Traditional Motives in the Aesthetic Views of the 20th Century Japanese PhilosophersKuki Shuzo, Karaki Junzo, Kato Shinro

2021 ◽  
pp. 175-186
Author(s):  
Elena L. Skvortsova ◽  
Keyword(s):  
20Th Century ◽  
Traditional Culture ◽  
Western Philosophy ◽  
Philosophical Position ◽  
Meiji Period ◽  
Life Itself ◽  
The Aesthetic ◽  
Nishida Kitaro

The article is devoted to the views of three Japanese philosophers of the 20th cen­tury with their example we are convinced the relevance of the traditional world­view in contemporary Japan. Since the Meiji period, Western philosophy and aes­thetic theories have constantly influenced the views of Japanese thinkers, but up to this day, traditionalism plays an important role in Japanese thought. This also applies to the emphasis on corporality, human incarnation – the Buddhist position on “the unity of flesh and mind” (shin-jin – itchinyo) and the uncertainty fluidity of all forms of existence of things (mujo), relations, the ephemerality of life itself. This is also true for acceptance of Nothingness (mu) as a metacategory of philoso­phy which Nishida Kitaro put at the foundation of his system, explaining the his­torical world and the position in it of a person through the identity of absolute contradictions resolved in the field (basho) of Nothingness. This philosophical position, Buddhist-Taoist in essence, is especially vividly present in the works of Japanese thinkers who study the traditional culture of their homeland and try to give a modern interpretation to its categories.

The Japanese Encounter with and Appropriation of Western Philosophy

2015 ◽  
pp. 332-364
Author(s):  
John C. Maraldo
Keyword(s):  
Twentieth Century ◽  
Japanese Language ◽  
Western Philosophy ◽  
Meiji Period ◽  
Intellectual Traditions ◽  
Nishida Kitaro ◽  
Ongoing Formation

The appropriation of Western philosophy in Japan in the Meiji Period came about through a transformation of the Japanese language. It occasioned a new way of articulating thought that allowed Japanese to make philosophy their own, a discipline proper to the ongoing formation of their culture. This process helped redefine Japan’s past intellectual traditions, interpreting them in the light of Western philosophical concepts and problems. “Enlightenment” Scholars like Nishi Amane, Fukuzawa Yukichi, and Katō Hiroyuki created neologisms, altered traditional styles of writing, and introduced concepts new to Japanese tradition. Later philosophers like Inoue Tetsujirō and Inoue Enryō adapted European philosophical categories to recast old traditions and renew them as relevant for a modernized Japan. In their day, much of their terminology and argumentation was exotic and enigmatic, even while their style appears archaic today. A recognizably twentieth-century philosophical idiom had to wait for thinkers like Ōnishi Hajime and Nishida Kitarō.

E.N. Trubetskoy on the Interrelation of the Sacred and the Aesthetic in Ancient Russian Iconography

2021 ◽  
pp. 34-40
Author(s):  
Elena V. Kovaleva
Keyword(s):  
20Th Century ◽  
Early 20Th Century ◽  
Religious Philosophy ◽  
The Aesthetic

The article studies the problem of interrelation of the cult and aesthetic components of iconography and analyzes the approach to its solution in the works of the representative of Russian religious philosophy of the early 20th century E. Trubetskoy.

scholarly journals THE IMAGE OF TATTA LAND AND YAKUTSK CITY IN THE FORMATION OF FIGURATIVE GEOGRAPHY IN THE EARLY 21 ST CENTURY

2022 ◽  
pp. 70-73
Author(s):  
И. В. Покатилова ◽  
А. Ф. Лукина
Keyword(s):  
20Th Century ◽  
Interdisciplinary Approach ◽  
Traditional Culture ◽  
Specific Region ◽  
Early 20Th Century ◽  
Modern Culture ◽  
Early 21St Century ◽  
Soviet Space ◽  
Methodological Approaches ◽  
Post Soviet Space

