scholarly journals Spaces, Semantics, and ‘Aesthetic Faculty’: Perspectives on Their Operative Plane of Concurrence, Constitution and Becoming

2021 ◽  
Vol 9 (3) ◽  
pp. 135-157
Author(s):  
Dhanesh M.

This paper aims to look at one of the fundamental factors of human beings—the appreciation of things. Calling it ‘the aesthetic faculty’ this paper tries to see how it is inevitable to the way human beings as a species function. This paper aims to propose this idea of an ‘aesthetic faculty’ as a potential basis for our community life in its diverse operations in terms of cultural spaces and their semantics. Viewing the socio-systemic life from the point of view from the aesthetic faculty reveals how appreciation and evaluation are inevitable to human life and how an ideological ground cannot actually affect life without addressing this basic human faculty. This paper tries to take the term ‘aesthetic’ vis-a-vis ‘appreciation’ to a different semantic world altogether so that it is no longer a matter of artistic engagements alone, but something more fundamental and formative than that.

Author(s):  
Hasan Asadi

One of the first necessities of human life was nutrition and human beings from the very beginning tried to meet this need. Over time, the way food is prepared and how it is served has become a rich culture that varied among different nations. Attention has been formed to different geographical conditions and tastes. Perhaps the sensible food of one nation is not very pleasant for another nation. In this study, travel writers' perceptions of Iranian food culture have been written. Most reports indicate that Iranian food is not very diverse, but some have been introduced as very tasty, including rice. Iranian and kebab, which are very popular among Iranian dishes, have been reported from baking a variety of breads as well as very tasty and hearty Iranian syrups. Writers are located.


2021 ◽  
Vol 10 (78) ◽  

The concept of fear includes more than humanity’s physiological responses to sudden stimuli. Although it is known that fear is constituted as a result of a certain biological reaction, cultural and socio-psychological experiences not only play a sensational role in its formation but also they are the causation of fear transferring itself from one generation to another. The types of fear varies depending on its geography, culture, and time; however, many sources of fear, such as darkness, loneliness, natural events, war, hunger, disease have survived unchanged since the moment of human existence. The only change regarding this terminology then takes place according to the way humanity has been dealing with its consequences. Likewise, humanity undergoes fear through the experiences within culture, the reflection of the feeling of fear on art also has been directly related to the cultural level and has been represented by the point of view in the age it has taken a part. Hence, while the themes of fear idealized itself with a more symbolic language in the classical era, it has reconstructed itself with a new and unprecedented reality thanks to the suggestion by the Modern Age. The prominent product of this reconstruction predicated by the modern era becomes, therefore, nothing but the fear associated with the fractured industrialization and the technology offered by the modern era. In this study, thus, the concept of fear is theoretically handled in a way that the sources of fear among human beings are defined in general terms, and the theme of fear in the history of art is examined in a chronological order. In the later chapter, the concept of fear is examined through the works of art, made by modern artists; Max Beckmann, Otto Dix, and Ludwig Meinder. Here, then the readers briefly witness an analytical and interpretive comparison between the artistic expressions from the listed artists above and the aesthetic representations formed within the classical period. The aim of this study, in conclusion, is to reveal the way the terminology of fear has been aesthetically depicted from the period of the Renaissance to the Modern era, and emphasize the comparisons between the artistic methods of both periods which have respectively expressed the concept of fear according to their way of understanding the world.


2013 ◽  
Vol 52 (2) ◽  
pp. 272-286 ◽  
Author(s):  
Hektor KT Yan

This article deals with conceptual questions regarding claims to the effect that humans and animals share artistic abilities such as the possession of music. Recent works focusing on animals, from such as Hollis Taylor and Dominique Lestel, are discussed. The attribution of artistic traits in human and animal contexts is examined by highlighting the importance of issues relating to categorization and evaluation in cross-species studies. An analogy between the denial of major attributes to animals and a form of racism is drawn in order to show how questions pertaining to meaning can impact on our understanding of animal abilities. One of the major theses presented is that the question of whether animals possess music cannot be answered by a methodology that is uninformed by the way concepts such as music or art function in the context of human life: the ascription of music to humans or non-humans is a value-laden act rather than a factual issue regarding how to represent an entity. In order to see how humans and animals share a life in common, it is necessary to come to the reflective realization that how human beings understand themselves can impact on their perception and experience of human and non-human animals.


