Unveiling the frame of philosophy

2020 ◽  
Vol 2 ◽  
pp. 123-131
Author(s):  
Andrzej Zalewski
Keyword(s):  
Everyday Life ◽  
Work Of Art ◽  
Mise En Abyme ◽  
Working On The Work ◽  
Life Philosophy ◽  
As If

Philosophy in this text is considered under the model of mise en abyme, which is used in particular in the art of fiction narration. A novel about the process of novel writing is an example of mise en abyme. A film about movie directing is also an example of mise en abyme. A painting showing the artist working on the work of art also has features of mise en abyme. Likewise, mise en abyme philosophy is philosophy that discusses how philosophy is created. Philosophy in such a shape is no longer understood as an endless space “inhabited” by situations, concepts, assertions, philosophical theses which are, however, perceived as if from the inside of that space; by contrast, it starts to be perceived from the outside, from the perspective of activities that form its frame, that frame it. For example, two such framing activities are considered – refining situations which is responsible for the “splendor of truth” that shines forth in them and defying the passage of time when constructing situations which is decisive for their isolation from the stream of life. Philosophy that notices its own frame is anchored in the foundations of everyday life which is something irrefutable in relation to the very inside of philosophy; as a consequence, the idea of epistemological foundationalism may be renewed and recovered for philosophy.

scholarly journals EI FORAS, MULIER, CZYLI ROZWÓD W KOMEDIACH PLAUTA

2017 ◽  
Vol 4 (1) ◽  
pp. 7 ◽  
Author(s):  
Anna Tarwacka
Keyword(s):  
Everyday Life ◽  
Legal Aspects ◽  
Roman Law ◽  
Original Text ◽  
Sexual Contacts ◽  
As If ◽  
New Comedy

El FORAS MULIER, VIZ. DIVORCE IN PLAUTUS’ COMEDIESSummary The Romans treated law as a very important element of everyday life. That is why their literature is so full of allusions to law.Plautus wrote his comedies for nearly 30 years, between 210 and 184B.C. His plays were based on the Greek Middle and New Comedy. It isnot always easy to distinguish the parts where he refers to Roman law fromthose where he simply translates the original text without making anychanges.In many of Plautus’ plays we can find information about divorce, though divorce was never shown on the stage for obvious moral reasons.In Menaechmi the husband threatens his wife with repudium because hefeels a slave in his own house - an ideal wife should - under no circumstances - spy on her husband or even ask him about his affairs. The position of a men in this relationship is rather weak - his wife brought a largedowry and he is simply afraid of what he could lose by ending his marriage. In Mercator Syra, a slave-woman, comments that husbans are allowed tohave sexual contacts with other women, whereas their wives can be easilyrepudiated even if seen outside their houses without a permission. Thereseems to have been no possibility for a woman to demand divorce in Romeof the III/II century B. C. Plautus uses this fact for comical purposes. InAmphitruo Alcumena speaks the formula of repudium as if backwords: tibihabeas res tuasy reddas meas, making it sound as if it was her husband to repudiate her.Plautus gives a lot of evidence that divorces were quite common in histimes and that the Romans knew perfectly all its legal aspects.

scholarly journals Analisis Mural Karya Arnis Muhammad Ditinjau Dari Segi Fungsi dan Gaya

2021 ◽  
Vol 4 (2) ◽  
pp. 767-773
Author(s):  
Alpiza Simah Budi ◽  
Daulat Saragi
Keyword(s):  
Everyday Life ◽  
Public Space ◽  
Environmental Conditions ◽  
General Public ◽  
Qualitative Method ◽  
Sampling Technique ◽  
Two Dimensional ◽  
Aesthetic Value ◽  
Work Of Art ◽  
Selection Of

This study aims to describe the function and style of the mural by Arnis Muhammad. Mural as art in public space, which means that the space for movement and the target audience for the audience and audience is the general public. As a two-dimensional work of art, mural is also inseparable from style. Visually, the style in a work of art is the selection of objects, techniques, colors, and environmental conditions, time, era, and environmental conditions in which an artist creates his work. The population in this research is that all of Arnis Muhammad's mural works for the 2017-2019 period are 51 works. In this study the authors took samples using purposive sampling technique. The reason for taking samples is the number of mural works that still exist and are still intact. There are 10 mural works in the research location. In this case, the writer examines these mural works based on their function and style. The method used in this research is descriptive qualitative method. The function of the mural by Arnis Muhammad is a personal function as a reflection of the resonance of the environment in which he lives. Social function, as a form of concern for the environment and the surrounding community in everyday life. Physical function, as an aesthetic value enhancer and the various ways the general public use it. Arnis Muhammad's murals tend to have a surreal and decorative style.

