scholarly journals AESTHETIC ASPECT OF EMOTIVENESS OF POETIC TEXT

10.23856/4612 ◽  
2021 ◽  
Vol 46 (3) ◽  
pp. 88-94
Author(s):  
Inna Redka
Keyword(s):  
The Other ◽  
Cognitive Analysis ◽  
Poetic Text ◽  
Aesthetic Aspect ◽  
The Aesthetic ◽  
The One ◽  
Text Writing

The study looks for ways of analyzing the aesthetic aspect of emotiveness in a poem. To accomplish the aim, the author undertakes an attempt to study the essence of the image of aesthetic feeling. Since a poetic text appears to be a complex unity of notional, emotive, and aesthetic codes, the methods of cognitive analysis are employed to formalize deep cognitive and emotive constructs that give rise to aesthetic senses within a poetic text. The study relies on the statement that an image of aesthetic feeling has an emergent nature which means that it appears in the process of poetic text writing as a result of a creative impulse of the author (O. Mandelstam). In the study, the image of aesthetic feeling is regarded as an emotive image of the highest level. On the one hand, it is directed at some well-established aesthetic categories, and on the other, it reveals the author’s attitude to them which is manifested through a sophisticated network of images. A step-by-step analysis of Shel Silverstine’s poem “A Light in the Attic” has been suggested to illustrate a possible way of uncovering image(s) of aesthetic feelings inscribed in the text.

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.

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.

scholarly journals Computer Gameplay and the Aesthetic Practices of the Self: Game Studies and the Late Work of Michel Foucault

2018 ◽  
Vol 3 (3) ◽  
Author(s):  
Feng Zhu
Keyword(s):  
Michel Foucault ◽  
Computer Games ◽  
The Self ◽  
Game Studies ◽  
The Other ◽  
Late Work ◽  
Practices Of The Self ◽  
The Aesthetic ◽  
The One ◽  
The Way

This paper aims to critically introduce the applicability of Foucault’s late work, on the practices of the self, to the scholarship of contemporary computer games. I argue that the gameplay tasks that we set ourselves, and the patterns of action that they produce, can be understood as a form of ‘work on the self’, and that this work is ambivalent between, on the one hand, an aesthetic transformation of the self – as articulated by Foucault in relation to the care or practices of the self – in which we break from the dominant subjectivities imposed upon us, and on the other, a closer tethering of ourselves through our own playful impulses, to a neoliberal subjectivity centred around instrumentally-driven selfimprovement. Game studies’ concern with the effects that computer games have on us stands to gain from an examination of Foucault’s late work for the purposes of analysing and disambiguating between the nature of the transformations at stake. Further, Foucault’s tripartite analysis of ‘power-knowledge-subject’, which might be applied here as ‘game-discourse-player’, foregrounds the imbrication of our gameplay practices – the extent to which they are due to us and the way in which our own volitions make us subject to power, which is particularly pertinent in the domain of play.

Epilogue

2021 ◽  
pp. 223-240
Author(s):  
Mark A. Allison
Keyword(s):  
Twentieth Century ◽  
Political Institutions ◽  
Labour Party ◽  
The Other ◽  
World State ◽  
Collective Ownership ◽  
Political Tradition ◽  
Socialist Movement ◽  
The Aesthetic ◽  
The One

This Epilogue sets the waning of British socialist anti-political aspiration in the context of the literary career of H. G. Wells, on the one hand, and the coalescence of the Parliamentary Labour Party, on the other. In their respective spheres, both Wells and the Labour Party represent a decisive turn toward a statist—and forthrightly political—conception of socialism in the early decades of the twentieth century. Wells, the new century’s most prolific and influential socialist writing in English, shares with his antecedents an abiding preoccupation with the aesthetic dimension of socialism. In stark contrast to his predecessors, however, he self-consciously subordinates this aesthetic impulse to his overmastering vision of an emerging socialist world state. Concurrently, the fledgling Labour Party became a locus for the longstanding debates about how socialism was to be made and what posture the socialist movement should adopt to Britain’s existing political institutions and traditions. These debates were foreclosed by the party’s adoption of a new constitution and party program in 1918, which were drafted by the Fabian socialist Sidney Webb. The constitution includes the famous Clause IV, which affirms the party’s commitment to the collective ownership of the means of production. Labour’s reorganization effectively confirmed that in Britain, socialism would be pursued via the parliamentary road—and that state socialism would be its ultimate institutional goal. Consequently, 1918 provides a symbolic end to the anti-political tradition Imagining Socialism delineates—and of the socialist century that it surveys.

