The Poet as A Subject of Language: Ontological Bases of Signs and Trend Meanigs of Society

2020 ◽  
Vol 2 (6) ◽  
pp. 260-268
Author(s):  
Yevgenia V. Bilchenko ◽  
◽  
Stefaniуa A. Danilova ◽  
Keyword(s):  
Symbolic Capital ◽  
Creative Industries ◽  
Point Of View ◽  
Symbolic Language ◽  
Aesthetic Value ◽  
Inner World ◽  
The Aesthetic ◽  
Point Of Intersection ◽  
Symbolic Identity ◽  
Global World

The article reveals the problem of the ontological meaning of the life and functioning of the poet in its relationship with the communicative practices of contemporary global world. As a result of comparing the two ways of thought (globalism — antiglobalism, traditionalism — neoliberalism, modern — postmodern), the authors come to a preliminary conclusion that it is unacceptable for the creative industries of branding and PR to displace ontological adequations of poetic values as a part of classic art. The article clearly differentiates the concept of symbolic identity and the category of existential selfhood of a poet - poet as a PR hero and poet as a subject of language as a house of being. We make a hypothesis about a possibility of rational reconciliation of the priorities of the academic tradition as an inalienable context of the aesthetic value of art-work and postmodern digital technologies of art-promotion (including network platforms in the aspect of exclusively their correlation as the aim and maens: the ontology is primary strategy and the representation is secondary tactics. The methodological tool for the substantiating of this hypothesis is the idea of a structural balance between the vertical centripetal dynamic axis of the paradigm (metaphor) and the horizontal centrifugal static axis of the syntagma (metonymy) in classical semiotics. Within the frames of the signifier and signified as the Selfness and the Other, dynamics and statics, history and structure, imagine ideal meanings pass into a real-symbolic language, focusing in the inner world of the poet, turning personal creativity into the property of cultural memory. Thus, the hypothesis is confirmed through a synthesis of classical semiotics and non-classical psychoanalysis. If we liken the semiotic axes of intersection of vertical and horizontal to the R. Descartes coordinate system, the point of intersection of horizontal and vertical turns out to be a poet who translates personal metaphors into cultural-semantic invariants, replenishing the civilizational memory of culture, confirming his existential value, which is different from his or her purely communicative image. From a philosophical point of view, the article analyzes the concept of a poet's status as his/her existential state in comparison with criticism of symbolic capital (prestige, reputation, brand).

scholarly journals THE INFLUENCE OF DRONES ON THE DEVELOPMENT OF ARCHITECHTURAL PHOTOGRAPHY CULTURAL WORKS

Jurnal KATA ◽  
2020 ◽  
Vol 4 (1) ◽  
pp. 1
Author(s):  
Yandri Yandri ◽  
Maulid Hariri Gani ◽  
Putri Khairina Masta ◽  
Eldiapma Syahdiza ◽  
Fadlul Rahman
Keyword(s):  
Unmanned Aerial Vehicle ◽  
Qualitative Method ◽  
Field Research ◽  
Point Of View ◽  
Aesthetic Value ◽  
Library Research ◽  
Aerial Vehicle ◽  
Vehicle Technology ◽  
The Aesthetic ◽  
High Flexibility

<em>Culture of architectural photography is a branch of photography that exposes the aesthetic value of an architectural object of a building<strong>.</strong> The presence of drone technology in the culture of photography recently brings changes to the results of the photography itself and one of them is in the area of architectural photography.  This study aims at verifying the influence of Unmanned Aerial Vehicle technology (Drone) on the artwork of architectural photography. The method used in this research was qualitative method with descriptive technique. Data were collected through library research and field research with observation and interview techniques. The culture using drones offer significant results in architectural photography artworks. The high flexibility of the drone gives results on a very detail architectural artwork. Using a drone also provides a very dazzling point of view that cannot be obtained by using only a DSLR camera. Furthermore by using drone, the artworks of photography are no longer limited by areas that cannot be reached. Therefore by using a drone, the photographer can make architectural photography works with unlimited perspective dimensions. There are some weaknesses of using this drone that the camera and lens are not adjustable and they also cannot be changed.</em>

Context of the author’s view (Henri Barbusse, Erich Maria Remarue, Oles Gonchar)