Актуальность темы связана с новыми методологическими подходами в исследовании современной культуры Якутии начала 21 века. Авторы попытались применить метод междисциплинарного подхода в исследовании образной географии Якутии начала 21 века на примере проекта «Образная карта - маршрут Таттинского улуса». Город и село в 20 веке являются разными средами обитания современного человека. В первой среде зарождается креативная культура, а во второй - дольше сохраняется традиционная культура. Трансформация традиционной культуры в начале 20 века в городе Якутске привело к зарождению нового креативного типа культуры, а в конце 20 века в постсоветском пространстве формируется образная география конкретного региона или улуса, стянув пространство ландшафта и памятников культурного наследия, что ярко прослеживается на материале Таттинского улуса. The relevance of the topic is related to new methodological approaches in the study of modern culture of Yakutia in the early 21st century. The authors tried to apply the method of an interdisciplinary approach in the study of the figurative geography of Yakutia of the early 20th century by the example of the project "Figurative map - the route of Tatta ulus". City and village in the 20th century are different environments of a modern man. In the first environment, creative culture is born, and in the second, traditional culture is preserved longer. Transformation of traditional culture at the beginning of the 20th century in Yakutsk city led to the birth of a new creative type of culture, and at the end of the 20th century, in the post-Soviet space, a figurative geography of a specific region is formed, pulling together the space of the landscape and cultural heritage monuments, which is clearly seen in the material of Tatta ulus.

scholarly journals Application of Flower and Bird Patterns in Modern Makeup and Hair from the Perspective of Design Culture

2021 ◽  
Vol 3 (5) ◽  
pp. 113-118
Author(s):  
Chen Wang ◽  
Dan Liu ◽  
Xiaoman Huang
Keyword(s):  
National Culture ◽  
Traditional Culture ◽  
Modern Design ◽  
Important Material ◽  
Design Culture ◽  
The Times ◽  
Traditional Patterns ◽  
The Aesthetic

Under the background of the vigorous development of various cultural and artistic forms, the traditional patterns that can express the unique charm of Chinese national culture have become an important material for modern design. Traditional patterns not only have unique decorative functions, but also represent the spirit of traditional culture. Among them, flower and bird patterns are also precipitated by history. It is worth exploring how to combine the flower and bird patterns with the aesthetics of the times, and how to integrate the traditional flower and bird patterns with the nature of the times. Starting with the formation and development of flower and bird patterns, this paper analyzes the historical, cultural and aesthetic attributes of flower and bird patterns from the perspective of design culture, and expounds the application of flower and bird patterns in makeup and hair in various historical dynasties. With the development of the times, the application of flower and bird patterns in modern makeup and hair should be both national and in line with the aesthetic requirements of modern people.

scholarly journals Post- Modern elements in the novels of Chetan Bhagat

2018 ◽  
Vol 6 (8) ◽  
pp. 11
Author(s):  
Dr. Radha ◽  
Dr. Premalatha. C 
Keyword(s):  
20Th Century ◽  
Real Life ◽  
16Th Century ◽  
Western Philosophy ◽  
Economic Power ◽  
Late 20Th Century ◽  
Distant Observer ◽  
Post Modernism ◽  
The Difference

Postmodernism is a Western philosophy, a late 20th-century movement characterized by broad skepticism, subjectivism, or relativism; a general suspicion of reason; and an acute sensitivity to the role of ideology in asserting and maintaining political and economic power”.Post-Modernists are independent while expressing their ideas, they never drop their statements and theory. It is more personal than identify with some other categories. The post-modernism was started in America around 16th century later it extended to Europe and other countries.Post-modern civilization fails to accept the modification between high and low class. There is a little place for modernism, originality or individual thinking. Bhagat has concentrated on the preconceptions of toppers, however there is more to life than these things your family, your friends, your internal desires and goals and the grades you get in dealing with each of these areas will define you as a person.The post-modernism has defused the difference between good and bad, moral and immoral, right and wrong. If there is a choice to select modern generation would not hesitate to go for one which is traditionally named as bad. Bhagat imbibed all these qualities in his writing. His characters go against the traditional customs and values. Bhagat represents intricate, deeply engrained socio-cultural complications of multicultural India, light-heartedly. He wishes readers to giggle at themselves, at their stupidities, their partialities, and their wrong-actions; not as a member but as a distant observer. He doesn’t bout them directly, but through fiction he attempts to understand their errors and gives a chance to rectify in the real life. Bhagat’s linking story telling method and the funny situations appeal readers.

