Only with Beauty Man Shall Play

2017 ◽  
Author(s):  
Erika Fischer-Lichte
Keyword(s):  
French Revolution ◽  
Greek Tragedy ◽  
Aesthetic Education ◽  
Free State ◽  
Work Of Art ◽  
The Spectator ◽  
The Aesthetic ◽  
The Individual ◽  
Aesthetic Distance

Chapter 1, ‘Only with Beauty Man Shall Play. Goethe’s Production of Ion in Weimar (1802)’, proceeds from Goethe’s and Schiller’s responses to the French Revolution. While Goethe hailed the Bildung of the individual—that is, the development of his potential to the full—as the substitute for a revolution, Schiller believed that it was the aesthetic education of the individual that would finally result in a free state. The production of a Greek tragedy as an autonomous work of art that precluded the formation of empathy in the spectator (contrary to the domestic tragedy) was supposed to offer the spectator the possibility of aesthetic distance and thus enable him to acquire Bildung. To this end, Goethe developed a completely new aesthetics that the majority of spectators rejected—Ion turned out to be a flop.

Contemporary Theater and Aesthetic Distance

PMLA ◽  
1961 ◽  
Vol 76 (3) ◽  
pp. 277-291
Author(s):  
Oscar Büdel
Keyword(s):  
Greek Tragedy ◽  
Modern Drama ◽  
Work Of Art ◽  
The Spectator ◽  
Contemporary Theater ◽  
Aesthetic Distance ◽  
The Ideal ◽  
As If

In confuting Schlegel's ideas on the rôle of the chorus in Greek tragedy, Nietzsche said that he believed in an aesthetic audience and thought the single spectator to be the more capable, the more he was able to take the work of art as art, namely aesthetically. Some forty years thereafter modern drama felt called upon to awaken the spectator from his “illusionist period”—as if there had been any danger that, again in Nietzsche's words, the ideal spectator might rush onto the stage to free the God from his torment. Yet to prevent this once and for all seems to have been one of the foremost axioms of the Expressionist and kindred revolts of the first decade of this century.

scholarly journals The performative turn at Inhotim: installation art and Baudelairean modernity

2013 ◽  
Vol 23 (3) ◽  
pp. 13-30
Author(s):  
Lauren S. Weingarden
Keyword(s):  
Aesthetic Experience ◽  
Installation Art ◽  
Charles Baudelaire ◽  
Art Museum ◽  
Transformative Experience ◽  
Work Of Art ◽  
Botanical Gardens ◽  
The Spectator ◽  
The Aesthetic ◽  
The Individual

This article explores the participatory turn in installation art as part of a trajectory from Baudelairean modernity to twentyfirst-century postmodernity, as represented at Inhotim, the outdoor contemporary art museum and botanical gardens in Brumadinho, MG. In his 1862 essay “The Painter of Modern Life,” Charles Baudelaire defined modernity as fleeting, transitory and fragmentary. Baudelairean modernity initiated a breakdown of boundaries between art and life and between high art aesthetics and popular culture, which continues in the work of installation artists. In the sites of installation art, the spectator is compelled to extend – rather than complete – the work of art in his/her own time, prior experiential encounters and transformative afterthoughts. The shift from the isolated work of art to the experiential one not only complicates how and where works of art are viewed, but also radicalizes the materials that constitute the work of art – whether those materials are extracted from the quotidian sphere or complex technologies, each undergoes a process of defamiliarization and reactivation to produce the transformative aesthetic experience. The individual installations in Inhotim’s “outdoor museum” engage the spectator in a dynamic/participatory experience with spatial, temporal and material relationships that define the very essence of art’s reciprocity, or contrast with the natural and man-made worlds. It is the rarefied setting of Inhotim’s botanical gardens that makes the participatory and transformative experience central to the aesthetic encounter with installation art.

scholarly journals Formation of the level of ability of future teachers of geography to the assessment of aesthetic landscapes

HUMANITARIUM ◽  
2019 ◽  
Vol 44 (2) ◽  
pp. 71-78
Author(s):  
Inna Dudka
Keyword(s):  
Educational Achievement ◽  
Aesthetic Education ◽  
Future Teachers ◽  
Literary Sources ◽  
Professional Requirements ◽  
Ecological Culture ◽  
Individual Criterion ◽  
The Aesthetic ◽  
The Individual ◽  
Education Of Students

