stoics, Boethius

51%

Kokotsaki A.

Dialogue and Universalism

|

2015

|

issue 1

195-202

EN

According to Plutarch, the theory of psychological disharmony relies on the Platonic music harmony. When Plato refers to music harmony, he means the kind of harmony where the concept of God is the source through which all beings emanate. The mental passions define the quality of human character and consequently develop the social man. As far as the Aristotelian ethical theory is concerned, morality does not condemn the passions, because it has a clear ontological and anthropological basis. The Stoics stress that a trait of the human soul is sociality, and that happens because all human beings are under the law of sympathy and constitute a whole. At medieval times, Boe-thius portrays the middle age social conditions which also resemble with our postmod-ern societies.

17

Pojęcie harmonii w filozofii Empedoklesa

51%

Biedrzyński D.

IDEA. Studia nad strukturą i rozwojem pojęć filozoficznych

|

2014

|

vol. 26

5-18

EN

This article contains an analysis of the concept of harmony in Empedocles' philosophical framework. The term itself appears several times in his poem On nature in different meanings. The concept of harmony is portrayed in this article in relation to active principles of Love and Repulsion and four passive principles. Moreover, harmony is discussed from the perspective of balance between the individual passive elements and from the perspective of the ontical condition for the unity of archai.

18

Different models of justice as a basic category of social life

51%

Drabarek A.

Studia Philosophiae Christianae

|

2014

|

vol. 50

|

issue 3

21-40

EN

The article discusses different models of justice. The author presents the way the understanding of justice developed, from its being treated as the principle of harmony ruling the universe, through justice reduced to distribution of goods and meting out of punishments, to liberal justice which underscores mostly the freedom of the subject (J. Rawls), and egalitarian justice in which the equality of the subject is of foremost importance (K. Nielsen). Justice has also been analysed as one of the aspects of intuitive law (L. Petrażycki). The discussion concludes in defining justice as the reason for action in social life.

19

Pierwsze klasyczne teksty krytyczne dotyczące malarstwa Gu Kaizhi 顧愷之, Zong Binga 宗炳, Wang Weia 王微 i Xie He 谢赫

51%

Król A.

Roczniki Humanistyczne

|

2016

|

vol. 64

|

issue 9: Sinologia

25-45

EN

The article presents small volume of art theories beginning with the period when the independent landscape painting was scarcely known and concluding with the age when it became a predominant theme. The art critics of early China where also artists, and the translated essays were all written by the famous painters as their intimate records.

PL

W artykule zostały omówione klasyczne teksty poświęcone malarstwa napisane przez Gu Kaizhi 顧愷之, Zong Binga 宗炳, Wang Weia 王 i Xie He 谢赫, które podążają w kierunku wyznaczonym przez chińską estetykę. Sporo pojęć i terminów ich teorii sztuki przyjęło się i na trwałe weszło do kanonu chińskiej estetyki. Odrzucono wszelkiego rodzaju odstępstwa od praw przyrody i ludzkiego życia. Artysta powinien odtwarzać nie kształt zewnętrzny, lecz istoty wewnętrznej. Malarz powinien raczej sugerować niż opisywać. Stworzenie czystej pustki jest dużo bardziej pożądane niż ukazanie detali obiektów.

20

A cultura chinesa: das dimensões culturais de Hofstede às perspectivas asiacêntricas de comunicação

51%

João Pires M. D.

Anuario Latinoamericano – Ciencias Políticas y Relaciones Internacionales

|

2020

|

vol. 10

EN

At a time when China is assuming an increasingly influential role in world geostrategy, especially through economic and diplomatic power, there is still some ignorance about Chinese culture (Jullien, 2010). The aim of this article is to contribute to the understanding of the values of Chinese culture by reviewing the concepts of culture and communication in Chinese society based on the cultural dimensions advocated by Hofstede and on Miike’s “Asiacentric” perspectives. Based on the interpretation of these concepts, the present study argues that the development of communicative and intercultural competences is crucial not only to approach Chinese culture without generalizations or stereotyped insights but also for the benefit of dialogue between cultures and nations, so imperative these days.

ES

Numa época em que a China assume um papel cada vez mais influente na geoestratégia mundial, sobretudo através do poderio económico e diplomático, persiste ainda algum desconhecimento sobre a cultura chinesa (Jullien, 2010). O objetivo deste artigo é contribuir para a compreensão dos valores da cultura chinesa analisando os conceitos de cultura e de comunicação na sociedade chinesa à luz das dimensões culturais preconizadas por Hofstede e das perspectivas “asiacêntricas” defendidas por Miike. Com base na interpertação destes conceitos, o presente estudo defende que o desenvolvimento de competências comunicativas e interculturais se apresenta como um meio indispensável não só para conhecer a cultura chinesa sem uma abordagem apriorística ou estereotipada mas também para o sucesso do diálogo entre culturas e povos, tão premente nos dias que correm.

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