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У статті автор досліджує поняття символу та символізму в контексті образотворчого мистецтва крізь призму концепції Г.-В.-Ф. Гегеля, який виділив три історичні форми буття мистецтва: символічну, класичну та романтичну. Здійснюється спроба критично переосмислити існуючу схему та запропонувати своє бачення феномена символізму в лоні європейського образотворчого мистецтва., В статье автор исследует понятия символ и символизм в контексте изобразительного искусства сквозь призму концепции Г.-В.-Ф. Гегеля, который выделил три исторические формы бытия искусства: символическую, классическую и романтическую. Предпринимается попытка критически переосмыслить существующую схему и предложить свое видение феномена символизма в лоне европейского изобразительного искусства., The author explores the concept of symbol and symbolism in the context of fine art through the concept of G.-W.-F. Hegel, who identified three historical forms of life art: the symbolic, classical and romantic. Attempting to critically rethink the existing scheme and offer their vision of the phenomenon of symbolism in the bosom of European fine art.The timeliness of the investigation is a clarification of key peculiarities of historical forms of art’s existence, which were proposed by Hegel, in the context of widening them and by rethinking from the modern studies perspective that are focused on the interpretation of symbolism and symbol.The scientific development level of the problem: S. S. Аverintsev, V. V. Bychkov, М. А. Lifshitz, А. F. Losev, and others developed and analyzed the historical forms of art’s existence, including the symbolic one, in the context of the Hegel’s concept. The object of the article is to study the essential Hegel’s ideas concerning the interpretation of symbol and symbolism that were set out in his work "Lectures on Esthetics" in the light of critical analysis.In his grading of the main stages of the self-opening of absolute spirit G. W. F. Hegel determines the art as the first and the most imperfect form hierarchically followed by religion and philosophy. The philosopher’s work "Esthetics" proposes to consider the art development in the light of three main forms – symbolic, classical and romantic ones. Hegel considers the change of the historical forms of art’s existence in the light of historical dynamics because the movement from one art form to another is determined by the change of cultural priorities, or in general by the alterity of West and East forms. As Hegel notes, at the first symbolic stage the content cannot find the appropriate form of expression and that is why the discrepancy appears between them. "The idea is still searching its real art expression" [3, 9], but, as the philosopher notes, the search is not finishing in an appropriate way, leading to the fact that "it distorts and deforms the discovered images" [3, 9].In the context of our investigation the analysis of the Hegel’s interpretation of symbol that he applies either in the consideration of the symbolic form of art or out of its bounds, describing the difference of these meanings, is an important thing.According to Hegel the East symbolism is not the art for a real understanding of it (as in classical form). East symbolism acts only as preparatory phase in the further development and improvement of art form. It is difficult to admit because of impossible absolutization of the West-European criteria for the assessment of the art in relation to other cultures with their originality and in imitable artistic expression.In addition, Hegel justly remarks that the decoding of symbol can be possible only when the person, who perceives it, is there in an appropriate coordinate system, including the cultural ones, allowing for adequately understanding the inner component of symbol, which is concealed from the representatives of other cultural spaces, or those, who have no relevance to the contents represented by this symbol.Such kind of understanding the symbolic according to Hegel does not fully provide the involvement of so-called "free individuality" [3, 23], if it is there in the content and form, on the philosopher’s opinion, the symbolic immediately stops existing. In other words, any art freedom makes the Hegel’s symbolic form of art impossible for existence, because according to his opinion, in the individualistic piece of art the symbolic components can be used only as secondary details and come down to the level of simple signs, for example, in distinction from Egyptian images, referring to which Egyptians "believed that they could see the God in Apis" [3, 24].In addition, Hegel underlines several development stages of the symbolic: from the unconscious symbolics to the sublime symbolics and conscious symbolics of relative form of art. However, in the Hegel’s interpretation the description of the symbolic form of art concerning the pictorial art does not go outside the bounds of the unconscious symbolics because the following stages directly concern literary activity.Finishing the analysis of symbolic form of art the philosopher comes to the dialectical necessity of the replacement of one form of art by another one. It is explained by the exhaustion of previous one. Therefore, the disappearance of symbolic form of art and the creation of classical one become the next necessary stage. Overcoming the discrepancy and achieving the relevant ratio between the form and content are maximum achievable in the classical form of art, which according to the opinion of Hegel is the top of human art achievements, and the destruction of which happens in the next romantic form.

Tarih boyunca bireyler için iletişim kurmak önemli bir ihtiyaç olmuştur. Günümüzde bu ihtiyacın giderilmesini sağlayan yollardan biri de sosyal medyadır. Sosyal medya, birçok kişi için her an elinin altında bulunan, zahmetsiz, hızlı, ucuz, bağımlılık yaratan bir iletişim aracıdır. Pek çok faydası nedeniyle sosyal medya günümüzde oldukça sık kullanılmaktadır. Ancak, sosyal medyanın olumsuz tarafları da vardır. Yüz yüze iletişimin azalmasına neden olmuştur, kişilerin anı yaşamak yerine anı ölümsüzleştirmeye çabalamalarını sağlamıştır, bazı durumlarda mahremiyet duygusunu azaltmıştır, bazı kişiler sosyal medyada bulundukları kadar hayatta var olduklarını düşünmeye başlamışlardır. Tüm bu özellikler sosyal medyanın hayatımızda ne ölçüde yer aldığını göstermektedir. Hayatımızda bu kadar çok yer alan sosyal medya, simgesel şiddetin de oldukça sık uygulandığı bir mecradır. Simgesel şiddet, Pierre Bourdieu'nün önemli kavramlarından biridir. Simgesel şiddet aracılığıyla bireyler manipüle edilebilmekte ve sindirilebilmektedir- ler. Küçük düşürme, gururunu kırma,ifade özgürlüğüne engel olma vb.hareketlerle simgesel şiddet uygulanabilmektedir. Bireyler sosyal medyada simgesel şiddete çeşitli yöntemlerle maruz kalmaktadırlar ve sosyal medyada simgesel şiddet uygulanan platformlardan biri de Ekşi Sözlük'tür. Sosyal medyada simgesel şiddet araştırmasında Ekşi Sözlük'te analiz edilen başlıklara göre, sosyal medyada, özel olarak da Ekşi Sözlük'te, simgesel şiddet uygulandığı görülmektedir. Simgesel şiddetin pratikteki karşılığıyla sosyal medyada Ekşi Sözlük'te karşılaşılmaktadır. Bu nedenle simgesel şiddet kavramı, sosyal medya araştırmaları için işlevseldir.Anahtar Kelimeler: Sosyal Medya, Simgesel ġiddet, EkĢi Sözlük, Medya Throughout history, communication has been an important need for individiuals. Today social media is one of the ways which allows elimination of this need. For many people, social media is an effortless, fast, cheap and addictive communication tool which we can access every moment. For many benefits social media is used quite often nowadays. However, there are also negative aspects of social media. It has led to a reduction of face to face communication, lead people perpetuate the memories instead of living memories, in some cases reduced the sense of privacy, some people have begun to think that they are alive until they are on social media. All these features suggest that the extent of social media in our lives. Social media which is situated so many parts in our lives, is an area in which symbolic violence applied so much. Symbolic violence is an important conception of Piere Bourdieu. Through symbolic violance individuals can be manipulated and digested. Symbolic violence can be applied with behaviours like humiliation, degradation, prevent the freedom of expression etc. Individuals are exposed to various methods of symbolic violence in social media and one of the social media platform in which symbolic violence is also implemented is Eksi Sozluk.In the research of symbolic violence in social media, according to the topics analyzed in Eksi Sozluk, application of symbolic violence is seen, especially in the Eksi Sozluk. The practical equivalent of symbolic violence can be encountered in Eksi Sozluk. Thus the concept of symbolic violence is functional for social media researchs.Key Words: Social Media, Symbolic Violence, EkĢi Sözlük, Media 195

Cet article oppose les traditions anthropologiques française et anglaise sur leur traitement du problème de la magie, en particulier sur les deux questions que pose le phénomène de la magie : quel type de rationalité donne à la magie son efficacité alors qu’elle ne fournit aucune prévision ? Comment passe-t-on de la rationalité magique à une rationalité critique et scientifique ? Après un rappel des rapports entre magie, religion et science tels qu’il sont conçus par Tylor et Frazer, on oppose l’idée d’une plasticité des énoncés magiques en fonction des contextes pragmatiques où ils s’inscrivent, chez Malinowski et Evans-Pritchard, et l’idée d’une structure de la pensée magique qui viendrait prendre corps dans les actes de l’individu magicien, chez Mauss et Lévi-Strauss. On conclut alors sur la façon dont ces deux traditions abordent le problème d’une logique de la pratique, et sur les conséquences qu’une telle différence dans la position des problèmes peut avoir aujourd’hui. This article contrasts French and English traditions of anthropology in their way of handling the problem of magic, particularly as regards the two problems raised by the phenomenon of magic : what kind of rationality gives magic its efficacy although it makes no predictions ? What made possible the shift from a magical rationality to a scientific and critical rationality ? After a brief survey of the relationships between magic, science and religion as they are conceived by Tylor and Frazer, this article opposes the idea of a plasticity of magical utterances in relation to the pragmatic contexts in which they are inscribed, in the works of Malinowski and Evans-Pritchard, and the idea of a structure of magical thought that would be embodied in the acts of an individual magician, in the works of Mauss and Lévi-Strauss. The conclusion focuses on the way these two traditions have addressed the problem of the logic of practice, and the consequences that such a difference in the position of the problem of magic has for today.

