An Invitation to Biblical Poetry

2021 ◽  
Author(s):  
Elaine T. James
Keyword(s):  
Wisdom Literature ◽  
Intellectual Work ◽  
Verbal Art ◽  
Aesthetic Experiences ◽  
Biblical Poetry ◽  
The Bible ◽  
Irreducible Complexity ◽  
Prose Narratives ◽  
The Aesthetic

An Invitation to Biblical Poetry is an accessibly written introduction to biblical poetry that emphasizes the aesthetic dimensions of poems and their openness to varieties of context. It demonstrates the irreducible complexity of poetry as a verbal art and considers the intellectual work poems accomplish as they offer aesthetic experiences to people who read or hear them. Chapters walk the reader through some of the diverse ways biblical poems are organized through techniques of voicing, lineation, and form, and describe how the poems’ figures are both culturally and historically bound and dependent on later reception. The discussions consider examples from different texts of the Bible, including poems inset in prose narratives, prophecies, psalms, and wisdom literature. Each chapter ends with a reading of a psalm that offers an acute example of the dimension under discussion. Students and general readers are invited to richer and deeper readings of ancient poems and the subjects, problems, and convictions that occupy their imagination.

Introduction

2021 ◽  
pp. 1-15
Author(s):  
Elaine T. James
Keyword(s):  
Semantic Content ◽  
Intellectual Work ◽  
Aesthetic Experiences ◽  
Susan Sontag ◽  
The Aesthetic

The introduction orients readers to the aesthetic dimensions of biblical poems and argues that poems as verbal arts are not reducible to rhetoric or a single “message” but rather operate with an excess of meaning that both involves and transcends semantic content. It suggests that biblical poems can be fruitfully examined by considering what kinds of aesthetic experiences they offer. It draws on the work of Alva Noë and Susan Sontag to offer an embodied description of the intellectual work that poems can accomplish as art. The introduction also provides a succinct overview of its chapters.

Wisdom and Wisdom Literature

2021 ◽  
pp. xxii-14
Author(s):  
Will Kynes
Keyword(s):  
Paradigm Shift ◽  
Wisdom Literature ◽  
The Past ◽  
The Bible ◽  
The Future ◽  
History Of ◽  
The Relationship

This chapter introduces the volume by arguing that the study of biblical wisdom is in the midst of a potential paradigm shift, as interpreters are beginning to reconsider the relationship between the concept of wisdom in the Bible and the category Wisdom Literature. This offers an opportunity to explore how the two have been related in the past, in the history of Jewish and Christian interpretation, how they are connected in the present, as three competing primary approaches to Wisdom study have developed, and how they could be treated in the future, as new possibilities for understanding wisdom with insight from before and beyond the development of the Wisdom Literature category are emerging.

scholarly journals SEMANTICS OF POEM IN «DIV TICS OF POEM IN «DIVANI LUGATI-T-TURK»

2021 ◽  
pp. 36-45
Author(s):  
Qosimjon SODIQOV ◽  
Govhar RAHMATOVA
Keyword(s):  
World Literature ◽  
Fine Art ◽  
Oral Poetry ◽  
Verbal Art ◽  
Specific Expression ◽  
Artistic Value ◽  
Aesthetic Taste ◽  
History Of ◽  
Extensive Information ◽  
The Aesthetic

Lyric songs depict how rich is the aesthetic taste of the Turkic peoples and their special love for verbal art for a long period, and the fact that they possessed artistic resources capable of competing with the most agile peoples of their time. Moreover, these songs illustrate the artistic views of the Turks. Pure lyrical experiences, with their novelty, the richness of images, and unique pathos, have always engaged the reader. The poetry of the Turkic peoples is studied as a separate phenomenon in the history of world literature. Mahmud Kashgari’s Divani lugat at-Turk provides extensive information about the foundations of Turkish poetry and its scope. We can see the first paradigms of lyric poetry in the oral poetry of the Turkic peoples in the Divani lugat at-Turk. As a great linguist of his time and an advanced thinker – Kashgari proves each word with its specific expression or a piece of poetry. Each poem in his work is unique regarding its artistic value and semantics. We can see this, especially in these lyrical poems. Even simple episodes in lyrical songs demonstrate the ability of our ancestors to express thoughts beautifully. The lyrical passages in the Divani lugat at-Turk consist of the description of the mistress, the sad moments of the separation of beloved ones, and the poems addressed to his beloved one. The issue of fine art and its location is noteworthy in them. The devices used in them play an essential role as the initial version in the context of the literature of the Turkic peoples. The author cites some examples of such poetic art: tashbih, oxymoron, metaphor, tajnis, repetition, hyperbole (mubalaga), irsali masal, etc. These devices were actively reflected in all types of poetry of the later period. This article discusses the semantics of lyrical poems in the Divani lugat at-Turk and reveals their fine art.

