https://periodicals.karazin.ua/thcphs/issue/feed The Journal of V. N. Karazin Kharkiv National University. Series "Theory of Culture and Philosophy of Science" 2025-01-13T16:19:38+00:00 Петренко Д.В. journal.philosophy@gmail.com Open Journal Systems <p>The given scientific articles are dedicated to actual problems of modern philosophy and<br>methodology of culture, ethics, aesthetics, Ukrainian and foreign culture.<br>Visnyk is authorized in the field of philosophic science (certificate of the Ministry<br>Education and Science of Ukraine №1328 from 21.12.2015.)</p> <p>&nbsp;</p> https://periodicals.karazin.ua/thcphs/article/view/24941 THEOLOGY OF ANCIENT EGYPT AS PRE-PHILOSOPHY 2025-01-13T16:15:58+00:00 Daria Ziborova d.a.ziborova@karazin.ua <p>The article is devoted to the problem of genesis the philosophical tradition from pre-philosophical components using the example of Ancient Egyptian theology. The author poses the question of criteria - how and on what basis it is possible to identify elements of speculative thinking in religious and mythological texts of ancient cultures. The approaches to the definition of pre-philosophy, its separation from the mythological tradition, and the rational and irrational components in it are discussed. The connection between abstract and mytho-poetic description and expression of reality is considered.</p> <p>The article contains a review of academic sources that, firstly, consider the influence of the pre-philosophical component of Eastern cultures on the genesis of ancient Greek philosophy (Frankfort, West, Cornford, Bernal, Burkert), and, secondly, analyze religious and mythological representations in the texts of Ancient Egypt as certain explainatory sense constructions that have features of philosophical or pre-philosophical (Assmann, Allen, Wilson, Butler, Manley, etc.).</p> <p>Based on the literature review, a specific program for the study of ancient Egyptian theology as a pre-philosophical tradition, which can be regarded as universal, i.e., relevant to any ancient tradition, has been created. It is shown that such research should be based on the following semantic contexts analysis: 1. consideration of cosmogonic ancient Egyptian beliefs as a system of metaphysical questions; 2. analysis of the ideas about the essence of the god-creator and the ways of creating the world by him through the research of the texts describing cosmogony and eschatology; 3. identification and interpretation of the main concepts describing and structuring the universe, such as the categories of time-eternity (neheh and djet), which make possible to describe the ontological worldview foundations of the Ancient Egyptians; 4. description of the ideas of justice, world harmony and law (maat) - both in the social and metaphysical dimensions; 5. study of ethical guidelines in the so-called “literature of wisdom” (sebayt), which will allow to describe the existential foundations of human existence in the culture of Ancient Egypt</p> 2023-12-03T00:00:00+00:00 Copyright (c) 2023 The Journal of V. N. Karazin Kharkiv National University. Series "Theory of Culture and Philosophy of Science" https://periodicals.karazin.ua/thcphs/article/view/24944 ARTISTIC RESIDENCIES IN CONTEXT: CULTURAL DYNAMICS 2025-01-03T13:58:52+00:00 Yuliia Tahlina j.s.taglina@ukr.net Nataliia Ivanova yermilovcentre@gmail.com <p>У статті досліджується багатогранна природа та еволюція художніх резиденцій, наголошуючи на їх значенні у сприянні творчому розвитку та соціальному залученні. За останні два десятиліття мистецькі резиденції урізноманітнилися, пропонуючи багато форматів, від сільських відпочинків до міських інституційних резиденцій. Резиденції надають митцям виділений час і простір, далеко від їх звичного середовища, що дозволяє глибше творче залучення та інновації. Дослідження підкреслює зростаючий акцент на залученні громади та соціальній активності в резиденціях, підкреслюючи, як ці програми сприяють змістовній взаємодії між художниками та місцевими громадами, таким чином сприяючи соціальним змінам і розвитку громади. Міждисциплінарні методології, що спираються на соціальну психологію, управління бізнесом та мистецьку освіту, збагачують розуміння складності резиденцій. Ці підходи гарантують, що резиденції більше відповідають потребам митців і позитивно сприяють розвитку їхнього творчого потенціалу. Такі дослідження, як Рік митця, демонструють, як резиденції можуть змінити сприйняття митців громадськістю та посилити культурне розмаїття. Крім того, глобальний характер сучасних резиденцій заохочує міжкультурні взаємодії, кидаючи виклик традиційним культурним кордонам і збагачуючи творчість митців. Підкреслюється важливість забезпечення різноманітного та справедливого доступу до резиденції, сприяння інклюзивному творчому середовищу. У зонах конфлікту, таких як Україна, резиденції також служать притулками, пропонуючи безпеку та платформу для митців, щоб документувати та передавати свій досвід, поєднуючи місцеве та глобальне розуміння.