The article explores the relationship of disabled persons and theater, starting with the work of the Per-Art Association. In the first part, the author emphasizes that the mode of on- togeny of ...social solidarity with the disabled persons did not result in their greater representation in the arts but in a lesser one. After pointing out that the presence of disabled persons on the canvas has for centuries been reduced to a mechanisms thanks to which the everyday awareness of the “common” grew stronger, and rejected with ease all that deviated from the socially accept- able norms, the author analyzes the specificity of the inclusive gestures on the contemporary theater scene. Unlike the introduction of specific characters with disabilities into the conven- tional plays, the author points out that the everyday regime of care recognizes the disabled persons as objects, which must be taken care of by someone, while the conditions of the group artistic work enable them to tailor their own character so they need not rely upon the expectations and concepts of others. In the second part of the paper the author confronts the Foucault’s term of aesthetics of existence with the theater work of the disabled persons. Appearing within a group, such persons enable a moral conversion, as the meaning of the scene movement transforms into an independent moral request. Meeting the foreign of the disabled persons, for the audience, becomes a synonym for a breakthrough in the egoistical search for the self in others, and for the actors themselves, marks a chance to break the social separation.
Straipsnyje nagrinėjamos XVl–XVIII a. visuotinės ir Ukrainos estetikos istorijos ypatybės. XVI–XVIII a. pasaulinėje estetikoje, patyrusioje aiškią Renesanso epochos estetinių atradimų įtaką, ...pastebimi prieštaringi procesai, kuriuos sukėlė pažangių ir reakcingų koncepcijų kova. Renesansiškas pasaulio suvokimas pamažu virsta krizės nuojauta, kurios estetinė išraiška yra barokinis menas. A. Baumgartenas pagrindė estetinio mokslo, kaip jausminio suvokimo teorijos, objektą. Analizuojama, kaip šie procesai atsispindi Ukrainos ir kaimyninių tautų estetinės minties raidoje. Teigiama, kad XVI a. pabaigos ir XVII a. pradžios laikotarpį galima laikyti savitu estetinės savimonės vystymosi etapu, kuriam būdingas eilėdarinės poezijos, žodinių priemonių sąmoningas panaudojimas, siekiant estetiškai paveikti tuos, kuriems skirtas kūrinys. Šiuo laikotarpiu Ukrainoje estetinė savimonė reiškiama ne tik literatūros ir meno kūriniuose, bet ir filosofijos, logikos, retorikos bei poetikos darbuose, todėl apie šį laikotarpį galima kalbėti kaip apie estetinės minties vystymosi iš pirminio daiktiško, jutiminio mąstymo sinkretizmo į abstraktų loginį pažinimą naują etapą.
U ovom radu bavim se pitanjem angažirane filozofije s naglaskom na estetiku i filozofiju umjetnosti. Pozivajući se na neke konkretne probleme o kojima se raspravlja unutar ovih domena – napose ...problem klimatskih promjena, ekološke krize i nemoralne umjetnosti – pokazujem da filozofija može biti angažirana na dva načina: (i) u svojoj težnji za propitkivanjem društvene zbilje, kulture, ljudskog iskustva i strategija koje čovjek koristi da bi u tom iskustvu uvidio smisao i vrijednosti; (ii) u težnji da kroz svoj doprinos razumijevanju takve zbilje i tog iskustva doprinese boljitku pojedinca i društva. Rad započinjem ukazujući na povezanost filozofskih pitanja i osnovnih intelektualnih težnji čovjeka kao društvenog i kulturnog bića, ali i autonomnog spoznavatelja i vrednovatelja. U drugom dijelu odgovaram na dva prigovora koja se mogu uputiti angažiranoj filozofiji: (i) prigovoru koji ukazuje na nedostatak konsenzusa među filozofskim odgovorima (problem neslaganja) i (ii) prigovoru koji ističe irelevantnost filozofskih debata za naše društvene prakse.
In this paper, I address the question of engaged philosophy with an emphasis on aesthetics and the philosophy of art. Referring to some specific problems discussed in these areas – in particular climate change, ecological crisis and immoral art – I demonstrate that philosophy can be engaged in two ways: (i) in its aspiration to question social reality, culture, human experience and the strategies for making sense of and finding value in that experience; (ii) in the aspiration to contribute to the well-being of individuals and society through its contribution to understanding that reality and experience. First, I point to the connection between the philosophical questions and the fundamental intellectual aspirations of human beings as social and cultural beings, but also as autonomous knowers and valuers. Second, I respond to two objections that can be directed against engaged philosophy: (i) one that points to a lack of consensus among philosophical responses (the problem of disagreement), and (ii) one that highlights the irrelevance of philosophical debates to our social practice.