scholarly journals The Biological Basis of Mathematical Beauty

2018 ◽  
Author(s):  
Semir Zeki ◽  
Oliver Y. Chén ◽  
John Paul Romaya
Keyword(s):  
Aesthetic Experience ◽  
The Other ◽  
Cultural Backgrounds ◽  
Mathematical Culture ◽  
Extensive Experience ◽  
Aesthetic Experiences ◽  
Biological Basis ◽  
Mathematical Beauty ◽  
The Aesthetic ◽  
Biological Category

AbstractThrough our past studies of the neurobiology of beauty, we have come to divide aesthetic experiences into two broad categories: biological and artifactual. The aesthetic experience of biological beauty is dictated by inherited brain concepts, which are resistant to change even in spite of extensive experience. The experience of artifactual beauty on the other hand is determined by post-natally acquired concepts, which are modifiable throughout life by exposure to different experiences (Zeki, 2009). Hence, in terms of aesthetic rating, biological beauty (in which we include the experience of beautiful faces or human bodies) is characterized by less variability between individuals belonging to different ethnic origins and cultural backgrounds or the same individual at different times. Artifactual beauty (in which we include the aesthetic experience of human artifacts such as buildings and cars) is characterized by greater variability between individuals belonging to different ethnic and cultural groupings and by the same individual at different times. In this paper, we present results to show that the experience of mathematical beauty (Zeki et al 2014), even though it constitutes an extreme example of beauty that is dependent upon (mathematical) culture and learning, belongs to the biological category and obeys one of its characteristics, namely a lesser variability in terms of the aesthetic ratings given to mathematical formulae experienced as beautiful.

The Aesthetic Triad

2021 ◽  
pp. 27-30
Author(s):  
Oshin Vartanian ◽  
Anjan Chatterjee
Keyword(s):  
Rapid Growth ◽  
Large Scale ◽  
Aesthetic Experience ◽  
Emergent Property ◽  
Aesthetic Experiences ◽  
Large Scale Systems ◽  
Sensory Motor ◽  
The Aesthetic ◽  
Meaning System ◽  
The Brain

Following the rapid growth of neuroaesthetics, there was a need to systematize and organize the findings into a coherent and testable framework. With the “aesthetic triad,” the authors presented a model according to which aesthetic experience was viewed as the emergent property of the interaction of three large-scale systems in the brain: sensory-motor, emotion-valuation, and knowledge-meaning. Features that distinguished this model from others was that it was meant to apply to all aesthetic episodes (e.g., art, faces, architecture, etc.) and it acknowledged explicitly that a large variety of aesthetic experiences can emerge as a function of the specific ways in which these systems interact in the course of their emergence. To probe the model, the contribution of the knowledge-meaning system is likely of greatest interest, at least in part because that system encapsulates a large breadth of factors ranging from the personal to the cultural.

scholarly journals Die makrososiale ruimte van die Boek van die Wagte (1 Henog 1-36)

2002 ◽  
Vol 58 (4) ◽  
Author(s):  
P.M. Venter
Keyword(s):  
Social Space ◽  
Social World ◽  
Third Century ◽  
Wisdom Literature ◽  
The Third ◽  
The Bible ◽  
Enoch 1 ◽  
Spatial Aspect ◽  
Book Of The Watchers ◽  
1 Enoch

The macro social space of the Book of the Watchers (1 Enoch 1-36)An analysis of the material of the Book of the Watchers ( 1 Enoch 1-36) indicates a preference for the spatial aspect in these revelation narratives. In an attempt to understand this preference, an investigation is launched into the macro social world of the narratives. Themes in Enoch from literature in the Bible, the Syro-Phoenician world, Pseudo Epolemus, Zenon Papyri, Persia and Greece, are identified. Ptolemean Palestine is also investigated as the context within which an Enochic tradition was formed. Amongst other traditions an opposing Mosaic Judaism and Enochic Judaism are identified. Both take up the challenges of the third century with its Hellenistic onslaught and explosion of knowledge. The Book of the Watchers represents an Enoch tradition, which forms an early trajectory of apocalyptic thinking, and which is being influenced by various traditions such as wisdom literature in its mantic form, cosmological schemes of the world, and mythic traditions.

