scholarly journals Reconceptualizing Play: Aesthetic Self-Definitions

2005 ◽  
Vol 6 (3) ◽  
pp. 233-243 ◽  
Author(s):  
Faith Guss
Keyword(s):  
The Other ◽  
Dramatic Play ◽  
Cultural Hegemony ◽  
Play Theory ◽  
Reflective Process ◽  
Dramatic Form ◽  
Take Back ◽  
Aesthetic Form ◽  
Theoretical Identity ◽  
The Aesthetic

This article aims to trouble the identity of children's dramatic play(ing). It contains two interweaving threads of discourse. In one thread lies a discussion of how children can trouble and extend their own identities through the aesthetic form-languages and conventions they employ and deploy in their dramatic playing/pretend playing. Whereas adults exchange thoughts verbally, children enter the play-arena and converse and reflect with, and in, dramatic form-languages. In dramatic form, through taking the perspective of, and momentarily becoming, The Other, the children problematize and construct temporary identities. In each dramatic enactment they are in a reflective process of becoming. In the second thread of discourse, the article troubles the theoretical identity of dramatic playing — as it is perceived in the dominant play theory of sociology, which defines playing as reproduction. This issue is addressed through the aesthetic concept of mimesis, by which playing is defined as critical transformation. In the interpretative work the author shows how, in the privacy of the children's play-culture, they have the cultural occasion, space, and liberty to take control: to question, to speak for themselves, to represent, transform and define themselves. The players can experiment with standpoints, redefine their identities and, thereby, take back their power of self-definition. Cultural hegemony can be turned on its head.

STUDY OF DECORATIVE VARIETY IN GORONTALO KARAWO FABRIC IN AESTHETIC AND SYMBOLIC ELEMENTS

ARTic ◽  
2019 ◽  
Vol 3 ◽  
pp. 121-134
Author(s):  
Apsari Dj Hasan
Keyword(s):  
Manufacturing Process ◽  
The Philippines ◽  
Aesthetic Theory ◽  
Cultural Meanings ◽  
Aesthetic Value ◽  
Aesthetic Form ◽  
Decorative Motifs ◽  
Symbolic Meanings ◽  
The Aesthetic

This study aims to examine the decorative types of Gorontalo karawo fabrics in aesthetic and symbolic elements. Researchers want to know as made in the research design, aspects that are present in the decoration of fabrics in aesthetic and symbolic elements. This study uses a number of related theories to get results, and as a determinant, the authors use aesthetic theory, as well as historical approaches. With this theoretical basis, the author seeks to describe the aesthetic aspects and symbolic meanings that exist in Gorontalo karawo fabric. Through the data collection of the chosen motif and provide a classification of motives, the part is used as a reference for research material. The results showed that Gorontalo filigree had an aesthetic value consisting of unity formed from the overall decorative motifs displayed, complexity formed by complexity in the manufacturing process, and intensity of seriousness in the manufacturing process or the impression displayed on the filigree motif. The aesthetic form also reflects the diversity of meanings for communication, such as the symbol of a leader with his noble instincts, a symbol of cultural cooperation, which is worth maintaining, and ideas about nature conservation. This research proves that the decoration in Gorontalo filigree cloth (karawo) does not only act as a visual value, but also as a communication of cultural meanings and social status. Of all these distinctive motifs show a relationship between humans and humans and humans with nature. The influence of culture from the Philippines is also known to have a strong influence on the emergence of the Gorontalo filigree namely manila filigree.

Introduction

2018 ◽  
Author(s):  
Richard Dagger
Keyword(s):  
Political Obligation ◽  
The Other ◽  
Fair Play ◽  
Unified Theory ◽  
Play Theory ◽  
Justification Of Punishment ◽  
Sustained Effort

This book aims to develop a unified theory of political obligation and the justification of punishment that takes its bearings from the principle of fair play. Much has been written on each of these subjects, of course, including numerous essays in recent years that approach one or the other topic in fair-play terms. However, there has been no sustained effort to link the two in a fair-play theory of political obligation and punishment. This book undertakes such an effort. This introduction explains why such a theory is an attractive possibility and how the argument for it unfolds in the succeeding chapters.

scholarly journals Research on Planning and Design of Urban Architectural Color in Changchun

2020 ◽  
Vol 165 ◽  
pp. 04029
Author(s):  
Zhang Cui
Keyword(s):  
Creative Thinking ◽  
Building Materials ◽  
Design Guidelines ◽  
The Other ◽  
New Era ◽  
Color Design ◽  
Planning And Design ◽  
Surrounding Environment ◽  
The Aesthetic

Architecture is the soul of city color. The planning focus of city color is city architecture, especially the planning control of the main wall color of street buildings. The design of architectural color should not only consider the surrounding environment of the building, the content of the building and the building materials, but also proceed from the aesthetic needs and conform to the principle of color engineering. On this basis, the plan proposes color design guidelines and relies on scientific and standardized “urban building color design guidelines” to achieve the purpose of maintaining the original appearance of history and creating a new era style. Besides the traditional buildings, the other “architectural color guidelines” should leave more room for manoeuvre and not restrict the creative thinking of architects.

