The birth of the aesthetic ideal: on the problem of the formation of a new aesthetics of the female body in Russia in the XVIII century

2021 ◽  
pp. 172-178
Author(s):  
A.V. Pronkina
Keyword(s):  
Female Body ◽  
Xviii Century ◽  
The Aesthetic ◽  
Aesthetic Ideal

scholarly journals “Natural” in the philosophical and moralistic literature of the XVII century

2021 ◽  
pp. 33-45
Author(s):  
Nataliya Vladimirovna Zaуtseva
Keyword(s):  
Crucial Importance ◽  
Work Of Art ◽  
External Reality ◽  
Philosophical Thought ◽  
Xviii Century ◽  
Xvii Century ◽  
History Of ◽  
Historical Tradition ◽  
The Aesthetic ◽  
Aesthetic Ideal

In philosophy, “natural” is viewed as an ontological characteristic of the objects of internal and external reality along with the concept of “artificial”. However, in the XVII century, the philosophical and moralistic literature undergoes aestheticization. Numerous appeals of the writers, moralists and philosopher, as well as dialogues and arguments on the topic of “natural” indicate that this was of crucial importance for the aesthetic thought of the XVII century. The answer to the question ‘what natural is’ has become the cornerstone of the new gallant aesthetics, and in behavior was associated with fluency and aristocratic inattention, which are opposed to pomposity and affectation. In art, “natural” was perceived as a desire to purge from the Baroque ostentation. In literature, it is the result of hard work on the language that allows achieving lightness and fluency. Ultimately, in the philosophical thought, “natural” is perceived as the correspondence with truth. Until the present, the question of aestheticization of the “natural” did not draw the attention of Russian researchers. This is partly explained by the historical tradition. Russia enters the European philosophical thought only in the Era of Enlightenment in the XVIII century; thus, the XVII century seems somewhat archaic on the background of the topical issues. However, the XVII century is the advent of the history of modern philosophical and aesthetic thought, and creates the foundation of modern European mentality. This period marks the formation of the new aesthetic ideal, new aesthetic norms, and the system for assessing the work of art, which assign an important role to the “natural”.

MAKOTO AS THE INITIAL PRINCIPLE OF THE ETHICAL AND AESTHETIC BELIEFS OF THE JAPANESE

2020 ◽  
pp. 126-138
Author(s):  
M. P. Gerasimova ◽  
Keyword(s):  
Moral Obligation ◽  
Driving Factors ◽  
Chinese Characters ◽  
Spiritual Values ◽  
Conceptual Apparatus ◽  
Hieroglyphic Writing ◽  
The Aesthetic ◽  
The Relationship ◽  
Aesthetic Ideal

Makoto (まこと, lit.: truth, genuineness, reality, “realness”) is an element of the conceptual apparatus of the traditional worldview of the Japanese. In Japan, it is generally accepted that makoto is a philosophical and aesthetic concept that underlies Japanese spirituality, involving among other principles understanding of the order and laws of the truly existing Universum (shinrabansho̅; 森羅万象) and the universal interconnectedness of things (bambutsu ittai; 万物一体), the desire to understand the true essence of everything that person meets in life, and, unlike other spiritual values, is purely Shinto in origin. After getting acquainted with the Chinese hieroglyphic writing three Chinese characters were borrowed for the word makoto. Each of these characters means truthfulness, genuineness, but has its own distinctive nuances: 真 means truth, authenticity, truthfulness, 実 signifies truth, reality, essence, content, and 誠 again means truthfulness, sincerity, and truth. Makoto (“true words”) and makoto (“true deeds”) imply the highest degree of sincerity of words and honesty, correctness of thoughts, actions, and deeds. The relationship “true words — true deeds” can be seen as one of the driving factors of moral obligation, prompting everyone in their field, as well as in relations between people, to strive to be real. This desire contributed to the formation of a heightened sense of duty and responsibility among the Japanese, which became a hallmark of their character. However, makoto has not only ethical connotation, but aesthetic one as well, and can be considered as the basis on which were formed the concept of mono no aware (もののあ われ、 物の哀れ) and the aesthetic ideal of the same name, that became the first link in the chain of japanese perceptions of beauty. Each link in this chain is an expression of a new facet of makoto, which was revealed as a result of certain elements of the worldview that came to the fore in the historical era.

Keats and the Aesthetic Ideal

1997 ◽  
Vol 85 (4) ◽  
pp. 140-145
Author(s):  
David Bromwich
Keyword(s):  
The Aesthetic ◽  
Aesthetic Ideal

COMPARATIVE LITERATURE: EAST AND WEST STUDIES

2021 ◽  
Vol 02 (09) ◽  
pp. 8-14
Author(s):  
Aziza Komilovna Akhmedova ◽  
Keyword(s):  
Comparative Literature ◽  
Professional Ethics ◽  
Research Work ◽  
Literary Studies ◽  
The Novel ◽  
World Science ◽  
History Of ◽  
The Aesthetic ◽  
Aesthetic Ideal ◽  
The Ideal

