Religija ir kultūra
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Sekuliari kasdienybė ir religinė prasmė: etiškumo ir religiškumo santykis
Full text linkThe article deals with the problem of religious sense in the secular everyday life. With reference to Charles Taylor’s analysis of secularization, the author tries to distance herself from the prevailing sociological thesis about the decline of religion in the life of contemporary society and rethink what religion means today? One can notice that “the myth of the Enlightenment” is deeply entrenched in our secular everyday consciousness, so the approach to the religious in the traditional sense is quite aggravated. Nevertheless, such a situation provides a possibility to contemplate the everyday life itself. Derrida’s notion of “religion without religion” allows us to reflect the character of a contemporary religious discourse as well as to envisage the tension between ethical and religious spheres in the daily acts of decision-making, choice, and responsibility. Not traditional religious forms but the structure of religious relationship enables us to talk about religious sense in the secular everyday life.Straipsnyje svarstoma religinės prasmės galimybė sekuliarios kasdienybės sąlygomis. Remiantis Charles’o Tayloro sekuliarizacijos proceso tyrimais, siekiama ne likti prie sociologijoje įsitvirtinusios tezės apie religijos vaidmens menkėjimą šiuolaikinės visuomenės gyvenime, bet mėginti iš naujo apmąstyti, kas yra religiškumas šiandien. Pastebima, kad kasdienėje sekuliarioje sąmonėje įsitvirtinęs „Apšvietos mitas“ apsunkina prieigą prie religijos tradicine prasme, tačiau suteikia galimybę įsižiūrėti į pačią kasdienybę. Remiantis Jacques’o Derrida „religijos be religijos“ apibrėžtimi aptariamas tiek šiuolaikinio religinio diskurso pobūdis, tiek Derrida bandymas kasdieniuose atsakomybės, pasirinkimo, sprendimo aktuose įžvelgti etiškumo ir religiškumo įtampą, leidžiančią kalbėti apie religinio santykio struktūrą mūsų kasdienėse patirtyse.
 
Religinė patirtis: hierofanija ar hierofonija?
Full text linkThe human sensorial system in oral society and tradition is oriented differently than in visual culture. Priority is given to voice and to the rhythmical property of the auratic organ of sense. Such sensorial combination is necessary in all areas of oral society and its culture. Voice plays one of the most important roles in religion. God addresses the human, and the human appeals to God. Yet this basic auratic religious experience was displaced by written culture. Thus, the main question of this paper is the suitability of term “hierophany” (which is widely used in religious studies) for naming the specificity of religious experience.Oralinėje tradicijoje žmogaus sensorika yra orientuota kitaip, nei vizualinėje kultūroje. Pirmenybė yra teikiama balsui, akustinėms, ritminėms audialinės juslės savybėms. Ši sensorinė kombinacija veikia visose srityse, nes tokia yra būtinybė. Religijoje balsas taip pat atlieka lemiamą vaidmenį. Dievas kreipiasi į žmogų, kaip ir žmogus kreipiasi į Dievą. Tačiau ši kadaise pamatinė audialinė religinė patirtis buvo išstumta rašto kultūros. Straipsnyje keliamas religijotyroje plačiai vartojamos sąvokos „hierofanija“ adekvatumo įvardijant religinės patirties specifiką klausimas
Nietzsche ir Wittgensteinas: kinematografinės paraštės
Full text linkThe article consists of two logically independent parts. The first one deals with the influence of Wittgenstein and Nietzsche on the philosophy of cinema of Stanley Cavell and Gilles Deleuze, presupposing that the first one was more influenced by the former and the other one by the latter. The article also expresses some attempts to compare the two philosophies of cinema. The author discerns one common aspect: in opposition to the analytical and phenomenological trend, they both do not question the nature of cinematic experience and the intentionalism / nonintentionalism dilemma. On the other hand, they expose two different attitudes towards the meeting of thought and emotion in cinema practice. A detailed analysis of the integration of Nietszchean ideas in Deleuze’s philosophy of cinema reveals several possibilities for philosophy and cinema to meet. Firstly, the