Academic literature on the topic 'Reflection (Philosophy) Self-perception'

Background. The knowledge about R. Wagner has now acquired the status of a significant component of not only music, but also philosophy, cultural studies, literary studies, and in studies the authors address to the intonation-conceptual and philosophical foundations of the artistic concepts of the German composer. Such universality has a basis in the substantial depths of Wagner’ works, which are the embodiment of myth-making, the conceptual ideas of Gesamtkunstwerk and Kunstreligion. Objectives. The purpose of the research is to determine the scientific basis for the implementation of the theory of communication as determinants of the analysis of the creative process by R. Wagner through the prism of the heuristic quest of the genius composer and the inclusion of his achievements in the continuum of culture. Methods. In knowledge about R. Wagner methodological importance have the works of the famous scientist M. Cherkashyna-Gubarenko. The researcher examines the conceptual foundations of R. Wagner’s work: finds the influence of the German composer on the artistic formation of S. Prokofiev, reveals in the works by R. Wagner evangelical motifs, the Faustian model, which is a reflection of the archetypes, the problem of the embodiment of his works in the Opera house of today. Significant representative of knowledge about R. Wagner, the author of the doctoral thesis, the focus of which is the Opera the «Flying Dutchman» is E. Roschenko. Analyzing the embodiment of mythology in the musical art, scientist addressed to the conceptual foundations of the artistic practice of the great mythmaker R. Wagner. Great importance in the understanding of cognitive and communicative activity of Wagner plays familiarization with his euristic quest, which was carried out through the study of the music and book editions. Materials about the libraries of Wagner transferred to the archive of the Kharkiv Wagner society by M. Eger in the form of manuscript. The results of his research contribute to the expansion of ideas about Wagner’s universalism, which, in turn, allows us to hunting the principle of the composer – Gesamtkunstwerk – as not only a union of music, poetry and dance, but comprehensive intellectual and spiritual synthesis. Results. In science, there are many approaches to the study of communication. This publication highlights the scientific provisions that are methodologically important in the study of the process of communicative and creative process of the artist. The roots of the theory of communication reach antiquity. Therefore, first of all addressing to them, correlating philosophical reflections of ancient Greek thinkers with scientific and philosophical thought regarding the understanding of these processes in subsequent eras from the perspective of the chosen discourse of the proposed research. The dialectical method of Socrates, justified by Plato, involves the acquisition of true knowledge through reasoning in the form of questions and answers that can be carried out in conversation with the interlocutor or with yourself, in the process of knowledge or self-knowledge. R. Wagner was reflectional artist, a sage who came to know themselves in unity with the being of the world, the idea is constantly addressing the question of the meaning of human existence and finding it on various options of response. The metaplot of his works delineates reflections on the imperfection of mortal existence, eternal desire for freedom and immortality. R. Wagner’s reflections are related to philosophical reasons of thinkers, but they are expressed in terms of the artistic concept of the work, where the composer reveals his own philosophical beliefs, placing the characters in the realities of ontological reality. Therefore, we can conclude that the infinite knowledge and self-knowledge of the German master is expressed in the form of artistic and philosophical reflection. Wagner’s creative work gradually reveals its depths through its inclusion in the public consciousness, where it finds a lot of interpretative readings; carried out by directors and performers, music lovers and opera audience, reviewers and researchers. The texts of the works of the German genius are in the focus of the interpreters active attention in the conditions of the modern Director’s Opera house, where they appear as an initial source, prompting the search and actualization of deep meanings, which is facilitated by the artistic and conceptual content of these works. Creativity of R. Wagner is included in the communicative and creative process, which is carried out in a dialogue in the big time (concept by M. Bakhtin). In turn, the German genius acted in this process not only as a communicator, but also as a comunicant, as evidenced, in particular, by the reflection recorded on the pages of his publications (an appeal to humanity and at the same time an imaginary conversation with outstanding personalities of the past and present). Conclusions. Consideration of R. Wagner’s creative work and thought through the prism of artistic and philosophical reflection, allows us to interpret dialogue as an endless search for truth, which takes its multiplicity, despite the composer’s desire to find episteme knowledge. Texts by R. Wagner are the embodiment of the author’s picture of the world, which reflects the conceptual ideas of the composer, included in the dialogue in the big time. The tracking of the semantic content of a literary text often generates new meanings, since this process is subjective, which bears the imprint of the interpretation’s perception. In the creative work of R. Wagner, there is an operation with symbols that means by composer as a «significant game», during which there is a comprehension of archetypal information and the generation on its basis of new meanings that arise as a result of knowledge through myth. The author sees the prospect of further research in the present consideration of R. Wagner’s creative work from the standpoint of the theory of communication, covering the level of social existence of the composer and onto-communication in his operas – display of ontological processes of the Universe.

The subject of this research is the problem of personality in the context of Russian religious thought. The study of such phenomenon as personality, which resembles a person’s unique individuality has been actively pursued in Western European philosophy. However, the history of Russian philosophy indicates other storylines related to personality that take roots in the religious tradition of Orthodoxy. One of the fundamental grounds is the Trinitarian problematic in perception of the doctrine on personality by the Russian philosophers. Application of historical-philosophical material allows comparing the reflection of the phenomenon of personality in Western European and Russian thought. Works of the modern authors on the topic are also attracted. In the course of studying the phenomenon of personality in Russian culture, the author formulate the following conclusions: the original concept of personality, which emerged in the pre-Peter tradition, was not only an intrinsic part of folk culture, but also played an important role as an anthropological marker of “friend and alien” on the level of behavioral or ethical practice. The personal marker is a holy, although such role model is an unachievable goal of self-impersonation. The essence of such devotion is revealed only through personal faith inherent to a group of people who share similar views and affiliate themselves with Orthodox Christians. Impersonation of a holy as a spiritualized person becomes a significant ethical and pedagogical dominant, and personality of a human is understood in relation to the personality of God, which manifests as spiritual marker for each person and simultaneously goal the purpose of earthly life. Namely through this, the phenomenon of Sobornost (Spiritual community of many jointly living people) obtains its transcendent meaning.