2020 ◽  
pp. 36-42
Author(s):  
Mykola Humennyi ◽  
Vira Humenna
Keyword(s):  
Key Words ◽  
Point Of View ◽  
Lost Generation ◽  
War Novels ◽  
Psychological Capacity ◽  
Subjective Interpretation ◽  
Inner World ◽  
Similarities And Differences ◽  
The Aesthetic

The article is devoted to the research of the context of the author’s view in the architectonics of antiwar novels of the mentioned authors. The signs of a real military type, which appeared in the time on the pages of the humanities in the aspect of rationalism and individualism, are found out. The essence of the “lost generation” is characterised in philosophical, historical and aesthetic aspects. It is proved that the artistic system of anti-war novels is characterized by the dominant way of introducing the author’s view of the story. Aspects such as the author’s attitude to war disasters, the epic tone of the story, the aesthetic concept of the artist, his sociological, historical and psychological views are analysed. The objective-historical point of view, according to which narration extended the boundaries of space, created the background of time, overcame the static of the narrative, deepened the principle of mimesis, is investigated. The peculiarities of the authors’ artistic systems and some of their creative principles, the subjective interpretation of the feelings of the characters have been found out. The skill of each artist in reproducing the inner world of the characters under the influence of the bloody events of the war is outlined. The key words of novels, which serve as generalized forms of imaginative consciousness, as well as their influences on the artistic and psychological nature of the works, are characterised. The functioning of the author’s language of anti-war novels and the peculiarity of oral and written and professional language are traced. The stable correlation of the analysed novels with the most actual problems of the socio-psychological atmosphere of a specific historical era is studied. The originality of the writers’ literary world is revealed, the originality of their thinking is emphasized and the dominant typological similarities and differences are characterised. In studying the structure of the analysed novels, the peculiarity of the conciseness of the collective portraits, in which all the emotional and psychological capacity of each component is reproduced, is traced. It is emphasised that the context of the author’s view also manifests itself through various extravagant elements (authorial indentations, descriptions of exteriors, titles, epigraphs, etc.), which along with the story aspect of the novels give them artistic completeness and integrity. In addition, the specifics of the author’s language of anti-war novels are studied.

scholarly journals Red-leafed species for urban “greening” in the age of global climate change

2020 ◽  
Vol 32 (1) ◽  
pp. 151-159
Author(s):  
Ermes Lo Piccolo ◽  
Marco Landi
Keyword(s):  
Climate Change ◽  
Global Climate Change ◽  
Urban Areas ◽  
Global Climate ◽  
Point Of View ◽  
Urban Trees ◽  
Urban Greening ◽  
Aesthetic Value ◽  
Change Factors ◽  
The Aesthetic

AbstractUrban trees provide vital ecosystem services such as mitigating heat island, improving air quality by removing various air pollutants, capturing rainwater, and acting as topsoil carbon storage. The aesthetic value of urban trees is also another feature that has to be considered in the context of urban greening. Classical criteria for the selection of urban trees have to respond to new challenges imposed to the cities in a near future. Global climate change factors increase the harshness of our cities, and thereby the plant resilience to abiotic stresses has also to be seriously considered for planning the urban greening. Red-leafed species, characterized by the permanent presence of foliar anthocyanins, show a greater tolerance to different environmental cues than green-leafed species commonly used in our cities. In addition, red tree species own a great aesthetic value which has been underestimated in the context of urban areas, especially in the harsh Mediterranean cities. In this study, we emphasize the “privilege of being red” from different point of view, in order to drive the attention to the possibility to increase the use of red-leafed species for urban “greening”. Some possible negative aspects related to their use are rebutted and the direction of future researches are proposed.

scholarly journals EMOTIONAL REFLECTIONS OF FEAR IN THE ART OF PAINTING FROM RENAISSANCE TO THE MODERN-ERA

2021 ◽  
Vol 10 (78) ◽  
Keyword(s):  
Point Of View ◽  
Symbolic Language ◽  
Human Beings ◽  
General Terms ◽  
The Aesthetic ◽  
The Moment ◽  
Many Sources ◽  
Modern Artists ◽  
Modern Era ◽  
The Way

