Философия Канта и основания процесса эстетизации в современной культуре

Kant's Philosophies of Judgement. By DOUGLASBURNHAM. Edinburgh U.P. 2004. pp. vi + 213. £49.99 (hbk). THIS IS an ambitious but frustrating book. It offers a general approach to Kant's theory of judgement that is clearly influenced by the ‘continental’ tradition of Kant interpretation beginning with Heidegger, although it makes no explicit reference to its possible sources beyond an initial acknowledgement in the Introduction. It culminates with a study of Kant's aesthetics and its place in Kant's thought as a whole, but makes no reference at all to the extensive body of scholarly literature on the Critique of the Power of Judgement that has been published in the last three or four decades, including notable works from the same publisher, such as J. D. McFarland's Kant's Concept of Teleology from 1970 and Eva Schaper's Studies in Kant's Aesthetics from 1979. The net result is an interpretation that adds little detail to our understanding of Kant's analyses of the beautiful and the sublime but which makes misleading claims about the significance of these analyses for Kant's philosophy as a whole. Finally, it devotes one of its four chapters to a study of Nietzsche which, while of some interest in its own right, does nothing to illuminate or defend the interpretation of Kant that is the main point of the book.

Reviewed by: Douglas Sirk, Aesthetic Modernism and the Culture of Modernity by Victoria Evans Chad Trevitte Victoria Evans, Douglas Sirk, Aesthetic Modernism and the Culture of Modernity. Edinburgh: Edinburgh University Press, 2017. £75.00. 208 pages. In the interviews Douglas Sirk granted at the end of his career, his early experience as a painter and theatrical director in Weimar Germany allowed him to augment his new reputation as a cinematic artist as well as a progressive social critic. While later studies have challenged any consistent view of him as a subversive auteur, many of the best have continued to combine aesthetic, historical, and political approaches in order to reassess his films within a fuller context. A recent book by Victoria Evans, which largely explores how Sirk’s melodramas are informed by key trends in modernist painting and architecture, offers a valuable contribution to Sirk scholarship by establishing its own links between the visual design of his films and their broader social and political dimensions. The book is organized in three parts, each containing two chapters. The first two chapters evaluate Sirk’s cinematography with reference to painting, with the opening chapter offering an alternative to ironic, Brechtian readings of the director’s signature use of internal framing. Here Evans first reviews Michael Fried’s distinction between “absorptive” and “theatrical” modes of pictorial representation, noting how the former parallels the customary view of melodrama as fostering an unreflective, immersive sort of audience identification, whereas the latter parallels the more distanced critical reflection associated with Brecht’s “alienation effect.” Against this backdrop, Evans then argues that a third mode drawn from Austrian art historian [End Page 61] Alois Riegl—“attentiveness”—overcomes Fried’s dichotomy by allowing a more balanced, dynamic reciprocity between these impulses in the viewer. For Evans, it is this third mode that does fuller justice to the nuanced effects of Sirk’s compositions, and her sustained analysis of the homecoming scene in All I Desire offers one of the finest examples of these effects. In the second chapter Evans turns to the influence of expressionist painting in Sirk’s color design with, among other things, a rather intriguing comparison between Wassily Kandinsky’s color theories and the director’s Technicolor palette in Magnificent Obsession. While Sirk did not name Kandinsky among his artistic influences, the painter’s association of blue with spiritual transformation and white with spiritual rebirth emerges in pivotal moments of Sirk’s film, and Kandinsky’s theosophical background is shown to have its own counterpart in the numinous transcendentalism of the Lloyd C. Douglas novel. Evans explores these affinities within a broader discussion of how Sirk’s expressive color design responds to contemporaneous debates about modern art in the United States, essentially providing a syncretic combination of European high culture and American mass culture that can also be seen in Vincente Minnelli’s An American in Paris. The next two chapters more strongly emphasize social and political themes. Chapter Three, “The Invasion of Machines and Machine Culture,” draws on Ben Singer’s analysis of cultural anxieties towards technology in post-WWI melodrama, with The Tarnished Angels serving as the fullest reflection of this theme in Sirk. While Sirk initially struggled to understand the motives of Robert Stack’s self-destructive stunt pilot in the studio script, Evans argues that the director would have found a familiar analog in Ernst Jünger’s cult of the mechanized modern warrior—a proto-fascist vision of perpetually mobilized, technologically advanced masculinity that arose in reaction against the decadence of Weimar culture. Seen in this light, the film steers away from the Faulkner novel’s tragic romanticism, offering in its place a more grounded, humane rebuke of Stack’s neurotic addiction to the euphoria he once felt as a World War I fighter pilot. In the following chapter, Evans offers a comparison of John Stahl’s 1934 version of Imitation of Life with Sirk’s 1959 remake, with particular attention to how the racial divide is reflected in their settings. The key difference explored here is Sirk’s distinctive counterpoint between urban and suburban housing, which Evans situates within the social history of post-New Deal government and commercial policies...

