Philosophical Orientation Research Articles

Philosophy—Love of wisdom: From the study of the nature of things, the insight of oneself, to the understanding of death

This paper investigates the philosophical concept of wisdom, focusing on its distinction from knowledge and common sense. Drawing on Presocratic philosophers such as Anaxagoras and Empedocles, the paper argues that wisdom involves understanding the essence and regularity of things. It also explores whether wisdom originates from divine sources or within humans, contrasting views of Heraclitus and other philosophers who believed wisdom is divine and beyond human grasp, with the author's stance that wisdom is subjective and internal. Through Socrates' philosophy, the paper highlights wisdom's practical and ideological significance, emphasizing self-awareness and the pursuit of truth over material gain. Socrates' love of wisdom is portrayed as a lifelong pursuit of knowledge, rooted in recognizing one's own ignorance. The paper concludes by drawing parallels between Western and Eastern philosophies, specifically Taoist ideas, to illustrate the cyclical nature of life and death and the shared wisdom in embracing mortality.

The Problems Of Tradition And Innovation In The Armenian Poetry Of The 1960s–1970s

In the 1960s and 1970s, the social–political and literary–cultural life of our country entered a new orbit. A new literary generation came to the scene, which will adjust the main directions of the development of Armenian poetry, orientation standards, content and forms of expression. It seems that the innovative young poets who came to the scene, proposing harmonious ideals and ideas for the new time, were pushed out of the national spheres, but in fact, it is moving towards the origins of the national culture, towards the rich deposits of Armenian medieval poetry. Thus, discussions of national-traditional topics also become relevant. By balancing the past with the new times, it becomes a unique panorama to depict the present with the most pronounced shadow lines. Especially in the 1980s, the traditions of the Armenian Middle Ages had a wide circulation in various types of literature, particularly in poetry, which meant a return to the origins of folk creativity. They can be considered the innovators who reformed, combined and crossed the ancient genres of Armenians: sharakan, taghi, prayer, mythological myths, etc. They tend to the generality of art, which was specific to Armenian medieval art manifested in the form of symbolic universality. The past is represented not by the balance of historical material, but by the present–day interpretation of the internal charges of ideological and philosophical orientations, ancient Armenian traditions, myths, Christian motifs, plots, and images contained in them. However, it should also be noted that this tendency (return to the origins) is generally of a global nature.

Tosaka Jun: Problems of Space and Time in the Philosophy of Everydayness

The article is focused on the analysis of the theory of space and time by the Japanese neoMarxist philosopher Tosaka Jun. Tosaka was one of the first in his country to act as a critic of Western philosophy, whilst also being a follower of one of its directions. The relevance of studying this cultural phenomenon lies in the possibility of supplementing knowledge about Asian philosophies in the context of the ongoing pivot to the East. The empirical basis of the research was a series of Tosaka’s essays written in 1920-30s focused on the problems of space and time, as well as his monograph “Japanese Ideology.” The main methods used in the article were the methods of comparative analysis, discourse analysis, and (based on the analysis of concepts and terms) the techniques of logical and semantic reconstruction of the system of ideas associated with a particular problem. The author sets the goal of investigating the content and features of the interpretation of space and time in Japanese thought of the 20th century using the example of Tosaka’s philosophy in the context of discussing the role of everydayness as an epistemological basis for philosophical teachings. In this regard, the task of identifying the original solutions and approaches of the Japanese thinker was realized, allowing us to consider his legacy a significant part of the historical and cultural process, as well as to understand the significance of his philosophical ideas in modern discussions. Another important task of the study was to determine the paths of transfer and transformation of ideas, in particular, the refraction and critical rethinking of Western concepts in the Japanese intellectual space. As a result, for the first time in scientific literature, a detailed reconstruction of the problems of space and time, based on the entire body of Tosaka’s works is presented. The conclusion is substantiated that by introducing a number of concepts (everyday space, historical time, character, configuration, relevance, etc.) and rejecting traditional Marxist ideas about the linearity of time and the value approach to history, the Japanese philosopher rethought the Marxist philosophy of history from the position of his theory of everyday life and common sense, creating an original model of unequal cycles formed from within the historical whole and possessing internal completeness, and, thus, presented history as a non-linear and uneven process that has not only a temporal but also a spatial dimension.

