Philosophy/4. Philosophy by culture

PhD (Oxford, UK) Komleva A.V.

International University of Fundamental studies, Member of the Union of theatrical figures of the Russian Federation, art critic, theater critic, Russia, Saint-Petersburg

The axiological approach in creating the Identity of the creator in our time

Keywords: axiology, values, identity, formation, social, spirituality, painting, theatre

The article deals with the modern axiological approach to the education of the individual rights and wider ‘creator’ (creative professions). Revealed aspects of values necessary for the development of the fundamental qualities of the human person. We found the relationship of different structural arrangements, as well as a chain of successive interactions between the cultural codes of the recipient.

For anybody not a secret that the philosophical notion of Personality is correlated with the degree of importance to society: ‘the value of Personality is the totality of its social, spiritual and material values that it has in society’ [1, p. 41]. Environment art concept of the Personality of the Creator of paramount, decisive importance: ‘despite its transient nature, all theatre is cross-temporal and cross-geographical, in contrast to history’s claims to be grounded in particular moments’ [14, pp. 336-338].

Proposed in the first half of XX century modernization of production contributed to the depersonalization of man, rooted in the second half of the nineteenth century. Started in the developed capitalist countries the industrial revolution led to significant changes in public consciousness, such as the reformulation of traditional values. The rapid urbanization process, migration of the rural population in large industrial centers, the loss of family roots and, as a consequence, the loss of tribal traditions has led to a standartization of Personality.

The relative value of an Individual can be subjective, depending on the current opinions on it, and its objective measurability.

In the interaction between the Individual and society the main functions of value orientations are, first, the admission of the individual to the system of norms and values of a given society; secondly, in self-esteem, the realization of her abilities and social expectations; third, to promote harmony of the inner world of the Personality, the unity of life experience, knowledge, moral norms and values. As noted by N.O. Lossky that effective personal life begins where there is consciousness of the absolute values and the ought to implement them in their behavior [7, p. 201]. For example, the work of Chinese artist Han Yichen testifies to the infinity of the world of pure consciousness, peace, peaceful life of Tibetan people. By definition his colleagues Dajani Shao, ‘honest artists always strive for sincerity art. Art originates from life. How to observe and experience real life, it depends on the attitude to life and its understanding. Dishonest remain on the surface of life, unable to discover its essence. For example, describing modern workers and peasants, some artists depict them in some kind of superficially cheerful manner, avoiding to explore the inner world of the character. They forget the basic principle of creativity: the charm of art lies in the rich spiritual world of the characters’ [5, p. 10].

The thing is that not always the rule of primacy of content over form. Another Russian philosopher N.О. Lossky, thinking about the fate of the times wrote that ‘the actual Person is a being capable of spiritual activity’ [7].

Modern Personality of the Creator lives in the XXI century in the conditions of existence in public consciousness of two diametrically opposed systems of moral values. At all times in the learning process of a Person on all levels of social development attended the axiological element, as a factor stabilizing internal social relations. Role-based approaches were developed over the centuries. The system of caste in ancient India, of the priesthood in ancient Egypt, as an example, established a rigid framework of relations regulated by economic factors.

In modern axiology moral values are considered as an element of the Personality structure, the factor of determination and regulation of motivation to action. Values associated with the possibility of realization of intrinsic forces of the person aimed at moral improvement. In the development of world art culture was continuously the search of universally valid, timeless, value for human life.

The highest values – not a generalisation of the historical experience and the result and condition of human activities.

Spirituality holds a special place in the hierarchy of values and explores the philosophical science as the basis for educational activities. Spirituality, according to V. Frankl (austrian philosopher), ‘not just characteristic of man, and constitutive feature of what distinguishes humans and is inherent only to him’ [11, p. 114].

The concept of good faith today in the midst of a strong distortion in the interpretation of meaning. The depth of this phrase reflects something much more than our passive bias towards reasoning about social problems. Subconsciously the individual feels that the fact that social communication is built into the framework of good will, is most relevant to personal, living, sincere feelings and real compassion. It’s time to recognize that the quality of our Personality stems not only from our mental or moral sentiment. The mechanism of the social upbringing of the Personality are laid in childhood. The society is a society of people, this is the world of our relationships, is our community.

Note that, st. Augustine, Blaise Pascal, Maine de Biran, Arthur Schopenhauer were existential philosophers. Philosophy is a struggle. It is impossible to separate philosophical knowledge from the totality of human spiritual experience, from his religious faith, his mystical contemplation, if a man can have. And Plato, and Descartes, and Spinoza, and Kant, and Hegel invested in the philosophy of its human, existential.