interpreter is able to use philosophical concepts for the experimental explanation of cinema; secondly, one can see cinema and philosophy as one problemic tisssue; thirdly, it is possible to consider (reasonably or not) some philosophical insights as an intention of the cinema director. The other part of the article is devoted to the image of Nietszche and Wittgesntein in the art of cinema, created by Liliana Cavani and Derek Jarman. The analysis shows that not all movies about philosophers have something to do with philosophy itself. The author discusses the four movies created by Cavani (The Night Porter (1974), Beyond Good and Evil (1977), The Berlin Affair (1983), Francesco (1989)), and concludes that one cannot discern any philosophical aspect in the movie Beyond Good and Evil on Nietzsche’s biography. On the other hand, it doesnot mean that biographical movies have nothing to do with philosophy. Derek Jarman’s movie Wittgesntein (1993) demonstrates the possibility of a creative integration of philosophical thinking into the tissue of the experimental cinema.Kodėl ir kaip Friedrichas Nietzsche ir Ludwigas Wittgensteinas inspiravo Stanley Cavello ir Gilles’io Deleuze’o kino filosofijos tapsmą? Kuo artimos ir kuo skiriasi šios dvi kino filosofijos kryptys? Kuo skiriasi paties kinematografo sukurti Nietzsche’s ir Wittgensteino įvaizdžiai? Kodėl kinematografas išskirtinai domisi šiomis dviem filosofinėmis figūromis? Kadangi tarp pirmųjų dviejų klausimų ir paskutinių nėra aiškaus loginio ar priežastinio susietumo, tyrimą vadinsime kinematografinėmis paraštėmis
Švč. Trejybės atvaizdai: ištakos, ikonografijos bruožai, deformacijos
Full text linkThe history of the image of the Holy Trinity reveals that the interpretation of this Christian mystery posed and still poses a challenge Christianity has attempted to face during general meetings encouraging the publishing of theological tracts and enlightening artists as well as those who commission works of art. Meanwhile, artists have tried to depict the glory of one God in three persons, distorting the image to a greater or lesser degree. Christian images often attributed human qualities to theTrinity of God and bestowed Him with an anthropomorphic silhouette. Some of them went so far as to portray the three-faced Trinity revealing a three-theistic thinking, which was a complete diversion from searching for the image of God in three persons. However, in the Christian iconographic tradition it would have been an absurd thing to do. On the contrary, the majority of the images of the Holy Trinity are worthy of respect even though they do pose a problem that needs to be faced.The doctrine of incarnation enables the portrayal of the face of God the Son. In the Old Testament, God does not disclose His face, whereas in the New Testament He reveals the face of the eternal Incarnate Word, i.e. Jesus Christ. The Church permitted the depiction of both the human form of Christ and His biographic events. Around 730, John of Damascus quoted Basilius the Great and emphasized that image worshipping was not a pagan cult as it was not the matter that was being celebrated but rather that which was being depicted, thus “we honour not the sacred image, but the prototype of which the artistic object is only a reflection.” Subsequently, the latter phrase comprised the base of all defenders of Christian images and was often being repeated in order to prove that the cult of images was based on the worshipping of the depicted persons but not the depictions themselves. Christians followed the conviction that the Son was the consubstantial image of the prototype and that only the Son “is the image of the invisible God” (Col. 1:15) and “the expressed image of his person” (Heb. 1:3). Thus, the Holy Spirit, in its turn, is also the image of the Son: “and no one can say “Jesus is Lord,” except the Holy Spirit” (1 Cor. 12:3). It is only through the Holy Spirit that we know the Son of God, God the Christ, and see the Father in the Son. By nature, the Word is the proclaimer of the thought, whereas the Spirit is the revealer of the Word. Therefore, only the Son is the living, true and everlasting image of the invisible God containing the Father in Himself, absolutely identical