scholarly journals Symbolic Games in A Garden of Earthly Delights by Joyce Carol Oates

2022 ◽  
Vol 9 (1) ◽  
Author(s):  
Dorota Olivia Horvath
Keyword(s):  
Essential Role ◽  
Gilles Deleuze ◽  
Joyce Carol Oates ◽  
The 1950S ◽  
Cultural Forms ◽  
The Aesthetic

AbstractThis article will show that postmodern thoughts play an essential role in Joyce Carol Oates’ Wonderland Quartet. In its opening novel A Garden of Earthly Delights, I will also consider the imagery of Lewis Carroll’s Alice texts that influenced Oates’ Quartet. Oates’ and Carroll’s texts share the depiction of decentralised permissiveness and rejection of all authority that I interpret through the aesthetic conception of postmodern games by Gilles Deleuze. By blurring the lines between fantasy and reality, the aspect of violence is repressed in Carroll’s texts. However, Oates aestheticises violence to maximise the diverse impact of postmodern sentiment on American cultural forms that emerged in the decades of the 1950s and 1960s. In contrast to Carroll’s Alice, who demands order to protect herself from the chaos, Clara in A Garden of Earthly Delights rejects conventions and fabricates chaos to alleviate her unprivileged condition.

Motorcycling in a Repair Society: A Maintenance and Repair–Centered Approach to Automobility

2020 ◽  
pp. 088832542095080
Author(s):  
Gabriel Jderu
Keyword(s):  
Additional Material ◽  
Maintenance And Repair ◽  
Mass Tourism ◽  
Administrative Personnel ◽  
Lower Ranking ◽  
The Creation ◽  
Material Engagement ◽  
The 1950S ◽  
The Aesthetic ◽  
Car Driving

In a departure from car-centered analyses of the automobility systems, this article highlights the importance of motorcycles and motorcycling in the mobility practices of socialist countries. For at least half of the existence of socialist mobility systems, and especially during the 1950s and 1960s, there were more motorcycles on the roads than cars. Motorcycling was important in commuting, for the mobility of lower-ranking administrative personnel in the countryside, and for mass tourism and leisure. Although in that era maintenance and repair practices were equally central to motorcycling and car-driving, the distinction between user-owner and mechanic was much more fluid in the case of motorcyclists. As a result, the centrality of maintenance and repair to socialist-era motorcycling offers an ideal opportunity to enrich current interdisciplinary conversations about breakdown, maintenance, and repair. Building on the car-centered research into maintenance and repair activities, I add additional material on the nature, types, and complexity of such practices for motorcycling. I outline nine forms of material engagement with motorcycles that reference, but transcend, the current dichotomies between necessity and pleasure, the formal and the informal, the technical and the aesthetic, and the repair of existing objects and the creation of new ones.

scholarly journals Estética de la resonancia. (una mirada a la obra de vassily kandinski desde una óptica deleuzeana)

2016 ◽  
Vol 11 (18) ◽  
pp. 148
Author(s):  
Juan Carlos Romo
Keyword(s):  
Gilles Deleuze ◽  
Close Relationship ◽  
Critical Interpretation ◽  
Comme Point ◽  
The Aesthetic ◽  
Sound Sensation

ESTÉTICA DE LA RESONANCIA (UNA MIRADA A LA OBRA DE VASILY KANDINSKI DESDE UNA ÓPTICA DELEUZEANA)RESUMEN El presente texto aborda la obra pictórica de Vasily Kandinski y la estrecha relación que esta tiene con la música. El análisis que se hace de la obra de Kandinski tiene como punto de referencia la reflexión estética de la filosofía de Gilles Deleuze. Figuras conceptuales como devenir, inmanencia y acontecimiento son la base de este estudio; con ellas se pretende un acercamiento crítico a la obra del pintor ruso con miras a su interpretación.PALABRAS CLAVES Pintura, música, color, sonido, sensación, percepto, afecto, bloque de sensaciones, vacío, devenir, acontecimiento.KAWAI SUG RURAITA VASILI KANDISKI DELEUZEANASUGLLAPIKai kilkapi munanakume parlangapa sug runa suti Vasily Kandisky ruraskata kawachingapa manema allila wawankuna tunaita chasallata munakume llullachingapa chasata kawachinpaga sug rurai Gilles Deleuze. Paikuna munanakume kai mailla parlukunawa sug rurai sug runa, ruso ruraskata kawaspa llachachispaIMA SUTI RIMAI SIMI:Kakui, tunai, ullaii, chasa rurai, rurangapa achka llullakuna.AESTHETICS OF RESONANCE (A LOOK AT THE WORK OF VASSILY KANDINSKY FROM A DELEUZIAN PERSPECTIVE)ABSTRACT This paper attempts an approach to the paintings of Vassily Kandinsky and their close relationship with music. The analysis of Kandinsky’s work has as a point of origin the aesthetic reflections found in Gilles Deleuze’s philosophy. Conceptual figures such as becoming, immanence and event, are the basis of this study, which seeks an approach to a critical interpretation of the Russian painter’s work.KEYWORDS Painting, music, color, sound, sensation, percept,ESTHÉTIQUE DE LA RÉSONANCE (UN REGARD SUR LE TRAVAIL DE VASSILY KANDINSKY À PARTIR D’UNE PERSPECTIVE DELEUZIENNE)RÉSUMÉ Cet article tente une approche des peintures de Vassily Kandinsky et de la relation étroite de son travail avec la musique. L’analyse de l’œuvre de Kandinsky a comme point d’origine la réflexion esthétique de la philosophie de Gilles Deleuze. Des figures conceptuelles telles que le devenir, l’immanence et l’événement sont à la base de cette étude, qui vise une approche à une interprétation critique du travail du peintre russe.MOTS-CLEFS Peinture, musique, couleur, son, sensation, percept, affection, bloc de sensations, vide, devenir, événementESTÉTICA DA RESSONÂNCIA UM OLHAR À OBRA DE VASILY KANDINSKI DESDE UMA ÓTICA “DELEUZEANA” RESUMOO presente texto aborda a obra pictórica de Vasily Kandinski e a estreita relação que esta tem com a música. A análise que se faz da obra de Kandinski tem como ponto de referência a reflexão estética da filosofia de Gilles Deleuze. Figuras conceituais como devir, imanência e acontecimento são à base deste estudo; com elas se pretende uma aproximação crítica à obra do pintor russo com miras a sua interpretaçãoPALAVRAS CHAVES Pintura, música, cor, som, sensação, preceito, afeto, bloco de sensações, vazio, devir, acontecimento