The Temporal Difference and Timelessness in Kant and Heidegger

Abstract I spell out two theses, one shared by Kant and Heidegger, the other Kant’s alone: (1) there is a difference between “within-time-ness” (Innerzeitigkeit) and original or pure time (the temporal difference); (2) the temporal difference is articulated by a self-conscious act not bound by time. While each agrees that the “time-less” original or pure time has limits within which particular temporal determinations have their significance, Kant goes further in asserting that the pure ‘I’ must cognize the determinate boundaries of original or pure time if objective cognition is to be possible. The ‘I’ thus rejects time as a horizon of its own significance. An understanding of this argument suggests why Kant’s position is not as obviously susceptible to Heidegger’s criticism: not only does Kant positively argue that the ‘I’ is atemporal, but the content of this argument tells us why it is impossible for the ‘I’ to be ‘extant’ or a superadded representation in need of unification with temporality. Finally, it suggests that the dispute between Kant’s and Heidegger’s philosophical orientations rests not on whether temporality has been understood, but on how the ultimate conditions of intelligibility relate to their limits.

Exploring the relationship between two compositions using canonical correlation analysis

The aim of this article is to describe a method for relating two compositions which combines compositional data analysis and canonical correlation analysis (CCA), and to examine its main statistical properties. We use additive log-ratio (ALR) transformation on both compositions and apply standard CCA to the transformed data. We show that canonical variates are themselves log-ratios and log-contrasts. The first pair of canonical variates can be interpreted as the log-contrast of a composition that has the maximum correlation with a log-contrast of the other composition. The second pair can be interpreted as the log-contrast of a composition that has the maximum correlation with a log-contrast of the other composition, under the restriction that they are uncorrelated with the first pair, and so on. Using properties from changes of basis, we prove that both canonical correlations and canonical variates are invariant to the choice of divisors in ALR transformation. We show how to implement the analysis and interpret the results by means of an illustration from the social sciences field using data from Kolb's Learning Style Inventory and Boyatzis' Philosophical Orientation Questionnaire, which distribute a fixed total score among several learning modes and philosophical orientations.

Constructive vs. Extreme Rhetoric in Managerial Communication: A Holistic Framework Integrating Rhetorical Devices, Emotional Intelligence, and Eastern Philosophy

Constructive vs. Extreme Rhetoric in Managerial Communication: A Holistic Framework Integrating Rhetorical Devices, Emotional Intelligence, and Eastern Philosophy

THE BLOOMSBURY RESEARCH HANDBOOK OF EARLY CHINESE ETHICS AND POLITICAL PHILOSOPHY . Edited by AlexusMcLeod. Bloomsbury Research Handbooks in Asian Philosophy. London and New York: Bloomsbury, 2019. Pp. vi + 305. Hardback, $190.00; Paperback, $57.95.

THE BLOOMSBURY RESEARCH HANDBOOK OF EARLY CHINESE ETHICS AND POLITICAL PHILOSOPHY . Edited by AlexusMcLeod. Bloomsbury Research Handbooks in Asian Philosophy. London and New York: Bloomsbury, 2019. Pp. vi + 305. Hardback, $190.00; Paperback, $57.95.

Innovations of the metacognitive strategy for developing actor’s plasticity. Case study

The aim of this article is to explore the specifics of the approach that was developed and applied by the ZaO Theatre Improvisation Studio (Chisinau, Moldova) while outlining the context of metacognitive strategies that have become the modern basis for an actor’s plastic development. Modern methods of cultivating plastic expressiveness are deeply connected with the renewal of the theatrical ritual in the 20th century (Antonin Artaud, Jerzy Grotowski). Following the concept of theater as a conductor of spiritual experience, ZaO-Studio’s meditativeanalytical technique creates new possibilities for liberation and deepening of bodily expressiveness. These possibilities vary the influence of Eastern philosophy and meditative practices in the aspect of non-linearity and paradoxicality of theatrical forms and stories. The genre of improvisational drama, which the Studio is developing, awakens in actors the skill of spontaneous creation of plastic images and algorithms. Thus, the experience of ZaO-Studio is of interest for research and application in this aspect.