Historians of philosophy, science, and mathematics explore the influence of Kant's philosophy on the evolution of modern scientific thought. The contributions of Kantian thought to modern mathematics, mathematical logic, and the foundations of mathematics are now widely acknowledged by scholars. As the essays in this volume show, the general development of modern scientific thought—including the physical sciences, the life sciences, and mathematics—can be viewed as an evolution from Kant through Poincaré to Einstein and the logical positivists and beyond. Focusing on nineteenth-century science, the essays—by historians of philosophy, science, and mathematics—trace the multiple intellectual transformations that have led from Kant's original scientific situation to the scientific problems of the twentieth century.The book examines Kant's influence on five strands of nineteenth-century scientific thought: Naturphilosophie and the effect of German Romanticism (especially Goethe) on biology; Fries's philosophy of science; Helmholtz's rejection of Naturphilosophie and Romanticism; neo-Kantianism and its return to "methodological" concerns in natural science and academic philosophy; and Poincaré and his reflections on scientific epistemology. The essays give a nuanced picture of Kant's legacy to nineteenth-century thinkers and of the rich interaction between philosophical ideas and discoveries in the natural and mathematical sciences during this period. They point to the ways that the scientific developments of the nineteenth century link Kant's thought to the science of the twentieth century. ContributorsFrederick Beiser, Robert DiSalle, Janet Folina, Michael Friedman, Jeremy Gray, Frederick Gregory, Michael Heidelberger, Timothy Lenoir, Jesper Lützen, Alfred Nordmann, Helmut Pulte, Robert Richards, Alan Richardson

Background. This paper explores the relevance of Kantian aesthetics, specifically his concept of the sublime, in the context of contemporary urban experience in Ukraine, particularly amidst the ongoing war. It examines how modern aesthetics engage with Kant's ideas, with some rejecting the applicability of his notions on beauty, the sublime, and aesthetic judgment, while others affirm their importance for understanding contemporary urban experiences. Methods. The study employs a comparative and analytical methodology, examining Kantian aesthetics in relation to contemporary aesthetic theories, particularly in everyday and urban contexts. It integrates philosophical analysis, historical contextualization, and theoretical classification, engaging with key thinkers such as Kant, Hegel, Dewey, Berleant, Saito, Leddy, and Kvokačka to explore shifts in aesthetic discourse and the relevance of Kantian categories in modern aesthetic experiences. Results. The discussion highlights the contradiction inherent in the experience of the modern city, where the Kantian sublime–a concept traditionally associated with reflection and disinterested pleasure–can still be relevant, but often in a transformed or "negative" form. This is especially notable in the context of urban environments that are undergoing rapid changes due to technological advancements and social upheaval. The emergence of the "negative sublime" concept is explored as a way to describe the urban experience of modern city dwellers who, due to the chaos and overwhelming nature of their environment, may be unable to feel the traditional sense of the sublime. The author situates this discussion within the specific context of contemporary Ukrainian cities, where the ongoing war and the imposition of martial law dramatically shape daily life. The concept of the sublime is argued to be especially relevant in the analysis of grassroots commemorative practices, such as spontaneous memorials that emerge in response to war. These memorials, while ephemeral and often improvised, offer a form of aesthetic experience that resonates with Kant's notion of the sublime–emphasizing reflective judgment and negative pleasure as people engage with public spaces marked by loss and trauma. Conclusions. Ultimately, the paper advocates for the continued use of the Kantian sublime in understanding the emotional and aesthetic impacts of the modern urban environment, particularly in the context of war and collective memory in Ukraine.

