The Question of Subjectivity

2017 ◽  
Author(s):  
Nalini Bhushan ◽  
Jay L. Garfield
Keyword(s):  
Art Criticism ◽  
Aesthetic Theory ◽  
Nationalist Movement ◽  
The Aesthetic ◽  
Indian Art

This chapter examines the role of art, art criticism and aesthetic theory in philosophy, culture, and the nationalist movement. It devotes particular attention to the modernization of classical rasa theory and its deployment in art criticism, and to debates about that in which “authentic” Indian art consists. It considers the art of Ravi Varma, Abanindranath Tagore, and Amrita Sher-Gil and the aesthetic theory of A. K. Coomaraswamy, K. C. Bhattacharyya, M. Hiriyanna, and Mulk Raj Anand.

scholarly journals Aesthetics of Tho­mas Newman’s Music to “Six Feet Under” TV Series

2019 ◽  
Vol 16 (3) ◽  
pp. 264-277
Author(s):  
Alexander V. Tavrizyan
Keyword(s):  
Mass Culture ◽  
Visual Images ◽  
Aesthetic Theory ◽  
The Us ◽  
Baroque Art ◽  
Postmodern Art ◽  
Artistic Images ◽  
The Aesthetic ◽  
Modern Mass

This article analyzes the aesthetics of modern Western audiovisual art by the example of the opening titles of “Six Feet Under” TV series (2001—2005). This titles sequence, as well as the series itself, were proclaimed as “cult art” and became widely influential in the US television culture. The visuals of the sequence had been created by a team of Digital Kitchen designers on the basis of music by Thomas Newman, who was a trend setter of the soundtrack genre in the 1990s—2010s. This work is of interest, being one of the most significant in modern mass culture, which allows to analyze the aesthetic trends within the postmodern audiovisual art in general. The research is based on R. Barthes’ method of analyzing objects of mass culture, in which the literal meaning of artistic ima­ges and the symbolic one (connotations, metaphors, allegories) are considered separately. T. Newman’s music is ana­lysed by using M. Chion’s view upon soundtrack as both musical work and acoustical image. The article analyzes the coherence between the music, the frame (literal) content of the video, and the connotative (symbolic) meaning of the visual images. The concept of “affect”, taken by the historians-poststructuralists G. Deleuze and F. Guattari from the aesthetic theory of Baroque art, is used to describe similar phenomena in postmodern art. Interviews, additional materials and other sour­ces that tell about the idea of the series’ creators and about its workflow expanded the source base of the study. The audiovisual composition’s analysis revealed the aesthetic techniques of artistic images’ affective (feelings-emotional) transmission, “counterpoint” of allegorical and realistic (naturalistic) images in the visuals and the music, central role of the pairs of images-antithesis (warmth/coldness, movement/static, life/death, and some others). The author concludes that the studied aesthetic model is similar, both in its content and in the form of expression, to the Baroque aesthetics in a modified postmodern form (Neo-Baroque).

An Honest Display of Fakery: Replicas and the Role of Museums

2016 ◽  
Vol 79 ◽  
pp. 241-259 ◽  
Author(s):  
Constantine Sandis
Keyword(s):  
Aesthetic Theory ◽  
High Quality ◽  
Work Of Art ◽  
Museum Management ◽  
The Aesthetic

AbstractThis essay brings together questions from aesthetic theory and museum management. In particular, I relate a contextualist account of the value of copies to a pluralistic understanding of the purpose of museums. I begin by offering a new defence of the no longer fashionable view that the aesthetic (as opposed to the ethical, personal, monetary, historical, or other) value of artworks may be detached from questions regarding their provenance. My argument is partly based on a distinction between the process of creating a work of art and the artwork in question.Next, I defend a pluralism about the purpose of museums and their exhibitions. I combine this with a pluralist account of the value of replicas which falls out of the above argument, exposing our preference for originality as being frequently fetishistic. I maintain that the importance of the provenance of artworks is relative to the specific purposes of any given exhibition or museum. Those that are primarily educational (such as encyclopaedic ones) are in many cases best served with high-quality replicas. This view may be extended to artefacts that are not artworks, such as fossils and dinosaur skeletons. Finally, I expound the variety of roles that replicas may play in museums and relate these to notions of authenticity.

scholarly journals AESTHETIC GUEST EXPERIENCE IN RESTAURANT: A STATE-OF-THE-ART REVIEW