Background. Continuing trends dated back in the second part of XIX century music culture concentrate on a figure of performing musician. Commercialization an academic art: popularity of performance awards, media supporting for new formats of concert performance, etc. facilitates this largely. Objectives. Public interest conditioned an appearance a lot of scientific research inscribed to problems of musical interpretation. However, a performing oeuvre learning the product, fixation of which even taking to account modern recording capabilities are relative, warrants specific methods. In particular, engaging the conception of values for settlement of a question why performing art products are different with their significance: something becomes a culture phenomenon but something stays at self-actualization level. Methods. For comprehensive study the performing as separate kind of activity it is necessary to involve adjacent humanitaristics areas – psychology and philosophy, which problems of art and it’s osmosis are considered in. In particular, in philosophy art is understood as a kind of human activity aimed at creating new-look material and culture valuables. However, in our perspective more interesting and capacious definition is seem N. Berdyaev’s one: «Art is a human ability to create a new reality from valid material». That picturesque vision of the author’s work, which springs up during an interpretation, often has a wide public interest that let assign to interpretator a status of the creator. Such an understanding of performing musician’s figure significant we can find in foreign philosophers’ works (R. Ingarden, B. Croce) and native music scientists (B. Moskalenko, I. Sukhlenko). Such an understanding of performing musician’s figure significant we can find in foreign philosophers’ works (R. Ingarden, B. Croce) and native music scientists (B. Moskalenko, I. Suchlenko). Results. E. Husserl’s phenomenological conception had a great impact not only on XX th century philosophy but on many humanities science especially art history. It led to the fact that there are many definitions of phenomenon concept, which is interpreted as a reflection of world of ideas, an object that is accessible to the senses, a basic holistic unit of what can be isolated from consciousness, external properties and subject concern revealing its essence, etc. A unite part all of definitions is a sensorial perception as a base of human knowledge based on individual experience and ability of consciousness to self observation and reflection. Stickling example of this is a field of artistry, which individual sensorial perception takes such a big part in that identity of the creator, his feelings often become the centerpiece of work. In musical oeuvre, an outward subjectivization is an acoustic convergent thinking. However, musical thesaurus is enough for power of imagining wakening enabling reproducing and combination the phenomenal stored in composer-performer-hearer’s memory. Performing art based on searching the new acoustic and dramatic source material characteristics. Thereat performer’s work algorithm depends largely on personal intention based on world and mental outlook. The scale of performer identity, his internal conviction power whereby he creates the new acoustic reality is able to notably change all the elements of composer’s intention and affect our perception of musical composition. In that understanding, the special aspects of composer’s activities, its interconnection and correlation with his oeuvre are opened in other view. Brilliant performance reformatting an art space composer’s work frequently appropriates him «double authorship». As a result is a phenomenon of identification with the name of great composer: L. Beethoven’s 5th Symphony – G. Von Karajan / L. Stokowski; J. S. Bach’s Goldberg Variations – G. Gould / R. Tureck; F. Сhopin’s works – V. Sofronitsky / V. Horowitz; P. Tchaikovsky – M. Pletnev. Exactly this influence aspect of performing art on the musical culture interested B. Croce who confirmed that musical composition only exists at the time of execution. However, choice the pair «composer-performer» depends up our perception, our readiness to acceptance an alternative artistic concept. Herewith prescription, forming «set» of value orientation of some shared identity: from group of like-minded persons to mass convictions, has a great impact here. The latter’s impact differs under studying a creativity of famous musicians and soi-disant «second place» musicians who fall under external influence easier than others do. Even in the light of constant changes of public conscience, one can highlight some hard values in it that characterize certain social stratums. However, and these value systems undergo a review for a time and modern society reject what was topically a couple decades ago. The result is that fashion phenomenon on performers or performing style appears. Accordingly, to continue to be relevant performing musician needs to have a gust of latest tendencies in art and to able to save value bases of personal mental outlook. Conclusions. The phenomenological approach to the study of the creative activity of a musician-performer allows one to go beyond the theoretic analysis that is traditional for musicology. Acceptance that the product of performing creativity can be defined as a phenomenon, reflecting several vectors of personal communication (dialogue with oneself, with a composer, public, historical epoch), can help not only in understanding the “musical work of the performer”, but also in understanding the phenomenal significance of performers in modern musical culture.

Human values and core principles of societies like self-respect, dignity, fairness, equality, dignity, non-discrimination and sharing have long been discussed and valued all over different societies and communities around the globe. These universal core principles are a reflection of the human rights; so the common skeleton of framework, philosophy and concept of human rights should be worldwide or universal. This implies that the recognition of human rights is supposed to be the goal of every state. Other than this central point, can we actually know the concept and dimensions of human rights? This basic question brings out the subject of education of human rights & human rights in education. Keeping in view this context the main objective of author is to study the perception/concept & practices of Teacher Educators about Human Right Education (HRE) & Human Right in Education. The population in this study comprised of Teacher Educators of Department of Education & teacher education of public universities of Sindh, where target population was Department of Education / teacher education of three randomly selected public universities. The target sample was sixty percent Teacher Educators from each department which were selected by random sampling. The research was descriptive in nature & qualitative & quantitative by method. A questionnaire with open and close ended questions was used to collect data and the data was analyzed with the help of percentages& theme analysis to inquire the concept & practices. Visualized findings sum-up the concept and practices about the theme with a few recommendations for practitioners and policy makers.