The meaning of human life in freedom and self-liberation. Freedom can be seen as ideal, but as real and still realized ideal. Freedom is potentially perfect strength, doing actual revelation of your perfection [6, p. 259]. The soul itself is not physical, not sensual, not the material. It can neither see, nor hear, nor feel. It is hidden from the eyes of the life force, that higher ideal, a spiritual ideal that is inherent to the Concept. That is exactly what you should imagine the soul of man: it is the ‘existing Concept’, or, in other words, ‘the existence of speculative’. ‘What we call soul is the Notion of creating in the body of their liberation; it was realized in it and wins it by his power’ [6, p. 272].

The appointment of the person to reveal his spirit. Which is the modus of the Concept. Just as the Concept of the human soul is ‘a simple spiritual substance’, the ‘basis’ of man and his life. Of thought of Jacob Boehme is evident, that ‘no thing without the contrary can not in itself be opened. It has nothing to do the opposite... we don’t know anything about its origin’ [3, p. 298-299]. If Bacon links the problem of human liberty, not only with cognition, but with practice, Fisher explained it very succinctly: ‘the Goal of the Spinoza – contemplation. The purpose of the Bacon – culture’ [10, p. 43]. Bacon seeks the resolution of opposites between causality and feasibility in connection with the practice, arguing that the category of goal is useless, ‘if we are not talking about human actions’ [4, p. 198].

Science and art, according to F. Bacon, is a significant factor of historical progress, but his deepest source is in the gradual accumulation of experience. А systematic overview of theatrical outputs that might stage the European twentieth century. The productions we analyses are genuinely European in their scope: the Sad Face/Happy Face trilogy by Belgians Jan Lauwers and Needcompany, Sonja by the Latvian Alvis Hermanis and Jaunais Rigas Teatris, Tragedia Endogonidia and Divina Commedia by Italians Societas Raffaello Sanzio, The Persians and Coriolan/us by the UK’s Mike Pearson and Mike Brookes with the National Theatre of Wales, and La creation du monde 1923-2012, pour en finir avec Berenice and More more more… [13, pp. 339-340].

In the XX century rapidly, sometimes tragically, changed the DNA of music, painting, theatre, architecture. Their cultural code. Every director, who took the liberty to go on stage, set themselves the task to lead the audience along, to hold his hand until the very end of the play. And after him, the audience lived under the feeling lived and tried again to come to the theater. So was the French mime Marcel Marceau, that was Edith Piaf, such was the englishman Paul Scofield. On the stage created a Personality with a capital letter. This was the FATE of the actor. The thorny path through the tumult of war. Not crowned with laurels, but spiced with handfuls of salty tears, hopelessness and sometimes despair. In difficult, sometimes tragic, times stood the strongest spirit, which was strong cultural code.

The twentieth century showed all the peoples of that culture in General (spiritual, theatrical, pictorial, literary, musical, architectural) as the beginning of integrating social development covers not only the spiritual, but increasingly – material production. All the qualities of the technogenic civilization, whose birth was marked just over three hundred years ago, have been able to manifest itself fully in the XX century. In this time of civilizational processes were as dynamic and was of decisive significance for the theater. The synthesis of the arts was developed in different stylistic systems: cabarets in Germany, cafe chanson in France, street performances in Italy. The synthesis of light, sound, circus clowns, chanson of performance, burlesque and operetta scene (released from grand-guignol in France) -- so Europe welcomed the start of the Second World war. In the words of Charles P. Snow, ‘in the twentieth century the holistic and organic structure of culture has broken into two antagonistic forms’ [9]. Between traditional humanitarian culture of the European West and the new, so-called scientific culture, derived from scientific and technological progress of the XX century.

Most acutely the conflict has affected the cultural identity of the individual, his Personality. Technological civilization could realize its potential only through complete submission to the forces of nature reason. This form of interaction is inevitably associated with extensive use of scientific and technological achievements that have helped with our contemporary sense their supremacy over nature and thus deprived him of the opportunity to feel the joy of harmonious coexistence with it. ‘In this age of little faith, in the age of weakening not only of the old religious faith but also the humanistic faith of the XIX century only to the faith of modern civilized man is faith in the technique, in its endless development. The technique is the last love of a man, and he is ready to change your way under the influence of love’ [2]. ‘Civilization itself has become a machine that does everything or is willing to do in the image machine’ [12]. For Oswald Spengler was obvious that the civilizational process is favorable for the development of technology, but disastrous for the great works of art, science, religion, that is actually culture.