2021 ◽  
Author(s):  
Suzana Marković ◽  
◽  
Jelena Dorčić ◽  
Dora Rašan ◽  
Bruna Bucić ◽  
...  
Keyword(s):  
State Of The Art ◽  
Aesthetic Theory ◽  
Emerging Trends ◽  
Restaurant Managers ◽  
The Aesthetic ◽  
Tourism And Hospitality ◽  
Restaurant Experience ◽  
Almost All ◽  
Practical Implications

The concept of customer experience has received considerable attention in various disciplines, particularly in tourism and hospitality research. However, the aesthetic guest experience has hardly been investigated in previous studies. Aesthetics involves what makes an object beautiful and what people feel when they encounter a beautiful object. Dining experience encompasses almost all senses together, which makes it difficult to measure this concept properly. Considering the important role of aesthetics in the dining experience, this study provides a review and synthesis of the literature to establish a foundation for the conceptual framework for measuring the aesthetic guest experience in restaurants. The main objectives of this study are to categorise and summarise the research on aesthetic guest experience, present a new conceptualization and conceptual model of the aesthetic guest experience in restaurants, and highlight the emerging trends and gaps in the literature. The findings of this study contribute to aesthetic theory and offer practical implications for restaurant managers regarding all aesthetic components that should be considered when designing a memorable aesthetic restaurant experience.

scholarly journals Leo Tolstoy's moralizing in context of ethical and aesthetic synthesis

2021 ◽  
Vol 10 (43) ◽  
pp. 257-263
Author(s):  
Svetlana A. Simonova ◽  
Tatiana V. Shvetsova ◽  
Marina A. Shtanko ◽  
Denis G. Bronnikov ◽  
Alexei A. Mikhailov
Keyword(s):  
The Other ◽  
Leo Tolstoy ◽  
Childhood And Adolescence ◽  
Aesthetic Theory ◽  
Russian Culture ◽  
Works Of Art ◽  
Aesthetic Pleasure ◽  
The Aesthetic ◽  
The One

The article examines the moralizing of Leo Tolstoy on the example of his theoretical ideas. The authors, examining their genesis, come to the conclusion that the writer formed his ideas under the influence of French enlighteners and sentimentalists, on the one hand, and absorbed the ethical dominant of Russian culture, on the other hand. The article analyzes the idea of absolutizing good, which runs through Tolstoy's entire aesthetic theory as a leitmotif. As a result of the study of the aesthetic views of the writer, it is concluded that Tolstoy understood the role of art solely as a translation of feelings and a means of communication. The writer deprives art of its aura of mystery and does not recognize the latter as a source of aesthetic pleasure and spiritual enrichment. The article analyzes the worldview of the writer, reveals the influence on him of the experience acquired by Tolstoy in childhood and adolescence. Tolstoy's works of art and theoretical views are another example of the fact that the artist's worldview does not always coincide with his work.

The Aesthetic Foundations of Romantic Mythology: Karl Philipp Moritz

2013 ◽  
Vol 20 (2) ◽  
Author(s):  
Alexander J. B. Hampton
Keyword(s):  
Aesthetic Theory ◽  
German Romanticism ◽  
Karl Philipp Moritz ◽  
The Absolute ◽  
The Aesthetic

AbstractLargely neglected today, the work of Karl Philipp Moritz was a highly influential source for Early German Romanticism. Moritz considered the form of myth as essential to the absolute nature of the divine subject. This defence was based upon his aesthetic theory, which held that beautiful art was “disinterested”, or complete in itself. For Moritz, Myth, like art, constitutes a totality providing an idiom free from restriction in the imitation of the divine. This examination offers a consideration of Moritz’s aesthetics and mythography, before turning briefly to consider his influence on the authors of Early German Romanticism. An understanding of the role of Moritz’s thought supports a number of recent claims (Frank, Beiser, Bowie) that challenge the conventional reading of Romanticism. At the same time it allows us to see Romanticism’s unconventional realist theological programme, permitting us to overcome the problematic secularising readings of the movement. I would like to thank Kurt Mueller-Vollmer (Stanford), as well as Fredrick Beiser (Syracuse) and Lars Fischer (Cambridge) for their help with this project.

scholarly journals The role of séméiotique in François Delsarte’s aesthetics

Semiotica ◽  
2018 ◽  
Vol 2018 (221) ◽  
pp. 123-142
Author(s):  
Iris Smith Fischer
Keyword(s):  
Scientific Inquiry ◽  
Scientific Method ◽  
The United States ◽  
Modern Method ◽  
Aesthetic Theory ◽  
Human Being ◽  
Triune God ◽  
The Aesthetic ◽  
Modern Sense