I. Philosophica. §1 Selon une tradition rapportee par Diogene Laerce (IIIe siecle apres J.-C.), mais deja attestee chez le pyrrhonien et satiriste Timon de Phlionte (IIIe siecle avant J.-C), que Diogene cite a titre de temoin, Anaxagore (env. 500-437/36 avant J.-C.) avait ete surnomme Nous (Nou`") – « Intellect », selon la traduction recue en francais, Mind en anglais, et, le plus souvent, Geist en allemand « Et l’on dit que, quelque part, est Anaxagore, valeureux heros, l’Intellect, parce qu’il est a lui, l’intellect qui eveilla soudain Toutes choses et les resserra, elles qui etaient auparavant confondues en desordre. » L’identification de l’intellect, principe du systeme d’Anaxagore, a celui du penseur lui-meme est le fait du satiriste. Elle parodie peut-etre un passage du Phedon de Platon ou Socrate s’imagine avoir decouvert dans le Nous d’Anaxagore un type d’explication « conforme a l’intellect au sens ou il l’entend », ce qui peut se lire (et a ete lu) comme « selon son intellect a lui, Socrate. » Il est en tout cas clair que le

On peut remettre en question plusieurs schémas conceptuels utilisés par les historiens de l’herméneutique si l’on tient compte de l’histoire de traditions philosophiques qui ne devraient pas être négligées par ceux qui s’attachent à reconstruire le développement des notions et des méthodes herméneutiques. Centré sur la tradition aristotélicienne, cet article a pour but de montrer : 1) qu’entre le Moyen Âge et la Renaissance, le sens du terme latin interpretatio a sensiblement changé ; 2) que l’approche humaniste du corpus aristotélicien se base sur le principe que tout auteur est le meilleur interprète de lui-même ; 3) que ce principe était formulé et discuté dans certains traités, négligés, qui portaient sur l’optima ratio interpretandi Aristotelem et furent publiés par Nuñez en 1554, Pascual en 1591 et Piccart en 1605.Several conceptual schemes generally used by historians of hermeneutics can be challenged if one takes into consideration the history of philosophical traditions, which should not be neglected by those interested in reconstructing the development of hermeneutical notions and methods. Focusing on the Aristotelian tradition, this article aims at showing : 1) that between the Middle Ages and the Renaissance the meaning of the Latin term interpretatio shifted significantly ; 2) that the humanists’ approach to the Aristotelian corpus is based on the principle that every author is the best interpreter of himself ; 3) that this principle was formulated and discussed in some neglected treatises dealing with the optima ratio interpretandi Aristotelem, published by Nuñez in 1554, by Pascual in 1591, and by Piccart in 1605.

International audience; The purpose of this paper is a reflection about metalanguage led in two parts: at first, the relationships between metalanguage and language-object will be studied and the lower limit of their claimed hierarchy will be questioned. In a second part, the authors will consider the emergence of a metalanguage by taking support on the practice institutionalized by the tasting of wines. Such an essay on this terminological setting up focuses the problem of metalanguage Abstracts 451 not only on the facts of language but also, and specially, on a meta-semiotical relationship. This leads the authors to reconsider the hierarchical conception of the metalanguage for the benefit of a cyclic process.

Tez çalışmamızda mezar taşları bir `gösterge` olarak ele alınmıştır. Her şeyin bir gösterge olduğu göstergelerle dolu bir dünyada yaşıyoruz. Göstergelerle düşünüyor, göstergelerle iletişimde bulunuyoruz. Mezar taşları da bir göstergedir ve göstergeler insan yaşamın vazgeçilmez bir olgusudur.Her şeyin bir gösterge, her gösterge dizgesinin bir dil olduğu düşüncesi içinde mezar taşları bir dil olarak ele alınmıştır. Mezar taşları dili, içinde yaşanan çevrenin ve mezarı yapan/yaptıran kişilerin inanç, düşünce, ekonomik, sosyal ve kültürel durumunu, sanatsal görüşlerini, ölümü ve yaşamı nasıl algıladıklarını bize anlatan bir dildir. Mezar taşları sanat tarihi için oldukça önemli bir başvuru kaynağıdır. Çalışmamızda bu tarihi kaynağı doğru okuyabilmek, anlayabilmek, anlamlandırabilmek ve çözümlemek amaçlanmıştır. Araştırma Samsun yöresi tarihi mezar taşlarının görsel-sanatsal dil açısından çözümlenmesi ile sınırlıdır. Çalışmada yazılı eserler de dikkate alınarak, farklı türlere ait örnekleme yapılmış, her mezar tek tek ele alınarak bütünlük içinde okunmuştur.Çalışma konuyu aydınlatacak farklı disiplinleri içerir. Sanat tarihi inceleme metodu ile beraber anlamlandırma göstergebilimi çözümleme modelinden yararlanılmıştır. Çalışmada mezar taşları görsel metin olarak ele alınmış ve okunmuştur. Araştırmada bir gösterge olarak ele alınan mezar taşının işlevleri tespit edilmiştir. Değişen mezar taşı tipolojisinin mantığını anlamak için olaya göstergenin niteliği açısından bakmak gerekmektedir. Daha etkin kılınmak istenen bir gösterge talebi ve tasarımı görmekteyiz. Mezar anlayışını temelde belirleyen olgu kozmolojik düşüncedir. Ölüm olayını ifade eden göstergedir. Şeklini tabuttan alan beşik çatı biçimindeki Selçuklu lahiti örneği, tabuta gönderme yaparken ölümü hatırlatmaktadır. Zaman içinde kişi ve kendi mekânı tasarımına doğru değişimler görülmektedir ki mezarlar gösterge olarak cenneti ifade eden tasarımlar olurken ayak taşları kapı kavramına gönderme yapmakta, baş taşları kişiyi temsil tasarımı olarak görülmektedir. Araştırmamız ile görülmektedir ki mezarlar kozmolojik düşünceyi kültürel kodlar ile ifade eden simgesel bir konuttan ibarettir. Mezar taşları üzerine benzeri çalışma yapılmamış olması çalışmamızı bu yönüyle değerli kılmaktadır. Özgün ve orijinal olarak çalışılan tezin sanat tarihi ve sanat eğitimi alanı başta olmak üzere birçok alana önemli katkılar sağlayacağını umuyoruz.Anahtar Sözcükler: Mezar taşı, göstergebilim, sanat tarihi, görsel dil, anlam, simge Tombstones are taken as a sign in our thesisWe live in a world filled with signs that everything is a sign, we consider with signs and we communicate with signs .Tombstones are also a sign and the signs are an indispensable phenomenon of human life.A sign of everything, the idea that each sign of the string in a language as a language of gravestones have been addressed; tombstones language. Those who live in the environment and the grave / beliefs of the person who thought, economic, social and cultural situations , artistic visions , telling us how they perceive life and death of a language. Tombstones for art history are an important source of reference. In our study to be able to read, understand, make sense and to resolve of these historic resources, is purposed.Research is limited by the terms of artistic language of historic tombstones in Samsun region In the study, written works , taking into account, making the sampling of different species , and each individual graves were analyzed in their entirety .The study that clarifies the issue involves different disciplines. Methods of investigation and interpretation of Art history and semiotics analysis models were used. In the study tombstones were discussed as a visual text and were read. Research discussed in the tombstone as a sign has been determined functions.To understand the logic of changing tombstone typology we should examined the event in terms of signs. To make more effective we see a demand of sign and design.The essence that determines the understanding of grave is the cosmological idea. Expressing deaths are signs. The shape of a coffin shaped gable roof area tombs example of Seljuk, while referring death is a reminder of the coffin. According to the people in time and space design changes are observed .,while expressing grave designs would be heaven as a signs , foot stones refer to the concept of doors and head stone design is seen as representing the person . Our research shows that the graves of the cosmological ideas expressed by cultural codes that consist of a symbolic issue.There are no similar studies on tombstones, that our study makes it valuable. As unique and original thesis studied art history and especially in the field of arts education we are expected to provide important contributions in numerous fields.Key Words: Tombstone, semiology, history of art, visual language, meaning, symbol 181

This article, introducing the first round table, raises the question of cultural and historical relationships existing between landscape and inheritage. If the notion of inheritage, basically a juridical one, refers originally to the legacy of a tradition and then to traces left from the past, landscape is rather a symbolic shape involving aesthetic and ethic views. Considering the landscape as an inheritage leads to its assimilation to a monument, and thence to the temptation of reifying it into a natural museum needing conservation or restoration. However, landscape and inheritage are rooted in the same exigency for authenticity linked to romantism. Thence a dialectic and circular relation of reciprocal legitimation. Thus, one could take the representation of a ruined monument invaded by nature (i.e. the landscape) as an ironical allegory of that will to control our history which is the basis of our obsession for conservation., Le propos de cet article est de s'interroger sur les liens historiques et culturels qui existent entre paysage et patrimoine. Si la notion de patrimoine est essentiellement juridique et désigne d'abord le legs d'une tradition puis l'ensemble des traces laissées par le passé, le paysage est davantage une forme symbolique. Qu'est-ce, en effet, que transmettre un paysage sinon un art de voir impliquant une esthétique et une éthique ? Considérer le paysage comme un patrimoine, c'est l'assimiler à un monument avec tentation de le réifier sous forme de musée naturel (parc naturel, écomusées, etc.) et de le conserver, voire de le restaurer. Pourtant, paysage et patrimoine sont nés d'une même exigence d'authenticité et d'un besoin de ressourcement propres au romantisme. De là un rapport dialectique et circulaire de légitimation réciproque. Ne faudrait-il pas, alors, faire du monument ruiné et dévoré par la nature (le paysage) l'allégorie ironique de cette volonté de maîtrise de notre histoire qui est au fondement de notre obsession de la conservation ?, Chenet Françoise. Le paysage fait-il partie du patrimoine ?. In: Travaux de l'Institut Géographique de Reims, vol. 27-28, n°105-106, 2001. Paysage et patrimoine, sous la direction de Marcel Bazin et Isabelle Krzywkowski. pp. 11-24.

