Symbolism of Javanese rites and ceremonies; collection of articles.

Understanding Javanese philosophy through wayang wong performance.

Understanding Javanese philosophy through wayang wong performance.

U sadržaju ovog elaborata autorica želi propitati pojam umjetnosti orijentirajući se na Gadamerovo shvaćanje umjetnosti kao »aktualnost lijepoga«, a kao polazišnu točku autorica uzima Gadamerovo krucijalno pitanje: »Je li umjetnost moderne ono što uistinu razumijevamo kao umjetnost?« Ono što autorica smatra pregnantnim pri određivanju polazišta ovog elaborata, čiji sadržaj tendira obrazložiti i pojasniti razumijevanje umjetnosti kao »aktualnost lijepoga«, na temelju fenomenološki impostiranog i hermeneutički oblikovanog mišljenja u djelu naslovljenom Ogledi o filozofiji umjetnosti, tiče se tumačenja Gadamerova stava spram vrednovanja kriterija (...) umjetnosti, odnosno umjetničkog djela. Odakle Gadamer preuzima te kriterije? On ih preuzima iz dvaju, može se reći, sadržajno dijametralno suprotnih, a formom identičnih kulturno povijesnih epohalnih razdoblja, od kojih prvo, ujedno i važnije, predstavlja izvor iz kojega ono drugo crpi svoje impulse, snagu, uzore i nadahnuća: antika i moderna. Međutim, prije nego li prijeđemo na bît problema, valja propitati razloge koji su naveli filozofiju, a time i sâmog Gadamera, da se počne zanimati/baviti pitanje umjetnosti. Imajući na umu prethodno izložene reference, u sadržaju ovog elaborata spomenuta će se tema obrazložiti slojevito, tj. u tri dijela: prvi dio elaborata baviti će se općim značajkama Gadamerova fundiranja problematike umjetnosti, tj. umjetničkog djela općenito i to s naglaskom na značaj, smisao, svrhu i ulogu moderne umjetnost. U drugom će se dijelu više pažnje posvetiti razumijevanju estetske dimenzije umjetnosti: iskustvo lijepoga. Treći dio elaborata orijentiran je na razumijevanje umjetnosti kao igre, simbola i svetkovine.The author’s intent in this paper consists into inquire Gadamer’s notion of art as »actuality of beauty«. As a starting point for it author takes Gadamer’s crucial question: »Is the art of modernity what we really understand as art?«. That what the author wants to explain from the phenomenological and hermeneutical view in defining stand point of this elaborate which tend to clarify understanding of art as »actuality of beauty« and what is considered as pregnant too, is Gadamer’s stand related to evaluation of criteria of art and work of art particularly presented in his philosophical work »Essays about Philosophy of Art«. Where does Gadamer find the criteria presents a question of fundamental significance for this essay. Namely, he finds them in two essentially different but formally very identical cultural and historical areas: in ancient Greek and in modernity. The first step we take in this paper goes toward an explanation of the motifs that stimulated philosophy in general and Gadamer in particular to examine the issue of art as a philosophical theme. The argument of this paper will be presented on several levels. In the first part of it we will argue about general meanings of Gadamer’s understanding and explaining the aim and the roll of the art of modernity. In the second part of it we will be oriented toward understanding of aesthetical dimension of the art, such as an experience of the beauty. In the last part of this paper we will discuss the art as a game, symbol and festival. (shrink)

The parables of Jesus: Allegories or symbols of social transformation? This article reflects on a possible methodology that can be used to interpret the parables of Jesus preserved in the Synoptics (and the Gospel of Thomas). It is argued that the available versions of the parables of Jesus have already been allegorised, and that this should be taken into consideration when the extant versions of parables are interpreted as parables of the historical Jesus. The parables should also, as far as (...) possible, be interpreted against the social realia evoked by the parables. In this endeavour, Roman-Egypt inscriptions and papyri are in most cases the only sources available. The article concludes with a few examples, illustrating the possibilities of interpretation when the proposed methodology is applied. (shrink)

