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MAIN PAGE > Journal "Philosophical Thought" > Rubric "Aesthetics"
Pyrova T.L. -
Art is method: theory and practice of the New Black Aesthetic
pp. 60-67


Abstract: This article is dedicated to the examination of the New Black Aesthetic trend and determination of its basic peculiarities. It originated in 1960’s in the United States as a response of the Afro-American population to the autocratic discourse of the white culture. Having emerged as a part of the “Nation of Islam” movement, the New Black Aesthetic rapidly transformed into the independent art movement, becoming comprehensible through the specific set of categories. The starting point of conceptualization of the aesthetical practice in terms of the considered trend lies in persuasion that the result of art must be the transformation of social life. It reconciles the New Black Aesthetic with the philosophical positions of pragmatism and neo-pragmatism. The article also separately examines the problematic of subversive relation to the New Black Aesthetic from within the Afro-American community, concentrated in the concept of “cultural mulatto”. The author refers to the framework of multimodal materials of the indicated aesthetical trend, using the visual-semiotic, content, and historical-comparativist analysis.  The author introduced into the discourse of Russian aesthetic research the description of one of the most significant aesthetic projects of the XX century – New Black Aesthetic (NBA), as well as characterizes the political and historical context of its establishment, key peculiarities, and impact upon the contemporary cultural movements.
Fetisova E.E. - About the latent existence of Paris Note: the Ark pp. 75-85


Abstract: The subject of this research is the phenomenon of “Russian Renaissance” as a little-studied cultural paradigm of the XX century, its history and philosophical core – the “Paris Note”. This article illustrates the distinctive features of “Paris Note” and poets, who had similar to it perception of the world. The author analyzes the foundation of the “Paris Note”, as well as concept, poetry of symbolism, neoclassicism, and acmeism. The work also examines the “synchronic-reminiscent chronotope, by the virtue of which was created the genre polyphony alongside the “monologue on polyphonic basis”. For the purpose of revelation of the content of neo-acmeism as an artistic direction of the XX century, the author attracts the peculiarities of its functionality in external communication with symbolism, which transformed into its latent phase in 1934, and neoclassicism. Comparative analysis along with the method of semiotic reconstruction of a poetic text, serve as the key towards understanding of the internal structure of neo-acmeist cultural paradigm. Neo-acmeism in emigration continued the mission of symbolism: “duality of the world”, concept of the world as “aesthetic phenomenon” transforms into the principle of mystical energetism, cognizing the noumenal world through the “mystical revelation”. Emigrant neo-acmeism is determined as the synthesis of elements of modernism and realism: its poetry combines the mystical worlds, “real-irreal” dichotomy, symbolic “doctrine of correspondences”, and clarity, historical specificity inherent from realism. The conclusion is made that neo-acmeism (“Russian Renaissance”) in its structure contains a so-called converging mental code of the Russian culture, which connects the diverse poets within the framework of a single literary movement. Such way of examination of neo-acmeism as the continuous paradigm of post-symbolic traditionalistic creative work, as well as one of the important lines of literary development that combines the domestic and foreign experience, contributes into determination of the inner wholeness of Russian literature, which develops within the dialogue of various artistic systems (symbolism, acmeism, and neoclassicism).
Lipov A.N. - About the incommensurate entities in the philosophy of Pythagoreans. To the philosophical grounds of irrational proportions in science and culture pp. 93-110


Abstract: The subject of this research is the philosophical grounds that predetermined the discovery of proof of the existence of incommensurate or irrational magnitudes in the philosophy of Pythagoreans at the time when the very notion of irrationality was an anathema for those suggesting that the numbers were the rational entities underlying the Universe. Therefore, it became possible to express both, physical and cultural-aesthetic consistencies, by the similar to each other mathematical rows and geometrical proportions that predetermines the calculation methods for harmonic structures, uninterrupted proportions and limiting values – the first premise to the structure of ancient teaching on formation. Based on the interdisciplinary analysis and comparative method of research, the article analyzes the history of discovery of the phenomenon of incommensurability and irrationality. A conclusion is made that back in Pythagoras’ times, this discovery led to the need for substantial transformation of the entire fabric of elementary geometry in anticipation of structuring the general theory of proportions, causing the first in history crisis of ancient philosophy and mathematics. The author also substantiates and traces the discovered by Pythagoreans correlation between the irrational proportions and irrational mathematical constant of “golden ratio” that underlies the architectural proportions in the history of culture, as well as reflected in various regularities and spheres of human existence – science, culture, architecture, and art. Among the main conclusion is also the author’s hypothesis that universality of the irrationality of magnitudes of “golden ration” and their prevalence in the diverse natural and cultural regularities up to the present encourages the pursuance of meanings, which would unite them into a certain common theory that generalizes and expresses the structure of global constants.
Koptelova T.I. - Aesthetics of music of the XXI century in paradigm of organic philosophy pp. 101-114


