scholarly journals OBJEKTIVITAS IMAJINASI DALAM SENI

Imaji ◽  
2015 ◽  
Vol 4 (1) ◽  
Author(s):  
Susapto Murdowo
Keyword(s):  
Life Experiences ◽  
Work Of Art ◽  
Material World ◽  
Art Works ◽  
Objective Understanding ◽  
Ways Of Thinking

In reality, art structure is dual and relational. A work of art can beviewed as a subjective and objective ‘structure’. Arts always appear ascontinuous acts in imagination. The artists exist in the material world (the worksof art) and in other life experiences. Besides, the objective understanding ofimagination in art is expected to enhance epistemological ways of thinking andunderstanding as a reaction against a tendency towards verbalism of reality andtruth. Finally, it is expected to motivate someone to be wiser, highly consciouswith his willingness to create art works, as well as to build a system or frameworkin the forms of unique and personal expression.Keywords: art structure, objectivity, imagination

André Malraux’s Comparative Theory of Art

2020 ◽  
Vol 30 (3) ◽  
pp. 263-280
Author(s):  
Žilvinė Gaižutytė-Filipavičienė ◽  
Keyword(s):  
Comparative Studies ◽  
Work Of Art ◽  
Philosophical Approach ◽  
Art Works ◽  
Art Forms ◽  
Philosophical Background ◽  
Comparative Theory

The article deals with André Malraux’s (1901–1976) comparative theory of art. He, a French intellectual, novelist, and philosopher developed an original philosophical approach to art works and their transformations in time which has still a significant impact to contemporary comparative studies of art. The idea of metamorphosis expresses Malraux’s radical turn from classical academic aesthetics and his closeness to existential philosophical and aesthetical thinking. It reinforces the concept of the imaginary museum and provides a more philosophical background. Each culture perceives and accepts the art of other cultures according to its own viewpoints in a process which is defined by Malraux as metamorphosis. The full significance of metamorphosis appeared in modern civilisation—the first which collected art forms from any period and place. The work of art lives its own life deliberated from history and its consequential postulation of human permanence. The metamorphosis is the key to Malraux’s humanist metaphysics of art.

Neoliberalism in Higher Education: Can We Understand? Can We Resist and Survive? Can We Become Without Neoliberalism?

2017 ◽  
Vol 17 (3) ◽  
pp. 155-162 ◽  
Author(s):  
Gaile S. Cannella ◽  
Mirka Koro-Ljungberg
Keyword(s):  
Higher Education ◽  
Service Providers ◽  
Life Experiences ◽  
Colleges And Universities ◽  
Human Beings ◽  
Special Issue ◽  
The World ◽  
Market Driven ◽  
Ways Of Thinking ◽  
Market Focus

Concern regarding capitalism, profiteering, and the corporatization of higher education is not new. A market focus that creates students as consumers and faculty as service providers has dominated global practices in colleges and universities for some time. Most recently, however, this more liberal market-driven focus has actually morphed away from a jurisdictional emphasis (with a potential focus on fairness) to forms of veridiction (neoliberal truth regimes) that legitimate intervention into all aspects of society, the environment, interpretations of the world around us, even into the physical individual bodies of human beings as well as the more-than-human. In higher education, this neoliberal saturation has led to changes that are of seismic proportion. The authors in this special issue describe their own research into, interpretations of, and life experiences as they attempt to survive within this neoliberal condition, and as they also generate counter conducts and ways of thinking without neoliberalism.

scholarly journals Life experiences of elderly with cancer pain: the existential comprehensive approach

2015 ◽  
Vol 49 (3) ◽  
pp. 417-423 ◽  
Author(s):  
Kesley de Oliveira Reticena ◽  
Margrid Beuter ◽  
Catarina Aparecida Sales
Keyword(s):  
Cancer Pain ◽  
Life Experiences ◽  
The Elderly ◽  
Daily Lives ◽  
Elderly Cancer Patients ◽  
Objective Understanding ◽  
Authentic Care ◽  
Living With Cancer ◽  
Interpretive Understanding ◽  
Experience Pain

OBJECTIVE Understanding the experiences of elderly with cancer pain. METHOD Qualitative research based on Heidegger's phenomenology. 12 elderly cancer patients from a city in northwest Paraná were interviewed from November 2013 to February 2014. RESULTS Analysis performed by vague, median and interpretive understanding which resulted in two ontological themes: Cancer pain: unveiling the imprisonment and impositions experienced by the elderly, and Unveiling the anguish of living with cancer pain; it revealed not only how the elderly experience pain in their daily lives, but also how hard it is to live with its particularities. CONCLUSION Cancer pain has biopsychosocial repercussions for the elderly, generating changes in their existence in the world, requiring holistic and authentic care.

