DOI: 10.7256/2454-0757.2019.9.30725

Abstract: The object of this research is the interdisciplinary concept of “canon”, interpreted by the author applicable to cinematographic experience of the prominent European film director Krzysztof Kieslowski. Attention is turned to the possibility of simultaneous analysis of his films with rhetoric about the structural peculiarities of lyrical oeuvre of the philosopher Martin Heidegger. Analyzing the film “Decalogue” and other films, the author comes to the conclusion on the formation of a special historical canon of screen reality in Kieslowski’s films, based on the long emotional experience of the shown events and the utmost emotional suggestion of films consciously created by the film director using the chronotropic elements. The main research method is the film study analysis of Krzysztof Kieslowski’s films based on interpretation of classical, interdisciplinary (art history, culturology) concepts: canon and chronotope. The scientific novelty consists in the synthesis and interpretation of the terms of classical art (canon, chronotope) with the lively, defined individually by the viewer, text of cinematographic work. Another conclusion lies in the statement on the longstanding nature of experiencing the storyline twists of Kieslowski’s films, created in accordance with the laws of historical canon and emotional content of the plot.

DOI: 10.7256/2454-0757.2019.9.27193

Abstract: The subject of this research is the category of the whole; at first sight, its popularity has faded, resembling the legacy of the “old metaphysics” alongside its other categories: substance, entity, spirit, etc. Although, being transported into the register of procedure, structures and systematicity, it did disappear from the methodological horizon; one of its modern reincarnations is time, firs and foremost, in interpretation of M. Heidegger. Multiple criticisms of universalities avoided the totality of temporal, and moving a bit forward along them, totality of the time as a form that excludes universality from the “content”. At the same time, the “game” represents a relevant horizon of ontology, exists within it in parallel to “temporality”; started obtaining its own history the game has no ontology and in no way (productively) can be correlated with “time”. The research is oriented towards filling up this lacuna; its methods are aimed at reconstruction of the question and restoration of time-game genealogy, as well as correlation of the form and content of temporality in such relation. The scientific novelty consists in outlining the dialectics that is based on the game of transitions (circulation) of the form and content of the time (category of time as circulation of the form and content).  It is established that the form of time manifested as a primary subject of prior analytics, while the contents in its universality (aphoristically expressed by the transition of challenges into answers) completely fell out of the analytic field; similar is the fate of circulation – being restored as a core category of whole-time.

DOI: 10.7256/2454-0757.2019.9.27588

Abstract: The subject of this research is the sacred viewed as the experiences in its earthly orientation, in other words – “religion only within the boundaries of faith”. The research is based on monism of the will, identifies as motive that historically precedes “human” and one that formed the latter. Sacredness in light of the accepted paradigm is considered as one of the (dialectical) poles of the will, taken by metaphysics for the Unified (Good), by ontology – for being (Spirit, being within itself, being of the Other, etc.). Such paradigm defines the methodology for this study; within its framework is conducted gradual reduction of the “religious” to the initial feeling (obsession); in the context of this state, initiated by scarification, the author examines ontology of the will in its structural similarity with the being. The scientific novelty is substantiated by reconstruction of the circumstances of genesis and analytics of mechanism of “containment” of social being; for the first time “sacred” is introduced as a transcendental (dialectical) paradigm, prefacing givenness of one or another form of existence-realization (subject-object relation) with fight strategy for the position-subject at “starting point” of self-conditionality (freedom).

DOI: 10.7256/2454-0757.2019.9.30948

Abstract: This article methodically addresses the main features of hermeneutics of color. Its uniqueness is based on the subjectivity of perception of color by the cognizing subjects. Due to such “gap” in understanding, substantiated by the subjectivity of a viewer, emerges an aesthetic moment in perception of the visual. Interpretation is based on the analysis of the peculiarities of color texts, the so-called “atoms” of color reality (phenomenological generalization of the concept of “color”), and is accompanied by application of the obtained conclusions to the analysis of the language of painting. The understanding of color text is realized as correlation of the internal and external contexts. The first one includes the constant content, while the second incorporates all of the aspects that are justified by the situation and state of the viewer himself. The meaning of color texts is defined as a result of the “color conclusion”: received impression, created image. Viewer is endowed with the function of completion. In communication, the understanding of color text is based on the categories of color: linguistic (verbal) and basic (color). Within the framework of philosophy of the Other, becomes relevant the question of adequacy of conveying the “color meaning” from Self to Other. Such adequacy may vary and depend on the accepted rules of the language game (according to L. Wittgenstein). The language of painting is described in procedural aspect and exists in two forms: the language of painting as such (is based on differentiation of painter’s activity into inseparable components), and the metalanguage, structured within the mind of painter or viewer based on the creation of images. The author presents the analysis of interpretation process of paintings in the context of the language of painting, as well as within the framework of metalanguage.

DOI: 10.7256/2454-0757.2019.9.30976

Abstract: This article examines the imagery systems created by the Russian animation film director Dmitry Geller on the example of his films of various years. An important feature of D. Geller is that each successive work differs from the previous in both, storyline and visual solutions. The subject of this research is the uniqueness and evolution of imagery systems of animation films of D. Geller, while the object is his animation films from the early to more recent. The author analyzes the conceptual layers, language of narration, visual and expressive means, as well as technological solution of the films. The following conclusions were made: inventing separate artistic worlds, D. Geller uses diverse methods for creation of his imagery systems – from distinguishing separate layer within the systems and various ways of their visual, color and technological realization with an unexpected effect, to the creation of the previously unseen characters and silver screen level of animation. The author’s contribution to the research of this topic consists in the detailed systematic analysis of Geller’s works. The scientific novelty is defined by an attempt of viewing D. Geller’s films from such perceptive.