Cilj je rada prikazati filozofsko porijeklo i opravdanje teorije socrealizma. Socrealizam je reprezentativni primjer književno-povijesnoga razdoblja u kojemu je autonomija književnosti u smislu, ...primjerice, estetske vrijednosti književnoga djela dovedena na zanemarivu razinu s obzirom na zadane radikalne zahtjeve režimske poetike pisanja u skladu s danim odnosima proizvodnje. Socrealistička poetika u kojoj primarnost imaju partijsko pisanje i odgajanje naroda u vidu socijalističkoga napretka i bez kakve posebne brige za književno stvaranje pronalazi svoje postulate u teoriji poetike socrealizma, proizašle iz Saveza ruskih proleterskih pisaca (»RAPP«) i proleterskih kulturno-prosvjetnih organizacija (»Proletkult«) koji datiraju u dvadesete i tridesete godine prošloga stoljeća. Na temelju analize može se zaključiti opravdanost posezanja teorije socrealizma za temeljnim postulatima klasične marksističke estetike s obzirom na materijalne uvjete koji determiniraju umjetnost, ali ne i njenu potpunu determiniranost negirajući tako autonomiju umjetničkoga djela.
The paper aims to present the philosophical background and justification of the theory of social realism. Social realism is a representative example of a literary period in which the autonomy of literature in terms of, for example, the aesthetic value of a literary work, was brought to a negligible level given the radical demands of regime poetics of writing in accordance with politics and ideology. Socialist-realism, poetics in which party writing and educating people in the form of socialist progress and without any concern about literary creation are paramount, finds its postulates in theories of the Union of Russian Proletarian Writers (RAPP) and proletarian cultural and educational organization (Proletkult). Theorists of socialist realism poetics claim that their postulates find philosophical justification in Marx’s and Engels’ texts about art. The primary subject of analysis in the article will, therefore, be the connection between the theory of social realism and the classical Marxist conception of art. Based on the analysis, it can be concluded that the theory of social realism is justified by classical Marxist aesthetics regarding historical materialism which determines art, but not in the sense of denying the autonomy of the art.
In contemporary society, the creative concept of Indonesian choreography encounters the digitalisation and commercialisation, that can be both challenging and frightening. While young choreographers ...in Gorontalo are adjusting themselves in learning contemporary, they too need to appreciate traditional dance aesthetic, so they will have a clear concept while using ethnic elements in creating dance. One of the embodiments of North Sulawesi’s dance aesthetic is Dana Dana, developed in a limited way in Bolaang Mongondow. The similar dance is also existing in Gorontalo under the same name but slightly different in some components. As dance aesthetic is essential to construct the regional dance style, it is necessary to look further how the aesthetic of Bolaang Mongondow’s Dana Dana brings the distinctive features in the forms of choreographic development. Using a phenomenological approach integrated with creative-based choreographic, this research examined how the experimental and explorative works enrich the student’s experience to produce genuine vocabularies, and the embodiment of cultural values in their creation. Through a circle of observing-feeling-imagining-manifesting-forming, the concept of contemporary choreography embraces new artistic understanding that bring the transcendental realm of creativity. Mengeksplorasi Estetika Tari pada Koreografi Kontemporer di Universitas Negeri GorontaloAbstrakDalam masyarakat kontemporer, konsep kreatif koreografi Indonesia menghadapi tantangan digitalisasi dan komersialisasi, yang sekaligus menakutkan. Pada saat koreografer muda di Gorontalo sedang menyesuaikan diri dan mempelajari kontemporer, mereka juga perlu menghayati nilai-nilai budaya seperti estetika tari, sehingga mereka akan memiliki konsep yang jelas saat menggunakan elemen etnis dalam mencipta tari. Salah satu wujud estetika tari daerah Sulawesi Utara adalah tari Dana Dana yang dikembangkan secara terbatas di Bolaang Mongondow. Menarik, karena tarian serupa juga ada di Gorontalo dengan nama yang sama namun sedikit berbeda di beberapa komponen. Karena estetika tari sangat penting untuk membangun gaya tari daerah, maka perlu dilihat lebih jauh bagaimana estetika tari Dana Dana Bolaang Mongondow menghadirkan ciri khas dalam bentuk pengembangan koreografi. Menggunakan pendekatan fenomenologis yang terintegrasi dengan koreografi berbasis kreatif, penelitian ini mengkaji bagaimana kerja eksperimental dan eksploratif memperkaya pengalaman mahasiswa untuk menghasilkan kosakata gerak sejati, dan memberi wujud nilai-nilai budaya dalam penciptaannya. Melalui proses melingkar mengamati-merasakan- membayangkan-mewujudkan-membentuk, konsep koreografi kontemporer diarahkan untuk merengkuh pemahaman artistik secara baru yang membawa kreativitas pada ranah transendental.