Tracking Back

Voicetracks ◽  
2017 ◽  
Author(s):  
Norie Neumark
Keyword(s):  
New Materialism ◽  
Art Works ◽  
Ways Of Thinking

In this concluding chapter, the author evaluates the strategy of bringing voice studies into conversation with new materialism through her own engaged encounters with media and art works, as a way to provoke new ways of thinking about and experiencing both voice and new materialism. The chapter engages with figures of performativity, documentation, and infra-thin in its encounters with various works. Among these are her own collaborative artworks, Talking about the Weather and Coalface, which were driven by emotional, ethical and political—new materialist—concerns for the environment and which helped her along her path to new materialism. Finally, returning to her opening concerns for Aboriginal or Indigenous understandings of country that speaks, the chapter engages with silence, including the silence, which haunts voice and memory.

‘A Fine Pate Full of Fine Dirt’: Hamlet Among the Atomists

2019 ◽  
pp. 132-190
Author(s):  
Christopher Crosbie
Keyword(s):  
Sixteenth Century ◽  
Early Modern ◽  
Collective Memory ◽  
The Body ◽  
Historical Time ◽  
Material World ◽  
The Past ◽  
Ways Of Thinking

This chapter situates Shakespeare’s Hamlet in a late sixteenth century atomism increasingly shorn of its atheist metaphysics and Epicurean ethics. Making available new ways of thinking about matter as theoretically compatible with theistic ideas, early modern atomism provides a set of ontological assumptions that governs the playworld and shapes the course of Hamlet’s revenge. Paying special attention to two strands of atomist thought – namely, the body as particularized and the functions of perception, memory, and time as material imprints – this chapter reads Hamlet’s understanding of the dissolvable body and his attempt to remold the court's collective memory, the most proximate record of historical time, as of a piece. Hamlet's revenge, consonant with his prior ways of conceptualizing embodied existence, functions as a kind of material accretion to the past. In his brooding and revenge, Hamlet seeks comfort, then, in the prospect of a reassuringly enduring materiality but a comfort that remains theoretical and contingent. The most intense poignancy of his tragic demise emerges from Hamlet’s surprisingly persistent refusal to abandon the tantalizing, if elusive, consolations proffered by the material world itself.

The Natural History of Aesthetics

2015 ◽  
Vol 9 (2) ◽  
pp. 220-239
Author(s):  
Thomas H. Ford
Keyword(s):  
Natural History ◽  
Aesthetic Experience ◽  
Human Action ◽  
Western Philosophy ◽  
Historical Period ◽  
Ontological Status ◽  
Work Of Art ◽  
Material World ◽  
History Of ◽  
Natural Histories

Art has been crucial for Western philosophy roughly since Kant – that is, for what is becoming known as “correlationist” philosophy – because it has so often had assigned to it a singular ontological status. The artwork, in this view, is material being that has been transfigured and shot through with subjectivity. The work of art, what art does and how it works have all been understood as mediating between the otherwise irreconcilable opposites of historical spirit and the mute material world, between communicative thought and the unresponsiveness otherness of nature. I revisit this aesthetic tradition from the perspective of the Anthropocene, the proposed name of the new geological epoch of the present, distinguished by the fact that collective human action has now acquired the scale of a world-shaping natural force. The Anthropocene is at once a geological epoch and a historical period. What forms of narrative might possibly relate these two temporal orders together? What other aesthetic categories might help us think through the conceptual impasse of the Anthropocene present? How might aesthetic experience illuminate the history of Anthropocene? What natural histories might artworks tell today? My speculative endpoint: the Anthropocene globe is the universal artwork of the contemporary moment.

The Avant-Garde and Technology: Toward Technological Fundamentalism in Turn-of-the-Century Europe

1995 ◽  
Vol 8 (2) ◽  
pp. 397-416 ◽  
Author(s):  
Frank Trommler
Keyword(s):  
Nineteenth Century ◽  
Aesthetic Experience ◽  
Turn Of The Century ◽  
Material World ◽  
Avant Garde ◽  
Art And Technology ◽  
Hands On ◽  
Art Works ◽  
The Aesthetic ◽  
Mies Van Der Rohe

