Aesthetic Form and Sensory Content in the Critique of Judgment:

2018 ◽  
pp. 185-200
Author(s):  
MARY J. GREGOR
Keyword(s):  
Critique Of Judgment ◽  
Aesthetic Form

Quantifying Aesthetic Form : A Review

2012 ◽  
Vol 2 (8) ◽  
pp. 160-161
Author(s):  
Tarun walia ◽  
◽  
Jagjit Singh Jagjit Singh
Keyword(s):  
Aesthetic Form

Kraft des Leeren

2018 ◽  
Vol 63 (1) ◽  
Author(s):  
Christiane Voss
Keyword(s):  
Driving Force ◽  
Aesthetic Theory ◽  
Aesthetic Form ◽  
Concrete Objects ◽  
Physical Changes ◽  
Personal Registers

Traditionell wird Einfühlung anthropozentrisch und figurenbezogen behandelt. Demgegenüber arbeitet dieser Text, anknüpfend an die ästhetische Einfühlungstheorie von Theodor Lipps und neuere Bild- und Filmtheorien, eine ästhetische Form dingbezogener Einfühlung heraus. Mit Bezug auf die dramaturgische Funktionsweise sogenannter McGuffins, wie Alfred Hitchcock sie für den Film eingeführt hat, rückt ein ganzes Genre filmischer Dinge exemplarisch ins Zentrum, die die Aufgabe übernehmen, eigenständig filmische Spannung und damit Immersion zu erzeugen. McGuffins treten meist in Form von konkreten Gegenständen wie Koffern oder Behältern auf, die physischen Ortswechseln unterzogen werden und Faszination auf sich ziehen, ohne dafür auf psychologische und personenbezogene Register Bezug nehmen zu müssen. Die Spannung und Zeit antreibende Kraft von McGuffins, welche sich stets als bedeutungsleere Motive am Ende einer Geschichte erweisen, ist eine Funktion ihrer geradezu kontaktmagischen und kausalen Übertragungsmöglichkeiten. McGuffins organisieren narrative Bewegungen diesseits von Sinn und Bedeutung. Der Bezug auf dingbezogene Einfühlung weist in philosophischer Hinsicht auf die Notwendigkeit hin, nicht-semiotische und materielle Formen dramaturgischer Bewegung in ästhetischen und narrativen Theorien begrifflich stärker zu berücksichtigen. Empathy is traditionally treated anthropocentrically and figure-related. In contrast, this text, based on Theodor Lipp’s aesthetic theory of empathy and more recent image and film theories, works out an aesthetic form of thing-related empathy. With reference to the dramaturgical functioning of so-called McGuffins, as Alfred Hitchcock introduced them for film, an entire genre of cinematic things, which take on the task of independently creating cinematic suspense and thus immersion, takes centre stage. McGuffins usually appear in the form of concrete objects such as suitcases or containers which undergo physical changes of location and attract fascination without having to refer to psychological and personal registers. The suspense-and time-driving force of McGuffins, which always prove to be meaningless motifs at the end of a story, is a function of their almost contact-magic and causal transmission possibilities. McGuffins organize narrative movements instead of meaning and significance. In philosophical terms, the reference to material empathy points to the need to take greater account of non-semiotic and material forms of dramaturgical movement in aesthetic and narrative theories.

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.

The Genesis of Kant's Critique of Judgment. John H. Zammito

1995 ◽  
Vol 67 (1) ◽  
pp. 206-209
Author(s):  
Robert S. Leventhal
Keyword(s):  
Critique Of Judgment

A Slow Unfolding “Fault Sequence”: Risk and Responsibility in Lucy Kirkwood’s The Children

2020 ◽  
Vol 8 (1) ◽  
pp. 83-99
Author(s):  
Julia Hoydis
Keyword(s):  
Risk Management ◽  
Communication Theory ◽  
Risk Behaviour ◽  
Environmental Crisis ◽  
Environmental Destruction ◽  
Human Risk ◽  
Collective Risk ◽  
Aesthetic Form ◽  
Personal Crisis ◽  
Dramatic Text

AbstractBritish playwright Lucy Kirkwood’s The Children (2016) tackles the imaginative challenge of depicting environmental crisis, in particular the risks of nuclear destruction and climate change. With questions of intra- and intergenerational justice being at the heart of the dramatic text, this article draws on conceptions and insights from cultural risk theory to argue that human risk behaviour and decision-making is the play’s main focus and determines characterisation as well as structure. Interrogating the tension between aesthetic form and content, it shows how The Children naturalizes the (post-)apocalyptic condition and strives for a balance of scales with regard to collective and personal crisis. Characteristic of the rapidly growing corpus of contemporary “cli-fi” drama, and in accordance with many of the strategies proclaimed by climate communication theory, the play stages the catastrophic implications of environmental destruction predominantly as collective risk management and in a predominantly realist manner, discarding formal experimentation as well as futurist setting. Yet this article argues that it remains ambiguous what kind of risk management is proposed and whether we should read it as a call for action or as an imaginative means of accepting finitude.

