scholarly journals A palavra muda de Rancière através de um diálogo entre Flaubert e Ibsen | Rancière's mute speech through a dialogue between Flaubert and Ibsen

2021 ◽  
Vol 3 (2) ◽  
pp. 192-224
Author(s):  
Ana Carolina Calenzo Chaves

A palavra muda é um conceito importante na compreensão da literatura estética por propor modos específicos de trato com a letra e com as contradições decorrentes da quebra com os pressupostos representativos. Por isso, este trabalho tem como objetivo investigar a reflexão que Rancière propõe sobrea obra de Gustave Flaubert em diálogo com o teatro. Visto que a palavra muda enlaça formas de expressão que encontram, na arte, um lugar (mesmo que impermanente), esta abordagempode ajudar a vislumbrar caminhos para o pensamento de outros modos do fazer artístico e o trânsito entre eles. Por fim, buscou-seconectar o teatro de Henrik Ibsene o gesto estético de Flaubert mediante a relação entre Bouvard e Pécuchet e O pato selvagem.Palavras-chave: Palavra muda. Rancière. Flaubert. Ibsen. AbstractMute speech is a key-concept on the reflection about the aesthetic literature by proposing specific ways of writing practices andtheir consequent contradictions, resulting from the rupture with the representative presuppositions.Therefore, this work aims to investigate Rancière's reflection on Gustave Flaubert's work in dialogue with theatre. Since the mute speechentwines forms of expression that find, in the art of writing, an important place (albeit an impermanent one), this approach can help to find out paths for thinking about other ways of artistic making, as well as moving between them. Finally, an attempt was made to connect Henrik Ibsen's theater and Flaubert's aesthetic gesture through the relationship between Bouvard and Pécuchet and The Wild Duck.Keywords: Mute speech. Rancière. Flaubert. Ibsen. ORCIDhttp://orcid.org/0000-0002-1149-3707

2018 ◽  
Vol 222 (2) ◽  
pp. 1-26
Author(s):  
M.M. Wedad Ahmed Kadhim

The Current Research Deals With, The Impact Of The Shape Theory In Drawings Of The Orientalists, That Poses From An Aesthetic Phenomenon Filled An Important Place In The Tracer Form Of Public Discourse Plastic And Drawings Of The Orientalists In Particular. The Basis Of Aesthetic Vision, And This Research Includes Four Chapters, The First Chapter Has Interested In The Methodological Form Of The Research Represented By The Problem Of Research Identified Study (Shape And Dimensions Of Cognitive And Formative And Remember In Drawings Of The Orientalists) And Confine Search To Find The Relationship Between The Pillars The Shape Theory In Drawings Of The Orientalists Of The Year (1865 -1900) From The Displacement Of Painters To The East In The Golden Their Time, And The Adoption Of The Descriptive Approach Within The Philosophical And Aesthetic Vision.The Second Chapter Consisted Theoretical Form, Which Included Three Sections Address The First Topic Shape Theory And General Concepts The Second Topic Dealt With Orientalism And Its Objectives And The Third On The Arab Aesthetic Components In The Environment Of Drawings Of The Orientalists.The Third Chapter, Which Included The Research Community And The Research Sample And Analysis Of Samples Of (4) Plates. The Fourth Chapter Has Included The Search Results, Which Came From The Expressive Content And Ideas Inspired Creative Way Reflect The Aesthetic Vision Of The Capabilities Of Technical Knowledge Combined With A Coherent And Harmonious Relations In The Artwork Orientalist. Conclusions And Came To Show The Possibilities Of Achieving The Objectives Of The Research And The Researcher Worked Hard Remembrance Of The Recommendations And Proposals, Followed By The List Of Sources And Formats.


Author(s):  
M. P. Gerasimova ◽  

Makoto (まこと, lit.: truth, genuineness, reality, “realness”) is an element of the conceptual apparatus of the traditional worldview of the Japanese. In Japan, it is generally accepted that makoto is a philosophical and aesthetic concept that underlies Japanese spirituality, involving among other principles understanding of the order and laws of the truly existing Universum (shinrabansho̅; 森羅万象) and the universal interconnectedness of things (bambutsu ittai; 万物一体), the desire to understand the true essence of everything that person meets in life, and, unlike other spiritual values, is purely Shinto in origin. After getting acquainted with the Chinese hieroglyphic writing three Chinese characters were borrowed for the word makoto. Each of these characters means truthfulness, genuineness, but has its own distinctive nuances: 真 means truth, authenticity, truthfulness, 実 signifies truth, reality, essence, content, and 誠 again means truthfulness, sincerity, and truth. Makoto (“true words”) and makoto (“true deeds”) imply the highest degree of sincerity of words and honesty, correctness of thoughts, actions, and deeds. The relationship “true words — true deeds” can be seen as one of the driving factors of moral obligation, prompting everyone in their field, as well as in relations between people, to strive to be real. This desire contributed to the formation of a heightened sense of duty and responsibility among the Japanese, which became a hallmark of their character. However, makoto has not only ethical connotation, but aesthetic one as well, and can be considered as the basis on which were formed the concept of mono no aware (もののあ われ、 物の哀れ) and the aesthetic ideal of the same name, that became the first link in the chain of japanese perceptions of beauty. Each link in this chain is an expression of a new facet of makoto, which was revealed as a result of certain elements of the worldview that came to the fore in the historical era.