The article analyzes the results of the research on the representation of the aesthetic ideal through the image of the ideal hero in two national literatures. For research purposes, attention was paid to highlighting the category of the ideal hero as an expression of the author's aesthetic views. In Sinclair Lewis’s “Arrowsmith” and Pirimkul Kodirov's “The Three Roots”, the protagonists artistically reflect the authors' views on truth, virtue, and beauty. In these novels, professional ethics is described as a high noble value. The scientific novelty of the research work includes the following: in the evolution of western and eastern poetic thought, in the context of the novel genre, the skill, common and distinctive aspects of the creation of an ideal hero were revealed by synthesis of effective methods in world science with literary criteria in the history of eastern and western literary studies, in the example of Sinclair Lewis and Pirimkul Kodirov.

scholarly journals Levinson on the Aesthetic Ideal

2013 ◽  
Vol 71 (3) ◽  
pp. 277-281 ◽  
Author(s):  
NICHOLAS RIGGLE
Keyword(s):  
The Aesthetic ◽  
Aesthetic Ideal

“What Is to Come After This?”

2021 ◽  
pp. 188-222
Author(s):  
Mark A. Allison
Keyword(s):  
Fin De Siecle ◽  
William Morris ◽  
Political Tradition ◽  
Art And Literature ◽  
Fin De Siècle ◽  
To Come ◽  
Socialist Art ◽  
The Aesthetic ◽  
Aesthetic Ideal

This chapter engages with Britain’s fin-de-siècle socialist revival by investigating its presiding spirit, William Morris. Morris is revered for inspiring a socialist culture characterized by its fusion of artistic and emancipatory commitments. From the longer perspective that Imagining Socialism affords, however, this synthesis of aesthetics and socialism looks less like an unprecedented development than a change in modalities. Imagining Socialism demonstrates that the aesthetic was constitutive of an important strand of the British socialist tradition; sublimated aesthetic energies underpinned and invigorated a succession of anti-political schemes of communal regeneration. Morris corrected this excessively instrumentalizing tendency by promulgating a highly self-conscious aesthetic of sensuous surfaces. By desublimating socialism’s aesthetic impulse, he fostered an environment in which successful socialist art and literature was finally possible. But despite Morris’s own intentions, this chapter contends, his intercession also conspired to drain socialism of its anti-political vitality. This argument is staged through a thickly contextualized reading of News from Nowhere. In his utopia, Morris employs an erotically saturated style and plot to entice readers to embrace his own vision of Britain’s socialist future. However, this approach sanctions the emergence of a privatized aesthetic ideal that is fundamentally at odds with the nongovernmental utopia of the craft arts that News from Nowhere officially espouses. By desublimating the aesthetic impulse, Morris inadvertently contributed to the dispersal of the vitality and resources that the aesthetic had hitherto lent Britain’s socialist anti-political tradition.

The Æsthetic Ideal (Continued)

The Art World ◽  
1917 ◽  
Vol 2 (3) ◽  
pp. 266
Author(s):  
Fr. Roussel-Despierres
Keyword(s):  
The Aesthetic ◽  
Aesthetic Ideal

Implementation of the aesthetic ideal in the “A Writer’s Diary” by F.M. Dostoevsky

Neophilology ◽  
2020 ◽  
pp. 530-540
Author(s):  
Elena O. Sycheva ◽  
Anatoly А. Serebryakov
Keyword(s):  
The Body ◽  
Human Soul ◽  
Internal Dynamics ◽  
Domestic Literature ◽  
Ideal Person ◽  
The Aesthetic ◽  
The Individual ◽  
Immortality Of The Soul ◽  
Aesthetic Ideal ◽  
The Ideal

The work is devoted to the study of F.M. Dostoevsky’s aesthetics, in particular, the writer’s aesthetic ideal. Following Kant, Hegel, and Schiller, the Russian writer considered the ideal in an anthropological aspect. The writer’s aesthetic ideal is a person who synthesizes the moral and spiritual in himself. The idea of moral beauty is expressed in the theoretical thought of the Russian writer. Harmony, comeliness serve only as an outer shell, when moral height appears as the aesthetic ideal of F.M. Dostoevsky. His works strive for this beauty and truth. Following the examples of “positive beauty” of world and domestic literature and art, F.M. Dostoevsky recreated in his works positively beautiful characters. The Russian writer speaks of the duality of beauty, the “two abysses” of the human soul: “Sodom” – low, sinful, connected with the beauty of the body, sensual, and “Madonna” – high, connected with spiritual beauty, a person can combine both. The writer’s aesthetic ideal is turned to spiritual beauty. Of particular interest is the “A Writer’s Diary” by F.M. Dostoevsky. It is in this work that the writer’s idea of the aesthetic ideal clearly expressed. The question of the ideal person is considered in the context of underground (afterlife) life in the story “Bobok” and above-ground space in “The Dream of a Ridiculous Man”. In these stories and journalistic texts framing them, the internal dynamics of the writer’s worldview position are revealed: from stating the corruption of the spirit and immortality of the soul (“Bobok”) to the tragic insight of the truth (“A Gentle Creature”) and the affirmation of the “living” image of truth (“The Dream of a Ridiculous Man”). The story explicitly expresses the overcoming of such a painful contradiction between the individual and the general, between a positively beautiful person and society.

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