Romanticist Philosophy in Hindi Cinema: A Comparative Study of Keats, Shelley, and October

Film Matters ◽  
2021 ◽  
Vol 12 (1) ◽  
pp. 29-65
Author(s):  
Anushree Joshi ◽  
Saman Waheed
Keyword(s):  
Comparative Study ◽  
Human Existence ◽  
The Enlightenment ◽  
Hindi Cinema ◽  
The Aesthetic ◽  
The Given

Using the premise of the 2018 Bollywood film, October, this article aims to contrast the poetry of Keats and Shelley with the film’s plot. It focuses upon the theme of the transience of human existence, inevitability of change, and ephemerality of life. In doing so, the article argues that the expression of urban ennui in October and Hindi cinema has tendencies of the Romanticist rendering, resembling the aesthetic of the given poets. The lack of human connectivity and self-centeredness in the contemporary times is similar to the ideas of the Enlightenment, which the Romantics contested.

Art and the Brain’s Reward System

2018 ◽  
Author(s):  
Henrik Hogh-Olesen
Keyword(s):  
Human Brain ◽  
Reward System ◽  
Human Existence ◽  
Brain Scans ◽  
System P ◽  
The Aesthetic ◽  
The Brain ◽  
Reward Circuit

Chapter 7 takes the investigation of the aesthetic impulse into the human brain to understand, first, why only we—and not our closest relatives among the primates—express ourselves aesthetically; and second, how the brain reacts when presented with aesthetic material. Brain scans are less useful when you are interested in the Why of aesthetic behavior rather than the How. Nevertheless, some brain studies have been ground-breaking, and neuroaesthetics offers a pivotal argument for the key function of the aesthetic impulse in human lives; it shows us that the brain’s reward circuit is activated when we are presented with aesthetic objects and stimuli. For why reward a perception or an activity that is evolutionarily useless and worthless in relation to human existence?

Concept-less Schemata: The Reciprocity of Imagination and Understanding in Kant’s Aesthetics

2021 ◽  
Vol 26 (4) ◽  
pp. 511-529
Author(s):  
Luigi Filieri
Keyword(s):  
Empirical Concept ◽  
The Third ◽  
The Aesthetic ◽  
The Given

AbstractIn this paper, I discuss Kant’s concept-less schematism (KU, 5: 287) in the third Critique1 and make three claims: 1) concept-less schematism is entirely consistent with the schematism in the first Critique; 2) concept-less schematism is schematism with no empirical concept as an outcome; and 3) in accordance with 1) and 2), the imagination is free to synthesize the given manifold and leads to judgements of taste without this meaning either that the categories play no role at all or that these judgements are full-fledged cognitive determining judgements. While most commentators read the freedom of the imagination as its independence from the understanding, I argue that the freedom of the imagination is based on a non-determining employment of the pure concepts of the understanding. The freedom of the aesthetic imagination consists in the temporal schematization of the categories without any complementary determination of the empirical concept.

Enlightenment Values, Jewish Ethics: The Haskalah’s Transformation of the Traditional Musar Genre

2001 ◽  
pp. 48-63
Author(s):  
Harris Bor
Keyword(s):  
Comparative Study ◽  
Moral Education ◽  
Civic Education ◽  
Jewish Tradition ◽  
Educational Methods ◽  
Moral Improvement ◽  
The Enlightenment ◽  
Jewish Ethics ◽  
European Culture ◽  
Immortality Of The Soul

This chapter examines Haskalah ethical literature and Jewish ethical writing (musar), and highlights how the Haskalah movement was poised between Jewish tradition and European culture. It shows that moral improvement was a fundamental concern of the Haskalah. Since moral education was meant to serve as a link between the aims of the Enlightenment and Jewish tradition, ethical literature was an index to the balance between the modern and the traditional. The chapter then illustrates the importance of comparative study. By comparing the texts and motifs of the Enlightenment on issues such as the immortality of the soul and civic education with the ethical ideas of such maskilim as Isaac Satanow, Naphtali Herz Wessely, Menahem Mendel Lefin, and Judah Leib Ben Ze'ev, it reveals the extent to which the Haskalah drew upon the educational methods of German reformist educators like Johann Heinrich Campe and Johann Bernhard Basedow.