L’histoire de la philosophie retient l’image de Husserl critiquant le relativisme de Dilthey dans la « Philosophie als strenge Wissenschaft » (Logos 1910/11). Or, la publication progressive des inédits des deux philosophes permet de la nuancer. Tout particulièrement l’étude des écrits psychologiques de Dilthey ouvre une perspective qui dévoile le véritable enjeu gnoséologique de sa rencontre possible avec Husserl : le dépassement du dualisme corps/âme et de la structure topologique intérieur/extérieur dans la psychologie. Liée avec le tournant gnoséologique de Dilthey, cette problématique fondationnelle éclaire sous une lumière inattendue le transcendantalisme de Husserl.The posterity remembers the criticism of Dilthey’s relativism in Husserl’s « Philosophie als strenge Wissenschaft » (Logos 1910/11). However, the progressive publication of non-edited works of both philosophers gives place for some revision. Particularly, the study of Dilthey’s psychological works opens a perspective, which discloses the veritable epistemological dimension for the possible exchange between some of Dilthey’s and Husserl’s ideas : the abandonment of body/mind dualism and of the topological structure interior/exterior in psychology. Connected with Dilthey’s tournant gnoséologique, these problems of foundation of sciences throw a new and unexpected light on the transcendentalism of Husserl.

International audience; The purpose of this article is to demonstrate how Comte conceives of the human mind both as a biological and an historical phenomenon. The Aristotelian concept of nature as a teleogical process permits an articulation of these two perspectives. Therefore the naturalist hypothesis which allows the collective development of the human mind to be presented as a determinate, continuous, and finite process does not exclude the pre-eminence of sociology. Only this discipline furnishes knowledge of the historical development of the human mind as well as of the organic basis from which this development is deployed. The naturalization of the mind does not, therefore, lead to a theory of an eliminativist type.; L’objet de cet article est de montrer comment Comte conçoit l’esprit humain à la fois comme un phénomène biologique et comme un phénomène historique. Ce qui permet d’articuler ces deux perspectives est une conception aristotélicienne de la nature comme processus finalisé. Ainsi la thèse naturaliste, qui présente le développement collectif de l’esprit humain comme un processus déterminé, continu et fini, n’exclut cependant pas la prééminence de la sociologie. Celle-ci permet seule de connaître le développement historique ainsi que la base organique à partir de laquelle il se déploie. La naturalisation de l’esprit ne débouche donc pas sur une thèse de type éliminativiste.

Ovaj se rad oslanja na filozofsku misao Ernsta Cassirera i određenje čovjeka kao »animal symbolicum«, koje svoj temelj ima upravo u njegovoj filozofiji simboličkih formi. Na temelju Cassirerove teorije o simboličkim formama kao objektivacijama duha, u radu se želi analizirati mogućnost određenja identiteta čovjeka pojedinca kroz odabir i artikulaciju pojedinih simboličkih formi. Pitanje je od kojega se polazi: određuje li se kroz odabir pojedinih simboličkih formi, njihova opsega i intenziteta utjecaja identitet konkretnoga pojedinca? Odnosno, je li u mjeri u kojoj se pojedina simbolička forma artikulira kod pojedinoga čovjeka, moguće odrediti i njegov identitet? Uz navedeno, nameće se i pitanje utjecaja različitih drugih okolnosti poput tradicije, društvene sredine, obitelji i dr. Daljnja se analiza rada odnosi na pitanje mogućnosti oblikovanja identiteta pojedinca kroz prihvaćanje i artikulaciju nekoliko simboličkih formi te, u tom slučaju, njihova međusobnog odnosa, odnosno o prevlasti jedne nad drugom. Prvi i drugi dio rada predstavlja Cassirerovu teoriju o čovjeku kao simboličkome biću te njegovu filozofiju kulture. Treći dio predstavlja pokušaj analize mogućnosti određenja identiteta čovjeka pojedinca kroz prihvaćanje i artikulaciju pojedine simboličke forme ili više njih., This paper deals with the philosophical thought of Ernst Cassirer and his notion of man as »animal symbolicum« which emanates from his philosophy of symbolic forms. Based on Cassirer’s theory of symbolic forms as the objectivation of the spirit, this paper endeavours to analyse the possibility of determining the identity of the human individual by means of selection and articulation of individual symbolic forms. The question at the outset is the following: is the identity of an individual in fact determined by his choice of individual symbolic forms and by the scope and intensity of their influence? In other words, is the scope within which an individual symbolic form is articulated in an individual human being in fact the measure in which one can determine his identity? In this context the question arises concerning the influence of various other factors such as tradition, social milieu, family, etc. Furthermore, the article examines the issue of the possibility of shaping the identity of an individual through acceptance and articulation of several symbolic forms and their interrelationship in this case, that is the predominance of one over the other. The First and second sections of the article present a portrayal of Cassirer’s theory on man as a symbolic being and his philosophy of culture, while the third section attempts an analysis of the possiblity of determining the identity of a human individual through acceptance and articulation of single symbolic forms or several of the same.

W tekście proponuję rozważenie pojawiających się od dawna opinii o końcu sztuki równolegle z obserwowanymi zmianami w pojmowaniu znaczenia symbolu w kulturze. W nawiązaniu do problematyki symbolu odwołuję się między innymi do filozofii Hansa-Georga Gadamera, Paula Ricoeura oraz hermeneutyki personalistycznej Luigiego Pareysona. Na postawione w tekście pytanie o to, czy istnieją takie koncepcje kultury, na gruncie których używanie terminu „koniec sztuki” jest bezzasadne, odpowiadam twierdząco, odwołując się do koncepcji formy Pareysona. Stawiam dodatkowo tezę, że forma u Pareysona jest formą symboliczną. Artykuł kończy szkic interpretacji hermeneutycznej jednego z dzieł sztuki pokazanych na 54. Biennale w Wenecji. In the article I propose an analysis of both the opinions about “the end of art,” that have been appearing for a long time and the changes in understanding the meaning of symbols in culture. In connection with the problem of symbols, I refer to the philosophy of Hans Georg Gadamer and Paul Ricoeur, as well as to the personalistic hermeneutics of Luigi Pareyson. Asking if there exist such concepts of culture that would make the use of the term “end of art” irrelevant, I answer yes and I give the example of the concept of form by Pareyson. Additionally, I make the point that Pareyson’s form is a symbolic one. Finally, I try to outline a hermeneutic interpretation of one of the art works shown at the 54 Venice Biennale Dominika Czakon

Mobilya, ortaya çıktığı andan itibaren içinde bulunduğu kültürün ve teknik olanakların etkisiyle şekillenmiştir ve biçim dili ile üretildiği döneme, yere, tasarımcısına ve kullanıcısına ait imler taşımaktadır. Zaman içerisinde bu dilin farkına varılması ise mobilyayı, sembollerin bilinçli programlandığı bir iletişim aracına dönüştürmüştür. Günümüzde sanatçı ve tasarımcılar mobilya formunu ideoloji, fikir, duygu veya herhangi bir kavramı iletmek için; toplum düzeni, yaşam koşulları, çevre kirliliği gibi pek çok konu hakkında görüş ve felsefe bildirmek için bir sembol olarak kullanabilmektedir. Bu çalışmada öncelikle sembolleşen mobilya sanatsal ve felsefi boyutta ele alınmış; ortaya bir takım tasarım ve üretim yöntemleri çıkarılmıştır. Ardından mobilyada sembolik biçimlenişin güncel bir analizini yapmak için günümüz sosyo-kültürel, ekonomik ve teknolojik koşulları, toplum dinamikleri, tasarımcı/kullanıcı faktörleri ile birlikte ele alınarak incelenmiştir.Anahtar Kelimeler: Biçim dili, Sembol, Simge, İletişim, Mobilya Tasarımı, Sosyal Analiz, Teknolojik Boyut. Since the beginning of its existence, furniture had been shaped by culture to which it belongs and technical facilities of its era. By means of its form language, furniture conveys signs of the place and time of manufacture, its designer and user. With the discovery of form language, furniture has been transformed into a communication device where symbols are deliberately programmed. Nowadays artists and designers use the furniture form as a symbol in order to relay ideology, idea, emotion or any kind of concept as well as to put forward their philosophies and miscellaneous views on public order, living standards, environmental pollution etc. In this study, symbolized furniture is firstly handled in respect of artistic and philosophical points of view and a number of design and manufacture methods are set out. Then to make a recent analysis of symbolic shaping in furniture, today's sociocultural, economic and technologic conditions, dynamics of the society and designer/end user factors are examined in many aspects.Key Words: Form Language, Symbol, Sign, Communication, Furniture Design, Social Analysis, Technological Dimension. 370