CULTIVATION OF SELF IN EAST ASIAN PHILOSOPHY OF EDUCATION. Edited by RuyuHung. Educational Philosophy and Theory. London and New York: Routledge, 2020. Pp. x + 144. Hardback, $180.00; Paperback, $52.95.

CULTIVATION OF SELF IN EAST ASIAN PHILOSOPHY OF EDUCATION. Edited by RuyuHung. Educational Philosophy and Theory. London and New York: Routledge, 2020. Pp. x + 144. Hardback, $180.00; Paperback, $52.95.

The "Embodied approach" in design: the way to the East

The article subject is dialogue about the development prospects of the so-called “embodied approach” in design, conducted by Western researchers for the past ten years. Some of the Western researchers indicate the fundamental impossibility of creating the theory of somatic-oriented design in view of the fact that such a theory will have to rely on the “silent” knowledge of the body. The author of the article sees the exit in, firstly, to turn to the experience of Chinese and Japanese designers, for whom “embodied cognition” is deeply rooted in the regional tradition; and secondly, to form a categorical apparatus necessary for the development of the theory of somatic-oriented design, based on the category of traditional eastern philosophy, allowing to fix the experience of the body (we are talking about the image “хiang” and the intentions “yi”). In the course of the study, the author focuses on the specifics of the body's perception in the East, since oriental experience does not lead to the expansion of involved perception channels (use in addition to vision, for example, smell and hearing), but to understand the project as a spontaneous process, form as an “open” for the embodied meanings. For oriental designers it is important not to “gestalt” of previous experience, but an embodied intuition of the future, aimed at creating a product later in demand by society. In conclusion, based on the categories of eastern philosophy, the author of the study introduces the concepts of “embodied image” (spontaneously arising figurative-scheme of human interaction with the environment) and “embodied design intention” (the direction of the thought to the transformation of reality, based on the somatic relations of the designer with the world).

THE ISSUE OF WAHDAT AL-WUJUD IN ALISHER NAVOI ONTOLOGICAL PHILOSOPHY

This article is devoted to the problem of unity, which is the subtlest and mysterious problem related to existence, widespread in Muslim oriental philosophical schools. The problem of Wahdat al-Wujud (the existence of God), along with its pluralistic nature in Eastern philosophy, tried to shed light on the extremely ignorant approaches put forward by extremely fanatical trends and sects, their quality as a weapon of the dominant political ideology. The article reveals a subject in the philosophical heritage of the great thinker Alisher Navoi with very simple examples, with examples from the works of enlightenment, mysticism, and provides scientific and analytical conclusions.

Transmission capabilities of SoulCollage in socio-pedagogical practice

Introduction. Artistic pedagogical technologies are widely used in pedagogical practice. However, a new technique, SoulCollage, is just beginning to be used in our country, and has not yet been reflected in Russian scientific publications. Scientific research devoted to SoulCollage and its use in practice has been published abroad since 2010.Purpose setting. The problem of the research is to find an answer to the question: does SoulCollage have transmission when used to form a positive mood? The purpose of the study is to search for manifestations of the property of transmission in the artistic pedagogical practice of collaging, using the example of SoulCollage. By transmission we mean a change in psychological state in response to a directed influence. The hypothesis of the study is the assumption that SoulCollage can be used as a socio-pedagogical practice when influencing the psychological state of a child in order to form a positive attitude (according to A. S. Makarenko).Methodology and methods of the study. The research methods were theoretical analysis, SoulCollage practice and pedagogical observation. Five educational practices on working with SoulCollage were conducted with students of Omsk State Pedagogical University aged 18 to 24 years. 54 people participated in the study.Results. The article reveals the historical origins of the development of SoulCollage and the technology of its application. The structure of the deck in Soul Collaging is described, which consists of deck suits: committee cards (psychological dimension), council cards (archetypal dimension), companion cards (consisting of animal guides that live in the chakras), community cards (social dimension). The technology for using SoulCollage in social and pedagogical practice is presented. Conclusions. The observation results showed that participants in social and pedagogical practice exhibit positive charge, they demonstrate increased interest in self-knowledge. The effects of socio-pedagogical practice are expressed interest: in SoulCollage cards, in participants in socio-pedagogical practice, in the study of Eastern philosophy and Jungian archetypes.