This article discusses information technologies, information processes in culture, and different meanings of information. A philosophical analysis andcomparison of functioning information in technical devices and functioning information in culture is carried out. An application of elements of theinformation theory for the analysis of information and communication processes in culture is considered. In information technology, codes are used toimprove the accuracy, speed and number of messages. Noises are considered as errors, and therefore efforts are being made to eliminate them. Culturalcodes are used for communication in information processes in culture. Taking into account senses and meanings of cultural codes in messages during acommunication process in culture makes it possible to understand the creation of new meanings, the formation of senses in culture. Information has anincreasing influence, distribution and application in the modern culture. Information is considered as a determining factor in the concept of aninformation society, in understanding of culture as a sign system. Information processes lead to changes in understanding of rationality, human thoughtin the modern culture. Rationality is complemented by practical and cultural forms of the world exploration. Knowledge requires a perception andassimilation of information into the cultural system. The traditional organization of scientific knowledge is changing. Knowledge is presented in theform of projects that enhances a practical functionality of the theory. The spread of information technology, in particular, the computer technologies,leads to formation of a complex type of thinking, which is simultaneously focused on many objects. Culture is the information system, in the space ofwhich the cultural and mental activity of a modern person is constituted.

Reviewed by: Anarchy and Culture: The Aesthetic Politics of Modernism Mark Antliff Anarchy and Culture: The Aesthetic Politics of Modernism. David Weir. Amherst: University of Massachusettes Press, 1997. Pp. 303. $60.00 (cloth); $17.95 (paper). David Weir’s thesis in Anarchy and Culture is that anarchism’s success in the sphere of cultural avant-gardism was a function of its failure as a political movement; he assumes a separation [End Page 167] between art and political activism despite his acknowledgment that anarchism claims to overcome such a barrier. In Weir’s reading any fusion of art and politics always favours the former to the detriment of the latter. In his view art and political activism should properly remain mutually exclusive. Weir claims that for the “ideologue” it might be possible to adapt “aesthetics to politics” but that “from the perspective of the poet” a solution might be to “adapt the politics to the aesthetics”: this latter strategy is identified with anarchism, “the one ideology that might have allowed [a poet] to reconcile art and action, since anarchism as a form of individualist politics is perfectly suited to . . . individualist poetics” (2). In Weir’s reading anarchism’s success as a poetics is part and parcel of its failure as a political ideology; moreover, “the contemporary critical strategy of aestheticizing politics” among marxists such as Fredric Jameson is declared a function of the demise of marxism as a state ideology. “The situation whereby ideology attempts to operate outside of politics has already pointed Marxism toward postmodernist culture, just as anarchism moved into the culture of modernism when it ceased to have political validity” (9). Anarchism in the last analysis could not reconcile “politics and culture” because “it failed to survive in political form.” No European nation, with the brief exception of Spain, “was capable of nurturing anarchism after World War I” for “anarchism was, quite simply, an outmoded ideology in the period between the wars,” unable to survive the advent of Soviet Communism and Fascism in European politics. “Faced with their obvious isolation from politics at large” anarchists “were driven toward culture as the only available means of disseminating their ideology.” Since “the cultural sphere was ultimately no substitute for the political arena,” Weir concludes, “anarchism ceased to exist as a movement” (5). Even before this historical shift, anarchism’s political failure was purportedly foreshadowed in its very ideology, since anarchism did not possess a “consistent political model” but only a model that “was at best secondary to the rhetoric used to articulate it.” Anarchists propounded a “politics of style” that was more “rhetoric than reality, less a movement than a myth” (12). This latter thesis is developed in the opening chapter which analyzes definitions of anarchism promulgated by William Godwin, P. J. Proudhon, Mikhail Bakunin, P. A. Kropotkin, and the American anarchist Benjamin Tucker. The remainder of the book charts a cultural history of anarchism’s impact on modernist literature, grappling with its detractors and apologists in turn. Weir finds evidence of anarchism’s success among avant-gardists in modernism’s “tendency toward fragmentation and autonomy,” an “anarchist strain in modernist culture” that would identify culture “with diversity itself” (5). This literary “individualism” replaced the “homogeneity” and collectivism inherent in notions of “common culture.” Thus chapter two considers “the defenders of integrated culture” like Matthew Arnold and Fyodor Dostoyevsky, while chapter three deals with individualism’s apologists, most notably William Godwin, the Rossetti sisters, and Frank Harris. Later chapters chart the affinity “between anarchists and artists of the fin-de-siècle and beyond” as well as provide an account of “the transformation of anarchist politics into modernist aesthetics.” Here Weir’s focus shifts to the continent as he outlines the rapprochement between anarchists like Jean Grave and the Neo-Impressionists before turning to the impact of the Spanish anarchist Francisco Ferrer’s theory of education on American modernists such as Carl Zigrosser, Man Ray, and Adolf Woolf. This historical survey is rounded out with an overview of Benjamin Tucker’s support of avant-gardism and Margaret Anderson’s anarchist defence of modernism following her exposure to the ideas of Emma Goldman. The final section analyzes the “anarchist elements” found...