to the Father and only differing in that He has a cause. However, the christomorphic position has not always been gratifying, and it is sometimes thought that Latin Christianity went too far by depicting God humanly. According to French sociologists, such “human, all too human” (Nietzsche) images of God might have contributed to “discrediting” the very idea of God or even the “exculturation” of Christianity. Contemporary art has also been unable to find the means of depicting the Holy Trinity in such a way that both believers and non-believers would not consider it to be provocative. The problem will never be solved if all traditions, doctrines and disciplines, principles and facts, successes and failures in the field are not accepted.The article considers only some of the interpretation aspects of the mystery of the Holy Trinity. The portrayal of the glory of God in three persons, iconographic interpretations and deformations have revealed that throughout the history of Christianity much effort has been made to express “clearly” the essence of the Holy Trinity, and yet the mystery has remained both a mystery and a challenge. As the result, the iconographic history of the Holy Trinity and all the related controversies allow us to reconsider the ontological status of its artistic image.Švč. Trejybės atvaizdo istorija rodo, kad šio krikščionybės slėpinio aiškinimas buvo ir yra iššūkis, į kurį krikščionybė bandė atsakyti visuotinių susirinkimų metu, skatindama teologinių traktatų leidybą, šviesdama menininkus ir kūrinių užsakovus. Trivienio Dievo didybės vaizdavimas, ikonografijos interpretacijos ir deformacijos atskleidžia, kad per visą krikščionybės istoriją dėta daug pastangų „aiškiai“ išreikšti Švč. Trejybės esmę, tačiau slėpinys liko ir slėpiniu, ir iššūkiu. Į jį atsiliepti stengėsi įvairių epochų tikintieji, tačiau vieno tikro atsakymo nerado. Švč. Trejybės ikonografijos istorija ir kontroversijos leidžia dar kartą apsvarstyti meninio atvaizdo ontologinį statusą
Susvetimėjimas ir vaizduotė. Charlie Kaufmano „Sinekdocha, Niujorkas“
Full text linkThis article examines the link between time, imagination, and synthesis in Charlie Kaufman’s “Synecdoche, New York”. Unable to find the unity among separate fragments of life and “to join the beginning to the end“, the protagonist Caden Cotard starts mounting a new play – “an artistic piece of brutal realism and honesty“. However, this attempt could be interpreted as a deliverance of the power of imagination – the Kantian Einbildungskraft, which permits the unification of sensibility and understanding as well as provides us with the radical experience of the Otherness. The chronological flow of events is decomposed and recomposed during the rehearsals of Caden’s performance, as well as in the editing sequence of the film itself, resuscitating, through the perplexity and confusion, the vitality of consciousness vis-à-vis its own mortality. Thus, the article shows that the awareness of one’s death provides with deeper insights into reality, while abandoned identities correspond to a temporal opening of and for the Other.Straipsnis nagrinėja laiko, vaizduotės ir sintezės santykį Charlie’o Kaufmano filme „Sinekdocha, Niujorkas“. Nesugebėdamas atrasti sąryšio tarp paskirų gyvenimo fragmentų, kitaip tariant, neįstengdamas „sujungti pradžios su pabaiga“, pagrindinis „Sinekdochos“ herojus Cadenas viską vienijančios jungties prasmės ima ieškoti meno kūrinyje. Statomas spektaklis turėtų užtikrinti visa apimančią struktūrą – būtent spektaklio užbaigtumas suteikia viltį, kad pradžios ir pabaigos, taip pat jas siejančio vidurio ryšys egzistuoja ir Cadeno gyvenime. Tačiau, siekdamas vienovės, Cadenas susiduria su vaizduotės, kuri mums suteikia pačią radikaliausią kitybės patirtį, problema. Chronologinę tėkmę iškomponuojanti ir perkomponuojanti spektaklio repeticijų eiga, o kartu filmo montažinė seka – sutrikdydama ir išderindama „normalų suvokimą“ – atgaivina sąmonės gyvybingumą akistatoje su savo paties mirtimi. Straipsnyje aptinkamas mirtingumo įsisąmoninimo modelis atveria gilesnės tikrovės vizijas, o išsilaisvinimas iš tapatybių susisieja su laikiniais Kitybės patyrimo modusais
Politinis įvykis kaip nereprezentuojama meno dimensija