A Comparative Study of the Aesthetic Outcome of Two Techniques for Unilateral Complete Cleft Lip Repair

2017 ◽  
Vol 140 (4) ◽  
pp. 757-764
Author(s):  
Georgina S. A. Phillips ◽  
Marc C. Swan ◽  
Adam R. Sawyer ◽  
Tim E. E. Goodacre ◽  
Michael Cadier
Keyword(s):  
Comparative Study ◽  
Cleft Lip ◽  
Aesthetic Outcome ◽  
Cleft Lip Repair ◽  
The Aesthetic

Boundaries of Art in Nabokov's The Gift: Reading as Transcendence

Slavic Review ◽  
1999 ◽  
Vol 58 (3) ◽  
pp. 600-625
Author(s):  
Stephen H. Blackwell
Keyword(s):  
The Body ◽  
Central Question ◽  
Restricted Movement ◽  
Treaty Of Versailles ◽  
Russian Novel ◽  
The World ◽  
The Gift ◽  
The Aesthetic ◽  
The Given

The author's actual creative act always proceeds along the boundaries of the aesthetic world, along the boundaries of the reality of the given, along the boundary of the body and the boundary of the spirit.—M. M. BakhtinThe spirit finds loopholes, transluscences in the world's finest texture.—V. V. Nabokov, "How I Love You"Are boundaries real? This, to a certain extent, is the central question posed by The Gift when Fyodor suggests that "definitions are always finite, but I keep straining for the faraway; I search beyond the barricades (of words, of senses, of the world) for infinity, where all, all the lines meet." Written in one of the most border-conscious eras of history (the Treaty of Versailles had just created nine new independent countries and changed the boundaries of many others), Vladimir Nabokov's last complete Russian novel addresses head-on the most pressing issues he and his fellow emigres faced. Cast beyond the edge of their homeland, the exiles were forced to accept unnaturally restricted movement within Europe as well, due to their lack of a valid nationality. So one might say that for Russian exiles of the 1920s and 1930s, boundaries constituted the single most unrelenting feature of reality.

Departure and Repatriation as Cold War Dissensus: Domestic Ethnography in Korean Documentary

2017 ◽  
Vol 22 (2) ◽  
pp. 433-457
Author(s):  
Jinhee Park
Keyword(s):  
Cold War ◽  
South Korea ◽  
North Korea ◽  
Domestic Space ◽  
South Korean ◽  
Private Realm ◽  
Aesthetic Form ◽  
The Aesthetic ◽  
The Cold War ◽  
The Given

Abstract This article examines autobiographic documentaries about families that expose “dissensus” in the mapping of transborder migration and diasporic desire that were the results of the Cold War in North Korea, South Korea, and Japan. Jae-hee Hong (dir. My Father’s Emails) and Yong-hi Yang (dir. Dear Pyongyang and Goodbye Pyongyang) document the ongoing Cold War in their fathers’ histories through their position as a “familial other,” who embodies both dissensus and intimacy. Hong reveals that anticommunism in South Korean postwar nation building reverberated in the private realm. Yang documents her Zainichi father, who sent his sons to North Korea during the Repatriation Campaign in Japan. The anticommunist father in South Korea (Hong’s) and the communist father in Japan (Yang’s) engendered family migration with contrasting motivations, departure from and return to North Korea, respectively. Juxtaposing these two opposite ideologies in family histories, as well as juxtaposing the filmmakers’ dissonance with the given ideologies in domestic space, provide the aesthetic form for “dissensus.” The politics of aesthetics in domestic ethnography manifests in that the self and the Other are inextricably interlocked because of the reciprocity of the filmmaker and the communist or anticommunist subject.