Making Noise, Making News: Suffrage Print Culture and U.S. Modernism

Nietzsche describes “Kant’s tragic problem” as a matter of making things seem “relative” and thereby giving art a “new dignity.” What Nietzsche means by “tragedy” here is not a matter of pain or ethical conflict but rather the impact of modern science and Kant’s Critical philosophy, which teaches that our theoretical knowledge is limited in principle to phenomena and does not reach unconditioned reality. This is not a form of skepticism or nihilism, but it does imply that the search for such knowledge can be considered secondary to other human interests. This chapter argues that this position also fits well the outlook of the aesthetic approach of Kant and the Early German Romantics. To make this case, it argues against suggestions, coming from a Hegelian direction, by Frederick Beiser and Robert Pippin, that the Kantian aesthetics and Romantic philosophy are overly subjective.

Основная проблема исследования – определение выразительности в качестве методологического принципа современной культуры. Материалами при этом послужили результаты научных изысканий российских и зарубежных философов, культурологов, литературных критиков. Отмечено, что выразительность дает представление о формировании нового понимания взаимосвязи мира и человека, и ее обоснование является основой трансформация современной культуры. Проанализированы концепции Б. Кроче (выразительность как выражение духа в первичной форме), С. Лангер (выражение чувств символически), Т. Адорно (выразительность как критика невыразительного и узнавание выразительности фрагментарного), В. С. Соловьева (выразительность как выражение всеединства), П. А. Флоренского (выражение антиномичности феноменов культуры), А. Ф. Лосева (выразительность как мера человеческого). Выделены и классифицированы основные подходы к проблеме выразительности и определению собственной позиции категориального статуса данного понятия. The main problem of the research is the definition of expressiveness as a methodological principle of modern culture. The research materials were the results of investigations of Russian and foreign philosophers, culturologists, literary critics. The ontological approach allowed treating the expressiveness problem as something that assumes meeting the Other, as the expression of focusing on the Other. Moisei Kagan’s synergetic and systems approach contributes to the determination of the methodological significance of the expressiveness problem. This approach helps reveal the spirit of the transformations in modern culture, identify the connection between its different forms, and perceive the content of culture expression in the 21th century. The author notes that expressiveness gives an idea of how a new understanding of the relationship between the world and man forms. The substantiation of expressiveness is the basis for the transformation of modern culture. It is argued that in the existing humanitarian paradigm, when the consequences of a person’s self-expression in the world are ambiguous and an objective view cannot claim to be the world’s foremost authority, expressiveness is the condition for self-expression in the world, and it provides the opportunity to follow the transformation of self-expression in modern cultural practices. Reflection on expressiveness in modern culture is connected with social creativity, which brings the problem out of linguistics and art history towards a larger axiological context. The analysis of the problem of expressiveness in the humanities has made it possible to single out the following schools: artistic aspects of expressiveness (S. M. Volkonsky, S. M. Eisenstein); linguistic and literary aspects of linguistic expression (Yu. M. Lotman, A. A. Potebnya, E. Sapir, A. Hansen-Loeve, et al.); existentialist and philosophical perspective of expressiveness (M. M. Bakhtin, A. F. Losev, V. A. Podoroga, et al.). The connection with the philosophy of art and the history of philosophy creates new perspectives for the study of methodological aspects that influence the modern humanitarian paradigm. Reference to the concepts of B. Croce (expressiveness as a genius expression in its primary form), S. Langer (symbolic expression of feelings), T. Adorno (expressiveness as a criticism of the inexpressible and recognition of frank expression), V. S. Solovyov (expressiveness as an expression of unity), P. A. Florensky (expressiveness as an expression of antinomic cultural phenomena), A. F. Losev (expressiveness as a human dimension) allowed classifying the main approaches to the problem of expressiveness and defining its categorical status.

