scholarly journals Ibiebe Alphabet and Ideograms as Motifs for Fabric Embellishment

2021 ◽  
Vol 8 (10) ◽  
pp. 545-555
Author(s):  
Margaret Ajiginni ◽  
Bakare Olayinka Olumide
Keyword(s):  
Cultural Heritage ◽  
Aesthetic Theory ◽  
Writing System ◽  
Indigenous Culture ◽  
Creative Potential ◽  
Visual Concepts ◽  
Cultural Dialogue ◽  
Alexander Gottlieb Baumgarten ◽  
The Aesthetic ◽  
Visual History

The invented Bruce Onobrakpeya’s Ibiebe alphabet and ideogram (writing system) have not been explored maximally and redesigned as recurring motifs to embellish contemporary fabric. These are artistic codified graphical images that represent the visual translation of myths, legends, ideal concepts, and the philosophies of the Urhobo cultural heritage from Delta State. They are mostly explored in paintings and sculptural pieces for aesthetic and refinement purposes. Whereas, it is pertinent to encourage the integration of the creative potential of indigenous culture as visual concepts into contemporary works, since art is a potent medium for cultural dialogue. Therefore, this paper seeks to redesign the versatility and ingenuity embedded in Bruce Onobrakpeya’s formation as a recurring motif for fabric embellishment. It is essentially to provoke creativity, the development of knowledge, skills, in-studio experimentation/exploration, and the creation of new design possibilities with a diverse visual relationship. The Aesthetic theory propounded by Alexander Gottlieb Baumgarten (1714-1762) and the Modern Creativity theory by Kanematsu, H. and Barry, D. M. (2016) were adopted. The approach is exploratory and descriptive and relies on literal information. It will serve as an encyclopedia of redesigned motifs that cut across visual history.

Konstitutive Aspekte der Ästhetik im Sprachkunstwerk und ihre Behandlung als Übersetzungsproblem

Babel ◽  
1992 ◽  
Vol 38 (1) ◽  
pp. 10-27
Author(s):  
Karl Eckhart Heinz
Keyword(s):  
Communication Theory ◽  
18Th Century ◽  
Aesthetic Theory ◽  
Stefan George ◽  
Translation Practice ◽  
Form Part ◽  
Alexander Gottlieb Baumgarten ◽  
Verse Form ◽  
The Aesthetic ◽  
Aesthetic Values

In translating elements of language the question that is very often raised is how to deal with the aesthetic features, especially if they form part of a work of poetry. Aesthetic theory, since its emancipation from philosophy by Alexander Gottlieb Baumgarten in the 18th century, has developed our knowledge about the performance of aesthetic features; but in translation practice these aesthetic aspects are for the most part still being neglected. With translations of poetry, for example, the aspects of verse form and verse content of the original work of art are taken into account solely for the purpose of representing them in another language, disregarding the aesthetic values to which, from the time of their invention, their author owed his fame. Even in translations by poets of the work of colleagues, an understanding of the author's special aesthetic inventions is found to be lacking; here the translating — or "re-composing" (Stefan George) — process usually produces the aesthetics due to the interpreter's own composing attitudes. The article gives an introduction to aesthetic theory as a component of communication theory, and offers some examples of aesthetic structures in poetical works and in translations of them, as well as an example of representation of these structures in translated texts.

Creative economy: Towards cultural heritage capitalization

2017 ◽  
pp. 100-116 ◽  
Author(s):  
T. Abankina
Keyword(s):  
Cultural Heritage ◽  
Creative Industries ◽  
Creative Economy ◽  
Heritage Preservation ◽  
Creative Potential ◽  
Strategic Development ◽  
Post Industrial ◽  
Cultural Heritage Preservation

The paper analyzes trends in the development of the creative economy in Russia and estimates the export potential of the Russian creative industries. The author demonstrates that modern concepts of cultural heritage preservation focus on increasing the efficiency of its use and that building creative potential and systematic support of the creative industries are becoming a key task of the strategic development of regions and municipalities in the post-industrial era.

