scholarly journals POLISH AESTHETIC DISCOURSE OF THE 20TH CENTURY: INTERPRETATION OF INTERPRETATIONS

2018 ◽  
pp. 25-29
Author(s):  
E. I. Onishchenko
Keyword(s):  
Twentieth Century ◽  
Aesthetic Experience ◽  
Aesthetic Theory ◽  
Specific Nature ◽  
Theoretical Orientations ◽  
Culture Studies ◽  
National University ◽  
Aesthetic Consciousness ◽  
History Of ◽  
The Aesthetic

The article is devoted to the analysis of the Polish aesthetic discourse of the twentieth century and the prospects for its interpretation in the Ukrainian aesthetics, particularly in the works by Kateryna Shevchuk, defended at the department of ethics, aesthetics and culture studies of Taras Shevchenko National University of Kyiv. These research greatly extend the idea of the aesthetic canon of the Polish thought, classically represented by the aesthetics R. Ingarden and W. Tatarkiewicz and reveal the names of virtually unknown in Ukraine Polish scientists, including special interest is the legacy of L. Blaustein, M. Wallis, H. Elzenberg and G. Ossowski. In particular, this perspective covers traditional for the twentieth century aesthetics problems, including psychology of art, collective aesthetic experience, ratio, fantasy, and imagination. Also, new interpretive perspectives of sublime and ugly, aesthetical experience are opened. The theoretical orientations of the Polish scholars, in one way or another, were connected with the cornerstones of the aesthetic science - its subject, the conceptual-categorical apparatus, the structure of aesthetic consciousness, the phenomenon of artistic creativity, the specific nature of art, and others. In the process of conceptual concretization, in the field of Polish aesthetics a number of problems have been rather clearly distinguished, among which the special attention of practically all of its leading representatives has attracted the phenomenon of aesthetical experience. K. Shevchuk’s investigation opens up an opportunity, at least in the format of a secondary interpretation, to join the research of the Polish scholars, whose work proved to be a giant "white spot" for the Ukrainian aestheticians. Introducing actually unexplored concepts Polish scientists to the modern Ukrainian aesthetic theory not only facilitates the opening of "unknown pages" in the history of the twentieth century aesthetics, but also makes actual mark of new approaches to the analysis of classical problems, the relevance of which will never be a subject of doubt.

scholarly journals Aesthetic Experience as a Spiritual Support of Homo Post-Secularis

Religions ◽  
2019 ◽  
Vol 10 (4) ◽  
pp. 250 ◽  
Author(s):  
Victor Bychkov
Keyword(s):  
Twentieth Century ◽  
Aesthetic Experience ◽  
Theoretical Framework ◽  
Spiritual Support ◽  
History Of ◽  
Secular Age ◽  
The Aesthetic ◽  
The Universe

The essay begins with an analysis of the cultural situation of humanity after its transition to secular mentality and a gradual disenchantment with secularism, which leads to the formation of post-secular mentality. It further suggests that aesthetic experience traditionally served as a bridge between the secular and the religious/spiritual and can serve in this capacity again in the post-secular age. It outlines the main traits of the post-secular person (homo post-saecularis). Two aspects of aesthetic experience are emphasized: its in-depth penetration into nature in an attempt to achieve unity with it, and the aesthetic observation of artworks. In pursuing both of these aspects, the post-secular person attempts, just as Romantics and Symbolists previously, to grasp something invisible beyond visible forms and escape from banal reality into higher spiritual realms of being, ultimately experiencing him- or herself as having a place in the universe. Aesthetic experience, if it is correctly understood and practiced, can give all this to the present-day post-secular person. The rest of the essay is devoted to a brief history of twentieth-century views of art, mainly in French and Russian thought, that foreshadow its post-secular role, and to the author’s authentic theoretical framework for understanding art and aesthetic experience, as well as his, equally authentic, program of how to achieve the post-secular function of art in practice for a present-day person.