Joseph Soloveitchik and Immanuel Kant's Mitzvah-Aesthetic

AJS Review ◽  
2001 ◽  
Vol 25 (1) ◽  
pp. 1-24 ◽  
Author(s):  
Zachary Braiterman
Keyword(s):  
Immanuel Kant ◽  
Social Ethics ◽  
Formal System ◽  
Order Effects ◽  
Critique Of Judgment ◽  
Jewish Thought ◽  
Personal Morality ◽  
History Of ◽  
The Relationship ◽  
The Ideal

In the following pages, I will address the relationship between Jewish thought and aesthetics by bringing Joseph Soloveitchik into conversation with Immanuel Kant, whose Critique of Judgment remains an imposing monument in the history of philosophical aesthetics. While Buber and Rosenzweig may have been more accomplished aesthetes, Soloveitchik's aesthetic proves closer to Kant's own. In particular, I draw upon the latter's distinction between the beautiful and the sublime and the notion of a form of indeterminate purposiveness without determinate purpose. I will relate these three figures to Soloveitcchik's understanding of halakhah and to the ideal of performing commandments for their own sake (li-shemah). The model of mitzvah advanced by this comparison is quintessentially modern: an autonomous, self-contained, formal system that does not (immediately) point to extraneous goods, such as spiritual enlightenment, personal morality, or social ethics. The good presupposed by this system proves first and foremost “aesthetic.” That is, immanent to the system. Supererogatory goods enter into the picture only afterward as second-order effects.

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.

scholarly journals The conclusion of the deduction of taste in the dialectic of the power of judgment aesthetic in Kant

2013 ◽  
Vol 36 (2) ◽  
pp. 45-62
Author(s):  
Manuel Sánchez
Keyword(s):  
Comparative Analysis ◽  
Critique Of Judgment ◽  
Historical Reconstruction ◽  
Human Reason ◽  
Aesthetic Judgments

In this paper, it is argued that only in the section on dialectic in the Critique of Judgment does Kant reach a definitive and conclusive version of deduction, after discovering the concept of the supersensible. In the section on the deduction of pure aesthetic judgments, Kant does not satisfactorily explain the critical distinction between the sensible nature of humanity and the supersensible nature of human reason presupposed in the concept of universal communicability. While the concept of the supersensible illustrates this distinction, it is only through this concept that Kant that can justify the specific possibility of claiming subjective validity in taste. The priority of the solution found in the dialectic is illustrated not only by a comparative analysis of the two sections, but also by a historical reconstruction of the process of the formation of the work, which shows that the first formulation of the concept of validity coincides with the use of the concept of the supersensible.

scholarly journals Correction of Temporal Hollowing Deformity Using Serratus Anterior Muscle Flap

2022 ◽  
Vol 2022 ◽  
pp. 1-6
Author(s):  
Lan Sook Chang ◽  
Youn Hwan Kim ◽  
Sang Wha Kim
Keyword(s):  
Muscle Flap ◽  
Operation Time ◽  
Facial Asymmetry ◽  
Free Flaps ◽  
Frontal View ◽  
Serratus Anterior ◽  
Aesthetic Form ◽  
The Mean ◽  
Fascia Flap

Temporal hollowing deformity (THD) is a contour irregularity in the frontotemporal region, which results in facial asymmetry in the frontal view. Here, we present our clinical experience of correction of THD using serratus anterior (SA) muscle and fascia free flaps. Between March 2016 and December 2018, 13 patients presenting with THD were treated with SA free flap. The mean age of the patients was 47.8 years. The patients received craniectomy due to subarachnoid hemorrhage, epidural hematoma, or brain tumor. On average, correction of THD was performed 17 months after cranioplasty. The SA flap size ranged from 5 × 5   cm to 10 × 8   cm . The mean operation time was 107.3 minutes. All of the flaps survived without complications. The mean follow-up duration was 20.3 months. For correction of THD, the SA muscle and fascia flap is among the best candidates to permanently restore aesthetic form and symmetry.

Sign in / Sign up

Export Citation Format

Share Document