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Showing 5 results for Consciousness
Mir Jalal-Oddin Kazzazi, Volume 1, Issue 1 (1-2012)
Abstract
This essay is another phenomenological response to the old and familiar question of “what is art”. What is the origin of art and what mechanisms are engaged in its creation? To answer these questions we first trace the unconscious forms and reveal the structural connection between art, myth and dream only to finally find what ails the new and modern art.
Kambiz Hazrati, Volume 1, Issue 4 (11-2012)
Abstract
Philosophy has been always engaged with the visual yet, in the twentieth century and by the advent of cinema, some philosophers started to make particular theories about this new technology and the specific picture it offers. One of the most prominent philosophers of this realm is Gilles Deleuze who based his philosophy of cinema on the concept of time-movement relationship and hence challenged key issues of metaphysical tradition like time, movement and subjectivity. Applying Deleuze’s ideas in Picasso’s artworks, this article tries to put forth a better understanding of the concept of time in his works, particularly his still lives. Put in another more Deleuzian and more cinematic term, it would be tried to use a cameralike look, dependant on “camera consciousness”, for exploring a thematic relationship in Picasso’s works. This results in new challenging perspectives on his artworks too.
Majid Reza Moghanipour, Ashkan Rahmani, Volume 8, Issue 31 (9-2019)
Abstract
Myth, like any other form of narrative, has an undeniable role in visual imagination based on the foundations of mythical thought. Ernst Cassirer, by recovering the fundamental principles of mythical thought, brings against them to the foundations of contemporary rational thought and defines the fundamental features of mythical thought as compared to modern rational thought.
He also believes the path of human thought from mythical thought to rational consciousness. In this research, it has been attempted to provide a model for explaining the level of human thought in past civilizations using a descriptiveanalytical approach based on Cassirer’s epistemological approach to mythical consciousness as well as using archetypes presented in Joseph Campbell’s Theory of Heroic Journey. The case study is a Babylonian reading of Gilgamesh’s mythical narrative.
On the basis of these studies, it can be deduced that the logic governing many of the images formed in the mythological narratives of a civilization, given the level of transcendental thought of that civilization, lies within the mere bases of mythical thought and systematic logic of rational consciousness. In the meantime, as the content logic behind the visual imagination of the mythical narratives departs from the fundamental mythical principles, the structure of that narrative, and in particular its personality, takes on a more complex form.
Miss Mahboobeh Akbari Naseri, Mr Behrooz Elyasi, Volume 12, Issue 49 (1-2024)
Abstract
In the phenomenology of spirit, under the topic of religion, Hegel makes a brief reference to the art of sculpture in relation to the expression of the divine, but he deals with it in detail in his Lectures on Fine Art. The absolute, which is synonymous with the divine, in both texts, has been able to express self-conscious through sculpture as an art. In this article, an attempt has been made to draw a clear picture of the relationship between Mastership and Servitude to express the divine order in the art of sculpture, based on Hegel's thought. Hegel did not mention art in the chapter of Mastership and Servitude. However, it is possible to create a hermeneutic circle between Mastership and Servitude and the religion chapter in phenomenology of spirit and the Lectures on Fine Art. In this way, a new understanding of the art of sculpture can be achieved, based on the relationship between mastership and Servitude. In order to achieve this goal, this article has been done with the descriptive-analytical approach and the method of collecting information through library sources. The results of this research show that the art of sculpture in every stage of religion and art carries a part of the consciousness of the spirit and the divine order to itself. this consciousness is the inseparable consciousness of God and man, which in Hegelian terms is the same relation between Mastership and Servitude. The self-conscious of the Spirit as the content of the sculpture has precisely influenced its form. The highest level of this artistic self-conscious is in the Greek religion of beauty and its corresponding classical sculpture, in which confrontation, the sublation of Mastership and Servitude leads to the expression of the divine in the form of sculpture art.
Efatsadat Afzaltousi, Mrs Zohreh Taher, Volume 12, Issue 49 (1-2024)
Abstract
Myth, in its nature, have an undeniable relationship with artistic forms. Cassirer considers the structure of myth and art to be very similar, but he believes that the forms that serve the myth become a function, and in this position, such images cannot and should not be analyzed from an aesthetic point of view. Therefore, the question that arises is how to explain the relationship between myth and art in the formation of the final output of the components of mythological consciousness? With this aim, our paper deals with the case analysis of the painting "Salaman and Absal on the Island of Happiness" from Ibrahim Mirza’s Haft awrang and tries to examine Cassirer's opinions about mythological consciousness. Salaman and Absal is a myth that has its roots in Greek civilization. Ibn Sina is the first person who used the secret capabilities of Salaman and Absal, and some thinkers after him, such as Jami discovered the esoteric concepts of this narration and "Mirza Ali Tabrizi" is a painter who has illustrated this story. The research method is comparative-analytical and the library method was used to collect information. Findings show that in the cognitive components of mythic distinction and contrast, mythic causality, mythic perceptual mediators and mythic embodiment in this painting, it is the aesthetic imagination that serves the mythic imagination; But in mythological unity and qualitativeism, the painter's mythological imagination serves his aesthetic imagination. In fact, the output of the components of mythological consciousness is a result of the relationship between art and myth with an emphasis on aesthetic imagination, which is caused by the continuous relationship of image capabilities in the representation of mythological imagination.
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