Kubad-Abad Sarayı bünyesinde yer alan Büyük Saray ve Küçük Saray çinileri, ilginç resim üslubuyla, Selçukluların simgeler dünyasını yansıtmakta, ikonografi ile birlikte farklı bir atmosfer oluşturmaktadır. Kubad-Abad Sarayındaki çinilerin yapımında; kuş, aslan başta olmak üzere geyik, dağ keçisi, köpek, at, tilki, eşek, tavşan gibi tabiatta yer alan hayvanların dışında, çift başlı kartal, grifon, simurg, siren, ejderha gibi mitolojik hayvanlar ile yarı insan yarı hayvan tasvirlerinden de faydalanılmıştır. Hayvan figürlerinin, Türk mimari süsleme sanatlarında uygulama alanlarını inceleyebilmek için öncelikli olarak, hayvan üslubunun çıkış noktasını ve özelliklerini bilmek gerekmektedir. İslamiyet öncesi göçebe toplumun özelliklerini yansıtan hayvan figürlerinin uygulandığı örnekler, İslamiyet'in kabulünden sonra da kesintiye uğramadan devam etmiştir. Bu örnekler, Anadolu Selçuklu sanatında başta çift başlı kartal olmak üzere geniş bir uygulama alanı bulmuş, Beylikler sanatında önemini kaybetmiş, Osmanlı sanatında ise adeta yok olmuştur. Bu figürlerin en sık kullanıldığı dönem, Orta Asya'dan Anadolu Selçuklu sanatı sonuna kadar olan süreçtir. Yine çalışmada hayvan üslubuyla bağlantılı olarak Şamanizm ve şaman toplumlarındaki hayvan kültü hakkında bilgi edinilmesi amaçlanmıştır. Tez çalışmasında, Kubad Abad Sarayının duvarlarını kaplayan hayvan motifli çiniler, duvar dekoru olmaktan çıkarılarak, kullanışlı ve aynı zamanda sanatsal, üç boyutlu seramik formlara dönüştürülmüştür. Hayvan motifleri arasından, çift başlı kartal ve kuş figürü seçilerek, seramik formlar bezenmiştir. İzlenilen bu yöntemle Kubad Abad Saray çinileri günümüz seramiklerine uyarlanmış ve tezde varılmak istenen amaca ulaşılmıştır., The Grand Palace and the Little Palace tiles in the Kubad-Abad Palace reflect the figural world of the Seljuks with their interesting painting style and form a different atmosphere with the iconography. In the production of Kubad-Abad Palace tiles; not only animals exist in the nature such as birds, lions, deer, mountain goats, dogs, horses, foxes, donkeys, rabbits were used but also mythological animals such as the double-headed eagle, the griffin, simurg, sirens, dragons and half-human half-animal depictions were used. It is necessary to know the starting point of animal style and characteristics in order to examine the application areas of animal figures in the Turkish architectural decorative arts. Examples with animal figures reflecting the characteristics of pre-Islamic nomadic society continued after the adoption of Islam. Animal figures especially double-headed eagle found a wide application area in Anatolian Seljuk art, lost importance in the Beylik art and almost destroyed in Ottoman art. These figures are most commonly used in the period from Central Asia to the end of Anatolian Seljuk?s. Therefore the study subject is limited until the end of the Anatolian Seljuk art period. At the same time another purpose of this study is to acquire information about the cult of animals in the Shamanism and the shaman societies interconnected with the animal style. In this thesis study, the anımal motıfs tıles, which is cover Kubad Abad palace wall, converted useful and three dimensional ceramıc forms. Double-headed eagle and bird fıgurs chosed from between ın the anımal motıfs and ceramıc forms decorated with them. Kubad Abad palace tıles adapt nowadays ceramıcs and the major aim attained in this thesis.

Cilj ovoga članka je prikaz analize mita, religije te kršćanstva u sklopu filozofije simboličkih formi Ernsta Cassirera. Originalnost ovoga filozofskog pristupa navedenim kategorijama je u tome što polazi isključivo od analize njihove misaone forme, nastojeći odrediti gramatiku simboličke funkcije prisutne u njima. Stoga da bi se dao zaokružen prikaz, u prvom dijelu članka donosi se kratak prikaz analize mita. Drugi dio se bavi problemom religije u Cassirerovoj misli uz pripadajuću analizu odnosa religije i jezika, te mistike. U trećem dijelu se donosi Cassirerova kritika kršćanstva koja se temelji na osnovnim postavkama koje proizlaze iz analize mita i religije općenito. U zaključku članka se donose elementi koji bi mogli poslužiti za ozbiljno preispitivanje teološke epistemologije., The aim of this article is to present an analysis of myth, religion and Christianity in Ernst Cassirer's philosophy of symbolic forms. The originality of this philosophical approach to the cited categories lies in the use of analysis of the respective thought forms as the point of departure, and in the endeavour to determine the grammar of the symbolic function within them. Therefore, in order to facilitate a well-rounded discussion, the first section of the article gives a brief survey of myth analysis. The second section deals with the problem of religion in Cassirer's thought and is complemented by an analysis of the relationship between religion and language, and between religion and mysticism. The third section discusses Cassirer's critique of Christianity which is based on fundamental postulates ensuing from the analysis of myth and religion in general. The conclusion of the article puts forth issues which may incite serious examination of theological epistemology.

Recently, there have been various developments within Dutch substantive criminal-law doctrine that in some important ways suggest a shift towards a common-law conception of judicial interpretation in different topics which are central to substantive criminal law. The developments suggest that criminal-law doctrine in the Netherlands is becoming sketchier and is losing some theoretical profundity. Building on Cassirer's philosophy of symbolic forms, Shapiro's planning theory of law, and Wittgenstein's considerations on rule-following, this article aims to contribute to a description of the independent function of doctrine in substantive criminal law, by addressing the question as to how, and in what sense, doctrine 'helps' the court in applying the statutory and non-statutory criminal-law norms. It is argued that the law constitutes a 'symbolic form' that is to some extent disassociated from the social life-world, and that is construed by way of sophisticated, shared forms of 'social planning'. These forms of social planning form parts of a 'practice' governed by a specific 'legal point of view'. It is further argued that criminal-law doctrine, in a radical sense, comprises a form of proceduralization, by means of which the adjudicating judge is 'directed' to a certain position within the criminal law's symbolically construed space. It is concluded that criminal-law doctrine fulfils an important function in 'situating' the judge, and in 'prompting' or 'compelling' the judge, from his subjective position, to apply a criminal-law norm in an objectively correct manner.

Simge biçim seramik üretimi, insanın kap-kacak üretmeye ve bu kap-kacağı zenginleştirme ihtiyacından doğmuştur. İşlevsel amaçla üretilmekte olan bu kapların plastik değeri zamanla artmış, günümüz çağdaş seramik sanatına ulaşıncaya değin oldukça yol kat etmiştir.Bu çalışmada ?seramik simge biçim? olarak adlandırılan eserler bazı başlıklar altına sınıflandırılmış olup, bu başlıklar; insan biçimli, hayvan biçimli doğal ve endüstriyel biçimli, cinsel içerikli seramik simge biçimler olarak düşünülmüştür. Bunların yanı sıra seramik sanatıyla yakından ilişkili olan resimsel yaklaşımlar, seramik rölyef ve işleve ait seramik birimlerin yerine kullanılmış detay biçimler de sınıflandırmaya dâhil edilmiştir. Sınıflandırma yapılırken, her başlık altında sınıflandırılmaya çalışılan biçimin, erken ve geç dönem örneklerine yer verilmeye çalışılmıştır. Yine her başlık altında konuyla ilişkili eser üreten, çağdaş seramik sanatçılarının eserlerinden örnekler verilmiştir.Çalışmanın üçüncü bölümünde, araştırmaların ışığı altında üretilmiş eserlere ait görseller yer almıştır. Production of ceramic objects as symbolic forms stems from the needs of human beings to produce and enrich pottery. While these potteries have been produced with functional purposes at the inception, their plastic value increased in time. They followed a long path until they emerge into today?s contemporary ceramic arts.In the current study, art works named `ceramic symbolic form? have been categorized under various titles: Human and animal forms, natural and industrial forms, imaginary forms, and sexual forms. Several other forms have been included in the categorization such as imagery approaches, which are closely connected with ceramic arts; ceramic relief work; and detail forms which are used to replace functional ceramic components. While creating the categorization, examples from both early and current periods have been included under each title. Besides, works of contemporary ceramic artists who created similar products have been provided within relevant titles.In the third part of the study, visuals are provided to demonstrate the works that have been produced in line with the current investigation. 150

La problematica che riguarda i concetti di forma simbolica, coscienza e libertà, si trova in sretto rapporto con la metafisica delle forme simbolice di Cassirer, ossia con l'analisi cassireriana di possibilitàa dell'esperienza. Nel corso della trattazione si è cercato di ravvisare che l'intreccio tra i concetti indicati mostra che la problematica delle forme simbolche non è limit., The topic is related to the concepts of symbolic form, consciousness and freedom, and its close relations with the metaphysical symbolic forms of Cassirer's philosophy, as well the analysis of 'cassirerian' possibility of experience. In this paper we have tried to understand the limits of interrelationship between the mentioned concepts and symbolic forms.