Author(s):  
Abby S. Waysdorf

What is remix today? No longer a controversy, no longer a buzzword, remix is both everywhere and nowhere in contemporary media. This article examines this situation, looking at what remix now means when it is, for the most part, just an accepted part of the media landscape. I argue that remix should be looked at from an ethnographic point of view, focused on how and why remixes are used. To that end, this article identifies three ways of conceptualizing remix, based on intention rather than content: the aesthetic, communicative, and conceptual forms. It explores the history of (talking about) remix, looking at the tension between seeing remix as a form of art and remix as a mode of ‘talking back’ to the media, and how those tensions can be resolved in looking at the different ways remix originated. Finally, it addresses what ubiquitous remix might mean for the way we think about archival material, and the challenges this brings for archives themselves. In this way, this article updates the study of remix for a time when remix is everywhere.


2020 ◽  
Vol 20 (1) ◽  
pp. 2-11
Author(s):  
Nilsen Aparecida Vieira Marcondes

Objetiva-se discutir neste breve intróito retrospectivo de revisão de normatizações constitucionais pátrias a tutela do animal doméstico. Esta síntese reflexiva sobre a tutela do animal doméstico brasileiro no âmbito constitucional se apresenta quanto à forma de abordagem do assunto, como qualitativo, no que tange a modalidade investigativa como básico, do ponto de vista de seus objetivos, como descritivo, com relação aos procedimentos técnicos, qualifica-se como documental e bibliográfico. Conclui-se que os delineamentos, os limites, bem como os avanços na conquista da tutela animal e consequentemente do animal doméstico demonstram o quanto o reconhecimento de tal questão é socialmente construído. Além disso, a expansão, a solidificação e o desenvolvimento contínuo também da vida humana e da sociedade implicam necessariamente na preservação e na ampliação de acesso um direito fundamental nominalmente reconhecido pela Constituição Federal de 1988 como direito ao ambiente ecologicamente equilibrado no qual se insere evidentemente a fauna, ou seja, os animais domésticos, domesticados, silvestres e exóticos. Palavras-chave: Animal Doméstico. Tutela. Constituições Federais. Brasil.  AbstractThe objective of this brief retrospective introjective review of constitutional norms is to discuss the protection of domestic animals. This reflexive synthesis about the protection of the Brazilian domestic animal in the constitutional scope presents itself as to the way of approaching the subject, as qualitative, in what refers to the research modality as basic, from the point of view of its objectives, as descriptive, with respect to the procedures technicians, qualifies as documentary and bibliographical. It is concluded that the delineations, the limits, as well as the advances in the conquest of the animal guardianship and consequently of the domestic animal demonstrate how much the recognition of such question is socially constructed. In addition, the expansion, solidification and continuous development of human life and society necessarily imply the preservation and expansion of access to a fundamental right nominally recognized by the Federal Constitution of 1988 as a right to an environmentally balanced environment in which the animal, domesticated, wild and exotic animals. Keywords: Domestic Animals. Guardianship. Federal Constitutions. Brasil.


2020 ◽  
Vol 16 (2) ◽  
pp. 69-89
Author(s):  
Adnan Mohamed Yusoff ◽  
Abdoul Karim Toure

Animals and livestock are part of the main phenomenon of the Quran which highlights its intimacy with nature and human life. Names, types, properties, stories or matters that are related to animals and livestock appear specifically, scientifically and strategically in the Quran. This phenomenon attracts researchers to observe this emerging trend from a statistical point of view including the type of animal, frequency and place of emergence, as well as the objective of its mention either in actual form or as a metaphor. Thus, this study aims to identify the name or type of animal that has been selected to be immortalised in this Holy Book, the frequency and condition of its appearance, and subsequently the objective of its mention in the verse or surah. This is very important as basic data which will pave the way to a more advanced study in highlighting the majesty and miracles of the Quran in various dimensions that are related to natural resources. Correspondingly, this is a library study that is based on research on the text, especially the books of authentic interpretation, contemporary tafsir studies, the Ulum Quran, scientific journals, and other related texts. Among the important findings of the study is that animals and livestock are not a side element that comes to complete the beauty of the Quranic word or metaphor, or the physical design framework of its arrangement alone, for the presence of each of these animals or livestock is to carry the mission and certain objectives that cannot be played by other components in it. This study also paves the way for various further studies that can be explored by interested researchers, as well as in tadabbur activities that successfully attract the interest of today's society to get closer to the Quran.