The sudden flourishing of reflections on light, nature and poetry that occurred from the mid-80s onwards in the cinema of Jean-Luc Godard, Danièle Huillet and Jean-Marie Straub, could not fail to surprise. Between their reputation as Brechtian, materialist filmmakers and these seemingly apolitical reflections, developed in conjunction with their appeal to Hölderlin’s “idealist” poetry, there seems to be an insurmountable rift. By situating their aesthetics in the broader framework known as “aesthetic modernity”, i.e. art and philosophy of art since the end of the 18th century (cf. J.M. Schaeffer, J. Rancière), I demonstrate how films such as Der Tod des Empedokles (1986) and Allemagne année 90 neuf zéro (1991), not so much exhibit a shift to conservatism with this “sudden” interest in nature and poetry, but, rather, the manifestation of a Romantic contradiction characteristic of modern aesthetics. In a period of disillusionment, these “Brechtian” filmmakers increasingly turned to a German literary and philosophical tradition that praised the “revelationist” potential of poetry, while they, simultaneously and still with revolutionary fervour, reflected on Germany’s troubled political past and present. I will argue that we can understand this alignment of revolution and revelationism from the perspective of their indebtedness to an antimodern worldview that perceives of the modern age as being in decline, to which these filmmakers oppose a utopian striving towards a “new world”, captured in a Romantic discourse of light and vision.

The article deals with the formation of avant-garde as an alternative to the academic artistic paradigm in the Kharkiv Art School. The contribution of Kharkiv artists to the world culture is determined primarily by the avant-garde art. Its agents, who steadily carried the baton of modernization of artistic culture, were V. Yermilov and B. Kosarev. During 1915–1916 a group of artists, The Union of Seven, was formed at the Art School; their work reflected the diverse palette of changes that accompanied the formation of Cubo-Futurism in Kharkiv. Fundamental changes took place in the artistic culture of Ukraine in the 1920s. The initiative to transform Kharkiv Art School into an Art Technical School with the rights of an institution of higher education in 1921, is attributed to Yermilov (it actually became an institute in 1927). In the 1920s–1930s his teaching team was joined by such artists as Mykola Burachek, Ivan Padalka, Oleksander Khvostenko-Khvostov, Anatol Petrytsky, and Borys Kosarev. Studios were established: easel painting (Mykhailo Sharonov), monumental (Lev Kramarenko), and theatrical (Oleksander Khvostenko-Khvostov). From 1922 to 1934 Yermilov led the graphics studio (together with Padalka starting in 1925). The key figures in the creation process of artistic avant-garde culture in Kharkiv after the 1930s were V. Yermilov and B. Kosarev, who influenced the formation of the next generation of artists. Yermilov’s work in Kharkiv (including teaching at Art Institute) had an impact on the creative features of O. Shcheglov, V. Platonov, V. Savenkov, and defined the horizon of effective development of design in the region. Among those who continued Yermilov’s design traditions are M. Molochynsky, І. Krivoruchko, V. Lesnyak, O. Bojchuk, V. Danilenko, O. Veklenko. Launched by the latter International Environmental Forum of Eco Poster “The 4th Block” has found quite a resonance in the world. “Yermilov’s Mansard” appeared on Kharkiv cultural space as an artistic centre and an original example of artistic design in the spirit of Bauhaus. Due to B. Kosarev a constellation of talented artists appeared in Kharkiv artistic culture and defined its uniqueness. Among his students in the theatre and decorative department there were such people as a teacher Konstantinov; a theater artist, a Doctor of Architecture, corresponding member of the AAU V. Kravetz; the Main artist of Kharkiv State Academic Ukrainian Drama Theater named after T. Shevchenko T. Medvid; theatre artists M. Kuzheliev, G. Nesterovska, P. Osnachuk, L. Pisarenko, N. Rudenko-Krayevska and others. Among the artists, whose creative work shaped under the influence of B. Kosarev, were Honoured Artist of Ukraine, member and Vice President of AAU V. Sidorenko, and Honored Artist of Ukraine, famous graphic N. Myronenko.