Adorno’s Philistine: the Dialectic of Art and its Other

2019 ◽  
pp. 1-31
Author(s):  
Paul Ingram
Keyword(s):  
The Other ◽  
Critical Potential ◽  
The Social ◽  
The Aesthetic ◽  
Critical Turn ◽  
The Ideal

Abstract Theodor Adorno’s philistine functions as the other of art, or as the ideal embodiment of everything that the bourgeois aesthetic subject is not. He insists on the truth-content of the derogation, while recognising its unjust social foundation, and seeking to reflect that tension in a self-critical turn. His model of advanced art is negatively delimited by the philistinism of art with a cause and the philistinism of art for enjoyment, which represent the poles of the aesthetic and the social. The philistine is also the counterpart to the connoisseur, with the interplay between them pointing to his preferred approach to aesthetics, in which an affinity for art and alienness to it are combined without compromise. However, Adorno fails to realise fully the critical potential of the philistine as the immanent negation of art and aesthetics.

Marguerite Yourcenar, traductrice

Babel ◽  
1994 ◽  
Vol 40 (1) ◽  
pp. 21-37
Author(s):  
Ivo R.V. Hoefkens
Keyword(s):  
The Other ◽  
Political Sphere ◽  
Negro Spirituals ◽  
Marguerite Yourcenar ◽  
Other Hand ◽  
The Aesthetic ◽  
Literary Output ◽  
Ethical Communication ◽  
The Waves ◽  
Second Period

Marguerite Yourcenar, known as an author, is also the translator of about a dozen works. My purpose here is to trace the evolution of her oeuvre in the field of translation in relation to her literary output. I have divided the former into three distinct periods, the first of which covers the closing years of the 1930s, when Marguerite Yourcenar translated Virginia Woolf's The Waves and Henry James's What Maisie Knew. Her interest in these authors is to a large extent stylistic. On the other hand, the translation of Constantin Cavafy's poetry, which was begun during the same period, reflects the intimist themes to be found in Marguerite Yourcenar's early narratives {Alexis and the others), although she was then already seeking out other thematic sources. The translation was only published in 1958. It consequently falls within a second period: that of the "présentations critiques" (critical commentaries). These major efforts in translation {Présentation critique de Constantin Cavafy, La Couronne et la Lyre, Fleuve profonde, Sombre rivière) are marked by a manifest preoccupation with the aesthetic. But themes of a more universal character and engagement in the socio-political sphere also enter into the choice of the texts for translation (negro spirituals, Présentation critique d'Hortense Flexner). These translations were contemporaneous with the creation of Marguerite Yourcenar's most important novels, namely Mémoires d'Hadrien and L'OEuvre au Noir. The last of the three periods, the 1980s, finds her tackling far less ambitious projects, the function of which tends increasingly towards ethical communication. The only one of them that bears any resemblance to the "présentations critiques" is the essay on Yukio Mishima and the translation of Cinq Nô Modernes, assuming that these are to be considered as an ensemble. Here, as elsewhere, it also emerges that Marguerite Yourcenar is largely indifferent to the existence of other translations.

Brief Analysis for the Aesthetic Form of Chinese Garden Art

2014 ◽  
Vol 584-586 ◽  
pp. 650-653 ◽  
Author(s):  
Bian Ling Zhang
Keyword(s):  
Development History ◽  
Artistic Conception ◽  
High Uniformity ◽  
Aesthetic Form ◽  
The World ◽  
The Aesthetic ◽  
Aesthetic Forms

Chinese garden art has developed gradually along with the neutralization--lasting appeal--artistic conception trend till to the peak, meanwhile, those aesthetic forms can be existed synchronously with historical advancement, logic arrangement in parallel and correspondence as well as abundance and deepening of the interior connotation and exterior extension, which represent the high uniformity of the development history and logics of Chinese garden art. Nowadays, the landscape garden development is required to probe its root, explore its cultural soul, so as to base itself upon the garden industry all over the world. Additionally, the function of traditional aesthetic form will show the powerful functions, declare publicly the deep influence of modernized landscape garden development.

Contraste, Dissonanzen, Missklänge: Zum Verhältnis von Idylle und Tourismus in literarischen Schweiz-Reisen des 19. Jahrhunderts (Ida Hahn-Hahn, Hans Christian Andersen)

2021 ◽  
Vol 50 (1) ◽  
pp. 34-56
Author(s):  
Christian Schmitt
Keyword(s):  
19Th Century ◽  
The Other ◽  
Hans Christian Andersen ◽  
The Aesthetic ◽  
The One ◽  
The 19Th Century ◽  
The Relationship

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.

