scholarly journals Hellenic Theology of Early Classical Period

2020 ◽  
Vol 24 (4) ◽  
pp. 669-680
Author(s):  
Vyacheslav M. Naidysh
Keyword(s):  
Aesthetic Experience ◽  
Critical Approach ◽  
Critical Rationalism ◽  
Religious Consciousness ◽  
The Past ◽  
Cognitive Limitations ◽  
Full Sense ◽  
Ancient Theater ◽  
Theoretical Reflection ◽  
Rational Component

The author analyzes the transformations of Hellenic theologys content and forms in the epoch of early antique classics (1st half of the 5th century B.C.). The general orientation of such transformations is the generalization of mythological gods meanings into the abstract implications of the Absolute, which is not yet sacral in its full sense and not transcendent. Besides, this period is the end of the decentralization of consciousness. Cognitive limitations to the development of abstract conceptual thinking and the rational component of consciousness are removed. This processs main points transform mythology into artistic and aesthetic creativity (folklore, mythopoetic epic, etc.), religious consciousness, and theology. Rationalism is always critical. Critical rationalism inevitably leads to historicism. Therefore, the formation of a historical attitude strengthens at the sight of the critical approach. The world's mythological image is increasingly being questioned (first in parts, and then in general). Its content is being transferred to the past. Finally, the era of early classicism comes into play. It is a time when theology becomes a field of philosophical and theoretical reflection on myth and an area of its artistic and aesthetic experience. The most influential form of such an understanding of myth was the theater. The ancient theater served as a spiritual and practical form of ancient theology, a subject embodiment of theology in stage action.

Pop Music, Processing Fluency, and Pleasure

2021 ◽  
pp. 467-488
Author(s):  
Jeff Smith
Keyword(s):  
Aesthetic Experience ◽  
Vital Role ◽  
Processing Fluency ◽  
Pop Music ◽  
Exposure Effect ◽  
The Past ◽  
New Information ◽  
Important Research Topic ◽  
Stimulus Features ◽  
Film Viewing

Over the past fifteen years, processing fluency has become an increasingly important research topic in mapping the contours of aesthetic experience. It refers to the ease with which our minds assimilate new information, and it plays an important priming function in the pleasure or enjoyment experienced during film viewing. Fluency occurs as the result of both stimulus features and contextual factors, which include, among other things, the exposure effect, repetition, dishabituation, and spontaneous recovery. It can also play a vital role in cinematic listening, predisposing auditors toward positive judgments of films based on the ways in which they trigger efficient recall of music’s formal patterns. Processing fluency, thus, figures as an important dimension of film and music cross-promotion, either by leveraging consumer interest in music ancillaries or by enabling spectators to re-experience films through their soundtrack albums.

scholarly journals AT VENDE TILBAGE TIL UKENDTE STEDER - POSTHUKOMMELSE OG STED HOS JACOB DAMMAS, JACOB KOFLER OG MAJA MAGDALENA SWIDERSKA

1970 ◽  
Vol 42 (117) ◽  
pp. 113-130
Author(s):  
Anna Estera Mrozewicz
Keyword(s):  
Second Generation ◽  
Cultural Trauma ◽  
Documentary Films ◽  
The Past ◽  
Personal Stories ◽  
Short Period ◽  
Personal Approach ◽  
Personal Trauma ◽  
Related Identity ◽  
Theoretical Reflection

RETURNING TO UNFAMILIAR PLACES. PLACE AND POSTMEMORY IN THE WORKS OF JACOB DAMMAS, JACOB KOFLER, AND MAJA MAGDALENA SWI-DERSKA | The emigration of three thousand Polish-Jewish citizens to Denmark as a result of the events in March 1968 in Poland has only recently attracted attention from filmmakers and writers in Denmark. Two documentary films and a novel, created within a relatively short period of time, deal with the topic: Jacob Kofler’s Statsløs (Stateless), 2004, Jacob Dammas’ Kredens (Dresser), 2007, and Maja Magdalena Swiderska’s The Border Breaking Bunch, 2008. The authors are all children of refugees and represent second generation in relation to the cultural trauma of exile. The article examines aesthetic approaches developed by the authors as they (re)tell personal stories, which are mediated through various strategies of postmemory (Hirsch 1997). Postmemory is distinguished from memory by a non-indexical relation to the past and a generational distance, and from history by a highly personal approach. However, it is not addressed here as a psychological category. On the contrary, I argue that postmemory can be viewed as both an analytical and a narrative and aesthetic tool. Questions of place and place-related identity are relevant and inseparable from the three authors’ creative reimaginings of the cultural and personal trauma. Thus, the article focuses on the concepts of place and postmemory, and their interdependencies in the analysed works. Close readings are combined with theoretical reflection, which allows the objects and theories to illuminate each other.