This article is introduced with a summarized discussion on the "theater's metaphor" as considered by Plato. It goes on considering several turning points in the literature history and investigating the different uses of the metaphoric process in Guimarães Rosa "Grande sertão: veredas" and "Pirlimpsiquice". Firt of all, in "Grande sertão" life is considered as a simbolic equivalent to actors performance in the stage: theater and life are seen, therefore, as concerning fields which identities can be stated upon christian religious doctrine (...) and Plotino's philosophy. On the other hand, in "Pirlimpsiquice", Guimarães Rosa points that the limits between life and theater fields can be sharply identified, leading to the conclusion that the different degrees of use of the metaphoric process is due to historical and cultural practices. Based on the theoric controversy between Hegel's and Plato's points of view on art's philosophy, the author concludes that the notions of "performance in the stage" and "performance in life" are sintetized under the continuous dialectic movement of history and culture.Este artigo inicia-se com uma exposição sucinta da metáfora do teatro, tal como aparece em Platão. Em seguida, após levantamento dos momentos capitais da literatura, investiga-se a metáfora em Guimarães Rosa, no Grande sertão: veredas e no conto Pirlimpsiquice. No Grande sertão, a atuação no palco é tomada como equivalente ao desempenho na vida. Teatro e vida são, portanto, domínios que se identificam. Para isto, concorrem a religião cristã e o pensamento de Plotino. Em Pirlimpsiquice, o Autor investiga por menorizadamente os limites e aproximações entre teatro e vida, sendo que o grau mínimo da metáfora é conferido pelas práticas histórica e cultural. Por fim, retomando a polêmica de Hegel com o platonismo, conclui-se que a representação e a vida estão amalgamadas, numa constante dialetização entre história e cultura. (shrink)

Poliziano´s Favola d´Orfeo is one of the most rich and enigmatic literary works of the Renaissance, specially in terms of the debate it has generated amongst scholars when discerning its allegorical background. Starting from its general contextualization within the simbolic program of Marsilio Ficino´s Florentine Accademy, this paper aims to show: Its uniqueness with regards to the rest of Renaissance philosophical and literary productions of orphic subject; Its particular critical reception of three basic elements of the ficinian system: love, frenzy (...) and catharsis; and Its adoption of a new moralising tendency within Renaissance neoplatonism in explicit accordance with Christianity. (shrink)

Aquest article reflexiona el model educatiu català i les implicacions del model de relacions amb la diversitat cultural a l’entorn educatiu, sobretot als àmbits de la socialització i l’ús de la llengua catalana, com a marcadors identitaris simbòlics rellevants. A més d’això, es reflexiona sobre els grups minoritaris a l’entorn educatiu català, en especial els alumnes d’origen no comunitari i d’origen gitano i les seves relacions amb la comunitat d’acollida.This article reflects on the Catalan educational model and the implications of (...) this model on the relations with the cultural diversity on the educational environment, especially on the socialisation and the use of the Catalan language, as relevant symbolic identity markers. On top of that, it reflects on the minority groups on the Catalan educational system, specially about the students of immigrant backgrounds and from Gipsy origin, and their social relations with the hostess community. (shrink)

Modern cognitive and experimental science is increasingly working to explore the meaning and importance of forgetting. Forgetting is one of the most important mental functions on an individual level, but also on a social and national level, since it enables healing, purifies the mind of difficult memories, prevents obsession with problems, and eliminates the possibility of psychosomatic illnesses. The famous British TV series Black Mirror, which has become a symbol of the challenges that modern and futuristic technology brings to man, (...) deals with the problems that arise due to the obsession of the gadget culture with abolishing forgetting through technological enhancement. Several episodes are based on gadgets that expand the potential of memory and make it constantly available to other subjects, in the way that data from a person’s entire history become available. In a dialogue with Brooker’s ideas, the author re–examines the problems spawned by this future society without forgetting, and searches for possible solutions. Moderna kognitivna i eksperimentalna znanost sve više se bavi istraživanjem značenja i važnosti zaboravljanja. Zaboravljanje je jedna od najvažnijih mentalnih funkcija na individualnoj, ali i na društvenoj i nacionalnoj razini, budući da omogućuje iscjeljivanje uma i brisanje neugodnih sjećanja, sprječava opsesivno razmišljanje o problemima i otklanja mogućnost pojave psihosomatskih bolesti. Poznata britanska serija Crno zrcalo, koja je postala simbol za izazove koje moderna i futuristička tehnologija donosi čovjeku, bavi se problemima koji nastaju zbog opsjednutosti kulture gadgeta da se tehnološkim napretkom potpuno onemogući zaboravljanje. Nekoliko epizoda serije temelji se na gadgetima koji proširuju potencijal ljudskog pamćenja te ga čine dostupnim drugima, a time podatci o čitavoj nečijoj prošlosti postaju dostupni. Razmišljajući o Brookerovim idejama, autor razmatra probleme koje bi iznjedrilo takvo buduće društvo lišeno zaborava i traži moguća rješenja. (shrink)

