Chibcha Aesthetics

1951 ◽  
Vol 17 (2) ◽  
pp. 145-147 ◽  
Author(s):  
C. A. Burland
Keyword(s):  
National Culture ◽  
Work Of Art ◽  
Aesthetic Taste ◽  
Works Of Art ◽  
The Aesthetic ◽  
The Individual

When we look at modern works of art we too often talk of the aesthetic taste of the individual artist without taking into consideration his place in a national culture, or an economic group. Towards “primitive” art we take a completely opposite viewpoint. Even when considering such a highly sophisticated art as that of pre-Columbian America, we are prone to give it an archaeological label and call a work of art an “interesting specimen.”

The Medieval Image, I

2019 ◽  
pp. 196-223
Author(s):  
Thomas Nail
Keyword(s):  
Middle Ages ◽  
Work Of Art ◽  
Works Of Art ◽  
Aesthetic Field ◽  
The Aesthetic ◽  
The Church ◽  
The Middle Ages

Chapter 10 presents a realist aesthetics (versus constructivist) and a kinetic materialism (versus formal idealism) that focuses on the material kinetic structure of the work of art itself, inclusive of milieu and viewer. What the author calls “kinesthetics” is a return to the works of art themselves as fields of images, affects, and sensations. The chapter more specifically offers a focused study of the material kinetic conditions of the dominant aesthetic field of relation during the Middle Ages. The argument here and in the next chapter is that during the Middle Ages, the aesthetic field is defined by a tensional and relational regime of motion. This idea is supported by looking closely at three major arts of the Middle Ages: glassworks, the church, and distillation. The next chapter likewise considers perspective, the keyboard, and epistolography.

Art, understanding of

2018 ◽  
Author(s):  
Colin Lyas
Keyword(s):  
Alternative View ◽  
Work Of Art ◽  
Marcel Duchamp ◽  
The Waste Land ◽  
Avant Garde ◽  
Waste Land ◽  
Economic Organizations ◽  
Works Of Art ◽  
The Individual ◽  
The Church

Art engages the understanding in many ways. Thus, confronted with an allegorical painting such as Van Eyk’s The Marriage of Arnolfini, one might want to understand the significance of the objects it depicts. Similarly, confronted with an obscure poem, such as Eliot’s The Waste Land, one might seek to understand what it means. Sometimes, too, we claim not to understand a work of art, a piece of music, say, when we are unable to derive enjoyment from it because we cannot see how it is organized or hangs together. Sometimes what challenges the understanding goes deeper, as when we ask why some things, including such notorious productions of the avant garde as the urinal exhibited by Marcel Duchamp, are called art at all. Some have also claimed that to understand a work of art we must understand its context. Sometimes the context referred to is that of the particular problems and aims of the individual artist in a certain tradition, as when the church of St Martin-in-the-Fields is understood as a contribution by its architect to the vexing problem of combining a tower with a classical façade. Sometimes the context is social, as when some Marxists argue that works of art can best be understood as reflections of the more or less inadequate economic organizations of the societies that gave rise to them. The understanding of art becomes a philosophical problem because, first, it is sometimes thought that one of the central tasks of interpretation is to understand the meaning of a work. However, recent writers, notably Derrida (1972), query the notion of the meaning of a work as something to be definitively deciphered, and offer the alternative view of interpretation as an unending play with the infinitely varied meanings of the text. Second, a controversial issue has been the extent to which the judgment of works of art can be divorced from an understanding of the circumstances, both individual and cultural, of their making. Thus Clive Bell argued that to appreciate a work of art we need nothing more than a knowledge of its colours, shapes and spatial arrangements. Others, ranging from Wittgenstein to Marxists, have for a variety of different reasons argued that a work of art cannot be properly understood and appreciated without some understanding of its relation to the context of its creation, a view famously characterized by Beardsley and Wimsatt (1954) as the ‘genetic fallacy’.

scholarly journals SEMANTIC FEATURES OF THE LANGUAGE GAME AND ITS REPRESENTATIONS IN THE PROSE OF A. T. AVERCHENKO

2018 ◽  
pp. 86-91
Author(s):  
Y. N. Kucheryavykh
Keyword(s):  
National Culture ◽  
Word Order ◽  
Language Game ◽  
Literary Text ◽  
Semantic Features ◽  
Work Of Art ◽  
Works Of Art ◽  
Relationship Of ◽  
The Relationship ◽  
Selection Of