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.

scholarly journals The Cultural Revolution in David Lodge’s Changing Places

2019 ◽  
Author(s):  
AWEJ-tls for Translation & Literary Studies ◽  
Noureddine Friji
Keyword(s):  
Adverse Effects ◽  
University Students ◽  
Cultural Heritage ◽  
Cultural Revolution ◽  
Aesthetic Value ◽  
Cultural Traditions ◽  
One Dimensional ◽  
German Philosopher ◽  
The Aesthetic ◽  
The University

Utilizing Herbert Marcuse’s One-Dimensional Man (1962) and Counterrevolution and Revolt (1972) as a theoretical backdrop, this article seeks to gauge the extent to which the teachings of the German philosopher and political theorist lay the groundwork for the protests mounted by the university students in David Lodge’s campus novel Changing Places (1975). Admittedly, the Student Revolution spilled over into numerous fields. However, given space restrictions, only its cultural manifestations will be examined. It will be clear that at the root of Lodge’s students’ uprising lies an overpowering urge to break with the cultural heritage and with the academics upholding it. It will be equally clear, nonetheless, that these young activists’ faith in Marcuse’s political doctrine is unwelcome to conservative academics on the ground that it has diverse adverse effects on universities. Not only are politically oriented texts and discourses given precedence over traditional ones but also teachers and administrators are, at times, hindered from doing their duties. The plausible conclusion to draw, in the light of the research’s findings, is that although cultural revolutions undeniably pave the way for a number of personal and collective achievements and help us modernize many aspects of life, they should not blind us to the enduring significance of previous cultural traditions and of the aesthetic value of literary works.

scholarly journals Identifying the Perceptual Qualities of a Heritage Precinct - Entrance Gateway (Rajagopuram)

2019 ◽  
Vol 9 (1) ◽  
pp. 931-935
Keyword(s):  
Cultural Heritage ◽  
Urban Design ◽  
Perceptual Quality ◽  
Thought Process ◽  
Rural Space ◽  
Aesthetic Sense ◽  
Basic Meaning ◽  
The Aesthetic ◽  
The One

Existence of a heritage / historical structure is the one that adds meaning to urban or rural space. The perceptual quality of the structure enhances the aesthetic sense to the settings or place. The aesthetic sense makes the place, a visual appealing entity with augment of identity. It develops a sign and symbol to the place. Without that, the meaning is lost, identity is destroyed and placelessness is formed. Urbanization and globalization always concentrate more on development, without understanding the basic meaning and cultural heritage of any built environment with its tangible and intangible aspects. This paper explores the ideas and thought process of the architects, urban design theorists, and psychologist in considering perceptual qualities of a structure and it turns in relation with the feature of a Dravidian style Rajagopuram that acts as an entrance gate way to a heritage precinct .

Natural History and Aesthetic Truth in Aesthetic Theory

2021 ◽  
Vol 48 (2) ◽  
pp. 23-41
Author(s):  
Max Pensky
Keyword(s):  
Natural History ◽  
Aesthetic Theory ◽  
Philosophical Interpretation ◽  
Social Domination ◽  
Core Idea ◽  
The Aesthetic ◽  
Critique Of Ideology ◽  
Content Reading

Abstract Theodor W. Adorno’s claim in Aesthetic Theory that artworks have a truth content, and that this truth content in turn depends on philosophical interpretation, is among the work’s most challenging and obscure claims. This article argues that “The Idea of Natural History,” Adorno’s lecture dating to 1932, offers important resources for interpreting the claim of art’s truth content. Reading the lecture’s core idea of transience, the article proposes that the form of philosophical interpretation Adorno develops there illuminates one way to clarify what Adorno means, in Aesthetic Theory, by the interpretation of art’s truth content. While far from definitive, this conclusion does support interpretations of art’s truth content that foreground art’s function as a critique of ideology, that is, of having a field of application that moves beyond the sphere of the aesthetic and toward the disclosure of conditions of social domination.