The situation of violation of cultural integrity and breaking the organic connection of man with the natural bases of life in the twentieth century philosophers interpreted by humanists as a situation of exclusion.

From the point of view of Arthur Schopenhauer in the long process of social evolution man has managed to develop his body to a more perfect than any other animal. By the nineteenth century, the development of machine production have highlighted this problem. As a result, thought Schopenhauer, was useless the training and development of the senses. The mind, therefore, is not a special spiritual power, and a negative result of disconnection from basic acts called the philosopher of negation of the will to live. The problem of cultural crisis as a result of alienation of man from the results of his activity have been developed in some philosophical schools of the twentieth century. Existential philosophy has put a number of the most pressing issues of this century such issues as the absurdity of human existence and its total isolation from society (Albert Camus, Karl Jaspers, Martin Heidegger) – to live stupid, not just stupid to die.

Dialogue of cultures as a means of overcoming their crisis has found expression in various symptoms of social disintegration of sociability – people far away from each other’s phones, then each closed with a TV. In the twenty-first century gadgets and devices, computer games have alienated man from fellowship. The ‘mass culture’ becomes one of the most acute problems of modern life. It directly affects the theoretical construct researchers of contemporary art. In particular those disciplines that directly relate to the technical achievements of the twentieth century in the field of mass communications.

This topic has received artistic expression in contemporary art in various forms (in surrealist painting and poetry, neo-realist prose and film, ‘the absurdist theater’) by the great authors: Tennessee Williams, Salvador Dali, Ingmar Bergman, Samuel Beckett, Eugène Ionesco.

Cultural memory of the individual is arranged in two ways: it sets out the rules (patterns) and rules violations (events). The first abstract as norms, the second specific and have human names. That is the difference between the mandate of the law and the lines of the Chronicles. The exclusivity that gives the right to personal inclusion in the memory of the collective, may be different quantitatively and qualitatively. In quantitative terms it can be extremely accurate standards, which in itself is nothing exceptional in a given society is not. According to Lotman, ‘being a knight’ is a quality common to a whole class, but ‘to be perfect knight’ – the quality is exceptional [8, p. 806].

New technologies of XXI century raised the question of Identity formation of modern man in hard biosocial conditions. Axiological element of the education of the younger generation should carry a charge of morality rooted in the national past decuple capacity. The danger lurking in computer and information technology, the media, alienates a Person from herself. Erasing internal moral barriers, machine depersonalizes the individual, makes it manageable biomass with the help of neuro-linguistic programming. Safety spiritual and social life of the modern Person of the creator is to communicate with the ancestral traditions, is in constant spiritual and semantic search.

Literature

1. Artanovsky S.N. The absolute values of the personality // Vestnik of Leningrad University. 1988. Vol. 3.

2. Berdyaev N. Man and machine: the Problem of sociology and metaphysics of technics // Problems of philosophy. 1989. No. 2.

3. Boehme J. Teoscopia // ‘Christologia, or the Way to Christ’. B. G., b. M.

4. Bacon F. The New Organon. M., 1935.

5. Dajani Shao. Sincerity and brevity: specificity of creativity Wycena Han // Han Yucheng. Painting. Graphics. SPb: OOO ‘RA RUSSIAN SOUVENIR’, 2015.

6. Ilyin I.I. Hegel’s Philosophy as the doctrine about concreteness of God and man. In 2 so-SPb.: Science, 1994.

7. Lossky N. About. The value and existence of // God and evil world. M., 1994.

8. Lotman Y. M. About Russian literature. SPb.: Art, 1997.

9. Snow Ch. P. Two cultures. M., 1973.

10. Fisher K. Real philosophy and its age. St. Petersburg, 1870.

11. Frankl V. Man in search of meaning. Collection / General. edited by L.Y. Gozman and D.A. Leontiev. M., 1990.

12. Spengler O. Man and machine // Cultural studies. XX century: anthology. M., 1995.

13. Kear A. Theatre and Event: Staging the European Century. Basingstoke: Palgrave, 2013 // Theatre Research International. Vol. 40. Issue 03. Oct. 2015. Pp. 339-340.

14. Trencsényi K. and Cochrane B. New Dramaturgy: International Perspectives on Theory and Practice. L.; NY: Bloomsbury Methuen Drama, 2014 // Theatre Research International. Vol. 40. Issue 03. Oct. 2015. Pp. 336-338.