scholarly journals On Approximate Aesthetic Curves

Symmetry ◽  
2020 ◽  
Vol 12 (9) ◽  
pp. 1394
Author(s):  
Ioana Crăciun ◽  
Dorian Popa ◽  
Florina Serdean ◽  
Lucian Tudose
Keyword(s):  
Essential Role ◽  
Basic Element ◽  
Neutral Curve ◽  
Aesthetic Value ◽  
Straight Line ◽  
Neutral Curves ◽  
The Aesthetic ◽  
Aesthetic Forms

Symmetry plays an essential role for generating aesthetic forms. The curve is the basic element used by designers to obtain aesthetic forms. A curve with a linear logarithmic curvature graph gradient is called aesthetic curve. The aesthetic value of a curve increases when its gradient is close to a straight line. We introduce the notions of approximate aesthetic curves and approximate neutral curves and obtain estimations between the curvature of an approximate aesthetic/neutral curve and an aesthetic curve.

Hawaiian Music and Oceanizing American Studies

2018 ◽  
Vol 52 (04) ◽  
pp. 1163-1172
Author(s):  
LEAH KURAGANO
Keyword(s):  
Popular Culture ◽  
Popular Music ◽  
Identity Formation ◽  
Social Relations ◽  
American Studies ◽  
High Culture ◽  
The 1950S ◽  
Cultural Forms ◽  
Insight Into ◽  
Culture Concept

American studies has been dedicated to understanding cultural forms from its beginnings as a field. Music, as one such form, is especially centered in the field as a lens through which to seek the cultural “essence” of US America – as texts from which to glean insight into negotiations of intellectual thought, social relations, subaltern resistance, or identity formation, or as a form of labor that produces an exchangeable commodity. In particular, the featuring of folk, indigenous, and popular music directly responded to anxieties in the intellectual circles of the postwar era around America's purported lack of serious culture in comparison to Europe. According to John Gilkeson, American studies scholars in the 1950s and 1960s “vulgarized” the culture concept introduced by the Boasian school of anthropology, opening the door to serious consideration of popular culture as equal in value to high culture.1

The line of sense: An outline of the On(the)line

Maska ◽  
2019 ◽  
Vol 34 (198) ◽  
pp. 105-111
Author(s):  
Pia Brezavšček
Keyword(s):  
Gilles Deleuze ◽  
The Political ◽  
The Aesthetic

Abstract The text is a rewritten lecture on the staging of Mateja Bučar's dance installation On(the)line performed in Cankarjev dom on 20 October 2017. It draws parallels between a staged art situation and the philosophy of Gilles Deleuze whose book The Logic of Sense discusses the line of sense, the surface that separates bodies and events and represents the line of nonsense that produces sense and language. Conversely, the simple gesture of a line drawn along the lobby of Cankarjev dom in the performance On(the)line is one that establishes an extraordinary situation, a line of artistic nonsense that has, as Andrew Hewitt would say, the power to switch between the aesthetic and the political.

scholarly journals Pamenan as an Aesthetic Concept of Creating a Wayang Padang Theatre

2018 ◽  
Vol 1 (1) ◽  
Author(s):  
Sahrul Nazar
Keyword(s):  
Essential Role ◽  
Work Of Art ◽  
Stage Music ◽  
The Aesthetic