The article discusses the features of the formation and functioning of irony as a way of expressing evaluation in the relationship of the characters of works of art A. T. Averchenko. The importance of this phenomenon is determined by the dependence of the elements of its construction, as well as the external historical and literary vertical context, language elements that form the emotional and expressive marking of the statement. Therefore, it is possible to distinguish some types of ironic evaluation: non-reflexive and reflexive. Acting as a means of language comedism, pun in the humorous prose of Arkady Averchenko structurally-semantically organized, and, as an element of the language game, has the laws of construction and selection of stylistic techniques of creation and influence characteristic of the works of the writer. Therefore, the variety of means of creating a comic assessment in the artistic texts of the author suggests that the choice of a particular technique depends on the language personality of the writer, the ratio of linguistic and extralinguistic means of representing the evaluation in the literary text, because the meaning of the phrase predicted by the addressee is created at the expense of the expected word order for the original syntax. Consequently, the realization of the ironic meaning inherent by the Creator of the work of art in the lexemes, becomes clear only from the surrounding context. Since the game is the basis of any culture, the ratio of these concepts becomes the leading person playing, manifested in the manner of speech behavior of the linguistic personality of both the author-Creator and the character - his creations. Therefore, it is appropriate to state that the linguistic personality exists in the space of culture, and, therefore, it can be presented as a linguocultural type as an image recognizable by representatives of a certain national culture, embodied in the character of an artistic work as a creative and playing unique linguistic personality.

scholarly journals Dlaczego jedzenie musi być piękne?

2018 ◽  
Vol 21 (2) ◽  
pp. 69-85
Author(s):  
Dominika Zagrodzka
Keyword(s):  
21St Century ◽  
Creative Process ◽  
Roland Barthes ◽  
Open Letter ◽  
Work Of Art ◽  
Preliminary Research ◽  
The Aesthetic ◽  
The Individual ◽  
The Erotic

Dlaczego jedzenie musi być piękne?W  artykule omawiam problem estetyzacji jedzenia. Analizuję dwudziestojednowieczne manifesty napisane przez szefów kuchni, takie jak Open Letter to the Chefs of Tomorrow i  Statement on the ʻnew cookeryʼ. Szczególnie interesuje mnie język, jakiego używają, mówiąc o  jedzeniu i  gotowaniu. Często jest on podobny do języka używanego do opisu sztuki i  procesu twórczego. Przykładowo, jednym z  najpopularniejszych terminów jest termin „interpretacja”, dotyczący zarówno działań kucharzy, jak i  jedzących. Podkreśla się, że akt jedzenia powinien być całościowym doświadczeniem i  dostarczać emocji zarezerwowanych dla sztuki. Czy rzeczywiście możemy mówić o  podobieństwie jedzenia do dzieła sztuki i  gotowania do tworzenia? Odwołując się między innymi do rezultatów wstępnych badań, jakie prowadziłam, chcę pokazać, jak koncepcja estetyzacji codzienności Wolfganga Welscha koresponduje z  ideą Georga Simmla o  estetycznej sile wspólnego stołu. Okazuje się, że chodzi nie tylko o  podawanie pięknych dań. Aby osiągnąć satysfakcję estetyczną z  posiłku, szczególnie ważne jest, z  kim i  w  jakim otoczeniu jemy. Wspólnota jest czymś nadbudowanym nad jednostkową satysfakcją. Roland Barthes zaznaczał także, że reguły i  zakazy obowiązujące podczas jedzenia zostały stworzone, aby ukryć erotyczny, indywidualny aspekt jedzenia. Why food must be beautiful?In my article I discuss the problem of the anesthetization of food. I analyzed the 21st century manifestos written by the chefs, including Open Letter to the Chefs of Tomorrow and Statement on the »new cookery«. I am particularly interested in the language they use talking about food and cooking. It is often similar to the language which is used to describe the work of art and the creative process. For example, the most popular term is ‘interpretation’ concerning the activities of cooks and eaters. It is emphasized that the act of eating is supposed to be holistic experience and should provide feelings reserved for art. But how much can you actually talk about the similarity of food to the pieces of art and about the similarity of cooking to creating something? Referring to the results of the preliminary research that I conducted, I want to show how to combine Wolfgang Welsch’s concepts about everyday aesthetisation and Georg Simmel’s ideas about the aesthetic power of a community table. It turns out that it is not just about to serve beautiful plates. To be satisfied with the meal it is also important who we eat with and in what setting. The community is something appearing over the individual satisfaction. Roland Barthes admitted that the rules and prohibitions are designed also to cover the erotic aspects of feasting.

