The concept of “magic realism” raises many problems, both theoretical and historical. I first encountered it in the context of American painting in the mid-1950s; at about the same time, Angle Flores published an influential article in which the term was applied to the work of Borges;1 but Alejo Carpentier’s conception of the real maravilloso at once seemed to offer a related or alternative conception, while his own work and that of Miguel Angel Asturias seemed to demand an (...) enlargement of its application.2 Finally, with the novels of Gabriel García Márquez in the 1960s, a whole new realm of magic realism opened up whose exact relations to preceding theory and novelistic practice remained undetermined. These conceptual problems emerge most clearly when one juxtaposes the notion of magic realism with competing or overlapping terms. In the beginning, for instance, it was not clear how it was to be distinguished from that vaster category generally simply called fantastic literature; at this point, what is presumably at issue is a certain type of narrative or representation to be distinguished from realism. Carpentier, however, explicitly staged his version as a more authentic Latin American realization of what in the more reified European context took the form of surrealism: his emphasis would seem to have been on a certain poetic transfiguration of the object world itself—not so much a fantastic narrative, then, as a metamorphosis in perception and in things perceived . In García Márquez, finally, these two tendencies seemed to achieve a new kind of synthesis—a transfigured object world in which fantastic events are also narrated. But at this point, the focus of the conception of magic realism would appear to have shifted to what must be called an anthropological perspective: magic realism now comes to be understood as a kind of narrative raw material derived essentially from peasant society, drawing in sophisticated ways on the world of village or even tribal myth. Recent debates, meanwhile, have complicated all this with yet a different kind of issue: namely, the problem of the political or mystificatory value, respectively, of such texts, many of which we owe to overtly left-wing revolutionary writers .3 In spite of these terminological complexities—which might be grounds for abandoning the concept altogether—it retains a strange seductiveness which I will try to explore further, adding to the confusion with reference points drawn from the work of Jacques Lacan and from Freud’s notion of the “uncanny,” and compounding it by an argument that magic realism is to be grasped as a possible alternative to the narrative logic of contemporary postmodernism.4 1. See Angel Flores, “Magical Realism in Spanish American Fiction,” Hispania 38 : 187-92.2. See Alejo Carpentier, “Prólogo” to his novel El Reino de este mundo ; the most useful survey of the debate remains Roberto Gonzalez Echeverria, “Carpentier y el realism magico,” in Otros Mundos, otros fuegos, ed. Donald Yates, Congreso International de Literature Iberoamericana 16 , pp. 221-31.3. See Angel Rama, La Novel en America Latina , and especially Carlos Blanco Aguinaga, De Mitólogos y novelistas , in particular the discussions of Gabriel García Márques and Alejo Carpentier.4. My own general frame of reference for “postmodernism” is outlined in my “Postmodernism; or, The Cultural Logic of Late Capitalism,” New Left Review 146 : 53-92. Frederic Jameson, William A. Lane Professor of Comparative Literature at Duke University, is the author of The Prison-House of Language and The Political Unconscious: Narrative as a Socially Symbolic Act. He is also a member of the editorial collective of Social Text. His previous contributions to Critical Inquiry are “The Symbolic Inference; or, Kenneth Burke and Ideological Analysis” and “Ideology and Symbolic Action”. (shrink)

In the “Notes for Lectures on “Private Experience‘ and “Sense Data‘", Wittgenstein endorsed one kind of inverted spectrum hypothesis and rejected another. This paper argues that the kind of inverted spectrum hypothesis that Wittgenstein endorsed is the thin end of the wedge that precludes a Wittgensteinian critique of the kind of inverted spectrum hypothesis he rejected. I will attempt to explicate the difference between the innocuous and dangerous scenarios, to give arguments in favor of the coherence of the dangerous scenario, (...) and to show that the standard arguments to the effect that the dangerous scenario is impossible are flawed or ineffective against the version of the dangerous scenario whose coherence I will be advocating. I will also agree with what I think is Wittgenstein’s position that the kind of inverted spectrum hypothesis he rejected lets qualia in the door, where qualia are qualities of experiential states whose phenomenal character cannot be expressed in natural language. Further, I will argue that acknowledging the coherence of the innocuous inverted spectrum commits Wittgenstein to the coherence of the dangerous inverted spectrum, thereby undermining Wittgenstein’s deepest views about the mind. In other work, I have used the inverted spectrum hypothesis as an argument against functionalism and representationism, but here the focus is on its role in arguing for the possibility of qualia. (shrink)

