დრო და მოდერნულობა

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dc.contributor.authorგულიაშვილი/ Guliashvili, ნანა/ Nana
dc.date.accessioned2022-07-07T07:54:18Z
dc.date.available2022-07-07T07:54:18Z
dc.date.issued2022-04-27
dc.descriptionივანე ჯავახიშვილის დაბადებიდან 146-ე წლისთავისადმი მიძღვნილი სამეცნიერო კონფერენციაen_US
dc.description.abstractEven in the scientific literature, there is often a confusion between the concepts of “modernization” and “modernity”. Modernisation marks the ongoing socio-political transformations in European history since the Middle Ages, and modernity is used to denote the cultural processes that have been going on in Europe since the early 20th century. Modernism was the first artistic activity to declare modernity as an imperative of existence and life. The pre-modern and current aesthetics were essentially focused on the absolute, which in turn meant that the dimensions and trends of time and space remained beyond or, to put it another way, aesthetics did not make the processes taking place in time and space the subject of reflection. It is at the time that modernism emerges, which destroys the rigid hierarchies of existence, denying the aesthetics of the Absolute. He discusses art in relation to time and speace. Modernity is a stage of culture that has tried to look at itself from the outside, however, for such a view it was necessary to have a cut-off point, that is why modernists have defined themselves in relation to time. In modernism, the “I” creates the world from the irrational, unknowable, chaotic beginning of it’s soul. The world created by modernism is a world full of horror, tragedy, in which people and objects are transformed into cold and dry constructions. The modernist art of the twentieth century has made one of its basic principles a new understanding of man. This is a statement about the existence of two “I’s” in a person and the rift between them: One “I” is a natural, true “I”, the true essence of man, the second “I” is a social phenomenon, false, not real – “not me”. Art must reach the “I” and be projected from it only to the external reality. XX century art is a manifestation of the nihilistic spirit, notes the German philosopher Hans Sedelmeier in his work “Loss of Center”, the dehumanization of art was reflected in the rejection of man, as Gasset used to say: by the testimony of a suffocation victim… Almost every direction of modernist art has made the attack on the mind one of its purposes. So if it is possible to see such a complex phenomenon as the modernist fl ow of XX century art, to find one key sign, as a sign that gives it is unique plase, intellectual impairment should be named and raising the “irrational dimensions” of the human soul.en_US
dc.identifier.citationივანე ჯავახიშვილის სახელობის თბილისის სახელმწიფო უნივერსიტეტის ჰუმანიტარულ მეცნიერებათა ფაკულტეტი, ჰუმანიტარულ მეცნიერებათა აქტუალური პრობლემები, თეზისები, თბილისი, 2022, გვ.: 71-74en_US
dc.identifier.urihttps://dspace.tsu.ge/handle/123456789/1753
dc.language.isogeen_US
dc.subjectმოდერნულობაen_US
dc.subjectდროen_US
dc.subjectხელოვნებაen_US
dc.subjectირაციონალიზმიen_US
dc.subjectნიჰილიზმიen_US
dc.subjectModernityen_US
dc.subjectTimeen_US
dc.subjectArten_US
dc.subjectIrrationalismen_US
dc.subjectNihilismen_US
dc.titleდრო და მოდერნულობაen_US
dc.title.alternativeTIME AND MODERNITYen_US
dc.typeArticleen_US
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