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Time Through the Prism of Social Philosophy and Artistic Culture. P. 132–137

Версия для печати

Section: Philosophy

UDC

115+130.2+7.01

DOI

10.17238/issn2227-6564.2019.4.132

Authors

Marina A. Petinova
Samara State Technical University; ul. Molodogvardeyskaya 244, Samara, 443100, Russian Federation; e-mail: shloss@yandex.ru
Aleksandr A. Shestakov
Samara State Technical University; ul. Molodogvardeyskaya 244, Samara, 443100, Russian Federation; e-mail: shestakovalex@yandex.ru

Abstract

This article is devoted to the problem of studying time in the framework of the philosophical and artistic paradigms. The author looks into the temporal characteristics of artistic culture in the sphere of musical art. This topic is relevant due to the fact that time is a fundamental concept, whose nature still requires clarification not only through philosophical reflection, but also through philosophical analysis of its socio-cultural forms of activity. The best empirical example in studying the phenomenon of time as a pure extent is the temporary art form of music. Its ontological foundations were analysed by A.F. Losev, R. Ingarden, H. Sedlmayr and others. Time is of qualitative nature, an attribute of autonomous ontological reality, objectified not only in the text, but also as a living participant in co-being, i.e. execution. This paper distinguishes between the following modes of time: physical time, artistic time, musical time, and time in music. In addition, M. Bakhtin’s concept of chronotope is applied to the reception of the process of semantic comprehension of music. Time is revealed in music in a variety of modalities, characterized either as time of the epoch through style formation, or as phenomenally experienced being, “beholding the eide”, or as an order of space-time reflected in the score, or as a symbolic structure enshrined in the signs of the text. Of theoretical importance for the reception of temporality as a phenomenon of sociocultural reality are the philosophical works by E. Husserl and M. Heidegger, as well as the ideas of the lifeworld and intersubjectivity. These concepts unfold the space of the human world as an experience of meeting with the Other. From existential-phenomenological positions, time is typically considered in its connection with consciousness, separating time from spatially measurable strategies that are often found in the natural sciences. Finally, the article emphasizes the intentional nature of time perception and the continuity of the modes of the past and the future in the unity of the present experience of perception.

Keywords

time, supratemporal, atemporal, chronotope, temporality, social philosophy, artistic culture, musical art
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References

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