The paper proposes that the narrative functions of magical transformations and the characters’ articulated beliefs in the ways of spirits and ghosts in Alejo Carpentier's The Kingdom of this World and Ben Okri's The Famished Road represent polar extremes in magical realist writing. In the former text, spirits serve as the main measure of responsibility and responsiveness, enabling social actors to plot the ordinarily unimaginable. Spectral bodies transform marvelously in furtherance of the work of freedom and enchanting events proliferate so (...) that the spirit of independence set loose with physical struggles can flourish unhindered. The latter text blurs the borders of spirituality and literality; humans aspire to ghostliness and ghosts compete with humans. Nevertheless, human physical struggles for freedom long for a direction which the story's plentiful, flourishing spirits and ghosts seem unable to provide. The paper concludes that the different functions of spirits and ghosts in these novels reflect fundamental changes in the apprehension of historical progress in the postcolonial world since WWII. (shrink)

This paper focuses on mystical humanism as magical realism.

“There’s no need for DNA tests to prove that One Hundred Years of Solitude is Don Quixote’s heir.” G. Rabassa This paper is a personal attempt to relate the concept of language games as portrayed by the Austrian Philosopher Ludwig Wittgenstein with the literary magic of Gabriel García Márquez. The topic came up to me after reading an essay of the Colombian writer Carlos Patiño Roselli. His exposition on the language games in Wittgenstein triggered a series ofassociations in me (...) that made me see spoken language as the actor that plays the leading role in both authors. In order to address this topic I will first summarize Wittgenstein’s notion of language-games, on one hand, and then I will remind us of what we commonly understand under “magical realism” in GGM; then, I will propose a free interpretation of §103 in PhU relating it to Melquiades’ return from death to live in a story he tells in some papyrus. And now, “Back to the rough ground!”. (shrink)

In the current American iconoclash, certain monuments are subject to vandalism and municipal removal from their pedestals. Phrases such as “the erasure of history” and “damnatio memoriae” point to concerns that iconoclasm is an attempt to censor history or even remove certain individuals from public memory altogether. Because these phrases beckon the past, this wave of iconoclasm calls for a close examination of previous image-breaking to establish motives. Drawing first from art history, we analyze Byzantine iconoclasm and anxieties over the (...) nature of icons’ power, before contextualizing these findings within image destruction from the Paleolithic to the present day. Each comparison is suggestive of an enduring aesthetic principle: that what appears inanimate is not always inert. Next, drawing from cultural anthropology, we argue that principles of sympathetic magic are at the heart of contemporary iconoclasms, but not in the way media outlets often suggest. Instead, the fear of history’s erasure betrays a deeply rooted equivalence between the representation and the represented. In perceiving their fates as shared, sympathetic magic is seen to persist in the way humans create, interpret, and desecrate images. We conclude with the speculative realist proposition that iconoclasm can produce new, original artworks, which carries implications for the autonomy of art and its distribution between artist and artwork. (shrink)

The question about the relation between spacetime structure and the symmetries of laws has received renewed attention in a recent discussion about the status of Minkowski spacetime in Special Relativity. In that context we find two extreme positions (either spacetime explains symmetries of laws or vice-versa) and a general assumption about the debate being mainly about explanation. The aim of this paper is twofold: first, to argue that the ontological dimension of the debate cannot be ignored; second, to claim that (...) taking ontology into account involves considering a third perspective on the relation between spacetime and symmetries of laws; one in which both terms would be somehow derived from common assumptions on the formulation of a given physical theory. (shrink)

Against the forces of modal ersatzism Lewis launches a variety of attacks, some of which are clearly compelling, others of which are less so. I argue that pictorial ersatzism cannot clearly be distinguished from magical ersatzism, and--more interestingly--that 'genuine' modal realism is subject to precisely the criticisms so fatal for the magical ersatzers.