scholarly journals The performative turn at Inhotim: installation art and Baudelairean modernity

2013 ◽  
Vol 23 (3) ◽  
pp. 13-30
Author(s):  
Lauren S. Weingarden
Keyword(s):  
Aesthetic Experience ◽  
Installation Art ◽  
Charles Baudelaire ◽  
Art Museum ◽  
Transformative Experience ◽  
Work Of Art ◽  
Botanical Gardens ◽  
The Spectator ◽  
The Aesthetic ◽  
The Individual

This article explores the participatory turn in installation art as part of a trajectory from Baudelairean modernity to twentyfirst-century postmodernity, as represented at Inhotim, the outdoor contemporary art museum and botanical gardens in Brumadinho, MG. In his 1862 essay “The Painter of Modern Life,” Charles Baudelaire defined modernity as fleeting, transitory and fragmentary. Baudelairean modernity initiated a breakdown of boundaries between art and life and between high art aesthetics and popular culture, which continues in the work of installation artists. In the sites of installation art, the spectator is compelled to extend – rather than complete – the work of art in his/her own time, prior experiential encounters and transformative afterthoughts. The shift from the isolated work of art to the experiential one not only complicates how and where works of art are viewed, but also radicalizes the materials that constitute the work of art – whether those materials are extracted from the quotidian sphere or complex technologies, each undergoes a process of defamiliarization and reactivation to produce the transformative aesthetic experience. The individual installations in Inhotim’s “outdoor museum” engage the spectator in a dynamic/participatory experience with spatial, temporal and material relationships that define the very essence of art’s reciprocity, or contrast with the natural and man-made worlds. It is the rarefied setting of Inhotim’s botanical gardens that makes the participatory and transformative experience central to the aesthetic encounter with installation art.

Only with Beauty Man Shall Play

2017 ◽  
Author(s):  
Erika Fischer-Lichte
Keyword(s):  
French Revolution ◽  
Greek Tragedy ◽  
Aesthetic Education ◽  
Free State ◽  
Work Of Art ◽  
The Spectator ◽  
The Aesthetic ◽  
The Individual ◽  
Aesthetic Distance

Chapter 1, ‘Only with Beauty Man Shall Play. Goethe’s Production of Ion in Weimar (1802)’, proceeds from Goethe’s and Schiller’s responses to the French Revolution. While Goethe hailed the Bildung of the individual—that is, the development of his potential to the full—as the substitute for a revolution, Schiller believed that it was the aesthetic education of the individual that would finally result in a free state. The production of a Greek tragedy as an autonomous work of art that precluded the formation of empathy in the spectator (contrary to the domestic tragedy) was supposed to offer the spectator the possibility of aesthetic distance and thus enable him to acquire Bildung. To this end, Goethe developed a completely new aesthetics that the majority of spectators rejected—Ion turned out to be a flop.

THE ROLE OF IRONY IN UZBEK LITERATURE

2021 ◽  
Vol 5 (3) ◽  
pp. 50-59
Author(s):  
Ugiloy Mavlonova ◽  
Keyword(s):  
Literary Criticism ◽  
Research Methods ◽  
World Literature ◽  
Work Of Art ◽  
Scientific Investigations ◽  
Works Of Art ◽  
The World ◽  
The Individual

Introduction. In world literature, a number of scientific investigations are being conducted on the classification of irony, its artistic manifestations, parody, paradox, grotesque and image. The role of irony and image in the structure of the work of art in the world literary science, in which the coverage and identification of the individual skills of the writer remains one of the urgent tasks. In modern Uzbek literature, there is an approach based on various research methods of world literature in the analysis of works of art, the coverage of the poetic skills of the author. Research methods. At the same time, as poetry and prose of the 1970s and 1980s emerged from ideological stereotypes, literary criticism seemed to lag behind.

