2024-03-29T11:10:49+03:30 http://kimiahonar.ir/browse.php?mag_id=25&slc_lang=fa&sid=1
25-1129 2024-03-29 10.1002
Kimiya-ye-Honar کیمیای هنر 2251-8630 10.22034 2017 6 24 Paul Ricoeur’s Reading Of Mimesis Mohammad Hossein Khosravi Khosravi@gmail.com Masoud Olia Masoud.olia@gmail.com This essay tries to discuss and analyse Paul Ricoeur’s reading of mimesis, which is among the most important and most discussed concepts in the history of philosophy of art, and to show how, beginning with Aristotelian concept of mimesis and attending to its associate concepts, i.e. mythos and praxis, he expands its field of significance and puts it in a reciprocal and enriching relation with the concepts of time and narrative and gives new meanings to the act of narration. Accordingly, it will be shown that Ricoeur’s work on the narrative can provide a new way to think this relation in the light of  phenomenology and hermeneutics. This essay, based on the descriptiveanalytical method, is divided in two parts. In the first part, the significant elements of the conceptual network which forms the context of Ricoeur’s discussion of mimesis, namely Aristotelian mimesis, narrative understanding and Augustinian notion of time, are considered and analysed, and in the second part, what Ricoeur means by mimesis and its threefold moments, mimesis1, mimesis2 and mimesis3, is elaborated. It will be shown that these three moments of mimesis are correspondent to threefold concepts of prefiguration, configuration and refiguration, and Ricoeur’s conception of mimesis can give new significations to the Aristotelian concept of mimesis and phenomenological concepts of time, temporality and act by linking them. mimesis act praxis poiesis emplotment narrative mythos time 2017 11 01 7 21 http://kimiahonar.ir/article-1-1129-en.pdf
25-1130 2024-03-29 10.1002
Kimiya-ye-Honar کیمیای هنر 2251-8630 10.22034 2017 6 24 The Meaning of “Artistic Creation” for Kant and Heidegger and its Comparison with Ricoeur’s Understanding of “Narration” Majid Heidari mjd_heidary@gmail.com MohammadReza Rikhtegaran rikhteg@yahoo.com Artistic creation is normally understood as subjective work of a genius; consequently an independentholy creation. Such an understanding is mainly due to Kant’s conception of aesthetic experience. In his point of view, artistic creation is equal to “synthesis” of productive imagination. Perceptions of intuition are schematized and synthesized by imagination to be categorized in understanding. Heideggerian conception of artistic creation is related to cultural (lifestyle) functions of art. In fact, artistic creation means manifesting, articulating, and reconfiguring lifestyle. Ricoeur equals creation with innovation in meaning that happens in two main ways: metaphor and narrative. Metaphor establishes new connections between ideas or things and through these new associations redefines the world. In seemingly the same process, emplotment (in the same action as Kant’s synthesis) gives order to set of actions or events in a specific causal relations and specific temporality in order to make a whole which is called story. Ricoeur believes that configurational mode of thinking is one of the main modes of conception that is responsible for gathering together or configuring actions or events. Therefore, story is not only an artistic genre but it is a mode of thinking that is related to artistic creation. Reviewing Kant and Heidegger on artistic creation and comparing their approach with Ricoeur we come to the conclusion that the latter’s theory of artistic creation seems to be more comprehensive, connecting the artistic creation with narrative. artistic creation synthesis configuration narrative narrative thinking 2017 11 01 23 33 http://kimiahonar.ir/article-1-1130-en.pdf
25-1131 2024-03-29 10.1002
Kimiya-ye-Honar کیمیای هنر 2251-8630 10.22034 2017 6 24 The Comodified Aspect of Autonomy of Art Work in Adorno’s Aesthetic Mehdi Qadernezhad Mehdi.ghadernezhad@yahoo.com Marzieh Piravivanak Mpiravivanak@gmail.com Sadreddin Tahery Sadreddin_tahery@yahoo.com The problem of Autonomy of art in Adorno’s aesthetic is one of the most valuable and impressive subjects in contemporary aesthetic. On the one hand, Adorno uses “monad” metaphor (in Leibnizian meaning) for describing autonomous art work, and, on the other hand, he introduces art work as an absolute commodity. This study wants to answer this question: according to Adorno’s idea, how autonomous art works are to be realized under the condions where commodified relation are dominated? Understanding this subject is dependent on conceiving the theoretical basis of Adorno’s philosophy and especially his negative dialectic theory. In the first part of this study I would try to prove the necessity of Adorno’s dialecticalhistorical defense of autonomy of art with a short explanation of his non- identical thinking approach and negative dialectic theory, as a basis of his philosophy. In the second part, while explaining the aspect of political economy in the theory of negative dialectic and by elucidating the dominant commodified logic in art, I would try to clarify that the art work reveals the absolute commodity to be an aspect of autonomy. adorno’s aesthetic art work autonomy political economy commodification absolute commodity 2017 11 01 35 46 http://kimiahonar.ir/article-1-1131-en.pdf
