370 KB57 KB201820252024Dimovski, Domenštevilka:1letnik:28str. 53-75DOI:10.18690/analiza.28.1.51-76.2024ISSN:1408-2969COBISSID_HOST:241292547URN:URN:NBN:SI:doc-FUJION0IslUniverza v Mariboru, Univerzitetna založbaAnaliza (Ljubljana)fenomenologijafilmfilozofijaimanencaimmanencephenomenologyphilosophysacredsvetoTranscendentalno v filmski izkušnji|Based on the theory of conceptual metaphors, we will introduce the idea of God and the divine as a concept, referring to how cinematic art depicts and treats spiritual or religious themes. In addition to mentioning traditional metaphors, we will focus on the idea of transcendence as an experience of transcending everyday perception and understanding of the world. We will explore the phenomenological relationship between immanence and transcendence, particularly in relation to how films attempt to depict the experience of ecstasy and otherness and to create experiences that transcend rational understanding. Since cinematic art does not depend solely on verbal expression but, to a large extent, on the sensual and emotional response of the viewer, it is of particular interest here because it manages to break through the boundaries of rational discourse and provide access to experiences usually associated with religion and spirituality. We will describe some possible strategies through which films evoke the meaning and sense of the transcendent in the living body of the viewer and examine how film becomes a means of expressing the ineffable – the (divine) reality that is beyond languageNa podlagi teorije konceptualnih metafor bomo predstavili idejo Boga in božanskega kot koncept, pri čemer se bomo navezali na to, kako filmska umetnost upodablja in obravnava duhovne ali religiozne tematike. Poleg omembe tradicionalnih metafor se bomo osredotočili na koncept transcendence kot izkustva preseganja vsakdanje zaznave in razumevanja sveta. Raziskovali bom fenomenološko razmerje med imanenco in transcendenco predvsem v relaciji do tega, kako filmi poskušajo upodobiti izkušnjo ekstatičnosti in drugosti ter ustvariti doživetja, ki presegajo racionalno razumevanje. Ker filmska umetnost ni odvisna zgolj od verbalnega izražanja, temveč v veliki meri od čutnega in emocionalnega odziva gledalca, je tukaj še posebej zanimiva, ker ji uspe prebiti meje racionalnega diskurza in omogočiti dostop do izkušenj, ki jih običajno povezujemo z religijo in duhovnostjo. Opisali bomo nekaj možnih strategij, s katerimi filmi v gledalčevem živetem telesu vzbudijo pomen in smisel transcendentnega ter preučili, kako film postane sredstvo za izražanje neizrekljivega – tiste (božanske) resničnosti, ki je onkraj jezikaTEXTznanstveno časopisjejournalsSlovenian National E-content AggregatorNational and University Library of SloveniaDruštvo za analitično filozofijo in filozofijo znanosti