RIGHT AND WRONG: THE MUSIC OF ANDREW HAMILTON

Tempo ◽  
2014 ◽  
Vol 68 (269) ◽  
pp. 30-41 ◽  
Author(s):  
Donal Sarsfield
Keyword(s):  
Analytical Study ◽  
Visual Artists ◽  
The Aesthetic ◽  
Aesthetic Ideas ◽  
Simple Materials

AbstractThis article is the first extended analytical study of the music of the Irish composer Andrew Hamilton. It explores the aesthetic ideas that inform Hamilton's music, which often have as much in common with the work of contemporary visual artists and writers as they do with that of other composers. It discusses the particular sense of humour underlying many of his pieces, as well as his music's use of common and supposedly simple materials, which are put in the service of new and original aims.

The Dualism of Place in Lattif Halmat’s Poetic Texts

2021 ◽  
Vol 8 (3) ◽  
pp. 387-409
Author(s):  
Sarkawt Omer Ibrahim ◽  
Zanear Zyad Ibrahem
Keyword(s):  
Analytical Study ◽  
Theoretical Method ◽  
Philosophical Concept ◽  
Binary Oppositions ◽  
The Aesthetic ◽  
Poetic Texts ◽  
Definition Of ◽  
Horizon Of Expectations

     This research, which is entitled “The Dualism of Place in Lattif Halmat’s Poetic Texts”, is a critically analytical study on the dualism of place, the role and position of the element of place within the frame of poetic texts. In the poet’s poetic texts, the element of place created a kind of reversal in the readers’ horizon of expectations. The binary oppositions have become the structure of art and the aesthetic of poetic texts. And often, they have become (purple patches) in the texts in a way that all the surrounding words are ablaze with their power and their beauty.  This research is composed of two chapters: The first chapter is devoted to the concept and definition of dualism and the philosophical concept of dualism in a theoretical method. In terms of their presence in Lattif Halmat’s poetic texts, the second chapter deals with the dualism of place within the frame of poetic texts in a critically analytical way. And finally, the research ends with the conclusions and bibliography.

Futuro pasado. la evolución del concepto Poesía en Octavio Paz

2021 ◽  
Vol 66 (4) ◽  
pp. 173-186
Author(s):  
Alí Calderón Farfán ◽  
Keyword(s):  
Twentieth Century ◽  
Nobel Prize ◽  
Nobel Prize Winner ◽  
Octavio Paz ◽  
Marcel Duchamp ◽  
Spanish Speaking ◽  
Time Semantics ◽  
The Aesthetic ◽  
Aesthetic Ideas ◽  
Horizon Of Expectations

Future Past. The Evolution of the Concept of Poetry in Octavio Paz. Octavio Paz (1914) is a poet writing in Spanish whose aesthetic ideas have built a vision of relevant poetry for at least three traditions: poetry in French, English and, of course, Spanish. This study will analyze, from the metalinguistic perspective proposed by Reinhart Koselleck, how the concept of “poetry” evolved in the thought of the Mexican Nobel Prize winner. Framed by his tradition, by his space of experience, Octavio Paz wrote works that have been instrumental in understanding and valuing poetry in the twentieth century. From “Poesía de soledad y poesía de communion” (1943) to La otra voz, Poesía y fin de siglo (1990), Paz synthesized the aesthetic ideas of his time in El arco y la lira (1956), rethought the lyrical exercise in “Los signos de rotación” (1956), modified his poetic in the prologue to Poesía en movimiento and made his position explicit in Los hijos del limo and his thoughts on Lévi-Strauss and Marcel Duchamp. By focusing on these texts, as well as on a corpus of conferences, interviews, correspondence and even poetry recitals, this study explores the evolution of poetic thought and the horizon of expectations that the work of the last Spanish-speaking poet who received the Nobel Prize opens for us. Keywords: Octavio Paz, style, poetics, post-utopian time, semantics of concepts

Introduction

2019 ◽  
pp. 1-14
Author(s):  
Dana Seitler
Keyword(s):  
Aesthetic Experience ◽  
Gender And Sexuality ◽  
Fin De Siecle ◽  
Literary Fiction ◽  
Economic Equality ◽  
Aesthetic Form ◽  
Fin De Siècle ◽  
History Of ◽  
The Aesthetic ◽  
Aesthetic Ideas

This book explores the pivotal role that various art forms played in American literary fiction in direct relation to the politics of gender and sexuality at the turn of the century. I track the transverse circulation of aesthetic ideas in fiction expressly concerned with gender and sexuality, and I argue that at stake in fin-de-siècle American writers’ aesthetic turn was not only the theorization of aesthetic experience, but also a fashioning forth of an understanding of aesthetic form in relation to political arguments and debates about available modes of sociability and cultural expression. One of the impulses of this study is to produce what we might think of as a counter-history of the aesthetic in the U.S. context at three (at least) significant and overlapping historical moments. The first is the so-called “first wave” of feminism, usually historicized as organized around the vote and the struggle for economic equality. The second is marked by the emergence of the ontologically interdependent homosexual/heterosexual matrix—expressed in Foucault’s famous revelation that, while the sodomite had been a temporary aberration, at the fin de siècle “the homosexual was now a species,” along with Eve Sedgwick’s claim that the period marks an “endemic crisis in homo-heterosexual definition.”...

scholarly journals THE SIMILARITIES AND DIFFERENCES OF HANG TUAH AND CINDUA MATO CHARACTERS