Relaciones Entre las Actitudes Bellas y las Morales

1998 ◽  
pp. 133-138
Author(s):  
María Rosa Palazón
Keyword(s):  
Literary Text ◽  
The Other ◽  
Good Person ◽  
Spontaneous Behavior ◽  
Moral Beauty ◽  
Moral Rules ◽  
The Aesthetic ◽  
The One ◽  
The Individual

There are no a-moral texts, even though amorality may be described by them: an amoral author would not dare into the search of beauty; it depends on a game of faculties that, also, play with the form. A moralizing literary text is not due to a game of author's faculties, but only to the author's conscience. Thus, it rebounds heavy and ugly. An ugly immoral literary text assaults on a redundant and calculated way some moral rules in favor of the "forbidden". Then, it is not a beautiful text. The aesthetic function is the one treating the stimulus as a purpose and not only as a means. This spontaneous behavior is condition of possibility for the moral act (the follower of the second kantian imperative). The one who spontaneously has the attitude that considers the other (alter) as a purpose and not only as a means, is a beautiful person. Its argued that it is not yet a morally good person. Anyway, "beau-ty" on its Latin etymologies (beau-t‚ and bello) means good, which involves a project that is dialoguing, truthful, respectful and advantageous for the community. It also means that the decision of using the proper means for the goal, has been taken. Once accepted the project, the individual shall act spontaneously on a ludicrous way so that the project may become real. He will be a more meritorious beautiful person if his spontaneous goodness means the overcoming over the experiences that have hurt hi. The matter is: is the moral beauty the highest point of morality? I will work on this topic on the basis of Schiller, Kant, Gadamer, and Sartre.

scholarly journals Autonomy and Aesthetic Engagement

Mind ◽  
2019 ◽  
Vol 129 (516) ◽  
pp. 1127-1156 ◽  
Author(s):  
C Thi Nguyen
Keyword(s):  
The Other ◽  
Aesthetic Appreciation ◽  
Aesthetic Value ◽  
Aesthetic Object ◽  
Other Hand ◽  
Motivational Structure ◽  
The Aesthetic ◽  
The One ◽  
The Right ◽  
Aesthetic Judgments

Abstract There seems to be a deep tension between two aspects of aesthetic appreciation. On the one hand, we care about getting things right. Our attempts at aesthetic judgments aim at correctness. On the other hand, we demand autonomy. We want appreciators to arrive at their aesthetic judgments through their own cognitive efforts, rather than through deferring to experts. These two demands seem to be in tension; after all, if we want to get the right judgments, we should defer to the judgments of experts. How can we resolve this tension? The best explanation, I suggest, is that aesthetic appreciation is something like a game. When we play a game, we try to win. But often, winning isn’t the point; playing is. Aesthetic appreciation involves the same flipped motivational structure: we aim at the goal of correctness, but having correct judgments isn’t the point. The point is the engaged process of interpreting, investigating, and exploring the aesthetic object. When one defers to aesthetic testimony, then, one makes the same mistake as when one looks up the answer to a puzzle, rather than solving it for oneself. The shortcut defeats the whole point. This suggests a new account of aesthetic value: the engagement account. The primary value of the activity of aesthetic appreciation lies in the process of trying to generate correct judgments, and not in having correct judgments.