The study of documentary has called for numerous approaches these past few years: historical, rhetorical, pragmatic, stylistic. These approaches question the reality in film or photography, the recurring problem of the documentary. And this question will be tackled again in this research. The intention of the outlined perspective is to integrate all these approaches by retracing the steps to the origins of photography, in the nineteenth century, and by asserting its specificity of image. A photographic journey is proposed showing how the photographic image was able to change drastically our relationship with reality. This synthetic ambition was inspired by an original concept initiated by the German philosopher Ernst Cassirer: the symbolic form. It is based on a cultural logic which suggests going to the heart of our realities and analyzing the principles which govern them. The core of such a philosophy lies in a culture contained as a relat! ive reality. In this light, is the photographic image as documentary considered as a place giving reality to thought? How? This research allows us to imagine three moments in the development of this specific symbolic form: 1) the invention of an image-world invoked by the photographic image; 2) the survival of the realities contained and transformed in this image-world; 3) the creation of a place of reference for an assembled photographic heritage.; L’étude sur le documentaire a suscité ces dernières années de nombreuses approches : historique, rhétorique, pragmatique, stylistique. Celles-ci posent la question de la réalité dans le film ou dans la photographie, problématique récurrente du documentaire. C’est à nouveau cette interrogation qui sera abordée dans cette recherche. La perspective envisagée a l’ambition de synthétiser toutes ces approches en remontant à l’origine de la photographie, au dix-neuvième siècle, et en faisant valoir sa spécificité d’image. Un parcours photographique est proposé montrant en quoi l’image photographique a pu bouleverser notre rapport à la réalité. Cette ambition synthétique a trouvé son fondement dans un concept original initié par le philosophe allemand Ernst Cassirer : la forme symbolique. Il s’agit d’une logique culturelle qui propose de se placer au cœur de nos réalités et d’analyser les principes qui les gouvernent. Le point d’ancrage d’une telle philosophie repose sur la culture comprise comme une réalité relative. Dans cette perspective, l’image photographique en tant que documentaire est considéré comme un lieu donnant à penser une réalité ? Comment ? Cette recherche nous amène à envisagé trois moments pour l’élaboration de cette forme symbolique particulière : 1) l’invention d’une image-monde que l’image photographique a suscité ; 2) la survivance des réalités contenues et transformées dans cette image-monde ; 3) la création d’un lieu de mémoire par la constitution d’un patrimoine photographique.

The study of documentary has called for numerous approaches these past few years: historical, rhetorical, pragmatic, stylistic. These approaches question the reality in film or photography, the recurring problem of the documentary. And this question will be tackled again in this research. The intention of the outlined perspective is to integrate all these approaches by retracing the steps to the origins of photography, in the nineteenth century, and by asserting its specificity of image. A photographic journey is proposed showing how the photographic image was able to change drastically our relationship with reality. This synthetic ambition was inspired by an original concept initiated by the German philosopher Ernst Cassirer: the symbolic form. It is based on a cultural logic which suggests going to the heart of our realities and analyzing the principles which govern them. The core of such a philosophy lies in a culture contained as a relat! ive reality. In this light, is the photographic image as documentary considered as a place giving reality to thought? How? This research allows us to imagine three moments in the development of this specific symbolic form: 1) the invention of an image-world invoked by the photographic image; 2) the survival of the realities contained and transformed in this image-world; 3) the creation of a place of reference for an assembled photographic heritage.; L’étude sur le documentaire a suscité ces dernières années de nombreuses approches : historique, rhétorique, pragmatique, stylistique. Celles-ci posent la question de la réalité dans le film ou dans la photographie, problématique récurrente du documentaire. C’est à nouveau cette interrogation qui sera abordée dans cette recherche. La perspective envisagée a l’ambition de synthétiser toutes ces approches en remontant à l’origine de la photographie, au dix-neuvième siècle, et en faisant valoir sa spécificité d’image. Un parcours photographique est proposé montrant en quoi l’image photographique a pu bouleverser notre rapport à la réalité. Cette ambition synthétique a trouvé son fondement dans un concept original initié par le philosophe allemand Ernst Cassirer : la forme symbolique. Il s’agit d’une logique culturelle qui propose de se placer au cœur de nos réalités et d’analyser les principes qui les gouvernent. Le point d’ancrage d’une telle philosophie repose sur la culture comprise comme une réalité relative. Dans cette perspective, l’image photographique en tant que documentaire est considéré comme un lieu donnant à penser une réalité ? Comment ? Cette recherche nous amène à envisagé trois moments pour l’élaboration de cette forme symbolique particulière : 1) l’invention d’une image-monde que l’image photographique a suscité ; 2) la survivance des réalités contenues et transformées dans cette image-monde ; 3) la création d’un lieu de mémoire par la constitution d’un patrimoine photographique.

Pierre Bourdieu'nün simgesel şiddet kavramı, fiziksel olmayan şiddetin pratikte bir karşılık bulabilmesi anlamında önemli bir kavramdır. Bourdieu teorisine göre çokça uygulama alanı olan bu kavramın eğitimdeki karşılığı, bireylerin kişiliklerinin şekillendirilmesi yoluyla eşitsizliklerin yeniden üretilmesi olarak özetlenebilir. Eğitim kurumu bireylerin toplumsal yaşantıya entegre olmalarını sağlaması açısından bu duruma oldukça elverişlidir. Burada yaşanan tecrübe ve edinilen pratikler, bireyin sonraki yaşantısının da gidişatını belirlemekte olduğundan eğitim sisteminde yaşanabilecek eşitsizlikler toplumsal düzendeki eşitsizliklerin de temel kaynağı olacaklardır.İlköğretim düzeyinde uygulanmakta olan yönetmelikler üzerinden yapılan belirlemelere göre, yönetmelik eğitim-öğretimde simgesel şiddeti yansıtan ifadeler içermektedir. Bu durum çalışmanın bir diğer amacı olan simgesel şiddet kavramının sınanmasını da sağlamaktadır. Buna göre; simgesel şiddet kavramı özelinde Bourdieu metodolojisi, eğitimle ilgili araştırmalar için işlevsel bir metodolojidir. Pierre Bourdieu?s notion of symbolic violence is important in terms of corresponding practically to the notion of non-physical violence. In accordance with Bourdieu theory, the correspondence of this notion ?that has several implementation areas- in education can be summarised as the regeneration of inequalities through shaping individuals? personalities. The education institution is very convenient for this situation so that it provides the integration of individuals to social life. The inequalities within the educational system will also be the basic source of the inequalities in social life so that the gained experiences and practices here, designates the route of the individual?s following life.According to the determinations by using regulations which has been applied to elementary school-grade, regulations are to consist expressions that reflect symbolic violence in education. This case also provides testing the other aim of this work which is symbolic violence notion. Accordingly, Bourdieu methodology within the framework of symbolic violence concept is a functional methodology for the studies on education. 103

Članak razmatra konstruktivističke pozicije Ernsta Cassirera i Nelsona Goodmana, prema kojima svijet nikad nije naprosto dan, već je uvijek stvoren semiotičkom, simboličkom djelatnošću duha, uzimajući ponajprije u obzir Cassirerovo djelo Filozofija simboličkih oblika te Goodmanovo Ways of Worldmaking. Prvotni impetus takvog gledišta Kantovo je naglašavanje spontaniteta mišljenja, gdje zatim Cassirerova razrada takve koncepcije u okviru opće teorije simbola utječe na Goodmana. Članak analizira utjecaje, sličnosti i razlike među koncepcijama ovih autora, uključujući također u raspravu gledišta francuskog semiotičara Greimasa te suvremenog njemačkog filozofa G. Abela, te ukazuje na teškoće na koje konstruktivizam nailazi, kako one koje proizlaze iz sukoba sa suprotstavljenom pozicijom, realizmom, tako i one koje su imanentne samoj konstruktivističkoj koncepciji., The paper discusses the constructivist positions of Ernst Cassirer and Nelson Goodman, according to which the world is never simply given, rather, it is made by the semiotic, symbolic activity of the mind, taking primarily into consideration Cassirer’s work Philosophy of Symbolic Forms and Goodman’s Ways of Worldmaking. The initial impetus for such a view is Kant’s accent on the spontaneity of thinking, developed by Cassirer in the framework of a general theory of symbols, which then influenced Goodman. The paper analyses the influences, similarities and differences in the approaches of these authors, takes also into account the views of the French semiotician Greimas and the contemporary German philosopher G. Abel, and it points to the difficulties that constructivism faces, both those that arise from the conflict with the opposing view, namely realism, as well as those that are immanent to the constructivist conception itself.

