В статье производится анализ соотношения понятийного поля метафоры и мимезиса в контексте проблемы языка в его истоке. Метафора и мимезис как два вида моделирования реальности культуры могут быть соотнесены в плоскости языковой репрезентации мира. Танец языка - вершина эволюции миметического, а метафора - ключ к пониманию механизма мимезиса в искусстве и культуре. Метафора - это некий более тонкий механизм репрезентации мира посредством языка, высшая точка эволюции миметического (И.-Г. Гердер, Ф. Ницше). Через мимезис в искусстве происходит воссоздание мира. Метафора также соотносит одну вещь с другой через мнимое подобие, через его утверждение, затем отрицание, затем через синтез и создание новой реальности. Метафора не столько создает систему подобий, сколько уничтожает саму возможность существования старых подобий в системе различий. Это еще один пункт, в котором метафора и мимезис сходятся, ибо их предназначение создавать новую реальность культуры. The article analyzes the relationship between the conceptual field of metaphor and mimesis in the context of the problem of language at its source. Metaphor and mimesis as two types of modeling the reality of culture can be correlated in the plane of language representation of the world. The dance of language is the pinnacle of mimetic evolution, and metaphor is the key to understanding the mechanism of mimesis in art and culture. Metaphor is a more subtle mechanism for representing the world through language, the highest point in the evolution of the mimetic (I.-G. Herder, F. Nietzsche). Through mimesis, the world is recreated in art. Metaphor also relates one thing to another through an imaginary similarity, through its affirmation, then negation, then through the synthesis and creation of a new reality. The metaphor does not so much create a system of similarities as it destroys the very possibility of the existence of old similarities in the system of differences. This is another point where metaphor and mimesis converge, for their purpose is to create a new reality of culture.
The article compares the views of M. Heidegger and L. Wittgenstein, two of the greatest thinkers of the XX century, in terms of the basic positions of their philosophy, in the main ontological and epistemological attitudes, the semantics of their key concepts. The key common position of the discrepancy is the problem of language and the problem of pictorial representation of the world. This is clear already based on the nature of the teachings of two of the greatest philosophers of the twentieth century: M. Heidegger appeals to the traditions of initial thinking, as it was born at the dawn of European philosophy; L. Wittgensteins teaching is a completely new post-metaphysical epistemology based on the idea of language as a constitutive factor in the formation of a picture or image (of the world). Semantically, M. Heideggers WeltBild and L. Wittgensteins Bild as a linguistic representation of the world and is a metaphors of the New European Reason itself, something like the dial of a mechanical clock. In fact, the metaphor of the metaphysical dial is best suited to this screening of existence.
The problem of absurdity is a multidimensional problem of philosophical anthropology, it raises the question of the postmodern man, about the existence of man in the world of dystopia. Through the semantics of absurdity, it becomes possible to consider the problems of aesthetic, epistemological, cultural properties in the context of posing a fundamental question about a person, about a person in principle. Aim to correlate the semantics of absurdity and the concept of a metaphysical clock. Absurdity is regarded as the destruction of the ideal architectonics of the metaphysical clock of dystopia. The texts of dystopian novels by Evgeny Zamyatin, George Orwell, Aldous Huxley, Ray Bradbury are compared with texts of the Russian culture by Fedor Dostoevsky, Nikolay Gogol. The dystopias are considered as a symbolic "background" of human existence as a "ridiculous being". It is on the symbolic clock of dystopia, those ridiculous human qualities, which an imaginary society wants to abandon, seem to be the most valuable.
No abstract
Ставится вопрос о поиске семиотической и онтологической медиации между крайностями отечественного мышления, что приводит нас к идее гармоничного состояния российского сознания. Представлено рассмотрение метафоры «творящей пустоты» в русской культуре. Эта метафора рассматривается как первичная поляризация креативного пространства на трансцендентальном уровне, и в то же время как репрезентация отечественного мироощущения в целом. The question is raised about the search for semiotic and ontological mediation between the extremes of Russian thinking, which leads us to the idea of a harmonious state of Russian consciousness. The article presents the consideration of the metaphor of the «creative void» in Russian culture. This metaphor is considered as the primary polarization of the creative space at the transcendental level, and at the same time as a representation of the national worldview as a whole.
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