2020 ◽  
Vol 19 (1) ◽  
pp. 123-130
Author(s):  
Suhardi Suhardi ◽  
Thahirah Thahirah
Keyword(s):  
Ethnic Groups ◽  
Analytical Study ◽  
Literary Work ◽  
Oral Literature ◽  
Ethnic Communities ◽  
Literary Works ◽  
Cultural Elements ◽  
Moral Context ◽  
Similarities And Differences ◽  
The Aesthetic

The Malay and Minangkabau people are those who like to speech and act on literature. This can be seen through the existence of several genres of literary works from those ethnic, ranging from the form of saga, tale, and legend. Among them are Hang Tuah and Cindua Mato saga. Hang Tuah saga grew and developed in Malay society, while Cindua Mato saga grew and developed in Minangkabau society. Both sagasare interesting to be studied as an analytical study. First, Hang Tuah and Cindua Mato saga is a great literary work owned by both ethnic groups. As a masterpiece, they both have an appeal to be analyzed in many ways. Secondly, Hang Tuah and Cindua Mato figures by both ethnic communities have become a big myth. Hang Tuah became myth by the Malay community as a brave and loyal figure to the king. So did with the figure of Cindua Mato who became myth by Minangkabau society as a brave and loyal figure to the king. As with other literary works, Hang Tuah and Cindua Mato saga contains the aesthetic, moral, and cultural elements of their owners. It is as stated by Taum that oral literature has an aesthetic effect and moral context as well as a particular society culture. This research analyzed and examined the cultural similarities and differences (characters) in Hang Tuah and Cindua Mato saga. This study is expected to produce the same perception of both sagas. Likewise, the possibility of a kinship element exists between ethnic Malay and Minangkabau.

Vicissitudes of the Aesthetic Ideas of Marx

1974 ◽  
Vol 25 (9) ◽  
pp. 37
Author(s):  
Adolfo Sánchez Vázquez
Keyword(s):  
The Aesthetic ◽  
Aesthetic Ideas

Some Relations between Ethics, Aesthetics and Politics in Contemporary Art in Times of Crisis

2019 ◽  
Vol 29 (2) ◽  
pp. 9-27
Author(s):  
Maria Elena Ramos ◽  
Keyword(s):  
Contemporary Art ◽  
Political Action ◽  
Human Action ◽  
Aesthetics And Politics ◽  
Artistic Creation ◽  
The Aesthetic ◽  
Ideal Sphere ◽  
Aesthetic Ideas ◽  
Aesthetic Structure ◽  
The Ideal

The inclusion of ethics and politics into artistic creation process is for many contemporary creators/artists an essential motivation while they consciously act in an aesthetic space polluted with the realities of a world in crisis. Art, which produces visible and sensible forms, can reveal aesthetic ideas and fundaments through aesthetic objects: drawing, video-installing or poem/poetry. And artists can make someone feel with their creations—whether these are beautiful, sublime, tragic, or ironic—ethical contentions violated by human action or the exertion/exercise of political power. Works of art that are not only guided by the categories signed by beauty, because in artistic languages, violence and suffering also make/create form. And times of crisis are the ideal sphere/dimension for an art that gives a vivid way of seeing/watching the uncertainty, the perversion, the terrible. In bringing these philosophical—ethical, aesthetic and political—topics, I do it from an approach that departs form artistic creations and curatorial research. I try to penetrate the narrow thread between an ethical topic and the plastic form in which it incarnates/embodies itself, or between a political action and the aesthetic structure of language as a creative, expressive consequence.

scholarly journals “Have a heart, have a soul, and be a man at any time…” (evaluating D.I. Fonvizin’s comedy “The Minor”)

2020 ◽  
pp. 9-19
Author(s):  
T.A. Alpatova
Keyword(s):  
Role Models ◽  
Private Life ◽  
Historical Study ◽  
Main Role ◽  
Cultural Changes ◽  
Semiotic Model ◽  
A Value ◽  
The Aesthetic ◽  
Aesthetic Ideas ◽  
Made In

The purpose of the study is to consider D.I. Fonvizin’s anthropological concept formed in his comedy “The Minor”. It was formed as the result of comprehension of the changes that the Russian nobility of the second half of the XVIIIth century manifested in their everyday behavior and which were mainly associated with forming the opportunities in private life and the life choice of a behavior strategy. The research methods used in the article are based both on the traditions of the cultural and historical study of the creative personality of the writer in the context of the Russian literature of the second half of the XVIIIth century – the Catherinian Era – and on the semiotic model of the poetics of everyday behavior of the Russian nobility, formed in the works of Yu.M. Lotman’s. The focus of the work is to identify the topic of private existence as a value guide for people of the second half of the XVIIIth century, which was made possible thanks to the “Manifesto on Freedom of the Nobility”, which methodologically must be taken into account not only in the process of compiling a real commentary on the play of D.I. Fonvizin’s, but also while analyzing the ideological structure of the play and the specifics of the characters portrayal. Each of them (primarily ideological heroes, madam Prostakova and Starodum), in one way or another, gives their assessment of the “Manifesto on Freedom of the Nobility”; their fate can be seen as the illustration of the main role models that appeared in the poetics of everyday behavior of the Russian nobility of the second half of the XVIII century. The main results of the study are related to the refinement of ideas about Fonvizin, a writer and thinker of his era, his views on the cultural changes of the Catherinian Era, the specifics of the aesthetic ideas of the writer, and the correlation of classic and pre-realistic trends in his work. The brief conclusions made in the article are that the comedy “The Minor” became an important step of the writer’s in comprehending the cultural and anthropological processes that were outlined in Russia during the Catherinian Era, eventually making the period of the late XVIII – early XIX centuries “The golden age” of cultural creativity of the Russian nobility.

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