2019 ◽  
Vol 29 (1) ◽  
pp. 189-202

The article advances a hypothesis about the composition of Michel de Montaigne’s Essays. Specialists in the intellectual history of the Renaissance have long considered the relationship among Montaigne’s thematically heterogeneous thoughts, which unfold unpredictably and often seen to contradict each other. The waywardness of those reflections over the years was a way for Montaigne to construct a self-portrait. Spontaneity of thought is the essence of the person depicted and an experimental literary technique that was unprecedented in its time and has still not been surpassed. Montaigne often writes about freedom of reflection and regards it as an extremely important topic. There have been many attempts to interpret the haphazardness of the Essays as the guiding principle in their composition. According to one such interpretation, the spontaneous digressions and readiness to take up very different philosophical notions is a form of of varietas and distinguo, which Montaigne understood in the context of Renaissance philosophy. Another interpretation argues that the Essays employ the rhetorical techniques of Renaissance legal commentary. A third opinion regards the Essays as an example of sprezzatura, a calculated negligence that calls attention to the aesthetic character of Montaigne’s writing. The author of the article argues for a different interpretation that is based on the concept of idleness to which Montaigne assigned great significance. He had a keen appreciation of the role of otium in the culture of ancient Rome and regarded leisure as an inner spiritual quest for self-knowledge. According to Montaigne, idleness permits self-directedness, and it is an ideal form in which to practice the freedom of thought that brings about consistency in writing, living and reality, in all of which Montaigne finds one general property - complete inconstancy. Socratic self-knowledge, a skepticism derived from Pyrrho of Elis and Sextus Empiricus, and a rejection of the conventions of traditional rhetoric that was similar to Seneca’s critique of it were all brought to bear on the concept of idleness and made Montaigne’s intellectual and literary experimentation in the Essays possible.


Recent decades have seen a major expansion in our understanding of how early Greek lyric functioned in its social, political, and ritual contexts. The fundamental role song played in the day-to-day lives of communities, groups, and individuals has been the object of intense study. This volume places its focus elsewhere, and attempts to illuminate poetic effects that cannot be captured in functional terms. Employing a range of interpretative methods, it explores the idea of lyric performances as textual events. Several chapters investigate the pragmatic relationship between real performance contexts and imaginative settings. Others consider how lyric poems position themselves in relation to earlier texts and textual traditions, or discuss the distinctive encounters lyric poems create between listeners, authors, and performers. In addition to studies that analyse individual lyric texts and lyric authors (Sappho, Alcaeus, Pindar), the volume includes treatments of the relationship between lyric and the Homeric Hymns. Building on the renewed concern with the aesthetic in the study of Greek lyric and beyond, Textual Events re-examines the relationship between the poems’ formal features and their historical contexts. Lyric poems are a type of sociopolitical discourse, but they are also objects of attention in themselves. They enable reflection on social and ritual practices as much as they are embedded within them. As well as enacting cultural norms, lyric challenges listeners to think about and experience the world afresh.


2021 ◽  
pp. 003802612110063
Author(s):  
Steven Threadgold ◽  
David Farrugia ◽  
Julia Coffey

This article contributes to recent debates about the relationship between affective labour and class by exploring the classed distinctions enacted through affective labour in the urban night-time economy. Bringing theories of affective labour into a dialogue with Bourdieusian feminist analysis, the article explores the affective and symbolic dynamics of hospitality labour in a gentrified inner-urban neighbourhood of Melbourne, Australia. It shows how the practice of hospitality labour enacts classed distinctions and tensions emerging from the gentrification of inner-urban areas, and how the aesthetic and symbolic dimensions of class contribute to the valorisation of affect in hospitality venues. The valorisation of affect are processes in which the value attributed to an atmosphere or consumption experience is based on the forms of distinction practised within the venue, enacted in aesthetics, tastes and modes of embodiment. The article also shows how practices of class distinction – both ‘punching up’ and ‘managing down’ – are connected to the gendered politics of service work in the way that workers manage the threat of violence or sexual harassment in venues. In general, the article shows how the classed dynamics of gentrification are enacted in affective economies, and therefore how Bourdieusian analysis of class can be usefully deployed in theoretical debates about affective labour.