Century of Ukraine's diplomatic service

2017 ◽  
pp. 77-94
Author(s):  
Yuriy Makar
Keyword(s):  
Twentieth Century ◽  
Soviet Union ◽  
State Committee ◽  
The West ◽  
Sovereign State ◽  
The Soviet Union ◽  
National University ◽  
Central Council ◽  
History Of ◽  
Late Twentieth

On December 22, 2017 the Ukrainian Diplomatic Service marked the 100thanniversary of its establishment and development. In dedication to such a momentous event, the Department of International Relations of Yuriy Fedkovych Chernivtsi National University has published a book of IR Dept’s ardent activity since its establishment. It includes information both in Ukrainian and English on the backbone of the collective and their versatile activities, achievements and prospects for the future. The author delves into retracing the course of the history of Ukrainian Diplomacy formation and development. The author highlights the roots of its formation, reconsidering a long way of its development that coincided with the formation of basic elements of Ukrainian statehood that came into existence as a result of the war of national liberation – the Ukrainian Central Rada (the Central Council of Ukraine). Later, the Ukrainian or so-called State the Hetmanate was under study. The Directorat (Directory) of Ukraine, being a provisional collegiate revolutionary state committee of the Ukrainian People’s Republic, was given a thorough study. Of particular interest for the research are diplomatic activities of the West Ukrainian People`s Republic. Noteworthy, the author emphasizes on the Ukrainian Socialist Soviet Republic’s foreign policy, forced by the Bolshevist Russia. A further important implication is both the challenges of the Ukrainian statehood establishing and Ukraine’s functioning as a state, first and foremost, stemmed from the immaturity and conscience-unawareness of the Ukrainian society, that, ultimately, has led to the fact, that throughout the twentieth century Ukraine as a statehood, being incorporated into the Soviet Union, could hardly be recognized as a sovereign state. Our research suggests that since the beginning of the Ukrainian Diplomacy establishment and its further evolution, it used to be unprecedentedly fabricated and forged. On a wider level, the research is devoted to centennial fight of Ukraine against Russian violence and aggression since the WWI, when in 1917 the Russian Bolsheviks, headed by Lenin, started real Russian war against Ukraine. Apropos, in the about-a-year-negotiation run, Ukraine, eventually, failed to become sovereign. Remarkably, Ukraine finally gained its independence just in late twentieth century. Nowadays, Russia still regards Ukraine as a part of its own strategic orbit,waging out a carrot-and-stick battle. Keywords: The Ukrainian People’s Republic, the State of Ukraine, the Hetmanate, the Direcorat (Directory) of Ukraine, the West Ukrainian People`s Republic, the Ukrainian Socialist Soviet Republic, Ukraine, the Bolshevist Russia, the Russian Federation, Ukrainian diplomacy

Introduction

2019 ◽  
pp. 1-14
Author(s):  
Dana Seitler
Keyword(s):  
Aesthetic Experience ◽  
Gender And Sexuality ◽  
Fin De Siecle ◽  
Literary Fiction ◽  
Economic Equality ◽  
Aesthetic Form ◽  
Fin De Siècle ◽  
History Of ◽  
The Aesthetic ◽  
Aesthetic Ideas

This book explores the pivotal role that various art forms played in American literary fiction in direct relation to the politics of gender and sexuality at the turn of the century. I track the transverse circulation of aesthetic ideas in fiction expressly concerned with gender and sexuality, and I argue that at stake in fin-de-siècle American writers’ aesthetic turn was not only the theorization of aesthetic experience, but also a fashioning forth of an understanding of aesthetic form in relation to political arguments and debates about available modes of sociability and cultural expression. One of the impulses of this study is to produce what we might think of as a counter-history of the aesthetic in the U.S. context at three (at least) significant and overlapping historical moments. The first is the so-called “first wave” of feminism, usually historicized as organized around the vote and the struggle for economic equality. The second is marked by the emergence of the ontologically interdependent homosexual/heterosexual matrix—expressed in Foucault’s famous revelation that, while the sodomite had been a temporary aberration, at the fin de siècle “the homosexual was now a species,” along with Eve Sedgwick’s claim that the period marks an “endemic crisis in homo-heterosexual definition.”...