scholarly journals Convention as the Source of the Avant-Garde. Remarks on the Inventiveness of Poetics of the Past

2019 ◽  
Vol 66 (1 SELECTED PAPERS IN ENGLISH) ◽  
pp. 19-31
Author(s):  
Barbara Niebelska-Rajca
Keyword(s):  
20Th Century ◽  
17Th Century ◽  
16Th Century ◽  
Avant Garde ◽  
The Past ◽  
Polish Version ◽  
Dominant Tendency ◽  
Late Renaissance ◽  
Theoretical Reflection ◽  
Present Text

The Polish version of the article was published in “Roczniki Humanistyczne,” vol. 59 (2011), issue 1. Modern theoretical-literary treatises, defined as normative poetics, are usually connected with the dominance of the convention and normativism, with obligatory rules, canonical concepts and restrictive directives hampering originality. The present text tries to revise the conviction that convention is a dominant tendency in the development of the old theoretical thought; it tends to show the avant-garde aspects of modern poetics and to present the relations between what is conventional and what is innovative in the most original theoretical texts of late Renaissance and Baroque. Examples of two avant-garde modern poetics—Francesco Patrizi’s theory of wonder formed at the end of the 16th century and the 17th century Emanuele Tesauro’s conceptistic theory—show that tradition and convention are necessary elements of inventive theories. The avant-garde of poetics of the past, contrary to the avant-garde of the 20th century, is not born from the defiance of the earlier theories but is formed by way of modernizing and transforming them. Old inventive theories—despite all the departures from tradition—are still part of the classical paradigm. Hence, the avant-garde character of late-Renaissance and Baroque theoretical reflection consists in a peculiar synergy of convention and novelty.

scholarly journals The Impact of Closed-mindedness on the Assessment of Threat: An Empirical Study

2013 ◽  
Vol 6 (1) ◽  
pp. 10-19
Author(s):  
Colin A Wastell ◽  
Nicole Weeks ◽  
Alexander Wearing ◽  
Piers Duncan ◽  
Wajma Ebrahimi
Keyword(s):  
Empirical Study ◽  
Intelligence Analysis ◽  
Cognitive Closure ◽  
General Attitude ◽  
The Past ◽  
Cognitive Limitations ◽  
Need For Cognitive Closure ◽  
Analysis Task ◽  
Threat Level ◽  
The Impact

In the past decade official reports into intelligence failures have asserted that analysts are subject to the effects of everyday cognitive limitations. The present study examined the influence of an individual's inclination toward closedmindedness on a computer administered simulated intelligence analysis task. Results indicate that several components of closed-mindedness as measured by the need for cognitive closure scale [NFC] significantly predicted the assessed level of threat posed to and general attitude toward a visiting government delegation by a foreign nation's population. Most significantly higher scores on the NFC subscale ‘need for predictability’ were associated with higher scores on the initial assessed threat level. This effect remained after controlling for the amount of information accessed. The implications of these findings for the conduct of intelligence analysis are discussed.

The Confluence Between Materiality and Immateriality in Site-Specific Sound and Visual Performances

2020 ◽  
pp. 64-96
Author(s):  
Frederico Dinis
Keyword(s):  
Real Time ◽  
Electronic Music ◽  
Aesthetic Experience ◽  
Experimental Approach ◽  
Focal Point ◽  
Visual Performance ◽  
Site Specific ◽  
Visual Narratives ◽  
Field Recordings ◽  
The Past

Aiming to explore the diverse nature of sound and image, thereby establishing a bridge with the symbiotic creation of sensations and emotions, this chapter intends to present the development and the construction of a proposal for the confluence between materiality and immateriality in site-specific sound and visual performances. Using as a focal point sound and visual narratives, the author tries to look beyond space and time and create a representative atmosphere of sense of place, attempting to understand the past and sketching new configurations for the (re)presentation of identity, guiding the audience through a journey of perceptual experiences, using field recordings, ambient electronic music, and videos. This chapter also presents the development of an experimental approach, based on a real-time sound and visual performance, and some critical forms of expression and communication that relate or incorporate sound and image, articulating concerns about their aesthetic experience and communicative functionality.