25-1132 2024-03-29 10.1002
Kimiya-ye-Honar کیمیای هنر 2251-8630 10.22034 2017 6 24 A Study on the Evolution of Aesthetic Ideas in Four Treatises of Islamic Practical Wisdom Ehsan Rajabi ehsan18@gmail.com Practical wisdom is one of the neglected fields in studying the theoric principles of Islamic art. One of the basic topics of practical wisdom which can be a basis for discussing about aesthetics and craftsmanship, is human practice and its realtion with “justice” or in other words “equilibrium”. In early treatises of practical wisdom such as Tahḏib al-aḵlāq wa-taṭhir al-arāq written by Abū Alī Meskawayh, equilibrium is the pivot point of ethical discussions. In Aḵlāq-e Nāṣerī written by Ḵhāja Naṣīr-al-dīn Ṭūsī, equilibrium gradually implies some aesthetic aspects and becomes equivalent to concepts like unity, beauty and proportion. Davānī’s reflection on aesthetics in Aḵlāq-e Jalālī, consolidates his former discussions. Jāme’ al-sa’ādāt written by Mollā Mohammad-e Narāqī, is one of the last important treatises that confirms previous aesthetic ideas with a more religious approach. Reflecting on this intellectual process, a kind of aesthetic theory can be recognized which is based on equilibrium and states that there is a common meaning which is called equilibrium of humors when it appears through four elements, harmonic melodies when it appears in musical notes, rhetoric when it appears in combination of words, beauty when it appears in members of a body and justice when it appears in human morality. practical wisdom ethics aethetics islamic art equilibrium justice 2017 11 01 47 58 http://kimiahonar.ir/article-1-1132-en.pdf
25-1133 2024-03-29 10.1002
Kimiya-ye-Honar کیمیای هنر 2251-8630 10.22034 2017 6 24 John Cage and Catharsis in the Light of an Artistic Experience Zahra Akhoundi zahra.Akhondi@modares.ac.ir Reza Afhami Afhami@modares.ac.ir Catharsis is construed as the moral affair in Aristotle’s thought, the emotionalsomatic discharge and cognitive awareness in Brecht’s theater and the informative conflict around the life experience in Vygotsky’s writing. John Cage, a prominent musician in the 20th century, also considers the core of his artistic thought to be the creation of a challenge for the audience’s perception in terms of the identification of musical experiences and performances. This paper aims to investigate the existence and concept of the cathartic experience in Cage’s works, and concerning this, employs a chronological and descriptive-analytical method and relies on library resources. The findings indicate three stages of changes in his thought, from distancing to motivating audience for intervention and finally, influenced by Zen, promoting the audience to the artist’s position as his own special method. In this way, Cage makes Catharsis as audience’s permanent experience in life. catharsis John Cage contemporary art artistic experience performance 2017 11 01 59 74 http://kimiahonar.ir/article-1-1133-en.pdf
25-1134 2024-03-29 10.1002
Kimiya-ye-Honar کیمیای هنر 2251-8630 10.22034 2017 6 24 Studying the Effects of Tragedy in Moral and Cognitive Judgments According to David Hume Milad Roshani Payan milad.roshany@gmail.com David Hume, the Scottish empiricist, wrote a very short essay called “Of Tragedy”. It is always treated as an important text when discussing Hume’s view on tragedy. Hume begins the essay with the following question: why is it that tragedy is pleasurable, in spite of the painful passions it causes? Hume focuses on tragedy and its relationship with passions. So far Hume’s view on this relationship has been formulated in many different ways, one of which is Hume’s conversion theory. According to this theory, painful passions are turned into pleasurable ones using stylistic and formal rhetorical means. This view has been constantly proved, disproved, edited and changed by either its supporters or its critics. However, in most cases, the supporters or the critics agree that tragedy induces pleasure using poetic or rhetoricalstylistic means. This view goes on to argue that all the functions and effects of tragedy should be reduced to functions and effects of taste and aesthetic, focusing on the production of pleasure. This paper tries to explore other effects of tragedy according to Hume. First I would analyze and explore the ignored parts of the “Of Tragedy” essay, then I look into Hume’s thoughts on tragedy, scattered over other Humean texts and finally, I would situate Hume’s essay in the broader context of Hume’s philosophy to compare his other philosophical ideas with those focusing on tragedy. This way we can analyze other effects of tragedy according to Hume, especially its effects in the domain of cognition and mortality, and also find a way to reconsider Hume’s conversion theory. tragedy David Hume passion impression Hume’s conversion theory belief judgment 2017 11 01 75 86 http://kimiahonar.ir/article-1-1134-en.pdf