This article deals with a subject that in spite of its familiarity has to date received little attention from scholars of Olivecrona’s work. Indeed, it is often common, when discussing Olivecrona’s legal theory, to mention that the latter makes use of the magical view to explain, from an empirical standpoint, the suggestive force of the law. The topic, however, is not usually examined in depth, with a small number of exceptions. In these lines, we will attempt to show how Olivecrona (...) develops this topic and emphasise the importance of this so as to, on the one hand, reach a proper understanding of his theory, and on the other, offer a critique of it. (shrink)

Two successes of old quantum theory are particularly notable: Bohr’s prediction of the spectral lines of ionised helium, and Sommerfeld’s prediction of the fine-structure of the hydrogen spectral lines. Many scientific realists would like to be able to explain these successes in terms of the truth or approximate truth of the assumptions which fuelled the relevant derivations. In this paper I argue that this will be difficult for the ionised helium success, and is almost certainly impossible for the fine-structure success. (...) Thus I submit that the case against the realist’s thesis that success is indicative of truth is marginally strengthened. (shrink)

This article deals with a subject that in spite of its familiarity has to date received little attention from scholars of Olivecrona’s work. Indeed, it is often common, when discussing Olivecrona’s legal theory, to mention that the latter makes use of the magical view to explain, from an empirical standpoint, the suggestive force of the law. The topic, however, is not usually examined in depth, with a small number of exceptions. In these lines, we will attempt to show how Olivecrona (...) develops this topic and emphasise the importance of this so as to, on the one hand, reach a proper understanding of his theory, and on the other, offer a critique of it. (shrink)

This paper assumes that there is a distinction between empirical and non-empirical science. It also assumes that empirical science has two complementary parts, namely, theorization and experimentation. The paper focuses strictly on the experimental aspect of science. It is a call for reformation in African experimental science. Following a deep historical understanding of the revolution that brought about experimental philosophy this paper admits that magic was the mother, not just the “bastard sister” of empirical science. It uncovers the fact (...) that magic added the dimension of experimentation to science. This paper somewhat maintains that most of the ideas presented by some African scholars contain vestiges of the magical tradition in them. Even though this might not be a flaw by any reasonable standard, the paper still argues that there is a genuine need to separate magic from science, if we ever crave for any form of material/physical progress in Africa. I insist that the thrust of the call for paradigm shift in this paper is centered basically on experimentation. The issue of theoretical entities was introduced only to the extent such entities enhance experimental realism in the practice of African science. Of course, reformation can equally take place at the level of scientific theorization, but that is strictly beyond the scope of this paper. The fact is that those who are versed on the issues of experimentation should begin to get more focused on that aspect; and those who are given to theorization should settle with the formulation of well-structured theories. Time has indeed come for us to properly streamline our thoughts and make progress in the direction of African experimental science. In making this clarion call, we adopted a combined approach of hermeneutics and analysis. Keywords : Magic, African science, experimental science, paradigm, African thought. (shrink)

In this paper we offer an exegesis of Hilary Putnam’s classic argument against the brain-in-avat hypothesis offered in his Reason, truth and history (1981). In it, Putnam argues that we cannot be brains in a vat because the semantics of the situation make it incoherent for anyone to wonder whether they are a brain a vat. Putnam’s argument is that in order for ‘I am a brain in a vat’ to be true, the person uttering it would have to be (...) able to refer successfully to those things: the vat, and the envatted brain. Putnam thinks that reference can’t be secured without relevant kinds of causal relations, which, if envatted, the brain would lack, and so, it fails to be able to meaningfully utter ‘I am a brain in a vat’. We consider the implications of Putnam’s arguments for the traditional sceptic. In conclusion, we discuss the role of Putnam’s arguments against the brain in a vat hypothesis in his larger defense of his own internal realism against metaphysical realism. (shrink)

In this article I enquire into the notion of ‘political art’, by drawing on ideas from R. G. Collingwood’s often neglected Principles of Art. I show that his characterisation of ‘expression’ reveals what I call the ‘Narrow Aretaic Structure’ (NAS), distinguishable from a ‘Wide Aretaic Structure’ (WAS). Whatever satisfies NAS satisfies WAS, but not vice-versa. Though we have reasons to call ‘art’ anything satisfying WAS, Collingwoodian ‘art proper’ must also satisfy NAS. I then suggest that the distinction between WAS and (...) NAS is more interesting than the distinction between art and non-art and even as a criterion for ‘aesthetic’ (though this is not my main issue). The main issue is articulating a view of when the ‘politicalness’ of ‘political art’ is relevant in light of its being art, or, in Collingwoodian terms, ‘expression’ (under the NAS model). Collingwood allows us to give an alternative answer to these questions; one that does not appeal to ‘messages’ in art and their hypothesised effects on the audience. In other words, an answer that avoids the consequentialist ‘template’, which is restricted to the WAS model. As case studies, I use some of Aleksander Deineka’s ‘Socialist-Realist’ mosaics, as well as other examples of political artworks, and the recording of a work song. (shrink)