The concept of fear includes more than humanity’s physiological responses to sudden stimuli. Although it is known that fear is constituted as a result of a certain biological reaction, cultural and socio-psychological experiences not only play a sensational role in its formation but also they are the causation of fear transferring itself from one generation to another. The types of fear varies depending on its geography, culture, and time; however, many sources of fear, such as darkness, loneliness, natural events, war, hunger, disease have survived unchanged since the moment of human existence. The only change regarding this terminology then takes place according to the way humanity has been dealing with its consequences. Likewise, humanity undergoes fear through the experiences within culture, the reflection of the feeling of fear on art also has been directly related to the cultural level and has been represented by the point of view in the age it has taken a part. Hence, while the themes of fear idealized itself with a more symbolic language in the classical era, it has reconstructed itself with a new and unprecedented reality thanks to the suggestion by the Modern Age. The prominent product of this reconstruction predicated by the modern era becomes, therefore, nothing but the fear associated with the fractured industrialization and the technology offered by the modern era. In this study, thus, the concept of fear is theoretically handled in a way that the sources of fear among human beings are defined in general terms, and the theme of fear in the history of art is examined in a chronological order. In the later chapter, the concept of fear is examined through the works of art, made by modern artists; Max Beckmann, Otto Dix, and Ludwig Meinder. Here, then the readers briefly witness an analytical and interpretive comparison between the artistic expressions from the listed artists above and the aesthetic representations formed within the classical period. The aim of this study, in conclusion, is to reveal the way the terminology of fear has been aesthetically depicted from the period of the Renaissance to the Modern era, and emphasize the comparisons between the artistic methods of both periods which have respectively expressed the concept of fear according to their way of understanding the world.

scholarly journals ADAPTATION OF THE NATIONAL WORLD PICTURE IN RUSSIAN TRANSLATIONS OF HORACIO QUIROGA’S TALES

2020 ◽  
Vol 12 ◽  
pp. 142-149
Author(s):  
S. V. Chertousova
Keyword(s):  
Fairy Tales ◽  
Fairy Tale ◽  
Literary Work ◽  
Point Of View ◽  
Original Text ◽  
Aesthetic Value ◽  
Horacio Quiroga ◽  
Figures Of Speech ◽  
World Picture ◽  
The Aesthetic

The present research reveals the specifics of translations of Horacio Quiroga’s tales into Russian from the point of view of cultural linguistics. The relevance of the problem discussed is due to the growing interest in the discourse of fairy tales in modern linguistics and numerous attempts to translate and adapt classical fairy tale stories to different cultures. The choice of the analyzed material is determined by the presence of various types of vocabulary with national and cultural components in the tales of Horacio Quiroga that reflect the national world picture of the peoples of South America and constitute the aesthetic value of a literary work, which must be adequately conveyed in the translation. The introduction clarifies the notion of the national world picture and defines its components in a literary tale. The specific features of construction and linguistic content of Horacio Quiroga’s texts are highlighted. The purpose of the study was to identify the optimal strategy for conveying the national and cultural background in the translation of literary tales into Russian. The main difficulties in conveying the onomastic component of a tale and the employed figures of speech in translations from Spanish into Russian are analyzed. Special attention is given to the methods of compliance with the genre and style norms of translation, including the neutralization of elements of cruelty and naturalism in modern fairy tales for children. As a result, a conclusion is made that the domestication strategy makes it possible to adapt the text for the recipient who does not have an extensive background knowledge about the culture of the original text, which is especially important when translating children’s literature. The inevitable loss of information does not affect in any way the adequate transfer of the national world picture to a different culture and the reflection of the main moral values laid down by the author in the literary work.

scholarly journals The principle of dialogue in poems by Mikhail Yasnov for children

2020 ◽  
Vol 18 (2) ◽  
pp. 135-153
Author(s):  
Anastasiia Gubaidullina ◽  
Keyword(s):  
Single Point ◽  
Point Of View ◽  
The Other ◽  
Literary Texts ◽  
Aesthetic Value ◽  
The World ◽  
Self Knowledge ◽  
Similarities And Differences ◽  
The Aesthetic ◽  
Different Levels

The article focuses on Mikhail Yasnov’s poetry that is addressed to children of different ages, from younger preschoolers to older schoolchildren. Yasnov’s poetry is viewed as a corpus of texts united by several general principles: among them are the harmony of childhood and the child’s trust in the world. Another unifying principle is poetic dialogue, manifested at different levels of literary texts: from characters and imagery to metatextuality and the author’s consciousness. Dialogue in this paper is understood as overcoming a single point of view, an attempt to go beyond the personal I motivated by the attention to the Other. Yasnov’s poetry focuses on the search for similarities and differences between the phenomena of reality as it presents many voices and life positions. The concept of dialogue has great moral potential in children’s poetry as it contributes to the formation of empathy and development of self-knowledge in children. The aesthetic value of dialogue lays in the enrichment of the thematic and figurative structure of the lyrics.