1975 m. lapkričio 15 d. mirė Genadijus Nežnovas, gimęs 1916 m. Briansko srityje. G. Nežnovas buvo plataus kūrybinio diapazono žmogus, puikus pedagogas, publicistas, tyrinėtojas. Jis yra parašęs ...straipsnių ir knygų, nagrinėjančių estetikos klausimus: partiškumą mene, visuomenines meno funkcijas, meno įtaką žmogui, žmonių dvasinio tobulėjimo procesą, meno kūrinių suvokimą ir kitus
Straipsnyje analizuojama, kaip Mickūno filosofija atskleidžia estetikos ir eroso sąryšį. Analizės tikslas – parodyti, kad estetika ir erosas reikalauja ne reprezentacijos, bet prezentacijos ir kodėl ...abi šios plotmės yra susijusios su tiesiogine pasaulio išraiškų patirtimi. Fenomenologinė estetikos ir eroso analizė atskleidžia paties pasaulio grožį ir erotinį patrauklumą. Mickūnas teigia, kad estetinė-erotinė nuostata yra atvirumas paties pasaulio nuotaikoms, ritmams ir buvimo stiliams. Kita vertus, jis neigia estetinės ir erotinės patirties intencionalumą, nes pastarąjį supranta kaip tikslingą nukreiptumą į objektus ir siekį identifikuoti objekto reikšmę. Straipsnyje pateikiami argumentai, kodėl Mickūno bandymas paneigti erotinės ir estetinės patirties intencionalumą yra paremtas siaurąja, o ne plačiąja intencionalumo samprata.
U suvremenom se društvu samoprocjena i socijalna recepcija tjelesne manifestacije u osoba s invaliditetom nalazi u vrlo zahtjevnom i izazovnom području. Iz tog se razloga nastoji promovirati ...„estetika invaliditeta“ s namjerom naglašavanja potrebe prihvaćanja onih „tijela“ različitih od poželjne, socijalno uvjetovane, estetske reprezentacije. U tom bi se pokušaju i umjetnost trebala razmatrati kao zanimljiv medij, budući da kroz proigravanje s prihvatljivim elementima forme može promicati univerzalnost estetike i otkrivati ljepotu u njezinoj nesavršenosti i nedovršenosti. Jer upravo ono drugačije i neshvatljivo u povezanosti s prihvatljivom estetskom formom izražava jedinstvo suprotnosti i omogućuje doživljaj cjelokupne raznolikosti i raskoši ljudske tjelesnosti. U tom se smislu ne potiče samo socijalna senzibilizaciju prema tjelesnoj nesavršenosti, već i pozitivna tjelesna kateksa koja ima jednu od presudnih uloga u definiranju doživljaja sebe, kao i u formiranju vlastitih emocija, predodžbi i ponašanja. Na tom tragu, upravo bi interdisciplinarna suradnja trebala biti osnova za poticanje usvajanja novih paradigmi i estetskih kriterija prema kojima bi svaki pojedinac, usprkos „nepotpunoj ljepoti“, bio metafora posebnog, neponovljivog i jedinstvenog. U svojoj konačnici, takvo uvjerenje može pomoći u postizanju osjećaja samozadovoljstva i samoostvarenja, kao dijela temeljnih dostignuća vlastite egzistencije.
Self-assessment and social reception of the physical appearances of people with disabilities take place in a very demanding and challenging area in modern society. For this reason, effort has been made to promote the “disability aesthetics” in order to emphasize the importance of accepting “bodies” that differ from the desirable, socially determined aesthetic representation. As part of this attempt, art should also be considered as an interesting medium, since it can promote the universality of aesthetics and reveal beauty in its imperfection and incompleteness by playing with acceptable elements of form. It is, in fact, something different and incomprehensible combined with an acceptable aesthetic form that expresses the unity of opposites, as well as the experience of diversity and magnificence of the human body. In this sense, it is not not only social sensitization towards bodily imperfection that is being promoted, but also the positive body cathexis, which has one of the crucial roles in defining self experience and in forming one’s emotions, ideas, and behaviors. In this regard, interdisciplinary collaboration should be the basis for choosing new paradigms and aesthetic criteria, according to which each individual, despite their “incomplete beauty”, would be a metaphor for something special, unrepeatable and unique. Ultimately, such belief can help one achieve a sense of self-satisfaction and self-fulfilment as one of the fundamental achievements of one’s own existence.
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