La filosofía de las formas simbólicas de Cassirer representa una transformación simbólica –cultural- de la filosofía trascendental kantiana, sobre la base del carácter simbólico del ser humano. Ya no hay ser en sí, sino ser simbolizado, y por ello sólo se puede hacer filosofía desde la cultura. El símbolo, como base de la significación objetiva, es fundamento de la comunicación humana. Cassirer’s philosophy of symbolic forms represents a symbolic –cultural- transformation of kantian transcendental philosophy, on the base of human being’s symbolic character. There is no more being in itself, but symbolized being, and as a result from this philosophy only can be done from culture. Symbol, as basis of the objective meaning, is the ground of human communication.

Este artículo muestra que el arte es para Cassirer una forma simbólica, no una copia de la realidad. La forma simbólica representa una peculiar síntesis entre un elemento sensible y un significado, de manera que el significado no existe al margen de la forma simbólica, sino que es ella misma. Por esta razón el símbolo provoca a pensar constantemente. El símbolo funda el sentido.Aquella capacidad simbólica de síntesis es el poder de la metáfora. Las formas simbólicas son formas del pensamiento metafórico. El arte como modelo perfecto de esa síntesis, es también modelo de pensamiento metafórico, y por eso la obra de arte no puede ser sustituida por filosofía. This article shows that art is for Cassirer a symbolic form, not a copy of the reality. Symbolic form represents a characteristic synthesis between a sensible element and a meaning, therefore that the meaning doesn't exist regardless of the symbolic form, but it is this form itself. For this reason, the symbol induces to much thought. The symbol founds meaning. That symbolic capacity of synthesis is the power of metaphor. Symbolic forms are forms of metaphorical thinking. Art, as perfect model of that synthesis, also is model of metaphorical thinking, and as a result from this the work of art can't be replaced by philosophy.

Laurent Clauzade, Le cerveau chez Auguste Comte : de la biologie à la morale. La physiologie cérébrale, philosophie des sciences et physique sociale.Thèse soutenue le 4 novembre 2000 à l’Université de Lille III. Composition du jury : J. Gayon (Paris VII), J. Grange (Nancy II), B. Joly (Lille III), P. Macherey (Lille III, directeur de thèse). Notre thèse entreprend d’étudier la fonction et la signification d’une science du cerveau dans la philosophie d’Auguste Comte. Il y a deux enjeux dans l’...

La poésie grecque archaïque et hellénistique Le séminaire de poésie, qui a poursuivi au premier semestre 2000-2001 son travail sur les odes pindariques (notamment sur Pythiques, II, et Néméennes, VII, voir Methodos 1, 2001, p. 287), a consacré son second semestre à la poésie hellénistique, en particulier à Callimaque (Épigrammes VI et XXVIII [Pfeiffer] et Hymne à Apollon et Hymne à Zeus). Il s’agissait de préparer le Colloque CorHaLi XII, qui était organisé en juin 2001 par l’Université de Ha...

Fabienne Blaise–« La poésie lyrique archaïque grecque : l’iambe, l’élégie et la lyrique monodique », Cent titres 2, 2001 (s. p.). Jean Bollack–Paul Celan. Poetik der Fremdheit (trad. allemande de W. Wögerbauer), Vienne, Paul Zsolnay Verlag, 2000 (376 p.). –Poésie contre poésie. Celan et la littérature, Paris, Presses Universitaires de France, 2001 (344 p.). –« ‘Voir la haine’. Sur les nouveaux fragments d’Empédocle », Methodos 1, 2001, p.173-185. Mayotte Bollack–« Marulle ou la correction lat...

Par sa conceptualisation des normes, Michel Foucault renouvelle profondément la philosophie théorique et pratique de la culture, par rapport aux principaux postulats qui la commandent depuis le XVIIIe siècle. On a pu montrer qu’il ouvrait celle-ci sur une pensée de la production immanente des normes. Il s’agit ici de mettre cette hypothèse à l’épreuve d’une compréhension vitaliste de la positivité des normes, qui assigne celle-ci à une puissance créatrice de nouvelles possibilités d’existence, de nouvelles allures de vie. Comment articuler la perspective d’un processus immanent de production à celle de la création et de la nouveauté ? On s’oriente alors vers un naturalisme vitaliste, capable de conférer aux « possibilités d’existence » leur teneur ontologique, leur effectivité pratique, et leur primat axiologique et épistémologique. C’est dans ce contexte que l’on tente d’évaluer chez Gilles Deleuze un certain nombre de déplacements terminologiques et conceptuels par rapport à Foucault : du possible au potentiel, de la stratégie au problématique, de la généalogie à la géologie, de l’histoire aux devenirs.Philosophy of culture is deeply renewed by Michel Foucault’s philosophy of norms with regard to principal postulates which command it since XVIIIth century. One could see he introduced a theory of immanent production of norms. The matter is to put this hypothesis to the test of a vitalist comprehension of positivity of norms, which assigns this positivity to a vital strength that creates new possibilities of life and new «allures de vie». How could we articulate the perspective of an immanent process of production with the perspective of creation and newness ? This is a way for a vitalist naturalism that is able to give to possibilities of life ontological consistency, practical effectivity, and axiological and epistemological priority. In this context, one tries to appreciate in the philosophy of Gilles Deleuze several terminological and conceptual changes in comparison with Foucault : from possible to potential, from strategy to problematic, from genealogy to geology, from history to becomings.

Une étude des Méditations pour se disposer à l’Humilité et à la pénitence qui les replace dans le cadre des pratiques de son époque, par exemple, chez François de Sales, celles de l’oraison, de la méditation et de la contemplation, permet d’apercevoir que l’une des thèses majeures du malebranchisme, la vision en Dieu, est un effet instauré dans le destinataire par un dispositif textuel. Celui-ci tire sa puissance prescriptive de l’a priori pratique où il s’inscrit. C’est à une opération de production de soi que l’exercice spirituel donne lieu : l’analyse des quatre premières Méditations chrétiennes et métaphysiques, en particulier, montre que c’est une organisation de la substance personnelle que provoque le travail spirituel sur soi. Celui-ci consiste à déterminer le rapport à soi comme relation d’une vision attentive à une activité illuminante, par un décentrement textuel du « je » vers le « tu ».One of the major Malebranche’s assertion, that we see truth in God, is not a mere theoretical thesis. I study first the Méditations pour se disposer à l’Humilité et à la pénitence and compare them with François de Sales’ spiritual exercitations, and show that prayer, meditation and contemplation constitute the practical frameworks of this period. The text of the Méditations is an apparatus which is fit to cause an effect in its target – the self of the reader : the vision in God. The practical a priori of the meditation provides the text with prescriptive power to transform the self. Then I study the Méditations chrétiennes et métaphysiques i-iv : we see that Malebranche set his textual apparatus so that it prescribes its receiver a form of « work-on-one’s-self ». The self is here produced by the organisation of relationship between attentive vision and lighting action, and this structure is built in the self by a movement, induced by the text, which leads the self from the initial position of an « I » to the divine position of the « you ».

L’article est une exploration systématique de la dualité des figures du Mind et du Geist, le premier étant entendu comme l’esprit en tant que partie de la nature scientifiquement objectivable, le second comme l’esprit en tant qu’acteur immatériel insaisissable de la pensée. De plus, cette dualité est étudiée du point de vue de l’interférence de la mathématique avec elle, dans plusieurs contextes. Sont ainsi successivement analysés : le conflit entre les deux « modèles » du Mind, le computationnaliste et le dynamiciste; la définition philosophique et la définition épistémologique du Geist ; le jeu entre Mind et Geist dans les recherches cognitives contemporaines ; l’ambivalence de la logique et des mathématiques vis-à-vis de l’opposition Mind/Geist. Dans la partie finale, on propose une définition personnelle du Geist–en termes d’adresse et de sujet–dont dérive une détermination du Mind. Revenant sur ces nouvelles bases à l’interférence avec la mathématique, on conclut sur la question essentielle et délicate de la paramétrisation de la conscience. This paper systematically investigates the conflicting figures of Mind and Geist : Mind has to be understood as some part of nature likely to become the object of science, while Geist names the unmaterial unseizable protagonist of thought. Further, the opposition of the two figures is studied in the light of the way mathematics interfere with it, in several contexts. This leads to following analyses : how computational and dynamicist models of Mind compete within cognitive science; how Geist may be defined philosophically and epistemologically ; how Mind and Geist differently come to be considered or to be aimed at within contemporary cognitive research ; how mathematics and logic play an ambivalent part with respect to the Mind/Geist opposition. In the final section of the paper, a personal definition of the Geist–in terms of address and subject–is proposed, which also leads to some conceptual determination of the Mind. Coming back to the interference with mathematics on this new basis, the paper concludes by an examination of the difficult question of the parametrization of consciousness.