Bungen—An East Asian Philosophy of Culture in Terms of Intercultural Interactions and a Reinterpretation of Watsuji’s Concept of Aidagara

Influenced by Hegel, modern Chinese philosophers (e.g., Mou Zong-San, Lao Sze-Kwang, etc.) and Japanese philosophers (e.g., Nishida Kitaro) were inclined to narrate Chinese or Japanese culture in terms of the Hegelian concept of ‘spirit’. Nevertheless, the Hegelian philosophy of culture assumes the existence of an unchangeable cultural spirit and was therefore criticised by Watsuji Tetsuro. Watsuji denies the existence of an unchangeable cultural spirit and argues that cultures arise from the aidagara (interactions) between Ningen (human society) and Fudo (nature). Yet Watsuji’s narration of culture overemphasised the aidagara between Ningen and Fudo but disregarded that culture may also arise from the aidagara among cultures. Therefore, by reinterpreting Watsuji’s concept of aidagara, this paper proposes the concept of Bungen to explain the formation of cultures in terms of intercultural interactions and therefore highlight the diversity of East Asian cultures.

PRINCIPLES OF RENEWAL IN CONTEMPORARY UZBEK POETRY

The study discusses Uzbek poetry, its modern subject scope and the artist’s skill in creating images. The research deals with the issues of a new expression of philosophical views, individuality, and artistic interpretation of the creative style in today's Uzbek poetry in connection with Eastern philosophy and creative art. The aim of the study is to analyze the philosophical view and modernist interpretation in modern Uzbek poetry, the creative style, the nature of the image, the manifestation and formation of artistic and aesthetic features, and the growth of the creative way of thinking. The issue of figurative-philosophical imagery in Uzbek poetry, the composition of the poem, the scope of expression and thematic direction; Eastern philosophy in poetry, philosophical-social, symbolic-figurative, folk tones, the attitude of the creator to reality and the spiritual world were studied. The study states that in modern Uzbek poetry in the last quarter of the XX century and the first stage of the XXI century, along with the poet’s creative mood, the style of creating an image was somewhat updated, the meaning understood from the individuality inherent in the nature of the image acquired a special feature, carrying a certain meaning, conveying it to the reader’s thinking at a proper level, and at the same time requiring deep thinking. The history of the globalization phenomenon in modern poetry, its impact on the literary process, the fate of national literature and its viability, the impact of the phenomenon on Uzbek poetry, the issue of the balance of form and content in modern poetry are studied as a literary-aesthetic category.

Imagining Science

Disagreement about the trans-cultural applicability of the concept of religion has been a feature of the academic study of religion for decades. In a series of recent essays, Kevin Schilbrack has powerfully reframed these discussions as a debate between realist and antirealist philosophical orientations. Aligning himself with Critical Realism, Schilbrack argues that religion is a transcultural and transhistorical reality and that those who deny this are antirealists. As my own work is among his targets, this article engages Schilbrack's critique. The first part of the article challenges some of Schilbrack's readings of Before Religion. The second part queries Schilbrack's use of examples from the physical sciences as analogies for the relationship between concepts and the real things they are said to designate. The third part models an alternative use of examples from the natural sciences to think about historiography, concluding that the realist/antirealist dichotomy is not a useful tool. The physics of the last 150 years has shown that our most fundamental ideas about the universe – what we think the "real" character of the world might be – can change radically in short intervals of time. Historians should take heed and approach their own engagement with the traces of the past with due humility.

‘Mindfulness for modern life’: The blending of Orientalism and neoliberal self-care strategies in the branding of Rituals

This article interrogates the conflation of neoliberal imperatives to self-care and Orientalist fascination with Eastern spirituality in the branding of Rituals, the Dutch self-care and cosmetics brand. Focusing on the brand’s online presence as well as its self-presentation through its flagship store, the article contextualises the Ritual’s calls for mindfulness, gratitude and positivity within the neoliberal ‘psychological turn’. At the same time, it demonstrates how the brand mobilises Orientalist and neocolonial discourses to incite its consumers to exercise emotional self-control and self-care. Neocolonial and neoliberal narratives in the branding of Rituals serve to portray the brand as the site of pleasure, quiet and calm, disguising its exigency for female labour and depoliticising the issue of global inequalities.

