Aesthetic Experience in the Light of Current Psychology

1941 ◽  
Vol 1 (1) ◽  
pp. 23 ◽  
Author(s):  
Max Schoen
Keyword(s):  
Current Psychology ◽  
Aesthetic Experience

Aesthetic Experience in the Light of Current Psychology

1941 ◽  
Vol 1 (1) ◽  
pp. 23-33
Author(s):  
MAX SCHOEN
Keyword(s):  
Current Psychology ◽  
Aesthetic Experience

Religion and Aesthetic Experience in Joyce and Yeats

2015 ◽  
Author(s):  
Tudor Balinisteanu
Keyword(s):  
Aesthetic Experience

Aux frontières de l'expérience esthétique: le grotesque baudelairien

2019 ◽  
Vol 58 (2) ◽  
pp. 237-248
Author(s):  
Julien Weber
Keyword(s):  
Aesthetic Experience ◽  
A Priori ◽  
Intended Meaning ◽  
The Grotesque

This article is about the grotesque in Baudelaire. While Baudelaire's famous essay on laughter plays an important role in contemporary theories of grotesque aesthetics, his own poetic production is often left aside. In this article, I discuss how the grotesque manifests itself in works by Baudelaire that seem a priori irrelevant because of their ostensible use of ‘comique significatif’, a sort of antithesis of the grotesque. Through a discussion of Pauvre Belgique! And ‘Le Chien et le Flacon’, I argue that the baudelairian grotesque most powerfully intervenes in the mode of a distortion of the intended meaning, which leads me to distinguish its reading from a properly ‘aesthetic’ experience.

Haydn, meter, and listening in transition

2010 ◽  
Vol 51 (1-2) ◽  
pp. 141-152 ◽  
Author(s):  
Roger Grant
Keyword(s):  
Eighteenth Century ◽  
Aesthetic Experience ◽  
Recent Trend ◽  
Music And Literature ◽  
Late Works ◽  
The Way

In recent years, music theorists and analysts have devoted a great deal of attention to the phenomenon of hypermeter, drawing some of their most representative examples from the late works of Haydn. Although this recent trend in analysis has shed much light on Haydn’s music, it has left questions of history distinct from the mode of listening it engages. This article argues that the way we understand conceptualizations of listening and aesthetic experience can greatly inform the way that we understand hypermeter and the question of style in history. Drawing on eighteenth-century theories of music and literature, it recontextualizes Haydn’s hypermetric style with respect to a larger world of aesthetic experience.

Gadamer’s Concept of Aesthetic Experience as a Possibility for the Orthodox Biblical Theology

2014 ◽  
Vol 6 (3) ◽  
pp. 378-407
Author(s):  
Zdenko Š Širka
Keyword(s):  
Aesthetic Experience ◽  
Biblical Theology ◽  
Main Thesis ◽  
New Material ◽  
The Way

Abstract This article finds its inspiration in the new interpretations of Gadamer’s hermeneutics, which underline the turn in his later period, and which focus on the conception of aesthetic experience as an experience of transcendence. The main thesis is that the understanding of artworks, as Gadamer describes them in contrast to the Kantian subjectification of aesthetics, can be paralleled with the way Orthodox biblical theology struggles to approach Holy Scripture in the context of Church and Tradition. The aim of this article is to bring new material to the growing reception of Gadamer among Orthodox scholars, and to initiate further discussion on the topic by showing the parallels and areas where this reception could continue.

Film als Experiment der Animation

2012 ◽  
Vol 3 (1) ◽  
pp. 11-24
Author(s):  
Gertrud Koch
Keyword(s):  
Aesthetic Experience ◽  
Life Sciences

Im Zentrum steht der Begriff des Experiments, der mit Kants Begriff der Lebendigkeit als zentralem Topos der ästhetischen Erfahrung auf die 〉Animation〈 im Film bezogen wird, insoweit beide einen lebenswissenschaftlichen Kern haben. Insbesondere in einer Auseinandersetzung mit Eisensteins Poetik des 〉Plasmatischen〈 wird die experimentelle Übertragung einer lebenswissenschaftlichen Metapher in eine Ästhetik des Films diskutiert, die von der Animation ausgeht. </br></br>The paper discusses the notion of »experiment« and relates it – via Kant's concept of liveliness, which is a central topos of aesthetic experience – to »animation« in film, insofar as both essentially refer to »life sciences.« Drawing upon the example of Eisenstein's poetics of the »plasmic,« the paper discusses the transferal of a metaphor from life sciences to an aesthetics of cinema based on animation.

Ambient in Kunst, Musik und Theater

2009 ◽  
Vol 54 (1) ◽  
pp. 121-132
Author(s):  
Sabine Gebhardt Fink
Keyword(s):  
Aesthetic Experience ◽  
Complex Structure ◽  
Lived Space ◽  
Ästhetische Erfahrung ◽  
Point Of Departure

In performativen künstlerischen Projekten der Ambient Art werden Raum und Körper neu erzeugt. Diese These verdeutliche ich mit Beispielen aus den Bereichen Musik, Theater und Kunst, die das transdisziplinäre Phänomen Ambient als komplexe mediale Struktur erklären. Des weiteren gehe ich vom Modell des gelebten Raums aus, um auszuführen, wie der Ort eines künstlerischen Projekts die Art und Weise der Verkörperungen seiner Teilnehmer definiert. Umgekehrt wird deutlich, daß die immersive ästhetische Erfahrung von Ambient erst Präsenz und Raum konstituiert. During performative artistic projects in Ambient Art, both space and structures of embodiment are constituted. I illustrate this thesis with examples of performative works in music, theatre and art, in order to analyze the transdisciplinary phenomenon of Ambient Art as a complex structure. My point of departure is a model of lived space in which the bodily enactment in the performative artwork produces place and, vice versa, the place of the artwork determines the active body as an immersive aesthetic experience.

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