This article explores the work of Kim Jones, a British fashion designer whose recent collections for Fendi (2021) and Dior Men (2023) were respectively inspired by Woolf’s Orlando and Duncan Grant’s artistic production (including the designs he made for the Omega Workshops). It begins by investigating Woolf’s paradoxical relationship with fashion and her equally paradoxical presence on the contemporary fashion scene. It then turns to Jones’s collections as an unusual kind of transmission of Modernist culture. Here, too, the connection is paradoxical. By exploring Jones’s lifelong connection to Charleston and his creative engagement with Modernist aesthetics, the article highlights how the collections serve both as a tribute to and as a commodification of Bloomsbury ideals. While Jones transmits Modernist tropes such as fluidity and hybridity to new audiences, his work also reveals the ethical limitations of fashion as a medium, constrained by its ties to consumption. By selectively echoing and appropriating Bloomsbury’s aesthetics and neglecting some of its ethical and political dimensions, Jones’s collections interrogate the extent to which Bloomsbury’s ideals can be faithfully transmitted within a commercial framework, and at the same time, reveal similar tensions at work within the political and artistic ethos of the Bloomsbury Group itself.

Volume 51 (2021)

The priorities underlying the process of physical culture of student youth ensure their mandatory mastery of the system of applied swimming skills. Therefore, the study and theoretical generalization of the essence of the influence of swimming classes on the body of students will allow to make qualitative changes in the modern physical culture of higher educational institutions and in the future to justify the system of training students for swimming. The goal. Іs to summarize scientific information about the essence of the influence of swimming classes on the body of students. Methods: theoretical analysis and generalization of data from scientific and methodical sources and information from the Internet. The results. Currently, many original approaches to teaching swimming, solving a number of scientific and practical tasks of this process among student youth have been developed. In terms of content, scientific works focus on general approaches to teaching swimming: advanced and accelerated; swimming training for students of special medical groups; on methods of students overcoming water fears; the use of moving games, variability of means of swimming training of students; some organizational aspects of the process of teaching swimming in physical education. However, this does not eliminate current scientific controversies. Conclusions. Systematic swimming lessons for students is a non-specific influence that triggers functional reserves and mobilizes the activity of the body's systems at its various levels; a method of special influence that stimulates metabolic processes, correction of body structure and physical performance, development of physical qualities; it is a pedagogical process with conscious and active participation of students in the formation of important skills, their use in the future. An actual scientific and applied problem of modern physical education in higher educational institutions is the justification of a systematic approach to teaching students to swim, which will take into account the available experience and modern requirements, the essence and objectivity of the criteria for ensuring this process.

This article explores the role of disgust in Kant's aesthetic philosophy, Derrida's deconstruction of Kant's third Critique in his article 'Economimesis,' and the figure of vomit in two films by David Lynch in order to argue for the ethical possibilities of not giving ground relative to one's disgust - what I term an ethics of the worse than the worst.