Resumen: Este artículo intenta visibilizar algunos aspectos del rol fundacional de la narrativa de Juan Emar en las letras nacionales, en particular, su fecundo diálogo con la antipoesía de Parra. Se propone que tanto en Miltín 1934 de Emar como en la Antipoesía de Parra asistimos a la práctica de una carnavalización del motivo de lo divino-sublime. En esta dirección, ambas poéticas vanguardistas modulan en el espacio hispanoamericano una de las aristas del “proyecto inconcluso de la modernidad” : la muerte (...) nietzscheana de Dios y de su espacio simbólico; connotado por el tópico de la música de las esferas. Tópico que en ambos autores se da en el marco de un cuestionamiento a una estética de lo sublime que predominaba en la crítica de la época.: This article attempts to draw attention to the foundational role of the literary production of Juan Emar in the national letters, in particular, its fruitful dialogue with the antipoesía de Parra. It is proposed that both in Miltín 1934 and the Antipoesía de Parra we attend the practice of carnivalization of the divine-sublime. In this direction, both avant-garde poetics modulate one of the edges the “unfinished project of modernity” : the simbolic death of God and the simbolic space; connotated by the topico of the spheres music. Topico that in both authors is given in a questioning of a critique of an aesthetic of the sublime; that prevailed in criticism of that period. (shrink)

Abstrak: John Langshaw Austin menjadi terkenal sebagai filosof Lingkaran Oxford yang menekankan pentingnya tuturan performatif. Namun dalam artikelnya “Truth” (1950) ia menggunakan teori korespondensi dalam memahami masalah kebenaran. Austin mengkritik Strawson yang menggunakan teori deflasioner tentang kebenaran berdasarkan analisis mengenai pentingnya tuturan performatif. Dalam tulisan ini akan dijelaskan mengapa Austin lebih memilih teori korespondensi dari pada teori deflasioner dalam memahami kebenaran. Juga akan ditunjukkan sumbangan khas Austin yang membarui teori korespondensi umum yang menggunakan metafora “cermin” dan “peta” realitas dengan menekankan (...) sifat konvensional ide korespondensi. Menurut penulis, hal ini merupakan suatu usaha yang serius dan berguna dalam mengartikulasikan cara kita menggunakan simbol-simbol bahasa yang ditentukan secara sewenang-wenang untuk merepresentasikan realitas dunia. Kata-kata Kunci: Kebenaran, teori korespondensi, teori koherensi, teori deflasioner, teori tindak-tutur, aspek ilokusioner bahasa, tuturan deskriptif, tuturan performatif, konvensi deskriptif, konvensi demonstratif. Abstract: John Langshaw Austin is an “Ordinary Language Philosopher” of Oxford, who is famous for emphasizing the importance of performative statements. In his article, “Truth” (1950), however, he used correspondence theory for understanding the problem of truth. Austin criticized Strawson, who uses the deflationary theory of truth that is compatible with the analysis of performative utterances. This article will explain why Austin chooses the correspondence theory of truth rather than deflationary one. It will also elaborate Austin’s specific contribution in changing the version of the correspondence theory, which uses the metaphor of “mirroring” or “mapping”’ the world, to a conventional correspondence theory. It is, in my opinion, a serious and notable attempt to articulate our use of arbitrary symbols in the representation of brute reality. Keywords: Truth, correspondence theory, coherence theory, deflationary theory, speech-act theory, the illocutionary aspect of language, descriptive utterance, performative utterance, descriptive convention, demonstrative convention. (shrink)

Simbolismul religios a trezit mereu interesul cercetătorilor din domenii diferite de activitate, lumea întreagă reprezentând un mare simbol ce trebuie să fie descifrat. În dorința de a înțelege sensurile universului înconjurător, oamenii de știință au folosit descoperirile din domenii conexe pentru a-și formula propriile teorii. În acest sens, se pot realiza conexiuni pertinente între felurile în care istoricul religiilor Mircea Eliade și teologul ortodox Alexander Schmemann au definit simbolul și felul în care acesta este prezent în viața de zi (...) cu zi a oamenilor, redefinind astfel și strânsa legătură ce există între istoria religiilor și teologie ca discipline de studiu academic. (shrink)