Morrissey and Daoism: Easy Wandering, Wuwei, and the Aesthetics of Awkwardness

In this article, the author draws attention to “Daoist” themes in Morrissey’s art and personality. The link between Morrissey and Daoism can be established via Oscar Wilde, whose relationship with Zhuangzi’s philosophy has been much commented upon. Morrissey’s worldview and art have been shaped by Wilde, whose Complete Works Morrissey received from his librarian mother at the age of eight. The self-estranging irony, the incorrect behavior, as well as the conviction that aesthetics is more important than ethics, are emblematic of Zhuangzi, Wilde, and Morrissey. Linking themes of East Asian philosophies to Morrissey’s art is historically justified. There is an affinity between Daoism/ Buddhism and the subcultural context from which Morrissey emerges. Morrissey becomes the Oscar Wilde of post-punk. Morrissey rejects all taints of rock’n’roll machismo and plays up to social awkwardness of the misfits and the outsider. The article also deals with the following themes : strength arising from weakness, uselessness, aimless wandering, language skepticism, identity, authenticity, handicap, camp, and finally, the aesthetics of awkwardness. Awkwardness transcends mere clumsiness (which is no aesthetic quality at all) and becomes potentially attractive. Morrissey’s wuwei strategy of non-pretentious acting creates an aesthetics of awkwardness.

Ambidextrous Leadership: Literature Review

The goal of the research is to theoretically establish the variable of brilliant leadership and explain the importance of this variable and the philosophical orientation of researchers in taking it as an original variable in their research as an independent variable. The descriptive approach and theoretical framing of brilliant leadership were followed. We relied on secondary data represented by books, dissertations, dissertations, scientific research, and the information network (the Internet) as a tool for collecting data. The scientific value was represented by the importance of consolidating brilliant leadership and reviewing the most important things that were confirmed by the research and studies that dealt with this research.

Tàpies and the art where samsara is nirvana. Non-dualistic roots in his aesthetics

ABSTRACT This essay delves into Antoni Tàpies’s profound engagement with non-dualism, a philosophical stance encapsulated in the aphorism “samsara is nirvana and nirvana is samsara.” Tàpies’s exploration of non-dualism, which integrates diverse spiritual and philosophical traditions, profoundly shaped his artistic practice and worldview. Drawing from Western hermeticism and Eastern philosophies such as Hindu Advaita and Zen Buddhism, Tàpies embraced non-dual consciousness as a guiding principle in his art. His creative process incorporated alchemical symbolism, aiming to transmute mundane materials into expressions of unity between matter and spirit. Tàpies’s attention to the ordinary and overlooked underscored his non-dual perspective, emphasizing the intrinsic value of all things. This ethos mirrored in his choice of humble materials and focus on everyday themes, as well as in the diptych structures that symbolized meaningful relationships between opposites. Central to Tàpies’s oeuvre is the assertion that “samsara is nirvana,” a concept deeply rooted in Mahayana Buddhism. His artworks serve as vehicles for awakening consciousness and transcending the illusion of duality, offering glimpses into the underlying unity of existence. Furthermore, the essay explores Tàpies’s esoteric influences, highlighting his incorporation of mystical symbols and his belief in art’s capacity to evoke transformative experiences. By examining Tàpies’s essays and artistic works, alongside insights from extensive secondary sources, this essay aims to provide an enriching perspective on the artist’s contributions to international discourse on non-dualism and aesthetics.

Seneca, Corneille, and the Ghost of Jesuit Classicism

Abstract The precise effects of Jesuit education can be difficult to discern in a given writer or artist. Little is known about Pierre Corneille’s (1605–84) humanist formation at the Jesuit college in Rouen; like his philosophical orientation, its nature must be extrapolated from scanty, equivocal evidence. This article traces Corneille’s reception of Seneca (c.4 bce–65 ce) in his early tragedy Médée and his heroic drama Cinna in an attempt to come to grips with his idiosyncratic classicism, which diverges considerably from contemporary Aristotelianism. Corneille is a practical man of the theatre and focuses less on Aristotle than on Seneca’s philosophical prose, as well as his tragedies. By the time he comes to compose Rodogune, Corneille has absorbed Seneca so completely that it seems almost impossible to articulate precisely how his work is “Senecan,” except to point to Seneca’s shadow. Perhaps Jesuit classicism is easier to study in a less idiosyncratic writer like Thomas Corneille (1625–1709)?