Abstract Curiously missing in the vast literature on Hilary Putnam's so-called model-theoretic argument against semantic realism is any response from would-be proponents of what Putnam would call magical theories of reference. Such silence is surprising in light of the fact that such theories have occupied a significant position in the history of philosophy and the fact that there are still several prominent thinkers who would, no doubt, favor such a theory. This paper develops and examines various responses to Putnam's (...) argument on behalf of the proponent of a magical theory of reference. While Putnam's explicit replies to such responses to his argument seem to involve little more than name calling, I develop arguments that show that there are significant problems facing any would-be proponent of such a view. While magical theories of reference are far from the strawmen Putnam seems to take them to be, there are, I argue, genuine reasons for a semantic realist to prefer a non-magical theory of reference. (shrink)

This paper investigates the consequences of taking seriously the metaphysics of Object-Oriented Ontology (OOO), as defined by Graham Harman, in the field of literature. Acutely focusing on just one possible mobilisation and application of the theory, the essay deploys OOO to read two major writers of the late 20th century, Don DeLillo and Murakami Haruki, in novel configurations made possible by applying an Object-Oriented method to the genre of Magic Realism. Using this method, the essay unearths an unarticulated (...) avenue for studying the genre and these authors against established national, cultural, and canonical boundaries in literature, putting into conversation various literary traditions based on formal characteristics found in the texts through OOO’s metaphysics, and suggesting wholly untested paths for literary study in the wake of Object-Oriented philosophies. (shrink)

A study of the reception and utilization of realism in literature outside of Europe during and after the nineteenth century, the area and period of its prominence, grants us some insight into how theories, practices and cultures travel and change in the process. In particular, it allows us to see how realism has been relativized in such a way as to open up the possibilities of redefinition of the notion and practice and moving beyond them. For these reasons (...) I am undertaking a short survey in this paper of the transculturation, after Fernando Ortiz, of realism in Africa, tracing its genesis from the primary mode of the western novel form to its utilization in anticolonial resistance literature and transmogrification into the magical realism and postmodernism of postcolonial experimental writing. (shrink)

Contemporary theories of universals have two things in common: first, they are unable to account for necessary connections between universals that form a structure. Second, they leave teleology out of their accounts of instantiation. These facts are not unrelated; the reason why contemporary theories have such trouble is they neglect the ancient idea that universals are ends at which nature aims. If we want a working theory of universals, however, we must return to this idea. Despite its unpopularity among realists, (...) teleology is not a disposable eccentricity, and its dismissal is not an improvement on ancient views. (shrink)

In this article I discuss the 'procedural postulationist' view of mathematics advanced by Kit Fine in a recent paper. I argue that he has not shown that this view provides an avenue to knowledge of mathematical truths, at least if such truths are objective truths. In particular, more needs to be said about the criteria which constrain which types of entities can be postulated. I also argue that his reliance on second-order quantification means that his background logic is not free (...) of ontological commitment and that his doctrine of 'creative expansion' only makes sense from a radically anti-realist perspective. (shrink)

Illusionists about consciousness boldly argue that phenomenal consciousness does not fundamentally exist — it only seems to exist. For them, the impression of having a private inner life of conscious qualia is nothing more than a cognitive error, a conjuring trick put on by a purely physical brain. Some phenomenal realists have accused illusionism of being a byproduct of modern Western scientism and overzealous naturalism. However, Jay Garfield has endorsed illusionism by explicitly drawing support from the classical Yogācāra Buddhist philosopher (...) Vasubandhu. In this paper, I assess the degree to which Garfield’s illusionist interpretation accurately captures the views of Vasubandhu and his commentator Sthiramati in their extant Sanskrit works. As it turns out, Vasubandhu and Sthiramati converge with contemporary illusionists in taking an unconscious causal basis of cognitive/linguistic processes to be responsible for generating the illusion of representational states with apparently phenomenal contents. Within their constitutive understanding of the mind as the “imagination of what is non-existent” (abhūtaparikalpa), I raise possible candidates for what might seem to be real instances of phenomenality — mental appearances (pratibhāsa), affective sensory experience (vedanā), and “intrinsic luminosity” (prakṛtiprabhāsvara) — and consider possible responses on behalf of an illusionist interpreter. I conclude that Vasubandhu and Sthiramati really do appear to be strong illusionists about phenomenal consciousness, particularly if phenomenal states are assumed to be essentially representational. (shrink)