AbstractThis article introduces the aesthetic theory of François Delsarte (1811–1870) and his conception of semiotics. Delsarte created his “applied aesthetics” as a modern scientific method for artists, particularly performers, to investigate the nature of human being. Delsarte’s approach to performance involved the actor in observing human behavior, interpreting it through categories of voice, gesture, and language, and rendering it in an expansive display of types. Delsarte’s applied aesthetics involves the performer’s attention to signs and sign action, a study he called séméiotique. We see Delsarte’s program for inquiry into truth in what I call the actor’s task, which develops his or her human being through observation, analysis, and creation. This was Delsarte’s “orthopedic machine for correcting crippled intellects” – the crippled intellects being those intellectuals and conservatory teachers whose ideas on aesthetics he found to be neither systematic nor attuned to God’s reason. While it is well known in theatre and dance scholarship that Delsarte’s ideas and methods advanced the training of actors, dancers, and orators, particularly in the United States, my paper instead introduces him as a voice in nineteenth-century thinking on signs and semiosis. Delsarte’s aesthetics are firmly based in Thomist assumptions about a triune god whose nature is reflected imperfectly in man. Yet it is striking that Delsarte characterizes the sign relation as mediated in a modern sense, prior to Charles Peirce’s development of his own triadic sign relation, and semiotics as a modern method of scientific inquiry.

scholarly journals Concerning Some Marrano Threads in The Aesthetic Theory of Theodor W. Adorno

Religions ◽  
2019 ◽  
Vol 10 (3) ◽  
pp. 173
Author(s):  
Jakub Górski
Keyword(s):  
Art Criticism ◽  
Modern Art ◽  
Aesthetic Theory ◽  
Main Question ◽  
Jewish Thought ◽  
Universal Domain ◽  
Magnum Opus ◽  
The Common ◽  
The Aesthetic ◽  
The Relationship

This article is an attempt to re-read the magnum opus of Adorno’s philosophy, namely Aesthetic Theory, using an interpretative key offered by Agata Bielik-Robson’s book entitled Jewish Cryptotheologies of Late Modernity: Philosophical Marranos. This interpretative key, called by the Author The Marrano Strategy implemented to Adorno’s late philosophy allows us to investigate the common points of Adorno’s theory of art criticism and modern Jewish thought. Therefore the main question of this text concerns the characteristics of Jewishness and messianicity (Scholem, Derrida) in Adorno’s Aesthetic Theory. The thesis that I am attempting to justify is as follows: the implementation of Marrano strategy to the modern art criticism redefines and reverses the relationship between the particular element and the universal domain. Consequently, this dialectical ‘appreciation’ of the particular establishes a common conceptual field for critical thinking and traditional, religious motifs.

Jazz als gelungene Performance – Ästhetische Normativität und Improvisation

2014 ◽  
Vol 59 (1) ◽  
pp. 105-140 ◽  
Author(s):  
Alessandro Bertinetto
Keyword(s):  
Successful Performance ◽  
The Aesthetic ◽  
The Right

Die Hauptfrage, die ich in diesem Aufsatz diskutieren will, ist die folgende: Welche sind die ästhetisch-normativen Voraussetzungen für das richtige Verständnis und die richtige Evaluation von Jazz? Meine These lautet: Die Jazzästhetik ist eine Ästhetik der gelungenen Performanz. Sie ist nicht eine Ästhetik der Unvollkommenheit. Ich werde meine Argumentation in die folgenden Abschnitte gliedern. Nach der Einleitung (I.) wird in Abschnitt II. die ›These der Unvollkommenheit‹ dargestellt und in III. werden anschließend einige Argumente dagegen diskutiert. In den Abschnitten IV. und V. werden die für die Jazzästhetik wichtige Frage nach dem »Fehler« und das entscheidende Thema der Normativität untersucht. Dazu werde ich geltend machen, dass die ›These der Unvollkommenheit‹ insbesondere deswegen unbefriedigend ist, weil sie die spezifische Normativität von Jazz als Improvisationskunst missversteht. In Abschnitt VI. wird schließlich erklärt, in welchem Sinne von einer Normativität der gelungenen Performanz die Rede sein kann und warum dies für unser Verständnis von Jazz bedeutend ist. Abschließend (VII.) wird diese Idee gegen mögliche Einwände verteidigt.<br><br>In this paper I aim at discussing the aesthetic-normative conditions for the right understanding and the right evaluation of jazz. My main point is this: The aesthetics of jazz is an aesthetics of the successful performance, rather than an aesthetics of imperfection. The paper will be structured as follows. SectionI introduces the topic. SectionII presents the ›imperfection thesis‹, while III discusses some arguments against it. Sections IV and V investigate two related questions: the first is about the role of the »mistake« in jazz; the second concerns the crucial topic of normativity. At this regard I will maintain that the ›imperfection thesis‹ does not work, especially because it misunderstands the specific normativity of jazz as improvisational art. Section VI is devoted to clarifying both in which sense the idea of a normativity of the successful performance is sound and why this idea is important for understanding jazz. Finally (VII) I defend this view against possible objections.

