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Relevant bibliographies by topics / Metaphisical experience

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Journal articles

Academic literature on the topic 'Metaphisical experience'

Author: Grafiati

Published: 3 June 2025

Last updated: 31 July 2025

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Journal articles on the topic "Metaphisical experience"

1

Gagim, Ion. "În faţa muzicii. Experienţe metafizice (II) / In front of music. Metaphisical experience (II)." Artă şi educaţie artistică : rev. de cultură, şt. şi practică educaţională 2012 (2) (October 23, 2017): 113–19. https://doi.org/10.5281/zenodo.1035002.

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Abstract Muzica conţine partea sa de fizică şi partea sa de metafizică. Partea fizică e forma, partea metafizică e conţi-nutul. De fapt, dacă e să ne referim la conţinut, în muzică (în sunetele ei ca atare) el nu există. El se află în recep-tarea acestor sunete, adică în conştiin-ţa şi trăirea celui care intră în contact cu sunetele respective. Dar, subli-niem, abia aici putem zice că avem de-a face cu ceea ce se numeşte mu-zică, căci anume conştiinţa noastră defineşte anumite sunete ca muzică, acestea, luate în sine şi în afara conştiinţei, în afara aprecierii lor de către conştiinţă, nu sunt

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2

Gagim, Ion. "În faţa muzicii. Experienţe metafizice (II) / In front of music. Metaphisical experience (II)." Artă şi educaţie artistică : rev. de cultură, şt. şi practică educaţională 2012 (2) (October 23, 2017): 113–19. https://doi.org/10.5281/zenodo.1034963.

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Abstract: Muzica conţine partea sa de fizică şi partea sa de metafizică. Partea fizică e forma, partea metafizică e conţi-nutul. De fapt, dacă e să ne referim la conţinut, în muzică (în sunetele ei ca atare) el nu există. El se află în recep-tarea acestor sunete, adică în conştiin-ţa şi trăirea celui care intră în contact cu sunetele respective. Dar, subli-niem, abia aici putem zice că avem de-a face cu ceea ce se numeşte mu-zică, căci anume conştiinţa noastră defineşte anumite sunete ca muzică, acestea, luate în sine şi în afara conştiinţei, în afara aprecierii lor de către conştiinţă, nu sun

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3

Gagim, Ion. "În faţa muzicii. Experienţe metafizice (I) / In front of music. Metaphisical experience." Artă şi educaţie artistică : revistă de cultură, ştiinţă şi practică educaţională 2012 (1) (October 23, 2017): 92–99. https://doi.org/10.5281/zenodo.1034937.

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Abstract: Muzica nu este artă, ea este substanţă aerian-eterică, este sonoritate ca parte a sonorităţii universale, în care îşi duce existenţa omul şi fără de care existenţa sa este de neconceput. A zice că muzica este artă înseamnă a o reduce la „meşteşug”, la „meserie”. Limitat şi... înjositor pentru Muzică!

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4

Nagy V., Gergő. "Aural Figuration and the Metaphysics of the Offscreen Sounds in Lucrecia Martel’s La Ciénaga (2001)." Acta Universitatis Sapientiae Film and Media Studies 25 (August 20, 2024): 35–49. http://dx.doi.org/10.47745/ausfm-2024-0003.

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The paper examines the figuration of sounds in the first film of Lucrecia Martel, La Ciénaga (The Swamp, 2001), with a particular emphasis on the interpretation of the figural dynamics of the film’s last scene. It argues that the idea of sonic cinema by Gregg Hainge is relevant for the figural analysis developed by Nicole Brenez since Hainge shows that the sonic realm is a privileged sphere to grasp the figuration of the filmic material. This means also that the essential dynamism of cinema can be clearly revealed through the mapping of sonic operations and through the understanding of sonic p

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5

Baron, Marta. "Anaesthetic gardens. On Metaphysics by Lech Majewski." Journal of Education Culture and Society 1, no. 1 (2020): 49–55. http://dx.doi.org/10.15503/jecs20101.49.55.

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Interpretation of Metaphisics – the novel written by Lech Majewski, is the subject matter of theoretical, aesthetic and antropological considerations. Synthesis of arts: literature, film, painting and theatre, which occur in the novel, opens a perspective of intertextuality and provokes questions about ekphrasis, varied materials, ways of experience mediated by dispositives and reflections on humans among other problems. The crucial point in both: Majewski’s novel and this dissertation, is a triptych painted by Hieronymus Bosch – The Garden of Earthly Delight, which gradually annexes the featu

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6

Kulikov, M. V. "Metaphisic of Boundary Spaces: The Bolshoi Solovetsky Island in the Letters of Father Pavel Florensky (1934–1937)." Bulletin of Irkutsk State University. Series Political Science and Religion Studies 52 (2025): 154–63. https://doi.org/10.26516/2073-3380.2025.52.154.

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The article considers the issue of the spatiotemporal organization of being as one of the central ones in the work of Fr. Pavel Florensky in relation to the border spaces, more specifically, the space of the Bolshoi Solovetsky Island. The author's deeply personal experiences in letters to his relatives and friends in regard to his general theoretical views give us the opportunity to interpret the island as a special kind of micro and macrocosm, as the boundary of confluence of heterogeneous spaces, as a special semiotic place of oblivion, in which the thinker summed up his reflections and his

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7

"CHIRICO AND METAPHISICAL ART." SED Journal of Art Education, April 16, 2018. http://dx.doi.org/10.7816/sed-06-01-05.

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Chirico's grandfather was an interpreter in the Ottoman palace and his father worked as an engineer in the construction of the Ottoman railways. Giorgio de Chirico is defined as the magician or witch of the mysterious dream world and supernatural spaces in art history. Their works, which usually begin with "Enigma", are the subject of ambiguity and enigma. Chirico is claimed to be an atheist, but mystical tendencies are seen in his paintings, and the works that atheism is associated with are rarely seen. Spiritual reality and metaphysical discoveries are Chirico's greatest interests. He painte

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