“Nel conoscere le cose tutte della natura”

Nuncius ◽  
2017 ◽  
Vol 32 (3) ◽  
pp. 556-582 ◽  
Author(s):  
Elisabeth Oy-Marra
Keyword(s):  
The Other ◽  
Special Collection ◽  
The Aesthetic ◽  
The One

The cardinal nephew, Flavio Chigi (1631–1693), is known for his very special collection of natural as well as artistic objects from abroad. A portrait of the man, who was in charge of the Chigi-collection, the connoisseur Nicolò Simonelli, shows him among the key pieces staged on a table, while underneath pieces of antique sculpture are stored in a strange way. The antagonism of the Priapus statue on display on the one hand and the pieces of antique statues placed underneath the table on the other bring monstrous aspects of the antique to light while the beau-idéal often identified with antique sculpture seems to be no longer a matter of question. The arrangement of these objects allows moreover a reflection on different modes of generation/creation known at the time. The paper emphasizes the aesthetic aspects of the vis plastica of nature.

scholarly journals ГРОМАДСЬКІСТЬ МІСТА ЯК КОЛЕКТИВНИЙ СУБ’ЄКТ СОЦІАЛЬНОЇ ДИНАМІКИ

2020 ◽  
pp. 13-16
Author(s):  
Mikhno Nadiya
Keyword(s):  
Social Movements ◽  
Social Change ◽  
The Other ◽  
Self Organization ◽  
New Social Movements ◽  
Cognitive Analysis ◽  
Current Trends ◽  
Urban Activism ◽  
The One

The article deals with the phenomenon of urban activism as a manifestation of «grassroots» self-organization of city dwellers. The logic of the emergence of the centers of urban activism in the postmodern cultural situation has been determined, which is marked by the processes of deconstruction of the principles of modernity, in particular the principle of universal rationality. The possibility of conceptual arrangement and cognitive analysis of urban activism through the lens of the study of «new social movements», which is, on the one hand, a catalyst for social change, and on the other, a representation of current trends of postmodernism.

scholarly journals Costume Characteristics of Children Creation Dance in Kindergarten at Buleleng Bali

2015 ◽  
Vol 15 (2) ◽  
Author(s):  
Langen Bronto Sutrisno ◽  
Luh Suartini ◽  
I Gusti Made Budiarta
Keyword(s):  
Qualitative Method ◽  
The Other ◽  
General View ◽  
Descriptive Data ◽  
Other Hand ◽  
Close Proximity ◽  
Aesthetic Aspect ◽  
The Aesthetic

Study related to characteristics of costumes worn in Children Creation Dance in kindergarten at Buleleng, Bali is aiming at (1) understanding the characteristics of children creation dance costume in kindergarten at Buleleng, Bali, (2) understanding the aesthetic characteristic of costume of children creation dance in kindergarten at Buleleng, Bali. The research employed qualitative method while the discussion part was presented in descriptive. Data was collected through observation, interview, literature, as well as documentation study. In a general view, characteristic of the costume was still in close proximity to the tradition but some others characteristics have quiet different to the tradition. Aesthetic aspect in dance costume that has adjacency to the tradition is shown in patterned costume, especially the use of kamen prada. The use of colour tends to be bright and cold which may show the atmosphere of happiness and assurance. On the other hand, the characteristics of costume is not traditional tends to emphasize dots and stripes. The impression of dots is shown in the use of sequin while the stripe impession is shown in fabric colour boundaries. In addition, the colours chosen for this type of costume are considerably similar to the colour chosen in traditional costume of creation dance which are bright and cold and give the impression of happiness and assurance.

scholarly journals TURGENEV, GOGOL AND “NATURAL SCHOOL”

2019 ◽  
Vol 29 (6) ◽  
pp. 1005-1011
Author(s):  
G.M. Rebel
Keyword(s):  
The Other ◽  
The Aesthetic ◽  
The One ◽  
Definition Of

The article is devoted to the problem of correlation of Turgenev and Gogol's creativity in the context of the aesthetic program of the “natural school”. The issue of the nature of Gogol's influence on Turgenev is still debatable, as well as the issue of the involvement of both writers in the “natural school”. Belinsky's definition of the “natural school”, on the one hand, was based on limited literary material, on the other - was extremely broad and as a result is equally suited to the work of such different authors as Gogol, Turgenev, Tolstoy, Dostoevsky, Goncharov, etc. An analysis of Turgenev's work suggests that, having paid tribute to the principles of “physiological” essay in his early dramatic experiments, already in the “Hunter's notes” Turgenev demonstrates a fundamentally new artistic strategy, which is fully manifested in his novels. Turgenev's creativity developed not within the framework of the “natural school” in the narrow meaning of this concept and not in the mainstream of Gogol's grotesque realism, which in turn does not fit into the canons set by the “physiological essay” of the 40s.

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