Full text linkThis article reconsiders the interface between politics and aesthetics in Jacques Rancière’s work. Rancière claims that the unrepresentability in art in some specific cases is commensurate with the unthinkability of a political event. Rancière finds the paradigmatic example of such commensurability in Claude Lanzmann’s film Shoah (1985). The discourse of the unrepresentable originates from the Kantian notion of the sublime and the subsequent modifications of this notion in Jean-François Lyotard’s philosophy. Lyotard displaces the sublime in the field of modern art, defining it as the art of negative presentation. This negativity refers both to the unrepresentable dimension in modern art and the unthinkable dimension of traumatic political events, such as the Holocaust. Contrary to this strategy of sublime adoration, Giorgio Agamben and Georges Didi-Huberman argue against the unrepresentable and claim the necessity “to stare at the unsayable”. For example, Didi-Huberman in his Images In Spite of All provocatively rejects the formal choices of Lanzmann’s Shoah and insists on the necessity to make or present images “in spite of all”. In my article, I want to build on this controversy by introducing into it Michael Haneke’s film The White Ribbon (2009), which plays on both sides: on the one hand, it uses the negative aesthetics of the sublime, very similar to that of Lanzmann’s film, and on the other hand, it examines violence present at the core of our everyday life.Straipsnyje analizuojama Jacques’o Rancière’o aptarta sąsaja tarp nereprezentuojamos meno dimensijos ir nemąstomos politikos dimensijos. Paradigminiu tokios sąsajos pavyzdžiu Rancière’as laiko Claude’o Lanzmanno filmą Shoah. Nereprezentuojamumo sąvoka įtraukia mus į diskusiją su kantiškąja didingumo samprata ir tos sampratos modifikacijomis Jeano François Lyotard’o filosofijoje. Lyotard’as perkelia didingumo sampratą į moderniojo meno kontekstą, apibrėždamas jį kaip negatyvios prezentacijos meną. Šis negatyvumas reiškia tiek nereprezentuojamą dimensiją moderniajame mene, tiek nemąstomą tam tikrų politinių įvykių, pavyzdžiui, holokausto, dimensiją. Priešingai šiai didingumo adoravimo strategijai Giorgio Agambenas ir Georges’as Didi-Hubermanas teigia, kad nereprezentuojamumas sukuria patogų alibi, kuris atpalaiduoja nuo būtinybės gilintis į politines šių reiškinių priežastis. Knygoje Vaizdai nepaisant nieko Didi-Hubermanas provokatyviai atmeta formalius Lanzmanno filmo Shoah sprendimus ir atkakliai teigia būtinybę kurti ar prezentuoti vaizdus „nepaisant nieko“. Straipsnyje ši prieštara sprendžiama pasitelkiant Michaelio Haneke’s filmą Baltas kaspinas, kuriame įžvelgiama argumentų abiem ginčo pusėms
Cinizmas ir nihilizmas
Full text linkThis article compares cynicism and nihilism, based on their ontological premises. One can notice that they are frequently considered as identical in the public discourse; indeed, they seem similar due to their relationship with morality and values; they both exercise negation and unmasking. However, it can be proven that they differ in terms of their ontological premises: while cynicism is based on the cynical realism, which is constituted in the perspective of the naked truth, nihilism is a form of thinking, which annihilates the possibility of realism itself and extinguishes the distinction between reality and illusion. Both of them are also compared from the aspect of reflexivity: nihilism is shown as a reflective thinking, while cynicism turns out to be a “practical” thinking without self-reflection. Finally, it is shown that although the truth of both nihilism and cynicism is enrooted in performativity, it is constituted differently by the way of unmasking.Straipsnyje cinizmas ir nihilizmas yra lyginami jų ontologinių nuostatų aspektu. Fiksuojama, kad cinizmas ir nihilizmas viešumoje dažnai yra sutapatinami dalykai. Pripažįstama, kad santykyje su morale ir vertybėmis jie yra panašūs, jiems abiem yra būdingas neigimas ir demaskavimas. Tačiau toliau įrodinėjama, kad ontologinių nuostatų aspektu jie skiriasi: cinizmo pagrindas yra ciniškasis realizmas, kuris steigiasi tiesos ir nuogos tiesos perspektyvoje, o nihilizmas yra toks mąstymas, kuris panaikina realizmo galimybę, iliuzijos ir tikrovės skirtumą. Taip pat abu yra lyginami refleksyvumo aspektu – nihilizmas parodomas kaip refleksyvus mąstymas, o cinizmas kaip „praktinis“ savęs nereflektuojantis požiūris. Galiausiai parodoma, kad tiek nihilizmo, tiek cinizmo „tiesa“ yra performatyvi, tik skirtingai steigiasi demaskavimo būdu