scholarly journals Feodosia of Konstanin Bogaevsky

2020 ◽  
pp. 137-147
Author(s):  
Анастасия Сергеевна Сиренко
Keyword(s):  
20Th Century ◽  
Early 20Th Century ◽  
Main Theme ◽  
Chronological Order ◽  
The Enlightenment ◽  
The Aesthetic ◽  
The City ◽  
High Skill

Статья посвящена интерпретации образов города Феодосии в творчестве Константина Федоровича Богаевского – представителя «Киммерийской школы живописи». Приводятся итоги исследования вех творческой биографии художника, выстроенные в хронологическом порядке, учитывая особенности изменений стилистической манеры и решаемые им эстетические задачи. Охарактеризованы параметры и круг мастеров «Киммерийской школы живописи». Выбрав главной темой своего творчества в самом начале пути загадочную страну Киммерию, художник претворял ее в больших панорамных живописных произведениях и малоформатных рисунках и акварелях, отмеченных высоким мастерством и глубокой мифопоэтикой. Рассказывается о мастерской живописца, ставшей местом притяжения для многих гостей, представлявших творческую интеллигенцию Москвы и Ленинграда. Освещается вклад уроженца Феодосии и почитателя творчества К.Ф. Богаевского – И.М. Саркизова-Серазини в просвещение родного города среди модных курортов начала ХХ века, а также судьба его необычайной коллекции. The article is devoted to the interpretation of images of the city of Feodosia in the creativity of Konstanin F. Bogaevsky – the representative of the “Cimmerian painting school”. The results of the study of the milestones of the artist’s creative biography are presented, arranged in chronological order, taking into account the peculiarities of changes in the stylistic manner and the aesthetic tasks that he solves. The parameters and circle of masters of the “Cimmerian painting school” are described. Having chosen the mysterious country of Cimmeria as the main theme of his work at the very beginning of his work, he embodied it in large panoramic paintings and small-format drawings and watercolors, marked by high skill and deep mythology. The article tells about the artist’s workshop, which has become a place of attraction for many guests representing the creative intellectuals of Moscow and Leningrad. The contribution of the native of Feodosia and admirer of the work of Konstantin F. Bogaevsky – Ivan M.Sarkizov-Serazini to the enlightenment of his native city among the fashionable resorts of the early 20th century and the fate of his extraordinary collection is highlighted.

scholarly journals Communication levels in lyrical and poetic discourse

2018 ◽  
Keyword(s):  
Text Analysis ◽  
Speech Acts ◽  
Speech Act ◽  
Word Form ◽  
New Objectivity ◽  
Poetic Discourse ◽  
Poetic Text ◽  
The Aesthetic ◽  
The Given ◽  
Self Reference

The article presents a concept of poetic text analysis from the perspective of speech act theory which distinguishes not two (as recognized in communicative pragmatic studies), but three levels of communication in lyrical and poetic discourse. These types are: 1) aesthetic communication; 2) external/vertical communication “author – reader” which appears as is or as "author – protagonist" or "protagonist – reader"; 3) internal/horizontal communication "character 1 – character 2". Being primary in poetic text, aesthetic communication is based on self-reference and the author’s aesthetic intention, whereas vertical and horizontal communications rely on reference per se and the author's referential intention. Thus, poetic text simultaneously realizes two speech acts – a poetic one (self-referential) and a general one (referential). Referential intention determines the speaker’s attitude towards the given content, and the aesthetic one – towards the word form used to convey this content. Poetic speech act is a subtype of expressive illocutionary act and introduces realization of the aesthetic intention which is seen in the author's illocutionary goal – to express true positive emotional evaluative attitude towards the word form being created, as well as the perlocutionary goal of affecting the reader's aesthetic feelings regarding the word form. Being interdependent and -related, the author’s referential and aesthetic intentions are reflected both at the level of utterance and text. The suggested concept is developed on examples of linguistic pragmatic interpretation of "New objectivity" poetry texts by M. Kaléko, E. Kästner and J. Ringelnatz.

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