Analysis in English of Annalisa D. Quagliata Blanco’s experimental feature film ¡Aoquic iez in Mexico! /¡Ya México no existirá más! (2024).

In this article the heritage of Hryhorij Skovoroda is considered from the metaphilosophical point of view. This point of view is useful because it allows seeing some syncretism as unity of philosophy, theology, religion, myth, and poetry in the heritage of Hryhorij Skovoroda. Therefore, the author stresses that when we analyze the Hryhorij Skovoroda’s heritage it is wrong to divide it into such parts as philosophy, theology, religion, myth, and poetry. This division doesn’t lead to the whole understanding of Hryhorij (...) Skovoroda’s personality and works. The author argues that Hryhorij Skovoroda is the follower of Philosophia Perennis’ tradition, which is characterized by syncretism. Such syncretism of the Skovoroda’s heritage is neither bad nor good. We see the unique unity of philosophy, poetry, religion and mythology in the Skovoroda’s life and in his works. The author argues that such unity is useful for the deeper understanding of the world and a human being. Syncretic unity of Skovoroda’s worldview helps to overcome the different oppositions of classical philosophy (subject-object, inner-external, immortal-mortal, natural-supernatural, human-divine, relative-absolute etc.). We live in the times of analysis and fragmented world. Therefore syncretism is very hard to understand. In order to understand syncretism we should return to synthetic thinking, we should rediscover the synthetic function of our consciousness. The life and the works of Skovoroda show us how a human being can think synthetically and regain the whole worldview. The whole worldview helps live in the harmony with others and nature. This harmony is very needed in our times of “moral blindness” (Zygmunt Bauman), decay of traditions, which were oriented us towards common values. Keywords:, metaphilosophical approach, unity of opposites, mythopoesis, syncretism, synthesis of philosophy and religion, vocation. (shrink)

By considering the movies in the Marvel Cinematic Universe as a case study, I bring Tolkien’s explication of mythopoesis in “On Fairy Stories” to bear on the current popularity of superhero films to argue that such works qualify as cinematic examples of Tolkienesque fantasy tales. After summarizing Tolkien’s criteria for the genre in Nietzschean aesthetic terms, I both demonstrate how the builders of the MCU have crafted a sub-created fictional world and defend the existence of fairy stories in visual (...) media from Tolkien’s own criticism of such a possibility. (shrink)

Mythopoetry, the imagistic voice of the muses which manifests in myth and natural poetry, has been invoked as an impression of ideal curriculum with which to cherish intimate, vital experience (and to oppose its exile from educational life). In this statement, I intend to see through the pleasant surface of the label, mythopoetry, to see what image may lie just out of sight, beyond the "inspired writing" that mythopoetry implies. Beyond words themselves, meaning is found in sound and in expressive (...) representation. “Music, when soft voices die, / Vibrates in the memory” (Shelley). (shrink)