Apie nereprezentacinio kino galimybę. Nuo André Bazino iki Gilles’io Deleuze’o
Full text linkoai:ojs.www4063.vu.lt:article/838Referring to the ontological arguments shown in the theory of the French film critic and theorist André Bazin and the arguments elaborated by Gilles Deleuze in the fourth chapter of his book Cinema 1: Movement-Image, the possibility of the cinema that does not duplicate the reductive tendencies of the intentional human consciousness is discussed in this article. The classical un-derstanding of the notion of cinematic realism is compared with the idea of non-representational cinema, accentuating the partially technological and partially subjective nature of film, which was described by Bazin, and its way to put the film viewer closer to the perception of the Bergso-nian acentric reality. Instead of giving a clear conclusion, the Bazinian idea of the non-anthropo-centric cinema is actualized in the light of the speculative turn in today’s philosophy.Remiantis prancūzų kino kritiko ir teoretiko André Bazino pateiktomis ontologinėmis kino teorijos tezėmis bei Gilles’io Deleuze’o knygos Kinas 1: Vaizdinys-judėjimas ketvirtajame skyriuje išplėtotais Henri Bergsono filosofijos argumentais, straipsnyje svarstomos žmogiškajai percepcijai būdingų redukcinių tendencijų nedubliuojančio kino galimybės. Klasikinio kino realizmo samprata yra palyginama su nereprezentacinio kino idėja, akcentuojant Bazino aprašomą iš dalies žmogišką, iš dalies technologinę kino prigimtį, kaip sąlygą galimybei priartėti prie Bergsono aprašytos acentriškos realybės. Vietoje straipsnio išvadų Bazino pasiūlytos kino neantropocentriškumo potencijos apmąstymas yra aktualizuojamas šiandieninėje filosofijoje pastebimo spekuliatyviojo posūkio fone.Pagrindiniai žodžiai: nereprezentacinis kinas, realizmas, pasakojimas, montažas, acentriška realybė, spekuliatyvusis posūkis.
ON THE POSSIBILITY OF NON-REPRESENTIONAL CINEMA. FROM ANDRÉ BAZIN TO GILLES DELEUZELukas BrašiškisSummaryReferring to the ontological arguments shown in the theory of the French film critic and theorist André Bazin and the arguments elaborated by Gilles Deleuze in the fourth chapter of his book Cinema 1: Movement-Image, the possibility of the cinema that does not duplicate the reductive tendencies of the intentional human consciousness is discussed in this article. The classical understanding of the notion of cinematic realism is compared with the idea of non-representational cinema, accentuating the partially technological and partially subjective nature of film, which was described by Bazin, and its way to put the film viewer closer to the perception of the Bergsonian acentric reality. Instead of giving a clear conclusion, the Bazinian idea of the non-anthropocentric cinema is actualized in the light of the speculative turn in today’s philosophy.Keywords: nonrepresentational cinema, realism, narrative, montage, acentric reality, speculative turn
Montažo ontologija ir anapus jos
Full text linkThe article deals with the so-called pan-aesthetical ambition of montage (editing) according to which montage is not a merely technical element of a film, but the way to edit cinematic images, thinking, worldview, history, etc. It is argued that the origins of such pan-aesthetics of montage could be found primarily not in cinema itself. As an example of such pre-cinematographic notion of montage pan-aesthetics, a fragment of Gustave Flaubert’s Madame Bovary could be analyzed. It’s already in this fragment where the ambition of the literary montage to disclose much more than a simple literary description could manage is evident. Cinematic montage borrows this strategy and always declares the ambition to reach the limits of the visible and the presentable. Something that could not be depicted, the interval, becomes the means to go beyond the technical understanding of montage and to transform it into a peculiar form of thinking or exposition. It is argued