The paper analyses the philosophical aspects of the 'religion - national mythology' synthesis. The main directions of the study are as follows: 1. Both on the individual and social plan, the orientation of the transcending universalizing power of religion could vary depending on the macro-social movements a community /or an individual/ is involved in. For the individual as for the community, religion could be a cultural position transcending ego and ethno-centrism, mono-cultural tendencies; in situations of internal differentiation and disintegration of (...) these entities, the universalizing binding role of religion is partialized and determined by various social groups, who are often in opposition to each other due to their economic political, ethnic, psychological features; 2. This process is usually related to the invalidation of universally uniting religious-moral bonds and values and intensification of differences: power, property, doctrinal differences to a shift of the weight center from internal spiritual movements /particularly typical of mysticism, asceticism, priesthood/ on to practical social action - reformist heresies, the various practical theologies of revolution, liberation, the religious-motivated wars; 3. When reduced to an ethnic, political, or state emblem, religious affiliation to Judaism, Islam Orthodoxy, Catholicism, Protestantism has become and still remain a tool for the sacralization of military and political conflicts. In religion-motivated conflict situations, opposing parties de-sacralize their Sacred Books as their acts contradict the books' moral content; 4. The power of historical mythologies is in reverse proportion to the capacity of a nation to periodically renew its social life world - its psychological attitudes labour relations, political stereotypes; 5. In this type of situation religion is usually reduced to 'belonging', as G. Davie put it, at the expense of 'believing' and a corresponding moral behavior. The religious universe becomes thus subordinated to partial group values, instead of standing above them. Ovaj tekst analizira filozofske aspekte sinteze 'religija - nacionalna ideologija'. Sledeci su glavni pravci studije: 1. I na individualnom i na drustvenom planu, usmerenje na transcendiranju, univerzalizaciji moci religije moze varirati u zavisnosti od makrosocijalnih kretanja zajednice koji je u njih ukljucen. Kako za pojedinca tako i za zajednicu, religija bi mogla biti kulturno stanoviste koje transcendira egocentrizam i etnocentrizam, kao i monokulturna kretanja; u situacijama unutrasnjih raslojavanja i dezintegracije tih entiteta, univerzalizujuca uloga religije je parcijalizovana i odredjena od razlicitih drustvenih grupa koje cesto stoje nasuprot jedna drugoj zbog njihovih politickih, ekonomskih etnickih i psiholoskih osobina. 2. Taj je proces obicno povezan s obezvredjivanjem univerzalno ujedinjujucih religijsko-moralnih vrednosti i intenziviranjem razlika: moc, svojina, doktrinalne razlike; 3. Kada su svedeni na etnicke, politicke ili drzavne simbole, religiozna pripadnost judaizmu, islamu, pravoslavlju, katolicanstvu, protestantizmu postaje i ostaje sredstvo za sakralizaciju vojnih i politickih sukoba. U situacijama sukoba koji religijski motivisani, protivnicke strane desakralizuju svete knjige druge strane kako njihova dela protivrece moralnom sadrzaju tih knjiga. 4. Moc istorijskih mitologija je u obrnutoj srazmeri sa sposobnoscu nacije da periodicno obnovi svoj drustveni svet zivota - svoja psiholoska drzanja, radne odnose, politicke stereotipe. 5. U situaciji tog tipa religija je obicno svedena na 'pripadnistvo', kako na to ukazuje G. Dejvi naustrb 'verovanja' i odgovarajuceg moralnog ponasanja. (shrink)