scholarly journals Иван Грозев. „Новата културна раса“ в естетикорелигиозния проект на българския модернизъм

2020 ◽  
Vol 20 ◽  
Author(s):  
Цветана [Tzvetana] Георгиева [Georgieva]
Keyword(s):  
20Th Century ◽  
Early 20Th Century ◽  
Rudolf Steiner ◽  
New Type ◽  
The Aesthetic ◽  
Hellenistic Philosophy

Ivan Grozev and the “New Cultural Race” in the Aesthetic Religious Project of Bulgarian ModernismThe aesthetic-religious views of Ivan Grozev, a Bulgarian writer, poet and spiritual awakener, combine various aspects whose unifying center is the mystical ability of man to reach God: the Christian idea of man’s aspiration for God; theosophical and Masonic conceptions; and elements of Hellenistic philosophy and mystery. In his articles and studies that he published in the journal Hyperion, Ivan Grozev promoted ideas about the poet as “a priest and a prophet”, his “worldly sacrifice”, and “the steps towards godly knowledge” (scientist, genius, mystic). As a true Theosophist, he contrasts his utilitarian times with the spiritual from past eras (reason vs. mysticism), affirming the idea of a “New Heaven” and a “New Cultural Race” for the devoted ones. The Bulgarian modern consciousness from the late 19th and early 20th century perceived such ideas as a new type of religion of the aesthetic, and at the same time as a new ethic of the creator (prophet, Übermensch in the sense of Nietzsche or Rudolf Steiner) as a necessity of spiritual creation of a new cultural race that abandons mercantilism for the sake of ideal values. Iwan Grozew i „nowa rasa kulturowa” w religijno-estetycznym projekcie bułgarskiego modernizmuPoglądy estetyczno-religijne Iwana Grozewa, bułgarskiego pisarza, poety, działacza na rzecz duchowego przebudzenia społeczeństwa, łączą aspekty chrześcijańskiej idei dążenia człowieka do Boga, koncepcje teozoficzne i masońskie, elementy hellenistycznej filozofii i misteriów, a ich wspólnym jądrem jest mistyczna zdolność człowieka, aby dotrzeć do Boga. W artykułach i studiach publikowanych na łamach czasopisma „Хиперион” Iwan Grozew propaguje idee dotyczące poety „kapłana i proroka” i jego „ziemskiej ofiary”, „kroków w kierunku boskiej wiedzy” (naukowiec, geniusz, mistyk); jako wyznawca teozofii, utylitarne czasy, w jakich żyje, przeciwstawia epokom duchowym z przeszłości (rozum przeciwko mistycyzmowi), potwierdzając ideę „nowego nieba” i „nowej rasy kulturowej” dla osób poświęconych. W bułgarskiej świadomości modernistycznej przełomu XIX i XX wieku takie idee postrzegane były jako nowy rodzaj religii estetycznej, a jednocześnie jako nowa etyka twórcy (proroka, nadczłowieka w rozumieniu Friedricha Nietzschego lub Rudolfa Steinera), pojęta jako konieczność duchowego stworzenia nowej rasy kulturowej, która odrzuca postawę merkantylną w imię wartości idealnych.