in the article that such pan-aesthetic strategy is the very element of modernity. Referring to the excerpts from the films of Griffith and Eisenstein, it is demonstrated how the invisible (the interval) is used in the construction of the visible. The invisible (the interval) becomes the most essential criterion to classify the schools or types of montage.It is concluded that cinema abandons its ambition to transform the montage into the universal principle of constructing the whole. Nevertheless, also in the contemporary cinema, one could find the interpretations of montage according to which the montage is something more, something that surpasses the technical procedure of a mere editing.Straipsnyje nagrinėjama vadinamoji panmontažinė kino nuostata, kuri montažą traktuoja ne kaip paprastą techninį kino elementą, o kaip būdą montuoti kinematografinius vaizdus, mąstymą, pasaulėžiūrą, istoriją ir kt. Straipsnyje argumentuojama, kad tokios panmontažinės nuostatos ištakos glūdi ne kine. Kaip tokios ikikinematografinės panmontažinės nuostatos pavyzdys analizuojamas literatūrinis prancūzų rašytojo Gustave’o Flaubert’o romano Ponia Bovari fragmentas. Jau šiame fragmente yra akivaizdi literatūrinio montažo strategija atverti daugiau, nei tai pajėgtų realizuoti tiesioginis aprašymas. Kinematografinis montažas pasiskolina šią strategiją ir nuolat deklaruoja ambiciją pasiekti to, kas nematoma, to, ko negalima pavaizduoti, ribas. Tai, ko negalima pavaizduoti, – intervalas – tampa priemone žengti anapus siaurai suvokiamo vaizdo ir paversti montažą specifine mąstymo ar eksponavimo forma.Straipsnyje argumentuojama, kad tokia panmontažinė strategija yra esmiškas modernybės elementas. Pasiremiant ankstyvųjų montažo klasikų Griffitho ir Eizenšteino pavyzdžiais, parodoma, kaip montažo procedūrose intervalas („nematoma“) panaudojamas konstruojant tai, kas matoma. Atskleidžiama, kad intervalas („nematoma“) tampa vienu esminių kriterijų, pagal kurį galima klasifikuoti skirtingas montažo mokyklas ir skirtingus montažo tipus.Konstatuojama, kad su laiku kinas atsisakė panmontažinės ambicijos paversti montažą universaliu prasmingos visumos konstravimo principu. Vis dėlto ir dabar kino teorijoje ir praktikoje gausu tokių interpretacijų, kurios traktuoja montažą kaip matymo („parodymo“) būdą, pranokstantį techniškai ir siaurai suvokiamo montažo ribas.Pagrindiniai žodžiai: montažas, intervalas, matoma-nematoma, modernybė.
THE ONTOLOGY OF MONTAGE AND BEYOND ITNerijus MileriusSummaryThe article deals with the so-called pan-aesthetical ambition of montage (editing) according to which montage is not a merely technical element of a film, but the way to edit cinematic images, thinking, worldview, history, etc. It is argued that the origins of such pan-aesthetics of montage could be found primarily not in cinema itself. As an example of such pre-cinematographic notion of montage pan-aesthetics, a fragment of Gustave Flaubert’s Madame Bovary could be analyzed. It’s already in this fragment where the ambition of the literary montage to disclose much more than a simple literary description could manage is evident. Cinematic montage borrows this strategy 42 Religija ir kultūra Nerijus Milerius and always declares the ambition to reach the limits of the visible and the presentable. Something that could not be depicted, the interval, becomes the means to go beyond the technical understanding of montage and to transform it into a peculiar form of thinking or exposition. It is argued in the article that such panaesthetic strategy is the very element of modernity. Referring to the excerpts from the films of Griffith and Eisenstein, it is demonstrated how the invisible (the interval) is used in the construction of the visible. The invisible (theinterval) becomes the most essential criterion to classify the schools or types of montage. It is concluded that cinema abandons its ambition to transform the montage into the universal principle of constructing the whole. Nevertheless, also in the contemporary cinema, one could find the interpretations of montage according to which the montage is something more, something that surpasses the technical procedure of a mere editing.Keywords: montage, interval, visible–invisible, modernity