Abstract: This article examines the various aesthetic paradigms of music, as well as analyzes the possible directions in development of the aesthetics of music of the XXI century. Music is viewed from the perspective of paradigm of the social philosophy. The impact of aesthetic ideals of avant-garde music of the XX century upon the contemporary art of music. The author studies the aesthetics of song form, as well as considers the possibility of “neoclassical synthesis” – the creation in modern aesthetics of music of the idea of new classics, which continues its traditions throughout the period of XVII-XIX centuries, preserving the song form as an expression of national character and the original integrity of arts (music, poetry, dance). The work also reviews the problems of spiritual crisis of modernity reflected in the aesthetic ideals of music. Analyzing the modern aesthetics of music, the article applies the methodology of organic philosophy (its peculiar form of phenomenology and hermeneutics), as well as the typological and comparative analysis, method of synthesis and historical-philosophical reconstruction. The latter allows posing a question about the aesthetics of music as a phenomenon through referring to the historical evolution of its interpretations as cultural phenomena. Comparative analysis helps correlating the various aesthetic-music paradigms. Hermeneutic methodology reveals the individual interpretations of music introduce by separate composers, philosophers, and culturologists. The scientific novelty is defined by viewing the aesthetics of music of the XXI century through the prism of organic philosophy, which paradigm allows manifestly realize the need for creativity as an intrinsic part of human existence and astonishing phenomenon, without which the life of future generations is impossible. Due to this, organic philosophy reveals the determination of the future, and allows viewing the fourth dimension of the aesthetics of music, connected with the entire palette of human feelings, inherent property of spiritual demands along with their individual realization.
Demenev D.N. - Interaction Between 'Taste', 'Measure' and 'Harmony' in Artwork pp. 109-139


Abstract: The main question considered in article is the question of interaction in works of painting of three structural components: taste, measure and harmony. Building structure of a work of art on the basis of this triad, the author proves that art taste is not simply esthetic category, but such active structural component of art creativity which, being inherent initially in its carrier artist, subsequently finds itself in the finished work of art. This structural component, along with "measure" and "harmony" is, according to the author, one of the main (main) form-building structural components of a work of art. At the end of research, the author unexpectedly comes to a conclusion about similarity of a functional purpose of a measure and taste, but parts these categories by identification of the nature of their functioning.Methodological base of this research is the method of the structurally functional analysis; dialectic method; method of a germenevtichesky reduction; method of intellectual speculation, and also general scientific (general-logical) methods: analysis, synthesis, induction, deduction, analogy, modeling. As a result of the conducted research, the author comes to the following conclusions: 1. The great guess of I. Kant about social background of antinomy, remains an actual problem and today. 2. In art and creative process, the artist, creating a work of art, deals not with judgments of taste, and with an embodiment of the flavoring judgments in a work of art. And the conclusions about the acceptability and applicability of this or that flavoring preference (i.e. judgments) for concrete work separately, are taken out by reason of the artist.3. The unity of a work of art, is approved by a triad: first of all – a sozdannost of a work of art, then presentation and an oshchushchayemost. This triad which is esthetic installation of the author, in turn, reveals through the following triad - a triad of structural characteristics of a work of art: measure, harmony, taste.4. The measure and taste, is more subjective structural components whereas harmony, having been born as a result of merge of the first of two, is objective education.5. As a result of existence at art of function not only esthetic, but also psychological, substantial, communicative and, is wider – world outlook – disharmony as an art composition method, is quite proved to put perhaps in one row with harmony. 6. The measure will be necessary until original, that is creative works of painting which, in turn, will depend on novelty of a context are created.
Fetisova E.E. - Neo-Acmeism of Joseph Brodsky: composition of the mystery The Procession pp. 109-117


Abstract: This article reveals the romantic aesthetic of neo-Acmeism as one of the key directions in literature of the XX century, its concept and specific mythology, which in turn, establishes the poetic world model. The author analyzes the worldview and poetic world of generation of the “Sixtiers”, as well as views its spatial-timely continuum, coordinates, artistic space and time as a peculiar aesthetic and verbal phenomenon. The work introduces the notion of synchronic-reminiscent chronotope, shifted towards the boundaries of the real space and time, by the virtue of which the “monologue on the polyphonic basis” is created in mythology. The author examines the works of Brodsky – poetics, chronotope, and composition of the insignificantly studied poem-mystery “The Procession” with reference to the neo-Acmeist paradigm. In the center of comparativist approach is the resemblance of expressive means of the author’s stylistic, from literary approaches, general phrases, quotes, and allusion to the wholeness of the author’s concept of lyrical plot, artistic space and time – the synchronic-reminiscent chronotope that in a similar way is presented in the mystery “The Procession”, “Poem Without A Hero” by A. Akhmatova, “Divine Comedy” by Dante, antique tragedies and plays of H. Ibsen and A. Strindberg. Comparative analysis and the method of semiotic reconstruction, complementing each other contribute into the detailed decoding of e poetic text. The scientific novelty consists in the fact that for the first time the work of Brodsky is subjected to comprehensive interpretation, viewed in light of action of the cultural memory mechanism, and author’s mythology – as the synthesis of form and content. The article analyzes the peculiarities of functionality of neo-Acmeism in external communication with the traditional Acmeism, differentiates the literary groupings and chronological frameworks of the “new Acmeism”, as well as determine the ontological dominants in the works of an “esoteric circle” of the neo-Acmeist “Sixtiers”. This method allows reconstructing the phenomenon of the “Sixtiers”, which comprises the ontological core of neo-Acmeism as a continuous line of post-symbolic and traditionalistic creative work. The author defines the genre innovations and traces the specificity of intercultural communication between the traditional and “Renaissance” Acmeism.
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