The Golden Section has no Special Aesthetic Attractivity!

1992 ◽  
Vol 10 (1) ◽  
pp. 1-18 ◽  
Author(s):  
Frans Boselie
Keyword(s):  
Golden Section ◽  
Point Of View ◽  
Experimental Literature ◽  
Aesthetic Value ◽  
Aesthetic Quality ◽  
Aesthetic Appeal ◽  
Visual Patterns ◽  
Series Of Experiments ◽  
The Aesthetic

Through the centuries great claims have been made for the special aesthetic value of the Golden Section. Reviews of the experimental literature yield a mixed verdict, some studies supporting the Golden Section hypothesis, others disproving it. A series of experiments is described in which the aesthetic quality of the Golden Section was systematically compared with the aesthetic appeal of the ratio of 1.5. It was found that the Golden Section does not have a special aesthetic quality as compared to the ration 1.5, and that other characteristics of visual patterns are far more important from an aesthetic point of view.

scholarly journals ESTETIK TARI SINING PADA MASYARAKAT GAYO KABUPATEN ACEH TENGAH

2020 ◽  
Vol 9 (2) ◽  
pp. 359
Author(s):  
Magfhirah Murni Bintang Permata ◽  
Rika Wirandi ◽  
Berlian Denada
Keyword(s):  
Qualitative Research ◽  
Data Collection ◽  
Cultural Heritage ◽  
Point Of View ◽  
Community Life ◽  
Literature Study ◽  
Aesthetic Value ◽  
Value Analysis ◽  
The People ◽  
The Aesthetic

AbstrakPenelitian Nilai Estetik Tari Sining pada masyarakat Gayo bertujuan mendeskripsikan koreografi dan nilai estetik Tari Sining Koreografi Tari Sining merupakan salah satu daya Tarik yang memiliki nilai estetik lebih sehingga  tarian ini sebelumnya pernah punah, hingga pada akhirnya dilestarikan kembali melalui upaya revitalisasi dan menjadi warisan budaya daerah Aceh. Dengan memiliki nilai estetik koreografi yang lebih dan dapat tergambar melalui gerakan yang dihasilkan sehingga dapat menyatu dengan konsep kehidupan masyarakat tarian ini dapat di terima dengan baik oleh masyarakat. Analisis koreografi Tari Sining menggunakan konsep koreografi Sumandiyo Hadi. Analisis nilai estetik menggunakan konsep nilai estetik menurut The Liang Gie, yang didukung oleh konsep ciri-ciri sifat benda estetik oleh Monroe Beardsley, dan konsep pengungkapan nilai-nilai kehidupan dalam karya seni oleh De Witt H. Parker. Penelitian ini menggunakan metode penelitian kualitatif dengan pendekatan estetik. Teknik pengumpulan data yang digunakan adalah observasi, wawancara dan studi pustaka. Hasil penelitian menunjukan bahwa Tari Sining memiliki nilai estetik karena dari sudut pandang yang mampu diserat oleh inderawi memiliki nilai bentuk dan dari sisi manapun mengungkapkan nilai-nilai kehidupan pada masyarakat Gayo menjadikan Tari Sining sebagai salahs atu ritual dari budaya dan tradisi masyarakat pada masanya.  Kata Kunci: estetik, tari sining, gayo.AbstractResearch on the Aesthetic Value of Sining Dance in the Gayo community aims to describe the choreography and aesthetic value of the Sining Dance. The choreography of Sining Dance is one of the attractions that has more aesthetic value so that this dance has previously been extinct, until it is finally preserved again through revitalization efforts and becomes the cultural heritage of Aceh. . By having more choreographic aesthetic value and can be illustrated through the resulting movements so that it can be integrated with the concept of community life, this dance can be well received by the community. The choreography analysis of Sining Dance uses the choreography concept of Sumandiyo Hadi. Aesthetic value analysis uses the concept of aesthetic value according to The Liang Gie, which is supported by the concept of the characteristics of aesthetic objects by Monroe Beardsley, and the concept of expressing the values of life in works of art by De Witt H. Parker. This research uses qualitative research methods with an aesthetic approach. Data collection techniques used were observation, interviews and literature study. The results showed that Sining Dance has aesthetic value because from the point of view that the senses are able to nibble it has a form value and from any side reveal the values of life in the Gayo community making Sining Dance a ritual or ritual of the culture and traditions of the people of its time.Keywords: aesthetic, sining dance, gayo. 

