Two different philosophical attitudes towards the hominized Being are analyzed: the one of Arvydas Šliogeris and the other of Martin Heidegger. The aim is to show the philosophy of Being in relation ...to particular paintings. Šliogeris interprets the picture of The Great Pine Tree by Paul Cézanne, whereas Heidegger – the picture of A Pair of Shoes by Vincent van Gogh. The author of the article explains how Aristotle’s concept of the individual substance is related to the art philosophy of Šliogeris. The article also shows how Šliogeris’ critique of the hominized Being consistently evolved starting with his book The Thing and Art and culminating with his major work, titled The Silence of Transcendence. At the end of the article the author brings to the reader’s attention two self-contradictory notions of an artist that we find in different books of Šliogeris: the first notion that speaks of a Human-artist who supposedly imbues ‘more Being’ into a painting than we find it in nature; whereas the second notion speaks of a Nature-artist and provides to things ‘more Being’ than we find it in art.
Straipsnis skirtas palyginti Arvydo Šliogerio ir Martino Heideggerio hominizuotos Būties sampratoms jų meno filosofijose. Šio tikslo siekiama pasitelkiant jų pasirinktų tapybos kūrinių interpretacijas – Šliogerio atveju pasirinktas Paulio Cézanne’o paveikslas Didžioji pušis, o Heideggerio atveju pasirinktas Vincento van Gogho paveikslas Batų pora. Straipsnio autorius pateikia argumentus, kaip pasirinktas Šliogerio meno kūrinys koreliuoja su jo aristoteliška substancinio individo koncepcija. Sykiu parodoma, kaip nuosekliai evoliucionavo Šliogerio hominizuotos Būties kritika nuo knygos Daiktas ir menas iki veikalo Transcendencijos tyla. Straipsnio pabaigoje išryškintas Šliogerio prieštaravimas sau dėl dviejų nesuderinamų menininko sampratų: pirmas apie Menininką-žmogų, įliejantį „daugiau Būties“ į daiktą meno kūrinyje, negu kad tos Būties yra tame daikte gamtoje; antras apie tikrąjį Menininką-gamtą, kuris duoda daiktui „daugiau Būties“, negu jos randame žmogaus rankdarbyje.
Europe Thirty Years After 1989 explores what happened in the former socialist countries during the last thirty years and the reasons behind these events. The authors examine how values, memory, and ...identity have been transforming these countries since the year 1989.
In this article two different authors are compared: a Finnish-Swedish writer Henry Parland and a Lithuanian philosopher Arvydas Šliogeris. They are compared in the sense of the philosophy of ...photography. Alternatively, if to apply the term of Šliogeris‘ phototography philosophy, these two authors are compared in terms of their photo-sophy. The article analyzes Parland‘s city multicultural worldview as in contrast to Šliogeris‘s worldview of Lithuanian countryside and nature. Parland‘s attitude towards the technique of making photos during the period of 1929-1930 while living in Kaunas is discussed. In parallel, the attitude of Šliogeris towards photography technique is discussed, including his entire photosophy, which explains why he is against photo art and what is photo-truth. Also attention is given to the age difference of these two intellectuals as well as their life style – one of them dies at the age of 22 in 1930 while living bohemian life style, the other dies at 75 in 2019 after philosophically choosing to be a countryside person, intellectually turning his back to Western civilization. Due to the lack of time, Parland did not develop his photosophy, we know only what he wrote in his novel Sӧnder To Pieces, whereas Šliogeris develops his photosophy only at the end of his life in 2011 in his book Lietuviškose paraštėse In the Lithuanian Margins, although his photo album is published a bit earlier – in 2009.
The filmmaking, or the movie camera, is an important part of contemporary human expression. By capturing the events of life on film and permeating them, it unveils layers of human existential ...experience. Clearly the cinema camera, now a universal eye for observing life, easily transverses stylistic differences in film, whether of genre, artistic movement, or time period. The cinematic camera has the function of a pen (the caméra-stylo), a vision of fluidity and mobility. Experiments by filmmakers on what the eye of the cinema lens sees or should see have shaped the idea that the camera’s gaze is an alter vision – in effect, a subordinate cinematic consciousness.