The lexicon of religion has been widely used in the context of the social and cultural transformations associated with the ‘digital revolution’, whether in metaphoric or in realistic terms. The study of digital magic/magic in digital times, the other side of the coin of the Sacred 2.0, is still in its infancy. Yet, references to magic are made frequently in reflections about the rapid development of the digitalisation of society and culture, and they deserve more in-depth study. (...) This paper tackles the issue of magic in and of new technologies, including artificial intelligence devices. After a broad outline of the presence of magic in the digital ecosystem, this paper will focus on the lexical surface and semantic references to ‘magical thinking’, explore the underlying reasons for such references and unveil the regimes of existence for magic. Finally, the paper questions the role of language in the construction of a ‘digital magic’ and the transformations of the semantic category of magic as seen through the prism of a cultural revolution, that of the digitalisation of societies. (shrink)

David Lewis is widely known for maintaining the bizarre thesis known as genuine modal realism (hereafter, modal realism). He argued for modal realism on grounds of serviceability in On the Plurality of Worlds. However, earlier in Counterfactuals, he proposed a different kind of argument: from talk of ways things might be to possible worlds. In this paper, I examine the evolution of the latter argument in Lewis’s thought and evaluate its place in his overall case for modal (...) realism, especially in light of the alternative theory of modality known as magical ersatzism. I argue that Lewis turns the argument on its head in his critique of magical ersatzism, but that his later commitment to Ramseyan humility subjects him to a similar criticism. Therefore, the argument is, ultimately, a poisoned pawn for Lewis. (shrink)

Wells identifies influential mistakes about language embedded in the empiricist philosophical tradition of Locke, Russell and Ayer. He shows how these errors stimulated a religious backlash, in which faith became coupled with commonsense realism. He also covers behaviourism and magical thinking.

This paper considers medieval moderate realism with respect to universals. In the first part, I present and discuss the reasons why some late medieval philosophers—for example, Pseudo-Richard of Campsall and Richard Brinkley—hold the following conjunction of claims: whatever exists is particular and universals exist. The short answer is that such a conjunction is possible provided one distinguishes between what is de se and what is de facto. In the second part, I compare such a philosophical stance with other forms (...) of medieval realism and trace the de se/de facto distinction back to (at least) Albert the Great’s definition of universals. As a whole, the paper is an attempt to shed some light on what appears to be the magic formula of medieval moderate realism, namely: be a realist with respect to universals and stick to particularist ontology. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:John Edward MacKinnon BORIS PASTERNAK'S CONCEPTION OF REALISM To desire truth is to desire direct contact with a piece of reality. To desire contact with a piece of reality is to love. —Simone Weil, The Needfor Roots According to czeslaw milosz, Boris Pasternak "did not pluck fruits from the tree of reason, the tree of life was enough for him. Confronted by argument, he replied with his sacred (...) dance." Pasternak's poetry, he concludes, is "antispeculative, anti-intellectual," and though he was compelled to make certain concessions in the course of writing Doctor Zhivago, speculative thought nonetheless remained for him a perennial and decided "adversary." ' However, the familiar and conveniently stark distinction between lyricist and thinker upon which such judgments depend is in fact both naive and tiresome since, plainly, creativity and reflection need in no way necessarily subvert one another. Accordingly, while it is indeed likely that the most valued feature of Pasternak's poetry and best prose is its detailed recording ofthe world's incessant change, of the magic and movement of weather and gardens, seasons and landscapes, Milosz is far from just in so readily and categorically dismissing any attribution of poetic thought to Pasternak. For as much as the whole of his poetry amounts to a celebration of life's small wonders, unrivaled in their greatness, there remains at bottom the inspiration of the thinker, of one who has seen and felt, but who at the same time has had to compile and consider in an attempt to make sense of the whole. As if in open challenge to Milosz, CM. Bowra notes that Pasternak's poetic sensibility is "both physical and intellectual." The mental states described in his poems, Bowra writes, "begin with sensations of the eye and ear but contain something else in their mental appreciation of the 211 212Philosophy and Literature situation," namely, his "gift for grasping abstract problems." 2 If Milosz remains unconvinced, and if Wladimir Weidle dismisses Pasternak's poetic thought as "puny and piteous," still more poets and critics have shared Bowra's view.3 Henry Gifford refers to Pasternak's "philosophical habit of mind," Ronald Hingley to the "pyrotechnics" ofhis "darting intellect," and Yury Lotman to his personal and "thoroughly professional philosophical culture." 4 In her review ofPasternak's My Sister, Life, meanwhile, Marina Tsvetaeva observes that "thought is what works in him, burrows in subterranean passages...." 5 And though Nadezhda Mandelstamclaims that the word of all poets "flows from a general, integrated view of the world," she acknowledges too that poets "vary in the range and depth of their understanding" and proceeds to cite Pasternak as her one example of a poet with a particularly unified worldview.6 If we were to agree with Francis Sparshott that "the fiercest hatreds spring from the closest relationships," we could assume in turn that the fundamental antagonism customarily alleged to obtain between the creative and critical faculties in fact indicates only some common, if confused, origin or inspiration.7 In creating, after all, it is predictable rather than idiosyncratic that the artist will be led to investigate the roots ofart within himself, tiiat he will be tempted by the urge to define, to entertain, that is, some rudimentary theory. And indeed, in Pasternak 's case, it is not simply a matter of his poetry and prose having been informed by certain tacit, if stray, aesthetic conceptions, but rather of his having supplemented his intensely thoughtful artwith aconcurrently developed theory. In this article, I want specifically to consider Pasternak's conception of realism, that standard of achievement which, according to his theory, constitutes the touchstone of all great art. In order more firmly to ground this notoriously vague and unwieldy notion, I will appeal not only to complementary theoretical conceptions of Pasternak's, but also to those central ideas advanced by Iris Murdoch in The Sovereignty of Good. My intention will be to locate Pasternak's brand of realism within what I take to be an identifiable tradition, or at least a conspicuous and pervasive theoretical tendency, according to which the most crucial criterion of artistic realism is judged to be not any properly physical aspect ofthe completed work, and certainly... (shrink)