Author(s):  
Helmuth Plessner ◽  
J. M. Bernstein

“Centric positionality” is a form of organism-environment relation exhibited by animal forms of life. Human life is characterized not only by centric but also by excentric positionality—that is, the ability to take a position beyond the boundary of one’s own body. Excentric positionality is manifest in: the inner, psychological experience of human beings; the outer, physical being of their bodies and behavior; and the shared, intersubjective world that includes other human beings and is the basis of culture. In each of these three worlds, there is a duality symptomatic of excentric positionality. Three laws characterize excentric positionality: natural artificiality, or the natural need of humans for artificial supplements; mediated immediacy, or the way that contact with the world in human activity, experience, and expression is both transcendent and immanent, both putting humans directly in touch with things and keeping them at a distance; and the utopian standpoint, according to which humans can always take a critical or “negative” position regarding the contents of their experience or their life.


2018 ◽  
Vol 10 (2) ◽  
pp. 60
Author(s):  
Recep Dogan

Human beings express their emotions through the language of art; it is therefore both the spirit of progress and one of the most important means of developing emotions. Consequently, those who cannot make use of this means are incomplete in their maturation. Ideas and other products of the imagination can be given tangible form with the magical key of art. By means of art, humanity can exceed the limits of the earth and reach feelings beyond time and space. Beauty in the realm of existence can be recognized through art. Moreover, the great abilities inherent in human nature can be understood and witnessed in works of art. However, from an Islamic point of view, there are some restrictions on certain fields such as sculpture and painting. It is therefore imperative to analyse the notion of art in Islam and its philosophy and then reflect upon the need of the spirit to connect to God through the language of art while meeting some religious obstacles on the way.


Early China ◽  
2004 ◽  
Vol 29 ◽  
pp. 45-109 ◽  
Author(s):  
Judson B. Murray

TheHuainanziis a Former Han 前漢 dynasty (202 B.C.E.–9 C.E.) compendium of knowledge written at the court of Huainan and presented to Emperor Wu of the Han 漢武帝 in 139 by Liu An 劉安 (?179–122), the king of Huainan. Liu An was the grandson of the Han “progenitor” Gaozu 高祖 (Liu Bang 劉邦 r. 202–195), and he was the uncle of the reigning emperor Wu (r. 140–87). According to the author(s) of the text’s postface, “Yao lue” 要略 or “A Summary of the Essentials,” the work seeks to provide a comprehensive account or chronicle of thedao道 (conventionally translated as the “Way”), understood broadly to encompass the cosmos (tiandi天地 or “Heaven and Earth”), human beings (ren人) and their affairs (shi事), and the relationship between them. The account of thedaopresented in its chapters is not, however, purely descriptive. TheHuainanziis foremost a political treatise containing instructions worthy of a sage-king (shengwang聖王) to be employed by the ruler as the proper model or standard by which to govern the empire.


ADDIN ◽  
2020 ◽  
Vol 14 (2) ◽  
pp. 305
Author(s):  
Wilis Werdiningsih ◽  
Ahmad Natsir

Gender equality study is the study that will continously be discussed in human life. The study of gender examines the diverse roles of women and men in community life. The concept of <em>mubadalah</em> is of the new studies in gender equality. The concept of <em>mubadalah</em> is way of looking at two relations, namely man and woman, in which both of them as dignified human beings who are able to take advantages of all aspects of life for their good. Education is an important means of educating people who are knowledgeable and have noble character. Gender-based education is the foundation in creating a gender responsive young generation. This study aims to examine more deeply the concept of <em>mubadalah</em> and its implementation in Islamic education. This study used qualitative approach and the type of this research is library research. Data were obtained from various sources relate to the concept of <em>mubadalah</em> and Islamic education. The results show that the concept of <em>mubadalah</em> is one of the concepts of gender equality which can be used as a reference for understanding gender equality and equity that seeks to see women and men as servants of Allah swt. which is the subject of the texts in Al-Qur’an as well as in their interpretation. Education in an Islamic perspective becomes a forum for teaching gender equality through the design of a gender responsive education component.


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