Suchergebnisse

There are two opposing approaches in the ontology of mathematics — realistic (mathematics does not de-pend on the human being) and constructivist (mathematical objects are created by mathematicians) ones. P. Benacerraf objected to the realistic approach by stating that mathematics is non-causal in nature and, ac-cordingly, it is impossible to reach it from the physical world. The objection to constructivism is based sole-ly on the idea of the effectiveness of mathematics in applied sciences. In the 20th century, the constructivist approach was prevailing. By the end of the century, this prevalence coincided with the general tendency: a skeptical attitude towards scientific knowledge in the philosophy of science. However, at the same time, sci-ence began to play a huge role in life. This inevitably led to the emergence of realistic ontologies. The philosophy of mathematics by Q. Meillassoux, M. Tegmark, R. Penrose represents a modern kind of realism. The paper deals with eillassoux's theory and arrives at a conclusion about its closeness to Pythagorean-ism. Mathematical knowledge gives an opportunity to get out of the circle of correlationism, provided that mathematics is understood purely formally, not intuitively. The paper shows that logic and physics cannot be contingent if mathematics is reliable. The coincidence of mathematical structures with physical ones was previously called the «pre-established harmony between mathematics and physics». Now this is explained by the fact that the universe is organized according to mathematical laws. Thus, a new Pythagoreanism ap-pears. It differs from Platonism in that in Platonism, mathematics is an autonomous world, while in Pythag-oreanism it is built into the physical world and determines its laws. The article shows the need to apply the Aristotelian ontology of matter and form. Mathematics is a form, while physical embodiment requires mat-ter. The flow of time in the physical world is associated with matter, as well as the presence of causality in it. The author comes to a conclusion that acceptance of the idea that the universe is arranged according to mathematical laws leads to the idea of the identity of being and thought.

Music occupies a special place in George Steiner's thinking: "Three areas: the essence and name of God, higher mathematics and music (what is the connection between them?) are located at the limits of language" (Steiner, Errata). The seemingly rhetorical question in parentheses turns out to be a source of deep controversy, the essence of which is revealed in historical-genealogical reflection. Steiner attempts to incorporate Romantic metaphysics within the traditional scholastic symbiosis of Biblical creationism and Pythagoreanism, which reveals his philosophy of music to be entangled in a range of contradictions. On the one hand, a critical reading of Steiner's works uncovers the difficulties posed by the attempt to reconcile pre- and post-Enlightenment culture; on the other hand, the still unused opportunities offered by Romanticism and its modernist continuations are clearly visible. Musical aesthetics, rooted in the idea of infinity, plays a crucial role in these divagations.

Scholars have generally analysed Empedocles' criticism of sacrifices through a Pythagorean interpretation context. However, Empedocles' doctrinal affiliation with this school is problematic and also not needed to explain his rejection of the 'unspeakable slaughter of bulls.' His position is consistent with the wisdom tradition that emanated from the Sanctuary of Apollo in Delphi, an institution that underwent significant political and religious changes at the end of the 6th Century B.C., the impact of which was felt all over Magna Graecia. The ritual practice of sacrifice played an important role in Delphi, but the sanctuary also gave birth to a school of wisdom that was highly critical of the arrogance (hybris) of large sacrifices. Asocio-cultural analysis of the Akragas of the first half of the 5th Century B.C. provides new arguments that support this interpretation. The work of Empedocles contains more evidence of being influenced by the Delphi school of wisdom than by Orphism or Pythagoreanism.