Introduction

2018 ◽  
pp. 1-16
Author(s):  
Laura Harris
Keyword(s):  
United States ◽  
Twentieth Century ◽  
Middle Class ◽  
Social Theory ◽  
The United States ◽  
Theory And Practice ◽  
Aesthetic Theory ◽  
Avant Garde ◽  
History Of ◽  
Visual Artist

In Experiments in Exile, I explore and compare projects undertaken by two twentieth-century American intellectuals while they lived in voluntary exiles in the United States: the Trinidadian writer and revolutionary C. L. R. James and the Brazilian visual artist and counterculturalist Hélio Oiticica. James and Oiticica never met. They lived and worked in the United States at different moments. My focus is on James’s stay during the 1940s and on Oiticica’s stay during the 1970s. Given the significant differences between them—not just at the level of nationality but at the level of race (James was black, Oiticica was white), class (James was situated within a precarious middle class, Oiticica was firmly established within an upper middle class), sexuality (James was straight, Oiticica was gay), and disciplinary locations (James is generally situated in the history of radical social theory and practice, and Oiticica is generally situated in the history of avant-garde aesthetic theory and practice)—this is surely an unlikely combination. This study is itself an experiment, one that goes beyond the usual parameters of comparativist or transnational research, to identify, in the surprising resonances between the projects pursued by these two very disparate figures, a common project I believe they, together, bring into relief....

Neuroaesthetics

2017 ◽  
pp. 87-102
Author(s):  
Ana Teresa Contier ◽  
Laila Torres
Keyword(s):  
Perceptual Experience ◽  
Aesthetic Experience ◽  
Functional Neuroimaging ◽  
Imaging Techniques ◽  
Neural Architecture ◽  
History Of ◽  
System Memory ◽  
The Subject ◽  
The Aesthetic

The aesthetic experience has been discussed throughout the history of mankind by philosophers and art historians, becoming a universal part of human experience, which leads us to some great interdisciplinary questions. It has been the subject of study by neuroscientists and neuro-psychologists since the 2000s. This recent evolution of neurology studies in the field of art, is due to in vivo brain imaging techniques, especially functional neuroimaging. Furthermore, recent research has provided evidence of cognitive interaction during the perception of an artwork indicating that the perceptual experience of art is not merely a passive one. This article reviews important studies in neuroaesthectics of visual art that point out that the aesthetic experience is related to the distribution in the neural architecture, suggesting the involvement of sensory-motor areas, emotional centers, reward system, memory and language.

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.

The General Impact of Context on Aesthetic Experience

2020 ◽  
Author(s):  
Matthew Pelowski ◽  
Eva Specker
Keyword(s):  
Aesthetic Experience ◽  
General Consideration ◽  
Present Knowledge ◽  
Future Studies ◽  
The Social ◽  
History Of ◽  
Key Issues ◽  
The Aesthetic ◽  
Key Aspects ◽  
Empirical Approaches

This chapter discusses the general impact of context on the aesthetic experience. It is designed to anticipate the other chapters’ discussions of context’s specific areas—the social, the physical or institutional, information and framing, museums, background or personality-related features. Here, the authors offer a more general consideration discussing key aspects such as: What even is context? How can it best be thought about? What are the key issues that might be considered? And, especially, how can it be generally integrated into present knowledge of models of aesthetic processing experience? Beginning with the interest in context throughout the history of aesthetics, the chapter builds a presentation of empirical approaches and especially theory, focusing on context’s main layers and points of influence. It then discusses how key context issues might be considered in models of aesthetic processing, with the goal of providing a framework for better approaching context aspects in this book and in one’s own future studies. This is also interspersed with what the authors consider to be some of the more intriguing studies in order to spur readers’ thinking about the potential for studying context. The chapter concludes with some major issues, some candidates for future consideration, and suggestions for further reading and education.

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.

ROUSSEAU AND AESTHETIC MODERNITY: MUSIC’S POWER OF REDEMPTION

2005 ◽  
Vol 2 (1) ◽  
pp. 41-56 ◽  
Author(s):  
JULIA SIMON
Keyword(s):  
Twentieth Century ◽  
Eighteenth Century ◽  
Aesthetic Experience ◽  
Frankfurt School ◽  
Musical Performance ◽  
Aesthetic Theory ◽  
Modern Life ◽  
Aesthetic Object ◽  
The Arts ◽  
Aesthetic Modernity

Despite Rousseau’s condemnation of the ‘progress’ of civilization and his suspicions concerning the arts, he none the less articulates a redemptive role for aesthetic experience within modern life. In choosing music as his privileged aesthetic object, he suggests the possibility of an eighteenth-century aesthetic based on experience that anticipates later developments in romanticism and modernism. And by locating the possibility of redemption within aesthetic experience couched in terms of musical performance, he articulates a modern role for the work of art that looks forward to nineteenth- and twentieth-century aesthetic theory from the German Romantics to the Frankfurt School.

Sign in / Sign up

Export Citation Format

Share Document