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Man and Culture
Reference:

Hermeneutics and Transgression in Modern Cinematograph
Faritov Vyacheslav Tavisovich

Doctor of Philosophy

professor of the Department of Philosophy at Ulyanovsk State Technical University

432027, Russia, Ul'yanovskaya oblast', g. Ul'yanovsk, ul. Severnyi Venets, 32

vfar@mail.ru
Другие публикации этого автора
 

 

Abstract.

In article specific characteristics of an esthetics of modern cinema art on the example of the philosophical analysis of the movie of David Lynch "Malkholland Drayv" are considered (2001). Two opposite ways of reading of the movie are investigated: hermeneutics and transgression. The first way assumes the interpretation reducing heterogeneous subject lines to both the uniform semantic and subject center. The second way assumes refusal of possible interpretations and the statement of openness, plurality and a transgressivnost of work. Philosophical and esthetic justification of the second approach was carried out by such authors as M. Bakhtin and Zh. Delyoz. Along with traditional methodology in article the methodological arsenal of nonclassical philosophical thought is used: semiotics, post-structuralism and deconstruction.Advantage of transgression before germenevtichesky approach for research of an esthetics of a modern cinema locates in article. The hermeneutics sends to opposition "the meaning - meant", to representation and, finally, to metaphysics and a transtsendention. Lynch's movies are based on an esthetics of other character: on the transgression eliminating an order of representation and opening plurality of heterogeneous lines, irreducible to unity. These lines are constantly crossed with each other, pass one into another, forming a difficult contrapuntal pattern. Lynch's art places us in transgressive space of true singularities and events.

DOI:

10.7256/2306-1618.2014.3.13391

Article was received:

22-10-2014


Review date:

23-10-2014


Publish date:

23-10-2014


This article written in Russian. You can find full text of article in Russian here .

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