The article analyzes the formation of levels of ability of future geography teachers to the assessment of aesthetic landscapes. The relevance of the study of the problem of preparing future geography teachers for the aesthetic assessment of landscapes, as a condition for attracting the younger generation to the cultural heritage of society, is substantiated. Thus, the process of forming the readiness of future teachers of geography to assessment aesthetic landscapes involves taking into account the professional requirements and the set of available intellectual and psychological qualities of the individual necessary for the implementation of aesthetic education of students, the formation of love for their native land, the development of ecological culture. It is noted that on the basis of the analysis of educational achievement levels, criteria have been developed for characterizing the readiness levels of future geography teachers for the assessment of aesthetic landscapes. Each individual criterion may have a system of indicators that are observable and act as characteristic, intensive, qualitative criteria for identifying the criterion. In this regard, the readiness of future geography teachers to assessment aesthetic landscapes involves the formation of content, activity and value components that are closely related since they have a single purpose. Based on the analysis of scientific literary sources and the study of advanced pedagogical experience, it is determined that the essence of the readiness of future geography teachers to assessment aesthetic landscapes as a complex multilevel personal formation that arises on the basis of a combination of the system of specific geographic knowledge acquired, skills and abilities, synergistic geographical thinking, values and establishes a fundamental condition for the successful study of geography, environmental education, aesthetic education of students. The study substantiates such equal readiness of future geography teachers to the assessment of aesthetic landscapes: elemental, reproductive, reconstructive and creative.

scholarly journals PHILOSOPHICAL FUNDAMENTALS OF INCLUDING NATIONAL VALUES IN THE AESTHETIC CULTURE OF PERSONALITY IN THE PERIOD OF GLOBALIZATION

2021 ◽  
Vol 58 (2) ◽  
pp. 6207-6213
Author(s):  
Gaybullaev Otabek Muhammadievich
Keyword(s):  
Aesthetic Education ◽  
Philosophical Foundations ◽  
The Core ◽  
Spiritual Culture ◽  
National Values ◽  
The Aesthetic ◽  
The Individual ◽  
Integral Feature

In today's era of globalization, the presence of national values ​​in the aesthetic education of the individual is important.  In the era of globalization, the inculcation of national values ​​in the aesthetic culture of the individual as an integral feature of the spiritual culture of the Uzbek people is the ideology, worldview, and values ​​of all nations and peoples living in the country.  Raising the aesthetic culture of the individual in Uzbekistan is the core of the spiritual culture, morals, and psyche of all nations and peoples.  This article describes the philosophical foundations of the inculcation of national values ​​in the aesthetic culture of the individual.

COMPLEX USE OF ARTSIN PROCESS OF FORMATION OF ARTISTIC-AESTHETIC INTERESTS OF SCHOOLS WITH MENTAL MENTAL DEVELOPMENT

2019 ◽  
pp. 36-44
Author(s):  
Oleksandr Demianchuk
Keyword(s):  
Fine Arts ◽  
Cognitive Activity ◽  
Integrated Approach ◽  
Emotional Reaction ◽  
Aesthetic Education ◽  
Mental Development ◽  
Educational Process ◽  
Teachers And Students ◽  
The Aesthetic ◽  
The Individual