This essay elaborates a magical realist reading of urban dispossession and the displacement of slum dwellers in contemporary New Delhi. More generally it argues that realist descriptions of the magical and magical descriptions of the real can help us sense and engage the multiple, fractured temporalities of the postcolonial city. The essay foregrounds an impending slum demolition in postcolonial Delhi’s (in)famous magicians’ ghetto in the heart of the city, excavating a concept of ‘moving slums’ from Salman Rushdie’s classic magical realist (...) text Midnight’s Children. The interpretive concept of ‘moving slums’ describes the precarious temporality of slum demolition and re-settlement in postcolonial Delhi, juxtaposing dominant urbanist ideologies with everyday experiences and narratives of urban change. In societies deeply marked by the historical violence of uneven development, moving slums index the haunted morphology of the postcolonial city. (shrink)

The paper discusses the thesis of virtual realism presented by David Chalmers in his paper “The Virtual and the Real” (2017). Here, I suggest an even stronger version of the claim that I call “virtual physicalism”. According to this view, virtual objects are not only real but physical as they are identical to the physical states of computers that run VR software. I suggest that virtual objects should have a similar ontological status to toys—they should be treated as models (...) or simplifications of ordinary objects. Just like toys, virtual objects can sometimes be good enough to be used instead of their ordinary counterparts. In these cases, virtual objects start to be treated as instantiations of the same kind. In the last part of the paper, I use Johan Huizinga’s notion of a “magic circle” to suggest how different objects could be successfully “virtualized”, that is, moved into a digital realm while remaining objects of the same kind as their non-virtual counterparts. I suggest this will happen once virtual reality becomes permanent and causally connected with non-virtual reality. I finish the paper by looking at examples of natural kind objects and individuals, which seem to be the hardest cases for successful virtualization. (shrink)