L'article est téléchargeable sur : http://methodos.revues.org/document100.html; International audience; Against « philosophical » hermeneutics, which asserts the constraint of the structure of « prejudice », « critical » hermeneutics aims at rehabilitating the function of judgement and claims its legitimacy as a method. This correction follows a double statement : particular hermeneutics, preferring the adhesion to the object, engaged in different kinds of positivism in which the question of meaning was taken away at the benefit of « objective » historical fields of knowledge; philosophical hermeneutics, as a general theory of understanding, turned aside from the question of interpretation and its validity at the benefit of a quest on the ontological conditions of any understanding. From Peter Szondi's proposition to oppose « material hermeneutics » (§1) to « philosophical hermeneutics » and Jean Bollack's effort to rehabilitate the hermeneutical questioning in philology and the other way round (§2), we will question the possibility of building some critical hermeneutics (§3) in which interpretation is achieved in the exercise of a judgement.; Contre l'herméneutique « philosophique », qui affirme le caractère contraignant de la structure du « préjugé », l'herméneutique « critique » entend réhabiliter la fonction du jugement et revendique la légitimité d'une méthode. Cette correction est appelée par un double constat : les herméneutiques particulières, en privilégiant l'adhérence à l'objet, se sont engagées dans diverses formes de positivisme où la question du sens était suspendue au profit de savoirs historiques « objectifs » ; l'herméneutique philosophique, en tant que théorie générale de la compréhension, s'est détournée de la question de l'interprétation et de sa validité au profit d'une enquête sur les conditions ontologiques de toute compréhension. À partir de la proposition de Peter Szondi d'opposer à l'« herméneutique philosophique » une « herméneutique matérielle » (§1) et de l'effort de Jean Bollack pour réhabiliter le questionnement herméneutique dans la philologie et réciproquement (§2), on s'interrogera sur la possibilité de constituer une herméneutique critique (§3) dans laquelle l'interprétation s'accomplit dans l'exercice d'un jugement.

On a trop souvent classé l’œuvre d’Ernest Renan dans le strict domaine de la linguistique ou dans l’histoire des religions, sans voir qu’elle reposait sur un fondement épistémologique original : l’acclimatation en France d’une lecture de la Critique de la faculté de juger de Kant. L’article étudie comment Renan élabore dans ses textes sur le langage publiés entre 1848 et 1855 une théorie de la connaissance qui se réalise au moyen d’une réflexion sur le langage. Le langage va donc opérer comme un outil réflexif autour duquel s’ordonne le reste de son œuvre.One used to classify Ernest Renan’s work in linguistics or history of religions, without acknowledging that it lays on an original epistemological pattern that is a French reading of Kant’s Critique de la faculté de juger. The article studies how Renan elaborates in his texts published between 1848 and 1855 a theory of know­ ledge on the horizon of a reflexion on language. Language will be therefore a reflexive tool around which is organized the whole work.

« Ce que vous trouvez dans les livres philosophiques au sujet de l’art et de la forme suffit à peu près à expliquer l’art de l’horloger » (Friedrich Schlegel). On se propose de s’interroger sur la théorie romantique de la textualité philosophique non seulement comme critique du dédain philosophique envers la rhétorique et l’art, mais aussi comme formulation originale du problème de la communication des idées.« What you find in philosophical books about art and shape is roughly enough to explain the art of the clockmaker » (Friedrich Schlegel). One proposes to question the romantic theory of philosophical textuality not only as a critique for the philosophical disdain towards rhetoric and art, but also as an original formulation of the problem of the communication of ideas.

IV ÖZET (ÇAĞDAŞ RESİM SANATINDA SİMGENİN KULLANIMI VE YAPIT- SİMGE İLİŞKİSİ) Çağdaş resim sanatında simgenin kullanımı ve yapıt-simge ilişkisi üst başlığı ile hazırlamış olduğum bu sergi metinde öncelikle `sembol nedir?` sorusuna yanıt aramakla yola çıktım. Bu soruyu yanıtlarken öncelikle sembolün sözlük anlamı üzerinde durup daha sonra sanat tarihi içerisinde geçmişten günümüze sembol kavramının nasıl kullanıldığı ve sembolün sanat tarihi ve akımları içerisindeki yerini irdelemeye çalıştım. Soyut kavramları somutlama dürtüsü ile yüzyıllar boyu insanla ve bu bağlamda da sanat ile birlikte devinen sembol kavramının, ikonoloji ile olan ilişkisi benim ikinci durağımı oluşturdu. Burada özellikle sanat kuramcısı Erwin Panofsky'nin söylemleri ile hayat bulan sembol-içerik ilişkisi ve imgelerin çözümlenmesi, sembol, öykü ve alegorilerin saptanması üzerinde durdum. Sembol ve sembolik form alt başlığıyla sembolik ifadenin insanın tüm kültürel etkinlikleri içerisindeki yerinden hareketle sembolik formların insanın dünyasında, yaşam ile ilgili formlar olarak büyük önem taşıdığı sonucuna vararak insan yaşamının en karakteristik özelliklerinden birinin sembolik düşünce ve sembolik davranış olduğu noktasına ulaşmayı hedefledim. Sanat tarihi içerisinde simge kavramını irdelerken primitif sanatta sembol anlayışı ve sembolik formun kullanımını incelememek kanımca büyük bir eksiklik doğuracaktı. İşte bu düşünceden hareketle yerli sanatı içinde biçimlerin ve renklerin sembolik dilini çeşitli örneklerle anlamlandırmaya çalıştım. Daha sonra tarihsel süreç içerisinde resim sanatında sembolün nasıl kullanıldığına değindim. Özellikle kendi resimlerimle güçlü bir ilişkisi olduğunu düşündüğüm bir diğer başlık ise düş, fantezi, sembol idi. Düş ve fantezi bizler için ne ifade eder? sorusu bu başlık altında önemli bir yer teşkil etmektedir. Bu iki kavramın sembol kavramı ile olan ilişkisi ise bizi sembolizm akımına doğru sürükler. Burada, özellikle düşlerin sembolistler için ne ifade ettiğini ortaya koymaya çalışırken sembolizm akımının tinsel olana verdiği büyük önemi de vurgulamaya çalıştım. «ETİM ICUWfft»9V Sergi metinimin bundan sonraki aşamasında çağdaş resim sanatında ifade dili olarak simgelere başvuran ustalardan ve onların sembolleri yoğun olarak kullandıkları çalışmalarından örnekler vermeye çalıştım. Edvard Munch'un yaşam, aşk ve ölüm üçlüsü üzerine geliştirdiği yapıtlarında sembolleri nasıl kullandığı örneklemelerimin ilk aşamasını oluşturdu. Munch'un ardından Gustave Klimt ve onun sembole yaklaşımı üzerinde yoğunlaştım. Klimt' in özellikle cinsel içerikli resimlerinde simgelerin kullanımına başvurduğu açıkça göze çarpıyordu. Alman ekspresyonistlerinden Max Beckmann'ın da yoğun bir simge kullanımına başvurduğunu `Ayrılış`, `Erkek ve Kadın`, `Gece` adlı resimlerini sembolik yönlerini irdeleyerek ortaya koymaya çalıştım. Daha sonra Dali'nin sıkça kullandığı `Çekmeceler`in, `Çatal Destek`in sembolik anlamlarını açımlayarak `Savaşın Yüzü` ve `Sanrısal Boğa Güreşçisi` resimlerini simgesel boyutta ele aldım. Pablo Picasso'nun ünlü `Guernica`sı da resim sanatında bir örnekti. Guernica'nın hangi sosyo-kültürel koşullar altında doğduğu ve simgelerin nasıl kullanıldığını etraflıca anlatmaya çalıştım. Buraya kadar olan çalışmalarımın ışığı altında metin çalışmamın son aşamasına vardığımda ise simgenin kendi resimlerimdeki yerini sorguladım. Simgeler benim için ne ifade etmekte idi? Kendimi ifade edebilme bağlamında simgesel formlar benim resimlerimde nasıl konumlandırılmıştı? Aynanın diğer yüzündekiler bu yüzündekilerle çakışıyor muydu? gibi bir takım önemli soruların girdabı içinde olabildiğince nesnel bir gözle kendimi ve kendi simgesel dilimi anlatmaya ve anlamlandırmaya çalıştım. Sonuç olarak, düş, fantezi ve simgenin varoluş içindeki önemini birkez daha iyice kavramış olarak önsözümü sanat eleştirmeni Aydın Çubukçu'nun şu sözleriyle sonlandırmak istiyorum: `... Düşler, yalnızca uyku içinde değil, uyanıkken de, gerçeğin derinlemesine kavranması için yardımcı olurlar. Ütopyacılar, `gündüz gözüyle` rüya gören insanlardır. Kurmaca bir dünyayı özlerler, `olmadık hayallere` kapılırlar ama öte yandan, uyur gezer toplumun gözlerini açabilmesi, `daha iyi veVI daha güzel` bir dünyayı isteyebilmeleri için yol gösterirler. Rüya ve hülya içinde, katı gerçeğin özünü bulurlar... `(') ANAHTAR KELİMELER: Sembol, sembolik form, ikonoloji, fantezi, alegori. (') Aydın Çubukçu, Evrensel Kültür Dergisi, Nisan 1999, s. 5. VII SUMMARY (USE OF SYMBOL IN MODERN PAINTING ART WORK AND PAINTING WORK-SYMBOL RELATIONSHIP) First of all, in this exhibition text prepared by me with the above title of use of symbol in modern painting, and painting symbol relationship, I have started my research for an answer to the question of what is symbol? In giving an answer to this question firstly. I have emphasised the lexicon meaning of symbol then I tried to scrutinise how symbol concept had been used from past up to our present time within history of art and the place of symbol within history and movements of art. Relationship of symbol concept which had been moving with mankind for many centuries in this sense, with art by motive and impulse of making abstract concepts as concrete concepts with iconology formed my second stop. Here, I especially emphasised on symbol-content relationship which was enlivened by the treatises sayings of the art theorist Erwin Panofsky, and analysing of images and determining of symbols, stories and allegories. By acting from place of symbolic expression within all cultural activites of mankind under sub-title of symbol and symbolic form, I reached to the conclusion that symbolic forms bear great importance in the world of mankind as being forms concerning life and so I aimed to reach the point where on of the most characteristic features of human life is symbolic thought and symbolic behaviour. While studying concept of symbol, within art history, symbol understanding and use of symbolic form in primitive art, in my opinion would have created a big deficiency part. So, by acting from this thought, I tried to signify with meaning and sense of symbolic language of patterns, forms and colours in native art through various examples. Then, I discussed how symbol is used in art of painting within historical period.VIII Another title which thought especially has a strong relationship, with my own paintings was dream, fantasy, symbol. What dream and fantasy mean for us? Question constitutes an important place under this subject title. On the other hand relationship of these concepts with symbol concept will drive us towards symbolism movement. Here, especially while trying to put forth what dreams mean for symbolists, I tried to emphasise great importance given by symbolism movement to spiritual, moral one. In the subsequent stage of my exhibition text, I tried to give examples of masters applying to symbols as an expression language in art of painting as well as works of them on which they used symbols in intensive manner. How Edward Munch used symbols on this work developed on life, love and death triology, formed first phase of my examples. Following Munch, I concentrated on Gustave Klimt and on his symbols. It is clear that Klimt applied the use of symbols in his paintings especially in his paintings with sexual contents. I tried to put forth paintings named as `Departure`, `Man and Women`, `Night` by the German Expressionist, Max Beckmann on which he applied intensive symbol usage, through study of their respective symbolic points. Later on by explaining symbolic meanings of `Drawers` `Fork Support` frequently used by Dali, I dealt in symbolic dimension his paintings named as `Face of War` and `Hallucinated Matador` the famous work of Pablo Picasso's `Guernica` was an example for Art of Painting. I attempted to explain in detail under what social-cultural conditions Guernica was born and how symbols were used. Under the light of my studies up to this stage, when I reached to last stage of my text study, I questioned the place of symbol in my own paintings. What symbols meant for me? How symbolic forms were placed in my paintings in the sense of expressing myself? Do ones on other side of mirror coincide with ones on this side of mirror? And within whirlpool of similar several questions, I attempted to explain and make sense and meaning for myself and for my own symbolic language with as much objectively as possible.IX In conclusion, as having thoroughly comprehended once more the importance of dream, fantasy and symbol in existence, I wish to finish my preface with the following expression of Art Critic, Aydın Çubukçu: `Not only while sleeping, dreams help us to comprehend the fact in depth while being awake. Utopians are `day time` dreamers. They long for a make believe world and fantastic illusions, but on the other hand, they lead the way for opening the eyes of a sleep walking somnambulist community and to desire a `Better and more beautiful` world they find essence of hard reality in dream and fantasy`^1) KEY WORDS: Symbol, Symbolic form, Iconology, Fantasy, Allegory. (') Aydın Çubukçu; Universal Culture Magazine, April-1999, issue: 5 [KUR*``0 «SSK»* 45