In this article peculiarities of cognitive activity of the pupils with development arrest are revealed; working procedure regarding development of aesthetic outlook of the pupils, mentioned above is highlighted in the article.The attention is focused on the issues of education of artistic and aesthetic interests by means of an integrated combination of arts. Much attention is paid to the aesthetic education of children, world outlook, interests, tastes, which feelings are of concern to all who are not indifferent to the future destiny of our society. The researcher notes that the essence of aesthetic education is the organization of diverse artistic and aesthetic activities of students, aimed at forming their ability to fully perceive and correctly understand the beauty in art and life, to develop aesthetic concepts, concepts and tastes, as well as to develop them artistic and aesthetic interests. Main conditions for the full development of artistic and aesthetic interests are: the appropriate level of artistic development of the child and understanding of her works of art; creating a positive emotional attitude to the objects of the aesthetic cycle. The presence of these conditions creates the basis for the emergence of artistic and aesthetic interest, which will further contribute to the correction of mental development of students of this category. Analyzing scientific works on this problem, the main indicators, which characterize the artistic and aesthetic interests of junior pupils, are determined. Among them: a conscious desire and ability of students to distinguish from the surrounding aesthetic objects or their aesthetic properties; emotional perception of aesthetic and artistic values ​​(depth and power of emotional reaction), the presence of empathy; a tendency to engage in aesthetic and artistic activity, the nature of their occurrence (interest or indifference, manifestation of autonomy in activity). Proceeding from the analysis of the state of development of the problem and relying on the noted theoretical generalizations, the author determines the artistic and aesthetic interest as a selective orientation of the individual to the knowledge of art precisely under the influence of his emotional attractiveness, which is expressed in the emotional pursuit of artistic and creative activity and the need for aesthetic pleasure. At the present stage, the use of integrated interaction of arts in music lessons is connected with the reorientation of the educational process to the student's personality in terms of her artistic and aesthetic improvement. It is envisaged that the use of integrated interaction of arts in the classroom will enable to intensify and intensify the aesthetic development of junior pupils with the LRR in the process of teaching them music, literature, fine arts, and will provide the necessary pedagogical conditions for him. Prospects of an integrated approach to the lessons of artistic disciplines in expanding the scope of its application, in the organization of a unified pedagogical system for the formation of artistic and aesthetic interests, built on the cooperation of teachers and students.

scholarly journals Dlaczego jedzenie musi być piękne?

2018 ◽  
Vol 21 (2) ◽  
pp. 69-85
Author(s):  
Dominika Zagrodzka
Keyword(s):  
21St Century ◽  
Creative Process ◽  
Roland Barthes ◽  
Open Letter ◽  
Work Of Art ◽  
Preliminary Research ◽  
The Aesthetic ◽  
The Individual ◽  
The Erotic

Dlaczego jedzenie musi być piękne?W  artykule omawiam problem estetyzacji jedzenia. Analizuję dwudziestojednowieczne manifesty napisane przez szefów kuchni, takie jak Open Letter to the Chefs of Tomorrow i  Statement on the ʻnew cookeryʼ. Szczególnie interesuje mnie język, jakiego używają, mówiąc o  jedzeniu i  gotowaniu. Często jest on podobny do języka używanego do opisu sztuki i  procesu twórczego. Przykładowo, jednym z  najpopularniejszych terminów jest termin „interpretacja”, dotyczący zarówno działań kucharzy, jak i  jedzących. Podkreśla się, że akt jedzenia powinien być całościowym doświadczeniem i  dostarczać emocji zarezerwowanych dla sztuki. Czy rzeczywiście możemy mówić o  podobieństwie jedzenia do dzieła sztuki i  gotowania do tworzenia? Odwołując się między innymi do rezultatów wstępnych badań, jakie prowadziłam, chcę pokazać, jak koncepcja estetyzacji codzienności Wolfganga Welscha koresponduje z  ideą Georga Simmla o  estetycznej sile wspólnego stołu. Okazuje się, że chodzi nie tylko o  podawanie pięknych dań. Aby osiągnąć satysfakcję estetyczną z  posiłku, szczególnie ważne jest, z  kim i  w  jakim otoczeniu jemy. Wspólnota jest czymś nadbudowanym nad jednostkową satysfakcją. Roland Barthes zaznaczał także, że reguły i  zakazy obowiązujące podczas jedzenia zostały stworzone, aby ukryć erotyczny, indywidualny aspekt jedzenia. Why food must be beautiful?In my article I discuss the problem of the anesthetization of food. I analyzed the 21st century manifestos written by the chefs, including Open Letter to the Chefs of Tomorrow and Statement on the »new cookery«. I am particularly interested in the language they use talking about food and cooking. It is often similar to the language which is used to describe the work of art and the creative process. For example, the most popular term is ‘interpretation’ concerning the activities of cooks and eaters. It is emphasized that the act of eating is supposed to be holistic experience and should provide feelings reserved for art. But how much can you actually talk about the similarity of food to the pieces of art and about the similarity of cooking to creating something? Referring to the results of the preliminary research that I conducted, I want to show how to combine Wolfgang Welsch’s concepts about everyday aesthetisation and Georg Simmel’s ideas about the aesthetic power of a community table. It turns out that it is not just about to serve beautiful plates. To be satisfied with the meal it is also important who we eat with and in what setting. The community is something appearing over the individual satisfaction. Roland Barthes admitted that the rules and prohibitions are designed also to cover the erotic aspects of feasting.