The text aims to explain Radichkov's special magical capaЬility of creating imaginary worlds. His words do not mean any external reality to which they refer. Тhеу themselves are reality. Radickov's language consists of "ontological quanta". Any ontological quantum means both reality and а certain image of it, indivisiЫe and indistinguishaЫe from each other. Here we сап also involve non-Saussurean semiotics. The signifier and the signified are indivisiЫe and complementary in any sign. The meanings are areas of agreement between human beings. (...) Language generates that agreement between people. Its uncertainness and unclearness are not disadvantages. They allow for the people to agree with each other. The opacity of language is not Iess important than its transparency. The opacity means its aЬility to create fictions and literature and to replace reality with them. The basis of that opacity is ontological quanta: they allow апу average human being to use language successfully. Saussurean semiology considers Ianguage as а "Ыасk Ьох" averaged Ьу huge ensemЫes ofuses and only in terms ofthe past: language as well-ordered in ideality. The semiotics of ontological quanta is temporal: it сап refer both to the past and future oflanguage as well as to its present. lt describes how the indistinguishaЫe signs ofthe future are transformed in the well-ordered signs ofthe past Ьу means of choices in the present. The semiotics of ontological quanta сап Ье presented as that modification of the classical semiotic scheme where the signified and the signifier are complementary. (shrink)

This chapter presents the text of a lecture on the legacies of surrealism in Latin America given at the 2009 British Academy Lecture Series. This text discusses the tensions between surrealist internationalism and local cultural nationalisms, the contested relationship between surrealism and Magic Realism, and the enduring surrealist fascination with Pre-Columbian art and architecture. It analyzes the works of Mexican artists Frida Kahlo and Gunther Gerzso and works of contemporary Brazilian artist Cildo Meireles. It contents that art from (...) Latin America has flourished in recent years without claiming surrealism as an exclusive source. (shrink)

Hybrid Documentary and Non-Binary Cinema offers an expansive exploration of the contemporary documentary cinema form, aesthetics, and ethics. Beginning with a brief history of early seminal examples of magical realism, and constructed realities in documentary and ethnographic film the book will focus on recent and present-day examples of work that blur the lines between fiction and non-fiction. The book will also take a series of case studies to question the vision and motives of filmmakers working between documentary and fictional (...) film. It will consider the aesthetic and ethical challenges of these works and look toward the future of non-fiction filmmaking after the internet, and in the realm of the metaverse. The book will offer both an entry point to discover new tendencies and a deeper understanding for those readers who are more familiar with the field. Given its interdisciplinary subject nature, the book will appeal to audiences across a spectrum of interests such as film, fine art, anthropology, documentary, sociology and Drama. (shrink)

Author: Kowalski Andrzej P. Title: CULTURAL ARCHAEOLOGY AND PREHISTORY OF THE CONTINENT OF ART (Kulturoznawcza archeologia i prehistoria Kontynentu sztuki) Source: Filo-Sofija year: 2011, vol:.12, number: 2011/1, pages: 291-310 Keywords: JERZY KMITA, CULTURAL ARCHAEOLOGY, THE CONTINENT OF ART, SHAMANISTIC ORIGINS OF ART Discipline: PHILOSOPHY Language: POLISH Document type: ARTICLE Publication order reference (Primary author’s office address): E-mail: www:The paper presents an attempt at application of Jerzy Kmita’s achievements in philosophy of art, aesthetics, axiology, and history of culture to the research (...) on genesis of art. The problem of cultural genealogy of art shall be addressed in following contexts: 1. The context of the so-called ‘end of art in postmodern culture’ which manifests itself in the thesis concerning elimination of “grand narrations”, myths, and ideologies. According to J. Kmita, the art takes recourse to idea-meanings which are not ascribed to a handicraft. The meanings of superior axiological level express themselves in the art only. 2. The context of Bild-Anthropologie developed by H. Belting. Works of art are regarded here as images, especially—images of a cultural type. The accent lies here on genealogy of iconoclasm and theological discourse which uses Greek philosophical terminology. Ontology of “image as a presence” is analyzed with regard to magical realism and symbolism. Primordial and prehistoric images do not operate with signs of objects but instead they constitute objects themselves. 3. The context of structural anthropology where the art is interpreted within the horizon of mytho-logics and metaphoric-metonymical transformations. Kmita’s adjustment shows that metaphorical and metonymical meanings are indistinguishable. The art—which was ascribed a classificatory meaning—provided also socio-morphic categories. Totemic signs were more appreciated than totems themselves. It shows that the art transcends the reality which itself becomes a subject of the image. 4. The context of shamanistic origins of art. This conception universalizes results of neuropsychological research. Trance-practices are considered here as the origin of cave painting which presents a scheme of shamanistic visions. However, in folk cultures not all imaginary objects originate from trance-experience and the acceptance of their reality does not presuppose sensory deprivations (which is one of ethnological arguments showing limits of such interpretation). (shrink)