On The "Aesthetic Senses" and The Development of Fine Arts

1975 ◽  
Vol 34 (1) ◽  
pp. 67-72
Author(s):  
CAROLYN W. KORSMEYER
Keyword(s):  
Fine Arts ◽  
The Aesthetic

Zygmunt Krasiński wobec sztuk pięknych / Zygmunt Krasiński and the Fine Arts

2013 ◽  
Vol 54 (2) ◽  
pp. 145-160 ◽  
Author(s):  
Olga Płaszczewska
Keyword(s):  
Fine Arts ◽  
Literary Tradition ◽  
Individual Sensitivity ◽  
What Works ◽  
The Arts ◽  
The Aesthetic ◽  
A Current ◽  
Aesthetic Preferences

Summary This is an attempt at examining Zygmunt Krasiński’s opinions and preferences with regard to the fine arts, a theme many critics believed to be missing from his writings. While putting things right, this article looks at the issues involved in his artistic choices, for example, what works or artists attracted his attention, in general, and to the point of him actually drawing on them in his own work or provoking him to some response (critical, approving, emotional, etc.). Furthermore, the article tries to explore the reasons and circumstances which may account for Krasiński’s interest in a given painting, print, or sculpture. It may have been the work’s theme as in the case of his ekphrasis of Ary Scheffer’s Dante and Virgil Encountering the Shades of Francesca and Paolo Di Rimini, where literary tradition provided the impulse, or the mode of its execution, or the personal ties with its author, or, finally, some other factors, like a current vogue or simply Krasiński’s individual sensitivity. The ultimate aim of all these inquiries is to outline Krasiński’s relationship with the arts (beaux arts) in the context of the aesthetic preferences of the epoch.

William Morris’s ‘Work-Pleasure’: Literature, Science and Fine Art

2018 ◽  
pp. 163-185
Author(s):  
Philipp Erchinger
Keyword(s):  
Nineteenth Century ◽  
Fine Arts ◽  
Experimental Methods ◽  
Fine Art ◽  
Arts And Crafts ◽  
Arts And Crafts Movement ◽  
William Morris ◽  
Narrow Sense ◽  
The Arts ◽  
The Aesthetic

This chapter seeks to elucidate nineteenth-century conceptions of art as fine art. Taking its cue from Raymond Williams’s account of a divorce of (fine) art from (technical) work, the chapter pursues various attempts to define the aesthetic specificity of the fine arts, including literature in the narrow sense, in relation to other ways of exercising skill, including the use of experimental methods in the sciences. In this way, it seeks to show that the idea of the aesthetic, despite all attempts to purify it, remained deeply entangled in a net of work, in which experiences of pleasure (or beauty) and playfulness had not yet been separated from material practices of making useful things. As is further explained, the idea of a mutual inclusiveness of pleasure and use was pivotal to the arts and crafts movement, especially to the creative practice of William Morris. Finally, the chapter pursues Morris’s concept of “work-pleasure”, as derived from his News from Nowhere, through a wider debate about the complex relations between the sciences and the (fine) arts.

Modernism as Postnationalist Politics:

2017 ◽  
Vol 76 (4) ◽  
pp. 532-549
Author(s):  
Adnan Morshed
Keyword(s):  
National Identity ◽  
Fine Arts ◽  
The United States ◽  
Modern Architecture ◽  
Political Debate ◽  
Colonial Era ◽  
Identity Based ◽  
The Aesthetic ◽  
Secular Humanist ◽  
Dual Commitment

After completing architectural studies in the United States in 1952, Muzharul Islam returned home to Pakistan to find the country embroiled in acrimonious politics of national identity. The young architect began his design career in the midst of bitterly divided notions of national origin and destiny, and his architectural work reflected this political debate. In Modernism as Postnationalist Politics: Muzharul Islam's Faculty of Fine Arts (1953–56), Adnan Morshed argues that Islam's Faculty of Fine Arts at Shahbagh, Dhaka, embodied his need to articulate a national identity based on the secular humanist ethos of Bengal, rather than on an Islamic religious foundation. With this iconoclastic building, Islam sought to achieve two distinctive goals: to introduce the aesthetic tenets of modern architecture to East Pakistan and to reject all references to colonial-era Indo-Saracenic architecture. The Faculty's modernism hinges on Islam's dual commitment to a secular Bengali character and universal humanity.

Civilizing the Savage: Johann Georg Sulzer and the ‘Aesthetic Force’ of Music

2002 ◽  
Vol 127 (1) ◽  
pp. 1-22 ◽  
Author(s):  
Matthew Riley
Keyword(s):  
Eighteenth Century ◽  
Instrumental Music ◽  
Fine Arts ◽  
Negative Attitude ◽  
Considerable Influence ◽  
Late Eighteenth Century ◽  
The Arts ◽  
Late Eighteenth ◽  
Philosophical Background ◽  
The Aesthetic

Johann Georg Sulzer's Allgemeine Theorie der schönen Künste (1771–4) exerted considerable influence on late eighteenth-century German musical writers. But for many modern commentators, it typifies the negative attitude to instrumental music characteristic of much Enlightenment rationalism. A reassessment of Sulzer, taking account of his philosophical background in Leibniz, Wolff and Baumgarten, shows that in fact he considered music the first of the fine arts. The arts have an ethical, civilizing role; but while most can affect only people who are already partly civilized, music possesses a special ‘aesthetic force’ which energizes the minds of cognitively passive people or ‘savages’.