ÖZET 'Kavramsallık Bağlamında Simgesel Heykel Denemeleri konulu araştırma, sa nat ürününün tasarım ve çözümlenmesinde kullanılan güncel düşünce ve yöntemlerin verilerini değerlendirip uygulama denemelerine yer veren bir çalışmadır. Birinci bölüm imge, simge ve eğretilemenin tanımı ve sanat tarihinde karşıla şılan kullanımlarıyla ilgili bilgileri içermektedir. İmge ve simge terimlerinin etimolo jik, metafizik, ruhbilim ve psikanalizdeki açıklamaları yapıldıktan sonra, insan yaşa mındaki ve sanattaki yeri ile ilgili incelemelere yer verilmiştir. Kavram oluşturma ve çözümleme yöntemleri olarak araştırma kapsamına alı nan göstergebilim, anlambilim ve yorumbilgisi yöntemleri ayrı ayrı bölümlerde in celenmiştir. Bu bağlamda, ikinci bölümün konusu gösterge dizgeleri, gösterge türleri ve göstergebilimdir. Bu bölümde, yapısalcı bir temele dayanan göstergebilimsel ana lizin kavram oluşturma ve bu kavramları anlamlandırma yöntemleri incelenmiştir. Üçüncü bölümde ele alman anlambilim; anlamlandırma dizgeleri ve anlambi lim olarak iki ara başlıktan oluşmaktadır. Bu bölümde anlambilimin, göstergebilim- den de yararlanarak plastik sanatların anlamlandırılmasına yönelik yöntemleri ince lenmiştir. Dördüncü bölüm kavramları çözümlemeye yönelik farklı bir yöntem olan hermeneutik (yorumbilgisi) 'e ayrılmıştır. Hermeneutiğin anlam ve kapsamı ile ilgili açıklamaların ardından çağdaş hermeneutik ile ilgili bilgilere yer verilmiştir.Beşinci bölüm, araştırma kapsamında yapılan uygulamaların süreç ve biçim altyapılarını inceleme gereğinden ötürü Kavramsal Sanat' a ayrılmıştır. Bu bölüm Kavramsal Sanat'ın tarihsel gelişim süreci ile Türkiye'deki kavramsal eğilimli sanat çalışmaları ve bu çalışmalar ile ilgili görüşleri kapsayacak bir araştırmayı içermekte dir. Son olarak, altıncı bölümde önceki bölümlerde açıklanmaya çalışılan kavram oluşturma ve çözümleme yöntemleri ışığında uygulamaların çözümlenmesi yapılma ya çalışılmıştır. Ill SUMMARY The thesis research paper titled under `Symbolic Sculpture Experiments in the Context of Conceptual`, includes actual thinking methods that are used for analysing and designing work of art, by evaluating datum of applied experiments. The first chapter includes description of image, symbol and metaphor and the information about how they were used in Art History. After the term of image and symbol were explained etymologically, metaphysically, psychologically and psychoanalytically, their scope which is examined within human life and art has been mentioned in this subject. Semiotics, Semiosis and Hermeneutics methods which are taken in to consideration are examined in separate parts which constitute a concept and methods of analysing. In this context the subject of second chapter consists of signifying sequence, sign types and semiotics. In this chapter the constituting concepts and the structurally based semiotic analyses are examined. The third chapter consist of two subtitles which are semiosis and signifying sequence. In this chapter the methods of Semiosis which try to interpret fine art with the help of semiotics are examined. The forth chapter is about hermeneutic which is a different method for analysing concepts. After statements about the meaning and the content of Hermeneutic, the information about contemporary Hermeneutics are discussed.IV The fifth chapter mentions Conceptual Art because of the necessity of examining the formation and the progress of sub-structure which are applied within the context of this thesis. Historical progression of Conceptual Art and the works in Turkey which tend to be conceptual and a research which will include ideas about these art works are the parts of this chapter. Finally, in the sixth chapter the analysis of the applications has been tried to be achieved in relation to the constituting of the methods which were explained in the preceding sections. 124

This thesis investigates the concept of the symbolic form of architecture. It first focuses on the philosophical foundations for this concept in the works of Ernst Cassirer, Immanuel Kant, Conrad Fiedler, and Theodor Adorno. Then, the development of the modern perception of form in architectural theoreticians, where "modern" architectural theory evolved from an analogical state into a symbolic state, is examined: Karl Bötticher's concept of a Junktur and his attempt to transcend the presumed dichotomy in architecture between ornamentation and form is discussed; Gottfried Semper's concept of style and Alois Riegl's concept of motif are presented as reactions against what they saw as the mechanistic reliance on structure as definitive of form in architecture; Louis Sullivan's ornamentation is discussed as an attempt to integrate structure and ornamentation into a morphological whole; Otto Wagner's attempt to purge architecture from analogical responses through a strictly constructional basis for ornamentation is presented; and Adolf Loos' dismissal of decorative ornamentation, since it is an impediment towards true aesthetic judgment, is examined. Finally, a critical review of the symbolist movement in architecture, art, and literature is presented as a movement diametric to the symbolic development in architecture, since it glorified the analogical, and frequently the mimetic. The origins for how the symbolist movement became a denial of clarity center on Emanuel Swedenborg's concept of symbols, and how it was misinterpreted by the symbolists. Master of Architecture