Rinuccini the craftsman: A view of his L'Arianna

1999 ◽  
Vol 18 ◽  
pp. 75-117 ◽  
Author(s):  
Bojan Bujić
Keyword(s):  
Fin De Siecle ◽  
Work Of Art ◽  
Fin De Siècle ◽  
The Status ◽  
History Of ◽  
As If ◽  
The Craftsman

Like her crown, which according to the story shines in a constellation, L'Arianna as a work of art shimmers as a distant and mysterious object, and the loss of Monteverdi's score, apart from the famous lament, makes it one of the great ‘if onlys’ of the history of music. Artistic responses to L'Arianna range wide. In Gabrielle d'Annunzio's novel Il fuoco, Stellio Effrena and his group of aesthetes in fin de siècle Venice embrace Monteverdi, and Arianna's lament in particular, as a home-grown antidote to Wagner, elevating ‘Lasciatemi morire’ to the status of an Italian precursor of the ‘Liebestod’. Recently Alexander Goehr gave a new lease of life to Ottavio Rinuccini's libretto in his opera Arianna, first performed in September 1995, and, as if not to desecrate a hallowed object, he included in the opera a recording of the opening of Monteverdi's surviving fragment sung by Kathleen Ferrier.

scholarly journals A First Line of Defence? Vigilant surveillance, participatory policing and the reporting of ‘suspicious’ activity

2017 ◽  
Vol 15 (1) ◽  
pp. 94-107 ◽  
Author(s):  
Sebastian Larsson
Keyword(s):  
Everyday Life ◽  
Political Campaigns ◽  
The State ◽  
First Line ◽  
Current Role ◽  
Security Practices ◽  
Terrorist Acts ◽  
Suspicious Activity ◽  
As If

What is at stake when citizens are encouraged to deploy vigilant surveillance and report what they consider to be unusual and “suspicious” activity? This article explores the current role of vigilance in contemporary Western security practices aimed at battling terrorist acts and major crime. It does so by critically analysing official constructions of suspiciousness, the responsibilisation process of participatory policing, and the assignments of prejudiced amateur detectives. It concludes, firstly, that the agency offered by political campaigns such as “If You See Something, Say Something” is highly illusive since the act of reporting simply demarcates where participation ends, and where fear and paranoia are turned into legitimate intelligence, enabling the state to exercise authoritative action and preemptive violence. Secondly, these kinds of vigilance initiatives also nurture a normalisation of suspicion towards strangers since the encouragements to be aware of anything-and-anyone deemed “out of the ordinary”, as well as the tools for reporting such suspicions, increasingly creep into the mundane realms of everyday life.

Comparative Aesthetics

2009 ◽  
Author(s):  
Kathleen Higgins
Keyword(s):  
Everyday Life ◽  
Fine Art ◽  
Institutional Environments ◽  
Work Of Art ◽  
Concert Hall ◽  
The Enlightenment ◽  
State Of Mind ◽  
At Home

One of the first questions that arises in efforts to conduct comparative aesthetics is whether or not the terms ‘art’ and ‘aesthetics’ are inextricably bound to certain cultures and their presuppositions. Since the Enlightenment, the dominant Western conception of ‘fine’ art is distinguished from that of ‘crafts’ used in everyday life. A work of art is understood to be designed primarily for contemplation; if it serves any other practical function, this is considered to be secondary. Theorists disagree on the criteria for judging the work of art, but typically these are linked to a state of mind in the observer (whether emotional, intellectual, or some combination of the two). Works of fine art, being geared to reflective appreciation, are at home in institutional environments that are free from the distractions of everyday life, such as the concert hall or the museum.

scholarly journals Oswald Theodore Avery, 1877-1955

1956 ◽  
Vol 2 ◽  
pp. 35-48 ◽  
Keyword(s):  
Medical Research ◽  
Everyday Life ◽  
Rockefeller Institute ◽  
Surrounding World ◽  
Social Gathering ◽  
Tristan And Isolde ◽  
As If

Oswald Theodore Avery, Emeritus Member of the Rockefeller Institute for Medical Research, died in Nashville, Tennessee, on 20 February 1955 at the age of 78. His name calls to mind a slender, affable, neatly dressed man with large brilliant eyes and a smile of welcome. Very early in his career Avery came to be known as ‘The Professor’—or more familiarly ‘Fess’—and he retained this nickname throughout his life even though he eventually gave up lecturing almost entirely. He was indeed ‘The Professor’ by virtue of his gentle wisdom in counsel and of his art as an expositor of science—always spicing his performance with mimicry, pithy remarks, picturesque analogies and verbal pyrotechnics. The appellation ‘The Professor’ symbolizes the extroverted, engaging aspect of Avery’s personality, which made any contact with him such an enjoyable and rewarding experience. To a few of us who saw him in everyday life, however, there was often revealed another aspect of his personality, less obviously pleasurable but with a more haunting quality. We remember a brooding forehead that appeared too heavy for the frail body, a gaze focused inwardly as if unconcerned with the surrounding world, a melancholy figure whistling gently to himself the lonely tune of the shepherd song in ‘Tristan and Isolde’. Avery’s response to the demands of society was made up of these two conflicting attitudes. The telephone would ring announcing a visitor, or bringing an invitation to some social gathering. The reaction was immediately one of joyful acceptance, or of profuse regrets couched in the most flattering language in case of refusal. Then, as the conversation ended, the smiling mask was suddenly dropped. From behind it appeared a tired and almost tortured expression. The telephone was pushed away on the desk as a symbol of lassitude and of protest against the encroaching world.