scholarly journals Vulgar Sociologism: The History of the Concept

2019 ◽  
Vol 18 (3) ◽  
pp. 286-308
Author(s):  
Vladimir Bystrov ◽  
Vladimir Kamnev
Keyword(s):  
Literary Criticism ◽  
Point Of View ◽  
Ancient Greek ◽  
Aesthetic Value ◽  
Work Of Art ◽  
Sociological Approach ◽  
Aesthetic Pleasure ◽  
History Of ◽  
The Aesthetic ◽  
The Moment

This article can be considered as the history of the concept of vulgar sociologism, including both the moment of the emergence of this concept and its subsequent history. In the 20th century, new approaches were formed in the natural sciences about society and man which assumed to consider all of the ideas from the point of view of class psycho-ideology. This approach manifested itself somewhat in the history of philosophical and scientific knowledge, but chiefly in literary criticism (Friche, Pereverzev). As a result, any work of art turns into a ciphered message behind which the interest of a certain class or group hides. The critic has to solve this code and define its sociological equivalent. In the discussions against vulgar sociology, M. Lifshitz and his adherents insisted on a limitation of the vulgar-sociological approach, qualifying it as a bourgeois perversion of Marxism. They saw the principle of the criticism of vulgar sociology in the well-known statement by K. Marx about the aesthetic value of the Ancient Greek epos. The task of the critic does not only reduce to the establishment of social genetics of the work of art because he also needs to explain why this work causes aesthetic pleasure during other historical eras. In the article, it is shown that later attempts to reduce the complete spectrum of modern western philosophy and aesthetics into a paradigm of vulgar sociology of the 1920s is an unreasonable exaggeration. At the same time, in discussions in the 1930s, the question of the need of the differentiation of the vulgar-sociological approach and a sociological method in general was raised. As for sociology, this question remains relevant even today.

Portuguese Sardines - from the ritual to the brand

2017 ◽  
Vol 5 (2) ◽  
pp. 109-120
Author(s):  
Cecília Avelino Barbosa
Keyword(s):  
Social Construction ◽  
Place Branding ◽  
Symbolic Capital ◽  
City Council ◽  
Point Of View ◽  
City Branding ◽  
The Past ◽  
Behavioral Expression ◽  
The City ◽  
City Identity

Place branding is a network of associations in the consumer’s mind, based on the visual, verbal, and behavioral expression of a place. Food can be an important tool to summarize it as it is part of the culture of a city and its symbolic capital. Food is imaginary, a ritual and a social construction. This paper aims to explore a ritual that has turned into one of the brands of Lisbon in the past few years. The fresh sardines barbecued out of doors, during Saint Anthony’s festival, has become a symbol that can be found on t-shirts, magnets and all kinds of souvenirs. Over the year, tourists can buy sardine shaped objects in very cheap stores to luxurious shops. There is even a whole boutique dedicated to the fish: “The Fantastic World of Portuguese Sardines” and an annual competition promoted by the city council to choose the five most emblematic designs of sardines. In order to analyze the Sardine phenomenon from a city branding point of view, the objective of this paper is to comprehend what associations are made by foreigners when they are outside of Lisbon. As a methodological procedure five design sardines, were used of last year to questioning to which city they relate them in interviews carried in Madrid, Lyon, Rome and London. Upon completion of the analysis, the results of the city branding strategy adopted by the city council to promote the sardines as the official symbol of Lisbon is seen as a Folkmarketing action. The effects are positive, but still quite local. On the other hand, significant participation of the Lisbon´s dwellers in the Sardine Contest was observed, which seems to be a good way to promote the city identity and pride in their best ambassador: the citizens.

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