Abstract:A hypothesis first proposed in the nineteenth century has since the middle of the twentieth century been approaching mythical status. It is the hypothesis that in the course of Plato's philosophical 'development', he passed through a 'Socratic period' in which he was principally devoted to representing the philosophy of the historical Socrates rather than his own. This Socratic philosophy is found in the so-called early dialogues and is sometimes called 'Socratic intellectualism'. According to the myth, Plato only developed and wrote down his own philosophical position in the middle and late dialogues. In this paper, I challenge the myth, arguing that there is no external evidence to support the initial hypothesis and significant evidence for rejecting it. In fact, Plato was probably in some sense a proponent of Pythagoreanism and a 'two-world metaphysics' well before he wrote anything. The claim that, external evidence notwithstanding, the early dialogues actually contain a philosophical position substantially different from that of later dialogues is also unfounded. Although Plato's thought continually developed within the context of ongoing Academic discussions, nowhere in any of the dialogues is Plato's 'otherworldy' revisionist philosophy absent.

The article treats the history of the identification of the Greek Hermes and the Egyptian Thoth, which eventually brought to existence the figure of Hermes Trismegistus, the founder of Hermeticism. The treatment of the complex genesis of this figure is connected with the solution of an important question for understanding the phenomenon of Hermeticism: what significance did Hermeticism grant to the mystery component? The problem stems from the structure of the Hermetic Corpus itself, which consists of philosophical texts of Greek origin and esoteric texts dating back to the Egyptian tradition. The history of Hermeticism is traced in the article as the history of the mutual influence of Ancient Egypt and Ancient Greece. Through the figure of Pythagoras I establish a connection between Pythagoreanism, Hermes and Egyptian mysteries. Plato, then, gives an original view of Hermes and Thoth; the next step is a transition to the Hellenistic Egypt, where the two deities were identified. The final step is the first evidence of Hermes Trismegistus and its origin. The article examines the reasons and possibilities for such an identification: the main functions of Hermes and Thoth, which at first glance are identical, present some discrepancies. First, the function of psychopompos: I draw attention to the concept of memory, power upon which is unique to the Greek Hermes; second, the power upon word, logos: while Hermes has the realm of the spoken word, Thoth is associated with the written text and thus magic (magical Egyptian practices are based on the power of the written word). The metamorphosis of Hermes from god to daimon and, finally, to man is also important (on the basis of the evidence of Plato and later hermetic mythology): this provided Hermes with the opportunity to become a central figure and conductor of mystical teachings, like Orpheus.

The purpose of this work is to reveal the natural principle of the precedence of the philosophy of music in music science, which removed musical aesthetics with its basis of the traditional philosophical and rationalist system of Cartesianism. 'Culturologisation' of modern musicology testifies to the absorption of non-logical properties of associative knowledge, which, according to Yu. Krysteva, is no longer rejected by science, being called the 'hermeneutic-interpretive' meaning of the object of the study. The methodological basis of the research is the intonation approach of the B. Asafiev school in Ukraine, as it was in the works of O. Zosim, O. Markova, O. Muravska, O. Kozarenko, Liu Bingjian, O. Roschenko with an emphasis on hermeneutic and stylistic-comparative analytical search engine. The scientific novelty of the work is due to the theoretical primacy in the musicology of Ukraine of the statement of the philosophy of music as a substitute for the sphere of musical aesthetics, which has prevailed since the 18th century, as a "speculative theory of music" relative to the traditional core of musicology, the theory and history of music. Conclusions. The movement of musical aesthetics into the bosom of the philosophy of music was carried out by the displacement, following practice, in musical science of the theatrical-secularised expression of general aesthetic antitheses in favor of the all-encompassing lyric as a specifically musical embodiment of beauty, and the dramatic and the comic appear in the degrees of incompleteness of the lyric presentation, which delimits the "aesthetic-sensual" in the musical sense. The focus of musical expressiveness on the aestheticism of the beautiful and lyrical in this approach generalises, despite its direct ecclesiasticism, the experience of spiritual music, for which the beauty of the lyrical, in the syncresis of the suprapersonal and personal, expression (compare with the "spiritual beauty" of music in Mikhail Psellus, 11th century) displaces meaningful antitheses, which theoretically coincides with the symbolism of Pythagoreanism-Neoplatonism in the philosophical-mental understanding of music as a touch to the Eternal.
Key words: musical aesthetics, philosophy of music, traditional musicology, modern culture-oriented musicology, genesis of music science.