CHINESE NATIONAL PICTURE NIANHUA – A PHENOMENON OF CULTURE OF THE XX CENTURE

2021 ◽  
pp. 127-138
Author(s):  
Galina S. Gultyaeva ◽  
Keyword(s):  
20Th Century ◽  
Filial Piety ◽  
Chinese Society ◽  
Classical Literature ◽  
Graphic Art ◽  
Political Processes ◽  
The People ◽  
Metaphoric Language ◽  
Academic Painting ◽  
The Aesthetic

Chinese folk painting nianhua (literal translation, “New Year’s picture”) is a kind of Chinese graphic art, which received a wide popularity in the late XIX – early XX centuries. On the eve of the New Year in China everywhere decorated interiors of living rooms with colorful pictures containing New Year’s greetings, they were pasted on windows, doors, gates. Decorative pictures had a utilitarian and cultic purpose: images of mythological characters and gods symbolized happiness, longevity, prosperity, protected from disasters and misfortunes. At the beginning of the 20th century, nianhua was produced in the woodcutting shops in a woodcut way, since the middle of the 20th century have been used modern technologies, including printing. New Year’s paintings significantly different from national academic painting. The philosophical concept of New Year’s painting was to reflect the spiritual life of the people, moral values, and artistic tastes. The images were built on the basis of folklore motifs, a rhythmic combination of bright colors created a decorative effect, so nianhua is a valuable material that demonstrates the aesthetic representations of the Chinese people, their folk traditions and symbols. The themes of the New Year’s paintings are extremely diverse and includes the following: scenes from classical literature, religious and symbolic and benevolent drawings, genre art painting, calendars depicting 12 cyclic signs of animals, agricultural calendars and advertising pictures. During the history of its existence, the New Year’s picture plays an important political and ideological role. Traditional paintings propagated the foundations of the orthodox Confucian ideology about social and ethical relationships, including hierarchy in the family and society: “Wu lun – the five principles of relationships”, “Xiao – filial piety”, “Ren – patience”. In the second half of the XX century, the New Year's picture is developing as an agitational poster. Under the influence of European painting and modern political processes in Chinese society, artists began to use a new artistic method - revolutionary realism on purpose to illuminate sociopolitical events, propagandize government tasks and resolutions. The basic principles of painting the New Year’s picture are the decorative character (the brightness of colors, the rhythmic combination of color spots), the hyperbolism and idealization of images, the folklore basis of plots and the conventional symbolic-metaphoric language.

MASCULINIZING THE FEMININE IN TU LUC VAN DOAN (A CASE STUDY KHAI HUNG’S COCK-HEN (TRỐNG MÁI))

2018 ◽  
Vol 63 (7) ◽  
pp. 22-28
Author(s):  
Tam Phan Thi Thanh
Keyword(s):  
20Th Century ◽  
Traditional Culture ◽  
Early 20Th Century ◽  
The Feminine ◽  
Vietnamese Literature ◽  
The Creation

Concerning an issue of individual emancipation and a feminist sense in Vietnamese literature in the 1930s, Khai Hung’s Cock-Hen describes Hien as a representative of an innovative women image in compare with the traditional culture. Masculinizing rules of the feminity in the creation of a character have provided Hien most characteristics of male privileges such as a powerful body, a strong personality, and the interest in adventures and risks. Cock-Hen, thus, helps us to identify a feature of feminism in Vietnamese society in the early 20th century.

Teaching and Learning Theories for an Interdisciplinary Curriculum

2017 ◽  
pp. 28-48
Keyword(s):  
Teaching And Learning ◽  
Aesthetic Experience ◽  
Adam Smith ◽  
Learning Theories ◽  
Proximal Development ◽  
Nel Noddings ◽  
Multiple Intelligence Theory ◽  
Life Itself ◽  
Intelligence Theory ◽  
The Aesthetic

Historical and contemporary theorists have consistently influenced the philosophy of education. Theorists such as John Dewey, the forefather of progressive education, Lev Vygotsky, the creator of the zone of proximal development theory, Paulo Freire, the architect of a social justice-infused curricula, Sonia Nieto, the trailblazer in the multicultural movement, Nel Noddings, the groundbreaker of the care perspective, Emile Durkheim, the originator of sociology, Adam Smith, the spearhead of the economic theory, Howard Gardner, the mastermind of the multiple intelligence theory, and Maxine Greene, the visionary behind the aesthetic experience, have reasoned that a multidisciplinary approach to learning would allow students to recognize their learning potentials, and most importantly, offer students the knowledge and experience they need to connect to life itself.

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