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ISSN 1409-6900 | UDK 82+7     Blesok no. 05 | volume I | October-November, 1998



                     Peer-reviewed journal
Blesok no. 05October-November, 1998
Theatre Theory

The Philosophical and Grammatical Concept of Time in the Narratological Process

p. 1
Bujar Hodža

1. General remarks

The measuring of the past time and its determining in various scientific and professional categories is as old as the existence of the human being as a conscious one. This theoretical unit, first of all of a philosophical nature, has an enormous importance for the field of artistic expression. Differing from the importance of the physical conception of time ( i.e. the one that concerns the nature and mathematical sciences), in the case of the artistic fields ( the various ones), except its physical and philosophical determination, it has psychological importance, as well as a communicative ones by which it overpasses the limits of its exactness. We cannot say anything concerning the concept of time if all of this is not accompanied by a series of theoretical analysis, which in the cases of the concrete artistic expression gets established as a compulsory element.

The similarities, as well as the differences among the various artistic fields, taken simply from the synchronically aspect of study ( or even if we wanted from a diachronic one, of one who would be concerned with the origin, etymology, or the historiography of the artistic existence), represent the possibilities of incorporating of a series of interpretations and various structures of the time shapes and forms divided concretely into its surface and deep structures.

If we are to express the objectivity of the daily events relative to the human activities, it leads us to the anthropocentric philosophy up to G.W. Hegel, which was characterized as a category of an objective absolutism. The radical changes in the various philosophical interpretations, have in fact started from John Lock, who brought the elements of irrationality and the elements of the artistic sensibility; or in one word, to the unanalyzed issues until that time.

In the contemporary days, “ the human being is a onthic and onthologic being limited by its temporality”, says M.Heidegger in his “Being and Time”. We have the post-Kantian philosophical school here, which by simple words returns to the human being its subjectivity and psychoanalyses. “ Leaving of traces”, says S. Freud, “ are a basis for the development of the signs of psychic growth of human beings; and this enables it to think about the history of writing, as well as about its existence”. Further on, Freud sees the absence of traces, on the basis of which the origin of the human artistic expression would be determined,

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