scholarly journals Technologies of Aesthetic Education of Personality by Means of Theatrical Art

2021 ◽  
Vol 1 (6 (344)) ◽  
pp. 78-92
Author(s):  
Nataliia Krasnovа ◽  
Keyword(s):  
Personal Development ◽  
Aesthetic Education ◽  
Educational Process ◽  
Creative Activity ◽  
Works Of Art ◽  
Puppet Theater ◽  
Aesthetic Consciousness ◽  
Spiritual Self ◽  
The Aesthetic ◽  
The Individual

The article characterizes theatrical art as a combination of pictorial possibilities of different arts: literature, stage, painting, architecture, dance, etc. Characteristics, differences of types of theater are given: dramatic, musical (opera, operetta, ballet), pantomime, puppet theater, theater of small forms, which in a way influence the formation of the personality of the younger generation. It is shown that aesthetic education can be considered as a universal means of personal development based on the identification of individual abilities, diverse aesthetic needs and interests. The purpose of aesthetic education is determined, namely, on the basis of perception, interpretation of works of art and practical artistic and creative activity to form in a person a personal and valuable attitude to reality and art, to develop aesthetic consciousness, cultural and artistic competence, ability to self-realization, need for spiritual self-improvement. It is proved that artistic and pedagogical technologies are the most effective in the process of aesthetic education of personality; their structure contains: human resources (emotionally colored subject-subject interaction, a palette of forms and methods of organizing various types of artistic and creative activities), artistic and intellectual resources (works of art, artistic knowledge, ideas, meanings, values), technical resources (audiovisual, computer); types: local (specific methods for the development of certain skills and abilities), systemic (covering the holistic educational process, various arts). Forms and methods of art and game technologies (dramatization, pantomime, staging, dramatization) that contribute to the aesthetic education of the individual are presented.

Can This Be Art?

2018 ◽  
Author(s):  
Ellen Winner
Keyword(s):  
Formal Definition ◽  
Surface Form ◽  
Work Of Art ◽  
Socially Constructed ◽  
Works Of Art ◽  
Aesthetic Attitude ◽  
The Difference ◽  
The Aesthetic ◽  
Necessary And Sufficient ◽  
Open Concept

While philosophers have tried to define art by necessary and sufficient features, this effort has failed. Art is a socially constructed, open concept that eludes formal definition. While art cannot be tightly defined, we can loosely define art by listing possible characteristics of works of art—recognizing that this list must remain an open one. We may not be able define art, but philosophers and psychologists together have revealed the difference between observing something with or without an aesthetic attitude. While any artifact may be used as a work of art, we respond differently to that artifact when we believe it is was created intentionally as a work of art rather than a non-art artifact. We adopt an aesthetic attitude, paying attention to the surface form and the expressive properties of the object. This conclusion is consistent with Kant’s idea of the aesthetic attitude being a form of disinterested contemplation.

scholarly journals A Bigger Splash to the Narrative

2018 ◽  
Vol 9 (1) ◽  
pp. 90-107
Author(s):  
Vinicius Oliveira Sanfelice
Keyword(s):  
Philosophy Of Language ◽  
Paul Ricoeur ◽  
Language Game ◽  
Work Of Art ◽  
Works Of Art ◽  
Semantic Link ◽  
Figurative Art ◽  
Aesthetic Aspect ◽  
David Hockney ◽  
The Aesthetic

The objective of this article is to offer an example of a work of art identified with what Paul Ricœur named polysemy or linguistic density. Some works of art exemplify a metaphoricity in their constitution and the metaphor would be a privileged model for the analysis of figurative art and of allusive figuration. I believe that the painting A Bigger Splash by David Hockney has an image game that is also a language game: the aesthetic figuration as semantic link between the verbal and the non-verbal, between the poetic and the pictorial. I argue that figuration through metaphoricity also exemplifies an ambiguity in Ricœur’s philosophy of language, and the distinction between the field of the pre-narrative and the narrative of the artwork clarify the aesthetic aspect of his theory of metaphor. The advantage of my example is that the immanent analysis of the metaphoric constitution of the work of art is compatible with the isolation of its narrative elements. The metaphoric redescription in painting should not be automatically extended to the narrative refiguration. 

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