An Aesthetic Theory of Vandalism

1978 ◽  
Vol 24 (3) ◽  
pp. 309-321 ◽  
Author(s):  
Vernon L. Allen ◽  
David B. Greenberger
Keyword(s):  
Aesthetic Experience ◽  
Aesthetic Theory ◽  
Psychological Processes ◽  
Previous Theory ◽  
Discriminative Stimuli ◽  
Aesthetic Experiences ◽  
Destructive Behavior ◽  
Initial Appearance ◽  
The Aesthetic ◽  
Practical Implications

An aesthetic theory of vandalism is proposed. The theory posits that the variables accounting for the enjoyment associated with socially acceptable aesthetic experiences are similarly responsible for the pleasure associated with acts of destruction. Previous theory and research in aesthetics have identified many important factors, such as complexity, expectation, novelty, intensity, and patterning, which are responsible for the pleasure that accompanies an aesthetic experience. These same psychological processes are involved in the destruction of an object. Furthermore, aesthetic variables implicated in an object's initial appearance and in its appearance after being vandalized may serve as eliciting or discriminative stimuli for destructive behavior. Several studies provide support for hypotheses derived from the aesthetic theory of vandalism. In conclusion, we examine the theory's practical implications for reducing vandalism in the schools.

scholarly journals The Evolution of the Aesthetic Vision in Kabbani’s Poetic Discourse

2018 ◽  
Vol 9 (4) ◽  
pp. 180
Author(s):  
Samir Al-Sheikh ◽  
Ahmed Hasan Mousa
Keyword(s):  
Aesthetic Judgment ◽  
The Body ◽  
Cultural Patterns ◽  
Verbal Art ◽  
Poetic Discourse ◽  
Poetic Image ◽  
Poetic Imagery ◽  
The Aesthetic ◽  
Modern Arabic ◽  
The Universe

If poetry is the verbal art of beauty, and beauty is truth, then, poetry has its own truth which is universal by nature since the poetic patterns embody a particular vision of the universe. This universal truth is encoded in poetic image. The poet who creatively used the poetic image to express his aesthetic vision is Nizar Kabbani (1923- 1998). The study aims at exploring the development of the notion of beauty as structured in the modern Arab poetic works. It aims at investigating Kabbani’s poetic imagery in its amorous-erotic aspects. The study proceeds with the hypothesis that the modern love poet’s synesthetic imagery is an impressive representation of Kant’s aesthetic axioms as encoded in his Critique of the Aesthetic Judgment. The scope of the inquiry focuses upon the love lyrics and songs of the modern Arabic love poet regardless his political writings. Kabbani’s poetics is investigated in terms of Aesthetic Cultural Approach (ACA), a critical orientation that links the cultural patterns of meaning to the aesthetic structures of the poem. Of the seminal findings of the study is that Kabban’s love poems are pleasurable moments in which the body of the beloved becomes the source of the poet’s ecstasy and joyfulness.

scholarly journals Associating With Art: A Network Model of Aesthetic Effects

2021 ◽  
Vol 7 (1) ◽  
Author(s):  
Eva Specker ◽  
Eiko I. Fried ◽  
Raphael Rosenberg ◽  
Helmut Leder
Keyword(s):  
Cognitive Process ◽  
Aesthetic Experience ◽  
Experimental Manipulation ◽  
Art Theory ◽  
Aesthetic Experiences ◽  
Future Studies ◽  
Psychological Constructs ◽  
The Social ◽  
The Aesthetic ◽  
Active Interaction

In recent years, understanding psychological constructs as network processes has gained considerable traction in the social sciences. In this paper, we propose the aesthetic effects network (AEN) as a novel way to conceptualize aesthetic experience. The AEN represents an associative process where having one association leads to the next association, generating an overall aesthetic experience. In art theory, associations of this kind are referred to as aesthetic effects. The AEN provides an explicit account of a specific cognitive process involved in aesthetic experience. We first outline the AEN and discuss empirical results (Study 1, N=255) to explore what can be gained from this approach. Second, in Study 2 (N=133, pre-registered) we follow calls in the literature to substantiate network theories by using an experimental manipulation, and found evidence in favor of the AEN over other alternatives. The AEN provides a basis for future studies that can apply a network perspective to different aesthetic experiences and processes. This perspective takes a process-based approach to aesthetic experience, where aesthetic experience is represented as an active interaction between viewer and artwork. If we want to understand how people experience art, it is central to know why people have different experiences with the same artworks, and, also, why people have similar experiences when looking at different artworks. Our proposed network perspective offers a new way to approach and potentially answer these questions.

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