photography

This article critically examines Roger Scruton’s arguments against recognizing photography as art due to its mechanical nature. Scruton claims that photography is merely a reproduction of reality, lacking the creative intentionality found in traditional art forms like painting or theatre. The paper analyzes Scruton’s views within the context of contemporary philosophical discussions on the nature of art and photography. The research methodology includes a comparative analysis of Scruton’s ideas and those of philosophers such as Stanley Cavell, Kendall Walton, and Jean Baudrillard.

This article is about that in modern conditions in system of genres of journalism which is used to represent something characteristics and definitions of certain genres become too blurred and not clear. Theorists and practitioners of photojournalism give their, sometimes not justified, definitions to genres which much more disorients people, who are trying to master the theory of photojournalism. The author pays attention to that in publications about essence and purpose of genres some genres, even photo reportage, are interpreted in different ways.

The article is devoted to the philosophical analysis of important aspects of man’s being, connected with spreading of photography in the modern society. In the investigation of this subject, authors examine the usage of the Poststructuralist Methodology. The objective of the article is to define the poststructuralist methodological concepts spread in the humanitarian studies. The authors focus on several principles of poststructuralist methodology, especially on the principle of structure, the principle of differences, deconstruction, and transgression.