The ArgumentThe avant-garde's fascination with technology around 1900 grew out of several motivations: to shock the antitechnological bourgeois public; to experience a sense of mastery toward the material world, especially with cars, airplanes, and other machines; and to overcome the nineteenth-century separation of art and technology. The article highlights the radical shifts in the perception of technology that correspond with the emerging hands-on encounter with technological objects in homes, cities and at the workplace at the turn of the century. This technological fundamentalism differed sharply from the anxious and symbolically mediated approach to the “materialism” of the machine in the nineteenth century. It was accompanied by a concept of liberation through technological purity which is reflected by the fact that Gropius, Mies van der Rohe and Corbusier did not just design functional objects but also made special efforts to accentuate their functionalism as part of the aesthetic experience of modernity. As French and Italian artists, especially the Futurists, incorporated speed, virility, and the experience of the elementary in the metaphoric construction of technology, they even expressed a kinship with those painters and sculptors who shifted their focus to the rediscovery of the “primitive” magic in the art works from Africa and Polynesia

scholarly journals Social Classes Reflected By The Main Characters In Kevin Kwan’s “Crazy Rich Asians” Novel

2020 ◽  
Vol 1 (2) ◽  
pp. 1-15
Author(s):  
Difa Reza Pahlevi ◽  
Eka Margianti Sagimin
Keyword(s):  
Social Class ◽  
Research Methodology ◽  
Qualitative Method ◽  
Life Experiences ◽  
Family Background ◽  
Qualitative Approach ◽  
Social Classes ◽  
Social Phenomenon ◽  
The Social ◽  
Ways Of Thinking

The aim of this study is to analyze the disparity of social class and the causes and effects of social class among two main characters in Kevin Kwan’s “Crazy Rich Asians” novel (2013). To analyze the issue, Weber’s theory of social class (1998) were used. The research methodology used in this study was a qualitative method. By using this method, it means a qualitative approach is used to describe the social phenomenon, life experiences and situations to give the meanings and also to explore the behavior, perspectives, experiences, and feeling of people in the form of an essay. Based on the analysis, some aspects that relate to the disparity and causes and effects of social class. Those are the types of social class disparity reflected by these two characters, the cause of social class between the two main characters and the effect that caused by its disparity of social class. The result of this study showed that these disparities can be lifestyle, ways of thinking and in choosing a partner. Also, social class can be caused by heredity and family background, the effects are someone who has a social class that is considered low, will be ostracized, or even terrorized.Keyword : Qualitative Method, Social Class, Weber Theory.

scholarly journals Kunstverkets nødvendighet

2020 ◽  
pp. 27-40
Author(s):  
Øivind Varkøy
Keyword(s):  
Human Subject ◽  
Object Oriented ◽  
Social Origins ◽  
Work Of Art ◽  
The Third ◽  
Socially Constructed ◽  
The World ◽  
Ways Of Thinking ◽  
Better Than

A work of art is never just a thing or an object. In the art experience, a relationship is established between a person and a part-subject/part-object, never between a person and just a “thing”. These claims are in a certain tension with the well-known critique of the traditional western focus on music as works or objects. The discussion in this essay is based on three premises. The first premise is that our object-oriented understanding of music is historically and socially constructed. The second premise is that the historical and social origins of all ways of thinking in no way prevent some ways of thinking from being “better” than others. This opens up the possibility of being able to think that some ways of relating to music are more meaningful than others. The third premise is that a fundamental prerequisite for moving encounters between the human subject and music is the very idea of music as a work of art (as a part-subject/part-object). The necessity of a rethinking of the work of art as a part-subject/part-object is related to the possibility of re-romanticization, re-describing the world poetically.

Three Spirits: Breakdowns Present, Past and Yet to Come

2019 ◽  
Vol 4 (2) ◽  
pp. 102-110
Author(s):  
Janet Batsleer
Keyword(s):  
Mental Health ◽  
Young People ◽  
Working Class ◽  
Life Experiences ◽  
Emotional Pain ◽  
Art Gallery ◽  
Future Possibility ◽  
Art Works ◽  
To Come

This paper is a meditation on processes of social abjection within working-class life, on how they have changed and yet how they remain haunted by the possibility of an otherwise, especially in relation to bodily and mental and emotional pain and distress, anguish and torment, otherwise classified as depression, or nymphomania, or hypersexualisation, or anxiety, or paranoia and so on. Social abjection is a process of rendering certain lives and life experiences as unreadable except as social detritus. Working-class pain is abject, individualised and still often shamed. And the process of abjection is itself painful and not without the marks of struggle. Usually the role of women is to offer comfort and strength, often through classed practices of care and mothering (Crean,2018). But what happens when it is the women whose pain is abject? The haunting I am writing about here therefore is the haunting possibility of a return to a more collective approach to such distress, a return to a sense of future possibility as yet unfulfilled. In order to bring this possibility more fully to mind, I consider Martin Parr’s photographs recently in an exhibition at Manchester Art Gallery and Alisha’s poetry which was posted as part of her work with The Agency, (a creative project with young people). These rather different art works open up the question of how ‘mental health’ emerges as a threshold at which both capital-based violences and a resistant working-class affect can be found.

Sign in / Sign up

Export Citation Format

Share Document