STUDY OF DECORATIVE VARIETY IN GORONTALO KARAWO FABRIC IN AESTHETIC AND SYMBOLIC ELEMENTS

ARTic ◽  
2019 ◽  
Vol 3 ◽  
pp. 121-134
Author(s):  
Apsari Dj Hasan
Keyword(s):  
Manufacturing Process ◽  
The Philippines ◽  
Aesthetic Theory ◽  
Cultural Meanings ◽  
Aesthetic Value ◽  
Aesthetic Form ◽  
Decorative Motifs ◽  
Symbolic Meanings ◽  
The Aesthetic

This study aims to examine the decorative types of Gorontalo karawo fabrics in aesthetic and symbolic elements. Researchers want to know as made in the research design, aspects that are present in the decoration of fabrics in aesthetic and symbolic elements. This study uses a number of related theories to get results, and as a determinant, the authors use aesthetic theory, as well as historical approaches. With this theoretical basis, the author seeks to describe the aesthetic aspects and symbolic meanings that exist in Gorontalo karawo fabric. Through the data collection of the chosen motif and provide a classification of motives, the part is used as a reference for research material. The results showed that Gorontalo filigree had an aesthetic value consisting of unity formed from the overall decorative motifs displayed, complexity formed by complexity in the manufacturing process, and intensity of seriousness in the manufacturing process or the impression displayed on the filigree motif. The aesthetic form also reflects the diversity of meanings for communication, such as the symbol of a leader with his noble instincts, a symbol of cultural cooperation, which is worth maintaining, and ideas about nature conservation. This research proves that the decoration in Gorontalo filigree cloth (karawo) does not only act as a visual value, but also as a communication of cultural meanings and social status. Of all these distinctive motifs show a relationship between humans and humans and humans with nature. The influence of culture from the Philippines is also known to have a strong influence on the emergence of the Gorontalo filigree namely manila filigree.

Idleness and Freedom in Michel de Montaigne’s “Essays”

2019 ◽  
Vol 29 (1) ◽  
pp. 189-202
Keyword(s):  
Intellectual History ◽  
Ancient Rome ◽  
Spiritual Quest ◽  
Guiding Principle ◽  
Sextus Empiricus ◽  
History Of ◽  
Self Knowledge ◽  
The Aesthetic ◽  
The Relationship

The article advances a hypothesis about the composition of Michel de Montaigne’s Essays. Specialists in the intellectual history of the Renaissance have long considered the relationship among Montaigne’s thematically heterogeneous thoughts, which unfold unpredictably and often seen to contradict each other. The waywardness of those reflections over the years was a way for Montaigne to construct a self-portrait. Spontaneity of thought is the essence of the person depicted and an experimental literary technique that was unprecedented in its time and has still not been surpassed. Montaigne often writes about freedom of reflection and regards it as an extremely important topic. There have been many attempts to interpret the haphazardness of the Essays as the guiding principle in their composition. According to one such interpretation, the spontaneous digressions and readiness to take up very different philosophical notions is a form of of varietas and distinguo, which Montaigne understood in the context of Renaissance philosophy. Another interpretation argues that the Essays employ the rhetorical techniques of Renaissance legal commentary. A third opinion regards the Essays as an example of sprezzatura, a calculated negligence that calls attention to the aesthetic character of Montaigne’s writing. The author of the article argues for a different interpretation that is based on the concept of idleness to which Montaigne assigned great significance. He had a keen appreciation of the role of otium in the culture of ancient Rome and regarded leisure as an inner spiritual quest for self-knowledge. According to Montaigne, idleness permits self-directedness, and it is an ideal form in which to practice the freedom of thought that brings about consistency in writing, living and reality, in all of which Montaigne finds one general property - complete inconstancy. Socratic self-knowledge, a skepticism derived from Pyrrho of Elis and Sextus Empiricus, and a rejection of the conventions of traditional rhetoric that was similar to Seneca’s critique of it were all brought to bear on the concept of idleness and made Montaigne’s intellectual and literary experimentation in the Essays possible.

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