Lyotard, Jean-François (1924–1998)

2018 ◽  
Author(s):  
David Carroll
Keyword(s):  
Language Games ◽  
Critical Approach ◽  
Aesthetics And Politics ◽  
Art And Politics ◽  
The Past ◽  
Art And Literature ◽  
Political Events ◽  
Postmodern Art ◽  
Dialectical Philosophy ◽  
Bear Witness

Jean-François Lyotard was a prominent French philosopher who is generally considered the leading theorist of postmodernism. His work constitutes an insistent critique of philosophical closure, historical totalization and political dogmatism and a re-evaluation of the nature of ethics, aesthetics and politics after the demise of totalizing metatheories. In his early works, Lyotard confronts the limitations of dialectical philosophy and structuralist linguistics and analyses the disruptive, extradiscursive force of desire and the nonrepresentational or figurative dimensions of art and literature. In La Condition postmoderne (1979a) (The Postmodern Condition, 1984), he treats narrative pragmatics and language games as the bases for a critical approach to postmodern art and politics, as well as to the problem of justice. Recent texts insist on the obligation of philosophy, politics and writing to bear witness to heterogeneity and to what is repressed or forgotten in all representations of the past. His work questions the limits of philosophy, aesthetics and political theory in terms of problems linked to the irreducible complexities of art and literature and the nonrepresentational affects of historical-political events.

scholarly journals Thematic Preoccupation of Nigerian Literature: A Critical Approach

2017 ◽  
Vol 6 (3) ◽  
pp. 22
Author(s):  
Adetuyi, Chris Ajibade
Keyword(s):  
Short Story ◽  
Human Condition ◽  
Value Systems ◽  
Traditional Values ◽  
Critical Approach ◽  
Human Environment ◽  
The Past ◽  
Public Property ◽  
Economic Exploitation ◽  
Nigerian Literature

Nigerian literature takes "matter" from the realities of Nigerian living conditions and value systems in the past and present. In the Nigerian society the writer, be it a novelist, dramatist or poet is a sensitive "questioner" and reformer; as all literature in a way is criticism of the human condition obtainable in the society it mirrors. The writer often cannot help exposing the bad and the ugly in man and society. Thus much of Nigerian literature is a deploration of the harsh and inhuman condition in which the majority of Nigerians live in i.e. poverty, misery, political oppression, economic exploitation, excesses of the affluent, liquidation of humane Nigerian traditional values, and all forms of injustices which seem to be the lot of a large majority in most Nigerian societies.In drama, novel, poetry or short - story, the writer's dialogue with his physical and human environment comes out as a mirror in which his people and society can see what they look like. Every image painted by a skillful artist is expressed or put into writing / print, becomes public property and leaves itself open for evaluation by those who read and understand the language and expression. There is therefore a need to identify the thematic preoccupation of Nigeria literature which is the focus of this paper with a view to identifying their peculiarities with textual references.

A Retrospect on the Limits of Postcolonial Studies

CounterText ◽  
2015 ◽  
Vol 1 (1) ◽  
pp. 59-75 ◽  
Author(s):  
Benita Parry
Keyword(s):  
Crucial Role ◽  
Postcolonial Studies ◽  
The Political ◽  
Critical Approach ◽  
The Past ◽  
Political Purpose ◽  
New Form ◽  
Raymond Williams ◽  
Different Order