AbstractWayang Padang Theater performance, perceived from the communication perspective, commonly uses a lapau—a traditional coffeestall (pamenan kato)—style dialogue. Meanwhile, Wisran Hadi also makes use of visual aesthetic (pamenan mato). Pamenan is defined as a game, both creatively or philosophically. Dialogue plays an essential role in the performance that can provide a playful sense that sometimes sounds like there is a misscommunication or an altered meaning. This is actually a distinct characteristic of Wisran Hadi in presenting an entertainment through words. Pamenankato is a technique used by Wisran Hadi in creating a work of art that can entertain the society. The society itself is quite appreciative in absorbing the words uttered by the actors on the stage. On he other side, the visual aesthetic or pamenan matois related with thevisual elements shown on the stage. The aesthetic concept of the play can be seen from the use of words or expressions, the flow of the story, the characters, the costumes, the movements, and the organization of stage, music and lighting. These elements are effectively applied by Wisran Hadi in his Wayang Padang performance.Keywords : pamenan; pamenan Kato; pamenan Mato; Wayang Padang; Wisran HadiAbstrakPamenan sebagai Konsep Estetis Penciptaan Teater Wayang Padang. Pementasan teater Wayang Padang, ditinjau dari segi komunikasi, menggunakan dialog gaya lapau atau warung kopi (pamenan kato). Sementara itu, ditinjau dari segi estetika visual, Wisran Hadi memakai keindahan lihatan (pamenan mato). Pamenan diartikan sebagai permainan, baik permainan secara kreatif maupun permainan secara filosofis. Dialog menjadi hal yang utama dalam pementasan ini. Dialog dalam Wayang Padang seperti bermain-main, kadang-kadang tidak menyambung dan diplesetkan. Hal ini merupakan ciri khas Wisran Hadi dalam menghadirkan hiburan lewat kata-kata. Pamenan kato seperti ini merupakan cara Wisran Hadi dalam membangun karya yang bisa menghibur masyarakat. Masyarakat cukup apresiatif dalam menyimak seluruh kata yang diucapkan oleh aktor di atas pentas. Estetika visual atau pamenan mato berkaitan dengan permainan yang terlihat di panggung pementasan. Estetika konsep penciptaan yang mengarah pada permainan yang terlihat, meliputi unsur kata atau ucapan, cerita, tokoh, kostum, gerak, tata pentas, musik, dan cahaya. Unsur inilah yang dipermainkan oleh Wisran Hadi dalam pementasan teater Wayang Padang.Kata kunci : pamenan; pamenan Kato; pamenan Mato; Wayang Padang; Wisran Hadi

scholarly journals Penggunaan Composit Resin pada Kasus Resisi Gingiva

2012 ◽  
Vol 19 (1) ◽  
pp. 86
Author(s):  
S. Suryono
Keyword(s):  
Essential Role ◽  
Case Reports ◽  
Gingival Recession ◽  
Root Surface ◽  
Gingival Tissue ◽  
Clinical Appearance ◽  
Color Effect ◽  
The Aesthetic ◽  
Exposed Root

Background: The clinical appearance of gingival tissue play an essential role in aesthetics. Gingival morphology and color effect on the aesthetic concerns for the patient. Gingival recession can cause exposure of the underlying rootsurface and hypersensitive of the tooth. Purpose: this case reports showed the treatment of gingival recession by using gingival-shaded composite. Case and treatment: Exposed root surface is layered by gingival-shaded composite and its also improved aesthetics by replacement of the restoration. Conclusion: The use of gingival-shaded composite in the area of exposed root surface for layering improved the aesthetic and relief the sensitive denting of patient.

The Art and Times of ABDIAS NASCIMENTO: QUILOMBOLA EXTRAORDINAIRE

2021 ◽  
pp. 002193472110064
Author(s):  
Cheryl Sterling
Keyword(s):  
Black Theater ◽  
Cultural Forms ◽  
The Aesthetic ◽  
Afro Brazilian ◽  
Aesthetic Forms

This paper explores the aesthetic trajectory of Abdias Nascimento in the context of his life’s work, arguing that he has to be apprehended as a Quilombola warrior figure, through his entwinement of political and artistic agency. More specifically, it explores how Nascimento harnesses the creative matrix found in the lived history, myth and figuration from candomblé as a dramatist and as a painter. First, it delves into his creation of the Teatro Experimental do Negro (TEN), the first black theater in Brazil and his use of candomblé as a template of dramaturgy in his play, Sortilégio. However, the main analysis centers on his paintings, which combines candomblé symbology, along with other African cultural forms, to create culturally meaningful aesthetic forms that affirmed Afro-Brazilian subjectivity and their historical belonging in the nation and connection to the larger Africana world.

Merce Cunningham and the Aesthetic of Collage

2002 ◽  
Vol 46 (1) ◽  
pp. 11-28 ◽  
Author(s):  
Roger Copeland
Keyword(s):  
Merce Cunningham ◽  
The 1950S ◽  
The Aesthetic ◽  
Fixed Boundaries

Collage has been central to Cunningham's work from the very beginning in the 1950s. Unlike Wagner's Gesamtkunstwerk, which exemplifies a hunger for wholeness, collage appeals to an age that has come to distrust claims of closure, “unity,” and fixed boundaries.

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