Between Text and Cultural Performance: Staging Greek Tragedies in Germany

1999 ◽  
Vol 40 (1) ◽  
pp. 1-29
Author(s):  
Erika Fischer-Lichte
Keyword(s):  
Nineteenth Century ◽  
Eighteenth Century ◽  
Fine Arts ◽  
Aesthetic Education ◽  
Careful Study ◽  
Cultural Performance ◽  
Human Species ◽  
Middle Classes ◽  
Greek Culture ◽  
The Aesthetic

At the beginning of the nineteenth century, a consensus existed among the German educated middle classes that Greek culture represented an ideal and that Greek fine arts and literature were to be regarded as the epitome of perfection. From Schiller's Briefe über die ästhetische Erziehung des Menschen (Letters on the Aesthetic Education of Man) to Hegel's Lectures on Aesthetics, the message was the same: Greek culture was unique in that it allowed and encouraged its members to develop their potential to the full so that any individual was able to represent the human species as a whole. The model it provided was, however, inimitable and its standards unattainable, but both were invaluable as objects of careful study. Thus, it is small wonder that all surviving tragedies by Aeschylus, Sophocles and Euripides were translated into German, some even several times over. Despite this, they were never staged during the eighteenth century.

Aesthetics of the Everyday

2009 ◽  
Author(s):  
Crispin Sartwell
Keyword(s):  
Aesthetic Experience ◽  
Fine Arts ◽  
Philosophy Of Art ◽  
Aesthetic Experiences ◽  
Popular Art ◽  
Art Objects ◽  
Everyday Aesthetics ◽  
Art Activities ◽  
Art As Experience ◽  
The Aesthetic

‘Everyday aesthetics’ refers to the possibility of aesthetic experience of non-art objects and events, as well as to a current movement within the field of philosophy of art which rejects or puts into question distinctions such as those between fine and popular art, art and craft, and aesthetic and non-aesthetic experiences. The movement may be said to begin properly with Dewey's Art as Experience (1934), though it also has roots in continental philosophers such as Heidegger. The possibility of everyday aesthetics originates in two undoubted facts: firstly, that art emerges from a range of non-art activities and experiences, and, secondly, that the realm of the aesthetic extends well beyond the realm of what are commonly conceived to be the fine arts.

The Research of Aesthetics of Type as Image in Motion-Targeting Video Poetics at Type Motion: Type as Image in Motion Exhibition in Taiwan

2020 ◽  
Vol 7 (6) ◽  
pp. 190-207
Author(s):  
Chih Ho Chen ◽  
Sheng-Min Hsieh
Keyword(s):  
Fine Arts ◽  
Chinese Characters ◽  
Writing Systems ◽  
Human Communication ◽  
Concrete Poetry ◽  
Sound Poetry ◽  
Motion Type ◽  
Technological Advances ◽  
History Of ◽  
The Aesthetic

Characters are signs and symbols that record our thoughts and feelings and allow the documentation of events and history. Later, the appearance of motion images marked a new milestone in the use and application of characters. Not only were the original function of characters improved and enhanced, text that integrate sound and images are also able to communicate much more diverse and abundant information. This technique is commonly found in cinema, television, advertisement, and animation. Thanks to technological advances, the combination of characters, texts, or types and images once again changed how we read. It has also created new meaning for our time. Today, type image seems to have achieved an aesthetic autonomy of their own. This has a profound impact on image and art creation and human communication. The emergence of cinema art in the late 19th century brought motion into written media and greatly expanded the possibilities of art. In today’s world of instant communication media, text and images face unprecedented changes. Chinese characters are one of the most ancient writing systems in human history. Unlike western alphabet, each Chinese character has its own form, sound, and meaning. Chinese characters are a highly figurative cultural element. This essay takes Chinese characters and the works featured in the concrete poetry/sound poetry and fragment poetry categories in the National Taiwan Museum of Fine Arts “Type Motion: Type as Image in Motion” exhibition as the subject of study to examine the history of text and media and changes in the way we deliver information and communicate. This essay also provides an analysis of the relationship between text and motion image and the interdependency between culture and technology and media. The connections and differences between Chinese characters in different time and space is also investigated to highlight the uniqueness of the characters as a medium, its application in motion writing techniques and aesthetic forms. This essay focuses on the following four topics: Artistic expression and styles related to the development of type as image in motion. Video poetics: the association between poetics and video images, poetic framework, and analysis of film poetry. Structure, format, characteristics, and presentation of meaning in concrete poetry/sound poetry, and fragment poetry. how Chinese characters are used in Taiwan and the aesthetic features of type through the exhibited works.