</p> <p>Автори значно розширили концепцію мистецьких резиденцій, спираючись на ідею резиденцій як «подарунка часу та простору». Вони пропонують інноваційні концепції резиденцій як дарунку голосу, взаємодії, мультидисциплінарності та безпеки. Ці внески підкреслюють еволюцію резиденцій. Перспектива мистецьких резиденцій вказується в висновках як багатообіцяюча, з потенціалом значного мистецького, соціального та культурного впливу. Оскільки глобалізація триває, автори прогнозують, що резиденції сприятимуть подальшому розвитку міжкультурного діалогу та кинуть виклик загальноприйнятим культурним форматам.</p> 2023-12-03T00:00:00+00:00 Copyright (c) 2023 The Journal of V. N. Karazin Kharkiv National University. Series "Theory of Culture and Philosophy of Science" https://periodicals.karazin.ua/thcphs/article/view/24945 FEATURES OF THE ARTISTIC LANGUAGE OF PHOTOGRAPHY IN THE CONTEXT OF INTERSPECIFIC TRANSFORMATIONS: PHOTO-READY-MADE AND PHOTOCOLLAGE (ON THE EXAMPLE OF FOREIGN PROJECTS OF THE VENICE BIENNALE 2010-2020) 2025-01-03T13:59:00+00:00 Volodymyr Tarasov tarasovvv1977@gmail.com Nataliia Markhaichuk natalkalharkiv@gmail.com <p>The article is devoted to the problem of the artistic language of photography, which is actively transforming in the direction of new types and genres of art. The authors examine the projects of the Venice Biennale 2010s - 2020s by I. Makhami, L. Kita, E. Kotatkova, A. Crosby, V. Mutu, M. Zukerman-Hartung, J. Stezakera, T. Michie that use photography as the main component of artistic expression in works and projects.</p> <p>The article uses the example of the analysis of specific projects and individual works of art to show the unique property of photography to represent one's own species identity, in which the peculiarities of the artistic language play a key role. There is practically no kind, type or form of art that has the ability to "undo" the characteristic visuality of a photograph. According to the authors, this is the key to a wide representation of photographic means of expression in various practices and forms of modern art, and in a broader sense, modern culture.</p> <p>The article shows that collage, ready-made, installation, street art and other types of art representation have their own methods of addressing the viewer and rely on the appropriate mediation technique. However, none of them is able to visually "destroy" the photograph, which remains in a characteristic type of representation even within the external artistic shell (for example, a photo collage or a photograph in an installation). Such a feature is determined by the authors as a key characteristic of the artistic imagery of photography, which, in turn, determines the nature of the artistic language.</p> <p>Studies of the ready-made as an artistic technique combined with photographic practices allow us to see the extraordinary flexibility of photography as a universally manipulative mode of representation. Instead, as the analysis of the Venice Biennale projects shows, photocollage practices return photography to its natural state of manipulation of reality, where the photo has an almost monopoly on representation.</p> <p>The authors emphasize that the artistic arena of the Venice Biennale demonstrates extremely important problems of the phenomenology of photography. The subjectivity of the watershed between the nature of the photo to act on its own behalf and at the same time on behalf of the representative has an almost limitless manipulative potential that gives photography new opportunities to conquer narrative spaces. At the end of the 20th - the beginning of the 21st century, photography is already integrated into all major social phenomena, which will certainly require further interpretation and generalization.</p> 2023-12-03T00:00:00+00:00 Copyright (c) 2023 The Journal of V. N. Karazin Kharkiv National University. Series "Theory of Culture and Philosophy of Science" https://periodicals.karazin.ua/thcphs/article/view/24946 ON THE USAGE OF THE DIPTYCH IN THE ORTHODOX CHURCH. THE CORPORATIST DIMENSION OF REPRESENTATION 2025-01-13T16:19:38+00:00 Denys Bakirov d.r.bakirov@karazin.ua <p>The aim of this article is to clarify the connection between intercessory prayer and representation. The hypothesis is that intercessory prayer is the first step toward representation because intercession allows a doer of prayer to bring another person into the centre of one’s life. The argument runs as follows. I observe that St. Paul’s prayers are the prayers of eucharistic intercession: he thanks God for his beloved ones. Then I observe that St. James sees mutual confession of sins and mutual intercession as the ground of Christian “healing”. Then I observe that Dietrich