scholarly journals PREPARATION OF FUTURE TEACHERS FOR THE FORMATION OF AESTHETIC CULTURE OF A PERSONALITY BY MEANS OF NON-FORMAL ART EDUCATION

2018 ◽  
pp. 115-122
Author(s):  
Vikroriia Irkliienko
Keyword(s):  
Effective Means ◽  
Aesthetic Education ◽  
Educational Institutions ◽  
Future Teachers ◽  
Activity Component ◽  
National Heritage ◽  
Complex Training ◽  
The Aesthetic ◽  
The Individual ◽  
Aesthetic Values

The author of the article considers the fact that art is a factor of integration of an individual and an environment, a person and a society. Every personality asserts in various spheres of social reality. Thus an effective means of aesthetic development is the involvement of future teachers in national heritage and culture, which manifests itself in the traditions of national holidays in order to form an aesthetic culture of the individual.The concept of "aesthetic culture of the individual" is a multi-faceted category; therefore its structural elements are information, emotional and feeling, and activity components. The basis of the information component is knowledge of the development and formation of Ukrainian national culture, the ability of the individual to reconstitute them in aesthetic judgments. The emotional and feeling component is reconstituted in emotional and feeling attitude to aesthetic values, the interaction of the subject through feelings with the object. Activity component is the orientation of a person towards activity and the process of creating aesthetic values. It integrates information and emotional and feeling factors, gives dynamic nature to the concept of "aesthetic culture"; it is realized in the orientation of a person to create, spread, consume aesthetic values and affects the level of aesthetic culture of the individual.It is determined that the means of formation of aesthetic culture of the individual is a folk holiday as a model of highly aesthetized life; the conditions for its effective formation are outlined, in particular: updating of the content, forms, methods and techniques of aesthetic education; taking into account age and individual peculiarities of the person in the process of aesthetic education; application of psychological and pedagogical principles, in particular emotional and feeling, rational, systematic, principle of consistency; creating of human recourses for formation of the aesthetic culture of the individual.The importance of complex training of future teachers to form the aesthetic culture of the individual, which can be realized in the course of non-formal artistic education through participation in various artistic groups while studying at higher educational institutions, is emphasized.

Chibcha Aesthetics

1951 ◽  
Vol 17 (2) ◽  
pp. 145-147 ◽  
Author(s):  
C. A. Burland
Keyword(s):  
National Culture ◽  
Work Of Art ◽  
Aesthetic Taste ◽  
Works Of Art ◽  
The Aesthetic ◽  
The Individual

When we look at modern works of art we too often talk of the aesthetic taste of the individual artist without taking into consideration his place in a national culture, or an economic group. Towards “primitive” art we take a completely opposite viewpoint. Even when considering such a highly sophisticated art as that of pre-Columbian America, we are prone to give it an archaeological label and call a work of art an “interesting specimen.”

scholarly journals Technologies of Aesthetic Education of Personality by Means of Theatrical Art

2021 ◽  
Vol 1 (6 (344)) ◽  
pp. 78-92
Author(s):  
Nataliia Krasnovа ◽  
Keyword(s):  
Personal Development ◽  
Aesthetic Education ◽  
Educational Process ◽  
Creative Activity ◽  
Works Of Art ◽  
Puppet Theater ◽  
Aesthetic Consciousness ◽  
Spiritual Self ◽  
The Aesthetic ◽  
The Individual