In this article the author analyzes the search for Being in art according to Arvydas Šliogeris. Although Šliogeris selected the picture of The Great Pine tree painted by Paul Cézanne for his art ...philosophy - we see that in the book The Thing and Art - the philosopher himself is very Lithuanian, his thinking and his theoretical worldview is permeated with Lithuanian spirit. It is especially clear when he interprets Čiurlionis‘ paintings titled Sonata of the Grass Snake, the vision of the Grass Snake. A Grass Snake, who is sacred in the pagan tradition in Southern part of Lithuania called Dzūkija, is interconnected with Šliogeris‘ philotopia in Dzūkija region. From the cultural point of view, it is far away from French region of Provence, which was the inspiration for Cézanne. The article also analyzes why Šliogeris did not choose the sea theme in painting. After all, the openings of Being could be found in the painting of dramatically stormy sea with a sail ship tipping over the waves. By refusing to search for Being in sea paintings, and instead opting for the region of Southern Lithuania, he evidently makes a subjective selection, looking at the world through the prism of the self “I“. It is, owever, impossible otherwise. After all, philotopia as such, inevitably presuposes subjectivity.
Transformations in Central Europe between 1989 and 2012: Geopolitical, Cultural, and Socioeconomic Shifts by Tomas Kavaliauskas, is an in-depth study of the transformations in Central Europe in the ...years since the fall of Communism. Using a comparative analysis of geopolitical, ethical, cultural, and socioeconomic shifts, this essential text investigates postcommunist countries including Estonia, Latvia, Lithuania, Poland, the Czech Republic, Slovakia, Hungary, Romania, Bulgaria, and Slovenia. Next to transitological interpretations, this study ventures upon negative and positive freedom (Isaiah Berlin) in Central Europe after two decades of post-communist transition. Kavaliauskas questions the meaning of completeness of postcommunist transition, both geopolitical and socioeconomic, when there are many transformations that do not necessarily mean unequivocal progress. The author also analyses why Central Europe in 1989, armed with civil disobedience, could not maintain its moral politics. But the book touches sensitive issues of memory as well: an examination of May 9th is provided from the Russian and the Baltic perspectives, revealing two opposing world views regarding this date of liberation or occupation. Finally, Kavaliauskas analyzes the tragedy at Smolensk airport, which became an inseparable part of Central European identity. Transformations in Central Europe between 1989 and 2012 is an essential contribution to the literature on Central Europe and the lasting effects of Communism and its aftermath.
The article philosophizes whether it is possible to find being as such in art. According to Arvydas Šliogeris’ art philosophy, which is very Heideggerian, being is in Paul Cezane’s painting, ...specifically in the picture of a pine tree. According to Martin Heidegger’s art philosophy, being is in Vincent van Gogh’s pictures of shoes. However, this article argues that these paintings are from the same art direction of the same time period. It is also argued that in art philosophy it is necessary to respect art directions, their styles, schools, different time periods marked with the spirit of their epoch, before anyone starts philosophizing whether certain pictures have being or not. Instead it is suggested to search for being in the very life of an artist, his own relationship with his creation. One of such examples could be Jurgis Mačiūnas and his art of Fluxus that included life style. The article also analyzes the philosophy of a thing that we find in Mačiūnas and Heidegger and highlights their differences. At the end of the article the author finds more similarities between Jonas Mekas’ and Heidegger’s attitude towards a thing as the un-closedness (aletheia) of its own story.
This article aims to disclose art philosophy, which is behind the literary story and collage pictures of the Bulgarian artist, Dogu Bankov. The author of this article analyzes the relationship ...between the narrative about Dogu Bankov in literature and in the visual arts, namely, in the exhibited pictures in the collage genre, and in the multi-layered, highly cosmopolitan biography of Dogu Bankov. Topophilia in Paris, also in Bulgarian town Plovdiv, and in Lithuanian town Kaunas is an inseparable part of Bankov’s biography along with the documentary resurrection of true interwar intellectuals of those cities. The biography serves as a plethora of cross-cultural references to true writers and artists even if the biography of Bankov is artistically created.
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