Bonhoeffer conceptualises the Church as constituted by the practice of intercession. Lastly, I observe that Rowan Williams frames intercession as a discipline of bringing another person into the presence of God. Since a doer of prayer brings another person into the presence of God, she thus makes another person the centre of her life. And from this centre, she cannot help but make this person present to others, to “bear witness” to this person in her words and deeds. But intercession succeeds in bringing another person into the centre of a doer of prayer’s life because the “token” of intercession is the “name”, that part of human beings which is also a part of language, a “word” that can be exchanged and uttered. To make the other present and to become present in the other is to become present in the “names” we have already exchanged – to make another person’s “name” the centre of one’s life and to become present in one’s “name” which is presented to others. To make another thus present is to continually call upon another’s “name” – to approach the other not as a thing under our control but as a person who is to act upon us, who is to become present in and through us. To make nothing besides the self-disclosed “name”, trust in our self-presentations, the medium of our communication. What used to be called “hallowing the name”. Making another present with the entirety of one’s conduct, the life of a human person in the new medium of another’s body, the eucharistic act of taking another’s “body” into one’s own body, begins with the intercessory act of taking another’s “name” into one’s speech. Thus, representation starts with intercession, the discipline of keeping each other in prayers. In the final section, I examine how the so-called pomyannik can be a valuable asset for those who aspire to practice intercession as part of a prayer routine</p> 2023-12-03T00:00:00+00:00 Copyright (c) 2023 The Journal of V. N. Karazin Kharkiv National University. Series "Theory of Culture and Philosophy of Science" https://periodicals.karazin.ua/thcphs/article/view/24947 THE HISTORY OF JEALOUSY: HISTORIOGRAPHICAL REVIEW 2025-01-03T13:59:12+00:00 Anton Zheronkin antonzheron@gmail.com <p>Interdisciplinary research in the field of the history of emotions is rapidly gaining popularity in the world, which is not surprising for the "risk society", especially against the background of epidemics and wars – irrational life factors begin to play a greater role. The relevance of the study of "emotional communities" of the past is due to the need to learn more about these irrational factors of history, as well as the internal hermeneutic need of history and philosophy to better understand the hidden layers of the meaning of societies of past centuries. However, in the Ukrainian scientific environment, there are almost no studies on the formation and development of the history of emotions. In the current study, the historiography of the study of envy by historians of emotions is considered. The article determined the connection between the development of the history of emotions in general and, separately, the history of envy. Three stages of the study of the mentioned problems were distinguished: the stage before the formation of the history of emotions, the stage of the first essays and the stage of the flowering of the history of envy, which is characterized by the use of a wide modern methodological toolkit of psychology and psychoanalysis, sociology and anthropology, philosophy, cultural studies, political science, etc. Considered concepts from works classic for the history of envy by P.&nbsp;Walcott, D.&nbsp;Constant, N.&nbsp;K.&nbsp;Rutter, K.&nbsp;Gill, E.&nbsp;M.&nbsp;Sanders, and many others. Researchers conclude that the essence of the emotion of envy remains monolithic, no matter which era we consider, but its nuances and associative connections vary greatly from era to era, as does the social meaning of this emotion. Considered meaning of the terms "transmutation" and "distortion" in the history of emotions proposed by E.&nbsp;M.&nbsp;Sanders. It was determined that most of the available studies on the history of envy were devoted to the emotional communities of Ancient Greece. Also reviewed are existing studies on the history of envy in the Middle Ages, early modern times, and the Byzantine Empire. It was determined that there are also studies of emotions related to the emotion of envy - among them jealousy, hatred and others. The results of the study will be useful for further research into the historical dimension of the phenomenon of envy, the methodology and historiography of the history of emotions, as well as the philosophy and sociology of emotions.</p> 2023-12-03T00:00:00+00:00 Copyright (c) 2023 The Journal of V. N. Karazin Kharkiv National University. Series "Theory of Culture and Philosophy of Science"