Music in Balance

2019 ◽  
Vol 36 (1) ◽  
pp. 39-67
Author(s):  
Matthew Pritchard
Keyword(s):  
Nineteenth Century ◽  
Fine Arts ◽  
Musical Work ◽  
Close Attention ◽  
Absolute Music ◽  
Applied Art ◽  
Music Aesthetics ◽  
The Aesthetic ◽  
The Impact ◽  
Metaphysical Truth

This essay argues that musicological interpretations of Immanuel Kant’s music aesthetics tend to misread his stance as a defense of artistic formalism and autonomy—traits that, although present in his account of music, in fact reinforce his peculiarly low estimate of music’s value among the fine arts. Kant's position and its subsequent influence can be grasped more securely by analyzing his dichotomy between “free” and “dependent” beauty. Through an exploration of this opposition’s echoes and applications in the thought of three “Kantian” music critics and aestheticians in the two decades after the appearance of the Critique of Judgement—J. F. Reichardt, an anonymous series of articles commonly attributed to J. K. F. Triest, and C. F. Michaelis—this essay argues that Kantian aesthetics as applied in practice involved close attention to the impact of genre, style, function, and compositional aims on the relevant standards of judgment for an individual musical work. The result was not one-sided support for the aesthetic or metaphysical “truth” of absolute music, but a characteristic balance between the claims of “pure” and “applied” art forms—a balance that continued to be maintained in the transition from classical to Romantic aesthetics in the first decade of the nineteenth century.

Introduction: music and urban history

Urban History ◽  
2002 ◽  
Vol 29 (1) ◽  
pp. 5-7 ◽  
Author(s):  
Vanessa Harding
Keyword(s):  
Cultural History ◽  
Urban History ◽  
Aesthetic Experience ◽  
Fine Arts ◽  
New Historicism ◽  
Special Issue ◽  
Urban Experience ◽  
Academic Field ◽  
History Of ◽  
The Aesthetic

Music – as many of the contributors to this special issue of Urban History point out – is an important component of the urban experience and can play a significant role in the construction of a civic identity, and yet it is a topic that urban historians have tended to overlook. There are some parallels with the case of the fine arts, to which a special issue of this journal was devoted in 1995, both in the causes for this neglect – which similarly include ‘the intimidating traditions of connoisseurship associated with the field’ and the difficulty we have with analysing the ‘aesthetic experience’ – and in the developments which are helping to overcome such inhibitions. So far, the impulse seems to be coming from musicologists and music historians, who, inhabiting a fairly small corner of the academic field, are fully conscious of the need to forge connections with other disciplines and historiographical traditions. The importance of contextualizing and historicizing not only the composition but also the production, transmission and reception of music has been recognized for some time, but so far urban historians have not responded as perhaps the music historians thought they might to the insights and openings that a musical ‘new historicism’ seems to offer. But there is clearly an opportunity – indeed, a pressing need – to develop a broadly-based cultural history of towns and cities in which music will take its place. The aim of this special issue is to promote that objective by illustrating the state of the art and suggesting some of the ideas, tools and methodologies with which it might be developed in future.

scholarly journals Forming Future Teachers’ Aesthetic Culture in Foreign Educational Practice

2016 ◽  
Vol 6 (4) ◽  
pp. 20-26
Author(s):  
Galyna Sotska
Keyword(s):  
Environmental Science ◽  
Fine Arts ◽  
Educational Practice ◽  
The United States ◽  
Future Teachers ◽  
Cultural Challenges ◽  
Foreign Countries ◽  
The Social ◽  
The Aesthetic ◽  
Pedagogical Literature

Abstract The article deals with a theoretical analysis of foreign educational experience in solving scientific problems of forming future teachers’ aesthetic culture. Given the current socio-cultural situation, it has been noted that a teacher who developed his/her aesthetic culture can make a direct contribution to the social and cultural challenges of a changing world. Based on the study of scientific and pedagogical literature, normative and legal support and the content of practical courses, the author has revealed the peculiarities of forming future specialists’ aesthetic culture in foreign countries (Japan, Germany, Canada, the United States, England). Special attention has been paid to the aesthetic potential of fine arts in forming future teachers’ aesthetic culture, which ensures the harmony of intellectual and aesthetic development of personality, enriches the emotional and sensual sphere, develops cognitive and creative activities, aesthetic needs and tastes, stipulates for future teachers’ involving in the process of artistic and aesthetic culture of the nation. The performed analysis proves that the forming of future teachers’ aesthetic culture should be based on the intercultural approach; the ideas of interrelation between aesthetic and ecological in aesthetic education; integration relations between powerful potential of fine (visual) arts, environmental science and aesthetic creativity. The experience of foreign educational practice may be adopted by domestic universities to form individual aesthetic culture of future teachers.

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