scholarly journals Zużyta kategoria uczestnictwa? Między polską tradycją humanistyczną a perspektywą performatywną

2017 ◽  
Vol 20 ◽  
pp. 85-104
Author(s):  
Magdalena Matysek-Imielińska
Keyword(s):  
Social Movements ◽  
Everyday Life ◽  
Cultural Practices ◽  
The Self ◽  
Work Of Art ◽  
Culture Studies ◽  
Modern Culture ◽  
Dynamic Character ◽  
Humanistic Tradition

A Worn-out Category of Participation? Between Polish Humanistic Tradition and a Performative PerspectiveIn the field of Polish humanist studies, the category of “participation in culture” has been broadly examined. Nowadays there are more frequent voices announcing “the end of participation culture”, and that it is ahighly exploited research category. Instead, the academics underline the dynamic character of changes in modern culture and the necessity to attract attention to its “active” aspect, underlining the self-agency of subjects. Thus in the area of culture studies, we observe an interest in performative perspective.In Polish humanist studies Isearch for such participation concepts, which go beyond the field related to arts establishing relation work of art — recipient and activist engagement indicating f.i. resistance, or social movements. Iam particularly interested in theoretical proposals, related to the category of everyday life, social and cultural practices, or even the category of praxis. While recalling this category Iinquire, whether performative perspective can be inspiring and helpful for redefining and modernizing the category of participation in culture.

scholarly journals Subjunctive and Interpassive “Knowing” in the Surveillance Society

2015 ◽  
Vol 3 (2) ◽  
pp. 63-76 ◽  
Author(s):  
Sun-ha Hong
Keyword(s):  
Everyday Life ◽  
Sensory Experience ◽  
The Public ◽  
Close Analysis ◽  
Mediated Discourse ◽  
Surveillance Society ◽  
As If

The Snowden affair marked not a switch from ignorance to informed enlightenment, but a problematisation of <em>knowing</em> as a condition. What does it mean to know of a surveillance apparatus that recedes from your sensory experience at every turn? How do we mobilise that knowledge for opinion and action when its benefits and harms are only articulable in terms of future-forwarded “as if”s? If the extent, legality and efficacy of surveillance is allegedly proven in secrecy, what kind of knowledge can we be said to “possess”? This essay characterises such knowing as “world-building”. We cobble together facts, claims, hypotheticals into a set of often speculative and deferred foundations for thought, opinion, feeling, action. Surveillance technology’s <em>recession </em>from everyday life accentuates this process. Based on close analysis of the public mediated discourse on the Snowden affair, I offer two common patterns of such world-building or knowing. They are (1) <em>subjunctivity</em>, the conceit of “I cannot know, but I must act as if it is true”; (2) <em>interpassivity</em>, which says “I don’t believe it/I am not affected, but someone else is (in my stead)”.

Mise en abyme and Tragic Signification in the Odyssey: The Three Songs of Demodocus

Mnemosyne ◽  
2006 ◽  
Vol 59 (2) ◽  
pp. 208-225
Author(s):  
Yoav Rinon
Keyword(s):  
Literary Work ◽  
Poetic Form ◽  
Work Of Art ◽  
Cognitive Reactions ◽  
Mise En Abyme ◽  
Dialogical Relationship ◽  
Literary Work Of Art

AbstractThis essay highlights some aspects of the tragic conception of the Odyssey in assertion of its generic identity, focusing on the three songs of the bard Demodocus recounted in Book 8 of the epic and using mise en abyme as the primary exegetical tool. Mise en abyme, a narratological term denoting a certain part of a literary work of art that represents the work as a whole, functions in Demodocus' first song to mark the Odyssey as an epic in dialogue with the Iliad. The second song functions as a mise en abyme of both the content of the Odyssey and its poetic form. The last of the bard's songs enhances the perception of mise en abyme, viewing the Odyssey as an act of communication between poet and audience where the song and its responding listeners suggest emotional and cognitive reactions to the narratees of the Odyssey. This song also reflects the two earlier ones, and it is this dialogical relationship that leads to the epic's tragic signification.

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