Questo volume affronta lo sviluppo della teoria filosofica e antropologica di Susanne Langer, mettendo in evidenza l’importanza che in essa riveste un evento particolare della filogenesi della specie umana: la nascita della coscienza simbolica. Il nucleo del concetto di coscienza simbolica è costituito dall’idea di un’organizzazione mentale basata sull’utilizzo di rappresentazioni simboliche e strumenti linguistici, che dischiudono all’uomo inaudite possibilità di esperienza. L’ambito in cui si muove questo libro è quindi in primo luogo quello cognitivo, con particolare riferimento alla differenza (...) qualitativa che separa l’uomo dagli altri animali e che non si lascia ricondurre a un mero perfezionamento delle capacità animali di interazione con l’ambiente. Va però sottolineato che i problemi incontrati da Langer non possono non portare a frequenti sconfinamenti nei territori della psicoanalisi, della psicologia e dell’etica. L’autore dedica una particolare attenzione alla ricostruzione langeriana dello sviluppo assieme, psichico e morale e alla preoccupazione dell’autrice per l’eccessiva logicizzazione e per lo spietato disincantamento della simbolic mentality della modernità (elementi che Langer considera come una vera e propria crisi evolutiva). Questo aspetto della sua riflessione permette di accostare Langer a quei pensatori che, da Cassirer a Max Weber, da Carl Gustav Jung a Leroi-Gouhran, manifestano una forte inquietudine di fronte alla perdita radicale non solo della mentalità mitica delle culture premoderne, ma anche e soprattutto del sistema di valori che orientava l’esperienza quotidiana e la condotta etica degli individui. (shrink)

In thesis VI of Walter Benjamin’s On the Concept of History, we find the sentence of danger in which the dead are, which we can think of as a threat of a second death, or symbolic death of the oppressed tradition of which the historiographer has to be alert. Now, if there is a second death it is because there is a life after natural death, that is a survival [Nachleben] of the past in the present. This survival, in the (...) context of the theses of 1940, is possible to weave it with the notions of historical experience [Erfahrung] and the transmission thereof. Faced with the danger of the absolute disappearance of what has been truncated, the German author exposes the need to save it, that is, to carry out a redemption, a remembrance. In this sense, redemption would operate as a second chance, or second instance, of those who have already had a natural death, and who therefore survive, are in their "over-life", which is on the verge of disappearing. Redemption, in these terms, is reconfigured as a form of resistance, then, against the possible annihilation that would bury definitively those signifiers, those memories. Here we will essay thinking this possibles intersections between the benjaminians notions of survival, historic experience and redemption, and the lacanian notion of second death, for being able to think the duality of natural and simbolic death and life, the failed of natural death -the possibiliy of redemption that allows- and the absolut and irreversible character of second death. (shrink)

U radu iznosimo shvaćanje da je novoplatonizam u Michelangelovom kiparstvu prisutan na dublji način nego li to shvaćaju oni koji u Michelangelovoj umjetnosti iznalaze tek simboličku ilustraciju određenog novoplatoničkog učenja. Novoplatonizam u Michelangelovoj skulpturi ne vidimo kao simboliku koja upućuje na određenu novoplatoničku teoriju. U tom bismo slučaju o novoplatonizmu u umjetnosti govorili kao o onome izvanjskom s obzirom na bit umjetničkog djela, budući da se samo nastajanje i jestvo umjetničkog djela ne temelji u postupku teorijskog razmatranja, već u rukotvorenju. (...) Polazimo od shvaćanja da je novoplatonizam s Michelangelom ostvaren izravno iz umjetničkog tvorenja u samom unutarnjem obliku umjetničkog djela.In the paper we propose attitude that Neoplatonism in Michelangelo’s sculpture is present in a deeper way than it is understood by those who in Michelangelo’s art find merely simbolic illustration of specific Neoplatonic learning. In Michelangelo’s sculpture we do not see Neoplatonism as a symbolism that is indicating a specific Neoplatonic theory. In that case we would be talking about Neoplatonism in the art as the external considering the proper essence of the work of art, since the proper emergence and beingness of the work of art is not founded in the act of theoretical consideration, but in handicrafting. Our starting point is the understanding that Neoplatonism with Michelangelo realizes itself directly out of artistic formation in the proper internal form of the work of art. (shrink)

En este trabajo nos proponemos mostrar las referencias que articulan la obra de Lefort. Éste nos invita a comprender la democracia como una forma de sociedad que se instituye y se mantiene a partir de la distinción de los planos político, jurídico y epistemológico. La democracia es esa forma de sociedad que convierte en identidad la búsqueda de identidad. Nos enfrenta a la indeterminación última del ser social. Los esfuerzos de Lefort por desen­mascarar las mentiras totalitarias, en particular, las comunistas, (...) son buena prueba de una obra que lucha contra el canto de sirena de una sociedad sin división, sin opacidad, sin política. (shrink)

The purpose of this article is to present a model of creativity in the light of the thought of C. S. Peirce. Artistic communication is an event (as such, of the order of Secondness) by which the possible (Firstness) in filtrates itself into symbolism (Thirdness). Moreover, we des cri be more e..