Benita Parry here examines the political horizons of postcolonial studies, arguing for the crucial role of Marxism in sustaining the revolutionary impetus of postcolonialist thought. Addressing the career of the late Edward W. Said, Parry points out that while Said's approach to criticism may initially have been philological, political purpose and direction were ‘thrust upon him’ through the situation of his native Palestine in the 1970s, together with the retreat from radicalism within academia. The Said of this period thus urged upon intellectuals the need to engage with injustice and oppression. Parry writes of Said's ‘circuitous journey’ that returned him, in his later works, to a critical approach that eschewed the political, and aimed to contain conflict through his notion of the ‘contrapuntal.’ While Said, with many postcolonial critics, did not subscribe to Marxism, Parry suggests that his work retained a thoughtful and complex respect for Marxists such as Lukács, Goldmann, Raymond Williams, and Adorno. For Parry, Said's repudiation of Marxism is ‘of a different order’ from that of other postcolonial critics who drag revolutionary figures such as Fanon and Gramsci into their own agenda by attempting to stabilise and attune their thought to the ‘centre-left’. Parry goes on to criticise the editors of The Postcolonial Gramsci, for positing Marxist thinking as a restricting framework from which the editors aim to liberate Gramsci's writing. For Parry, these reappraisals of revolutionary thinkers constitute a new form of recuperative criticism that she terms ‘the rights of misprision’. If this is a strategy for ‘draining Marxist and indeed all left thought of its revolutionary impulses and energies’, Parry insists, ‘it is one to be resisted and countered, not in the interests of a sterile rigour, but – in Benjamin's words – to rescue the past and the dead, and a tradition and its receivers, from being overpowered by conformism’.

What is Known About Caries in Relation to Restorations as a Reason for Replacement? a Review

1995 ◽  
Vol 9 (4) ◽  
pp. 394-402 ◽  
Author(s):  
L. Ozer ◽  
A. Thylstrup
Keyword(s):  
Risk Factor ◽  
Dental Caries ◽  
Plaque Formation ◽  
The Other ◽  
Professional Behavior ◽  
Critical Approach ◽  
Secondary Caries ◽  
Local Conditions ◽  
The Past ◽  
Dental Restorations

In the past 20 years, a great many studies have identified secondary caries to be the most common reason for the replacement of restorations. This review raises the question whether clinicians use 'secondary caries' as a catch-all into which they put a variety of reasons for replacement, or whether they do have professionally based reasons for focusing on caries adjacent to restorations. There is no consensus among researchers concerning the nature of secondary caries, but it is possible to identify two major-and conflicting-trends : One adheres to a critical approach concerning the frequency of replacements and recommends a much more conservative evaluation of existing fillings. In contrast, the other trend focuses on the clinical undetectable microleakage as the major risk factor for the initiation and uncontrolled dentinal spread of secondary caries. Since the latter trend offers a reasonable explanation for the clinicians' concern about invisible 'secondary caries', and hence reinforces the tendency to replacement, it is relevant to reconsider the conventional concept that microleakage leads to the initiation of secondary caries. Available data indicate that visible gaps and marginal discrepancies are poorly related to secondary caries, and that secondary caries is a localized phenomenon caused by localized conditions for the evolution of cariogenic plaque. Consequently, secondary caries is not a universal attack along the entire interface between tooth and restoration, but rather a new lesion or a re-beginning of caries on the surface due to local conditions for plaque formation with cariogenic potential. It is concluded that reinforcement of a new and more appropriate professional behavior should be based on diffusion of existing knowledge of dental caries as a disease rather than on simplified criteria for the placement and replacement of dental restorations.

The Oxford Handbook of Aesthetics

2009 ◽  
Keyword(s):  
Recent Work ◽  
Aesthetic Experience ◽  
The Third ◽  
Extensive Survey ◽  
General Overview ◽  
The Past ◽  
The Arts ◽  
History Of ◽  
Theory Application ◽  
Music Film

The Oxford Handbook of Aesthetics looks at a fascinating theme in philosophy and the arts. Leading figures in the field contribute forty-eight articles which detail the theory, application, history, and future of philosophy and all branches of the arts. The first article of the book gives a general overview of the field of philosophical aesthetics in two parts: the first is a quick sketch of the lay of the land, and the second an account of five central problems over the past fifty years. The second article gives an extensive survey of recent work in the history of modern aesthetics, or aesthetic thought from the seventeenth to the mid-twentieth centuries. There are three main parts to the book. The first part comprises sections dealing with problems in aesthetics, such as expression, fiction or aesthetic experience, considered apart from any particular artform. The second part contains articles on problems in aesthetics as they arise in connection with particular artforms, such as music, film, or dance. The third part addresses relations between aesthetics and other fields of enquiry, and explores viewpoints or concerns complimentary to those prominent in mainstream analytical aesthetics.

Sign in / Sign up

Export Citation Format

Share Document