The Aesthetic Taboo: Aura, Magic, and the Primitive

2018 ◽  
pp. 124-160
Author(s):  
David Lloyd
Keyword(s):  
Walter Benjamin ◽  
Historical Narrative ◽  
Aesthetic Theory ◽  
Ideal State ◽  
Theodor Adorno ◽  
The Aesthetic

“The Aesthetic Taboo” concerns the place of primitive anthropology in the aesthetic theory of Walter Benjamin and Theodor Adorno. It traces the influence of Freud’s Totem and Taboo through their work, in the concepts myth, magic, and aura. Neither thinker ever manages to escape the historical narrative of aesthetics: the transition from a state of necessity that defines the Savage as pathological subject, through a state of domination to an ideal state of freedom. Adorno and Benjamin continue to think within the traditions of Kant and Schiller. Yet in Aesthetic Theory magic images the sensuous remnant in the artwork that withstands rationalization. This “pathological” moment restores to the aesthetic its foundations in pleasure and pain and demands the destruction of the racial regime of representation. Its analogy with the Subaltern suggests another conception of life in common, predicated on the pains and pleasures of the pathological subject.

Proletarian Modernism: Film, Literature, Theory

PMLA ◽  
2019 ◽  
Vol 134 (5) ◽  
pp. 1056-1075
Author(s):  
Benjamin Kohlmann
Keyword(s):  
Twentieth Century ◽  
Literary Texts ◽  
Aesthetic Theory ◽  
Alternative Route ◽  
Modernist Literature ◽  
Literary Works ◽  
Recent Scholarship ◽  
The Aesthetic ◽  
Literature Theory ◽  
Opening Up

This article identifies a body of work—films, literary texts, and theories of the aesthetic—that can help us reopen the question of what it means for an artwork to project a vision of classlessness. The article begins by focusing on early-twentieth-century proletarian modernism, in particular in the cinematic work of Sergey Eisenstein and in British literary works that repurposed Woolfian and Joycean styles during the later interwar years. Proletarian modernism, I argue, highlights an alternative route taken by modernist literature and art: unlike the late modernists feted in much recent scholarship, proletarian modernists aimed to retool modernism, opening up new and global political futures for it rather than anticipating its end. The article concludes by showing that the cultural genealogy of proletarian modernism mapped out here doubles as a prehistory of contemporary aesthetic theory: it enables us to recognize the significant political and theoretical erasures that structure recent accounts of art's democratic potential.

scholarly journals Ethical Mimesis and Emergence Aesthetics

Humanities ◽  
2019 ◽  
Vol 8 (2) ◽  
pp. 102 ◽  
Author(s):  
Josephine Donovan
Keyword(s):  
Green Energy ◽  
Natural Phenomenon ◽  
Aesthetic Theory ◽  
Richard Powers ◽  
Living Matter ◽  
Contemporary Novel ◽  
Emergence Theory ◽  
Theodor Adorno ◽  
Nature Literature ◽  
The Aesthetic

In nature the transformation of dead matter (objects) into living matter endowed with green energy or subjectivity is called emergence. Art itself, I argue, is an emergence phenomenon, enacting and replicating in theme and form emergence in nature. Literature thus conceived is about the emergence of spirit. It depicts forces that suppress spirit and enables the spiritual in nature to find expression. It gives voice to spirit rising. Mimesis is thus reconceived as a replication of the natural phenomenon of emergence, which brings to life what has hitherto been seen as object, dead matter. This article outlines the concept of emergence in current philosophical and scientific theories; examines the aesthetic precursors of emergence theory in certain Frankfurt School theorists, notably Theodor Adorno; and applies emergence aesthetic theory to a contemporary novel, Richard Powers’ The Overstory (2018).

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