Non-syndromic double upper lip with triple frena: cosmetic cheiloplasty

2021 ◽  
Vol 14 (9) ◽  
pp. e243156
Author(s):  
Monika Gupta ◽  
Harshita Vig ◽  
Yajas Kumar ◽  
Aliza Rizvi
Keyword(s):  
Psychological Distress ◽  
Present Article ◽  
Surgical Management ◽  
Surgical Intervention ◽  
The Other ◽  
Upper Lip ◽  
Lower Lip ◽  
Facial Anomaly ◽  
The Aesthetic ◽  
Functional Problems

Double lip or macrocheilitis is a rare facial anomaly, mostly congenital in origin. It commonly involves the upper lip than the lower lip. It may occur in isolation or as part of the Ascher’s syndrome. It results due to deposition of excessive areolar tissue and non-inflammatory hyperplasia of labial mucosa gland of pars villosa. It may be acquired as a result of injury to the lips or lip-biting habit. The double lip becomes conspicuous when the lips are retracted during smiling resulting in the characteristic ‘cupid’s bow’ appearance. This disfigurement can pose aesthetic and functional problems and may result in psychological distress. A surgical intervention is must for restoration of functions and to address the aesthetic concerns. The present article reports a case of non-syndromic double upper lip with triple labial frena and its surgical management with laser on one side and with scalpel on the other side.

Vegan attendance: reading Gibbons’s animals

2020 ◽  
Vol 29 (3) ◽  
pp. 379-394
Author(s):  
Emelia Quinn
Keyword(s):  
The Other ◽  
Other Hand ◽  
Aesthetic Pleasure ◽  
Simone Weil ◽  
The Aesthetic ◽  
The One ◽  
Embodied Presence

When we encounter the work of Grinling Gibbons, we find ourselves in the presence of multiple non-human animals. However, it is unclear how one should address these presences. On the one hand, for ecofeminist scholars such as Josephine Donovan, the aestheticization of animal death is to be vehemently resisted and the embodied presence of animals recovered by looking beyond the surface: a mode of looking that Donovan terms ‘attentive love’. On the other hand, a re-reading of the philosophical ideas of Simone Weil, upon which Donovan premises her argument, suggests that attention to others requires a mode of radical detachment. These two positions speak in important ways to the dilemmas faced by a vegan spectator. Drawing on Jason Edwards’s previous work on ‘the vegan viewer’, this article seeks to reconcile a vegan resistance to Gibbons’s depictions of animal death, in their spontaneous falling under human dominion, with the aesthetic pleasure generated by Gibbons’s craftmanship. I therefore propose ‘vegan camp’ as a means of reconciling oneself to insufficiency and complicity in systems of violence without renouncing pleasure. Vegan camp is detailed as an aesthetics that acknowledges the violence of humanity and one’s inescapable place within it, dissolving the subjective idea of the beautiful vegan soul to pay attention to the pervasive presence of an anthropocentrism that, in the case of Gibbons, decoratively adorns the sites at which animals might be eaten, worn, or offered up for sacrifice.

Telling refugees’ stories: Testimony and hospitality in graphic novel L’Odyssée d’Hakim by Fabien Toulmé

2021 ◽  
Vol 12 (1) ◽  
pp. 301-313
Author(s):  
Jennifer Boum Make
Keyword(s):  
Mediterranean Region ◽  
The Other ◽  
Graphic Novel ◽  
Bearing Witness ◽  
Visual Narratives ◽  
Ethical Implications ◽  
Testing Zone ◽  
The Creation ◽  
The Aesthetic ◽  
The Relationship

Following the increase in migratory flows since 2015, in the Euro-Mediterranean region, bandes dessinées are mobilized to stir up compassion and prompt engagement with marginalized biographies. It begins with the premise that aesthetic approaches of bandes dessinées reveal a testing zone to juxtapose modalities of representation and expression of refugees and ways to interact with otherness. To interrogate the relationship between aesthetic devices and the formation of solidarity, this article considers the first volume of Fabien Toulmé’s trilogy, L’Odyssée d’Hakim: De la Syrie à la Turquie (2018). How does Toulmé’s use of aesthetic devices make space for the other, in acts of dialogue and exchange? What are the ethical implications for the exercise of bearing witness to migrant and refugee narratives, especially in the transcription and translation in words and drawing of their biographies? This article argues that visual narratives can provide for the creation of a hospitable testimonial space for migrants and refugees’ voices. The article outlines the aesthetic methodology deployed in graphic storytelling, reflects on what it means for the perception of refugees, and questions the use and ethical appeal of visual narratives as a form to curate hospitality.

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