2021 ◽  
pp. 105971232199468
Author(s):  
Jeannette Pols

The response asks about the relationship between artist and audience in the RAAAF artworks. Is the artist an Autonomous Innovator who breaches the ties with the past and the environment? Or is the aesthetic practice located in the creation of relationships around these objects, hence expanding the artwork by using know-how, experiences and enthusiasm of the audience/users?


2021 ◽  
pp. 109634802110200
Author(s):  
Yi-Ju Lee ◽  
I-Ying Tsai ◽  
Te-Yi Chang

This study investigated the relationship among tourists’ perceived sustainability, aesthetic experience, and behavioral intention toward reused heritage buildings by employing stimulus–organism–response theory. There were 354 valid questionnaires collected from the Sputnik Lab in Tainan, Taiwan. A positive correlation was found between tourists’ perception of sustainability and aesthetic experience. When tourists perceived higher aesthetic experience, they also had stronger behavioral intention. Structural equation modeling analysis verified that the aesthetic experience of tourists had mediating effects between perceived sustainability and behavioral intention in the reused heritage space. The reuse of space should be attached significantly to the aesthetic display of space and service so as to promote such scenic spots and increase tourists’ intention to revisit through word of mouth.


2021 ◽  
pp. 136216882110467
Author(s):  
Hyejin Cho ◽  
YouJin Kim

Although digital multimodal composing (DMC) is receiving increasing attention in language classrooms, the extent to which it contributes to students’ writing practices is controversial. In order to understand the affordances of DMC compared to traditional monomodal writing in school contexts, it is pertinent to compare DMC and traditional writing using academic integrated-skills tasks. The current study aims to investigate the relationship between the quality of Korean high school students’ multimodal composing and that of the same students’ traditional monomodal writing, as well as content and language alignment. Thirty-one Korean high school students carried out a summary-reflection task through DMC and traditional monomodal writing. After reading a short fable by Aesop, students summarized and reflected on the text. While students used only one mode in traditional writing (i.e. English text), they utilized multiple modes in DMC (e.g. pictures, movies). Students’ task outcomes were scored using analytic rubrics, and texts were coded in terms of the content and linguistic features students retrieved from the text (i.e. alignment) and their degree of reflection. The results showed that there were no statistically significant differences in the quality, content and language alignment, or amount of reflection in writing outcomes between students’ DMC and traditional monomodal writing.


2021 ◽  
Vol 50 (1) ◽  
pp. 34-56
Author(s):  
Christian Schmitt

Abstract The discrepancy between common temporary expectations of Switzerland as idyll on the one hand, and the reality of its industrially organized tourism on the other, imposes irritations upon the touristic gaze. This article, then, traces the origins of this discrepancy and examines the relationship between Swiss idyll and tourism in the 19th century. The analyses of Ida Hahn-Hahn’s Eine Idylle and Hans Christian Andersen’s Iisjomfruen showcase different ways of relating idyll and tourism to one another as well as the aesthetic merit produced by this constellation.


2021 ◽  
Vol 30 (1) ◽  
pp. 31-52
Author(s):  
Ann Compton

The mid-nineteenth century critical discourse compartmentalized art and industry by crediting each with specific powers. Manufacturing was identified with the development of technologically advanced processes, materials and products, while fine artists were given authority over the aesthetic aspects of industrial design. The idea that the two sectors had separate areas of responsibility has proved extremely enduring, and continues to influence our perceptions of Victorian manufacturing. This article contributes to the wider task of re-evaluating the relationship between art and industry in nineteenth-century Britain by examining the role of design in potteries and art metalworking firms from the manufacturer’s perspective. It shows that contrary to the picture painted by Victorian critics, design was central to the ambitions and commercial operations of manufacturing businesses. Crucially, decisions about the recruitment of design staff were shaped by the close connection between the creation of new products at the drawing board, and their fabrication in the workshop. Since each branch of manufacturing had its distinctive characteristics, there were significant practical, aesthetic and commercial advantages for manufacturers in employing experienced designers who knew the trade, and were fully conversant with production practices. Unless a professional sculptor joined a firm, they were unlikely to have this inside knowledge, which made commissioning one-off designs from artists a riskier proposition. Manufacturers found that one of the best ways to get around this was to make reductions of sculptures, and initial demand for statuettes in Parian suggested they would be profitable for all concerned. In the end, the market did not live up to its early promise, but the publicity given to Parian statuettes compensated manufacturers and sculptors. Overall, it was this increased public exposure for art manufactures that was the prime benefit of the mid-nineteenth century critical discourse for the industrial sector.


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