The article characterizes theatrical art as a combination of pictorial possibilities of different arts: literature, stage, painting, architecture, dance, etc. Characteristics, differences of types of theater are given: dramatic, musical (opera, operetta, ballet), pantomime, puppet theater, theater of small forms, which in a way influence the formation of the personality of the younger generation. It is shown that aesthetic education can be considered as a universal means of personal development based on the identification of individual abilities, diverse aesthetic needs and interests. The purpose of aesthetic education is determined, namely, on the basis of perception, interpretation of works of art and practical artistic and creative activity to form in a person a personal and valuable attitude to reality and art, to develop aesthetic consciousness, cultural and artistic competence, ability to self-realization, need for spiritual self-improvement. It is proved that artistic and pedagogical technologies are the most effective in the process of aesthetic education of personality; their structure contains: human resources (emotionally colored subject-subject interaction, a palette of forms and methods of organizing various types of artistic and creative activities), artistic and intellectual resources (works of art, artistic knowledge, ideas, meanings, values), technical resources (audiovisual, computer); types: local (specific methods for the development of certain skills and abilities), systemic (covering the holistic educational process, various arts). Forms and methods of art and game technologies (dramatization, pantomime, staging, dramatization) that contribute to the aesthetic education of the individual are presented.

scholarly journals AESTHETIC TRAINING IS AN IMPORTANT FACTOR OF A FUTURE DOCTORS' PROFESSIONAL FORMATION

2021 ◽  
pp. 114-119
Author(s):  
A. V. Biben
Keyword(s):  
Higher Education ◽  
Ethical Issues ◽  
Real Life ◽  
Education Institution ◽  
Aesthetic Education ◽  
Critical Periods ◽  
Higher Education System ◽  
The Aesthetic ◽  
The Individual ◽  
The Right

Nowadays, a stream of various information, including hybrid information, is aimed at young people. That is why students are most focused on the virtual environment, and the sensuality of the individual goes back to the periphery of their spiritual life. Such a reality requires the use of complex efforts directed at returning a person to their essence. The relevance of our study is due to the young people's need to develop a sense of taste as an aesthetic category and the formation of criteria that would allow them to distinguish between the verity from distorted reality and the good from evil. The purpose: to confirm the need for aesthetic education in future doctors' training because it strengthens students' active national and civic positions. Aesthetic education lays down self-consciousness, self-determination, and individualization. It helps to find life landmarks and affects relations with the outside world. Aesthetic education is the essence of the humanization of the individual, their socialization. It is a necessary basis and prerequisite to realize the individual abilities in the process of real life. During lectures and practical classes at the departments of Ukrainian Studies and Linguistics, as well as during extra classes, teachers pay considerable attention to the aesthetic education of IFNMU students. The methods of aesthetic education, which are used in the classroom discussion of artworks are as follows: respect for the individual, appeal to feelings, conversations and debates, problem situations, individual and group creative work. In particular, respect for the individual is especially needed when discussing ethical issues. For the formation of the aesthetic culture of youth, the basic thing is the sincerity of the student, the appropriate attitude of the teacher and the team. It is the expression of one's impressions, experiences, and thoughts, rather than a blind repetition of the view imposed by the teacher. Thus it enables the teacher to direct the aesthetic development of the personality in the right direction. Every opinion should be heard and discussed because this is how the teacher will be able to see the real level of students' development. This approach enables correcting erroneous judgments on time. Addressing the feelings of future professionals (conscience, dignity, and empathy) involves a thoughtful contemplation of works of art, which is preceded by the disclosure of cultural and historical conditions of the work. This process should be accompanied by a discussion and teachers' explanation. Conversation and debate presuppose a free exchange of opinions, a collective discussion of aesthetic problems, as a result of which aesthetic views and judgments are formed. During the debate, students defend their position. The reasoned speech of the future doctors is based on their level of awareness, erudition, and culture. The exchange of ideas and facts develops logical thinking, the ability to analyze, generalize and make conclusions. There are various ways of humanization and enrichment of future specialists' potential, but aesthetic training is the main one. Society pays attention in the critical periods of its development on aesthetic training. It acts as a final element in the higher education system, giving completeness and saturating the whole structure with the main content. The process of studying in a higher education institution is the moment in a young person's life when they should understand and realize their life meaning following their moral and aesthetic ideals.

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