scholarly journals Noematic Analysis of Image Consciousness

Phainomenon ◽  
2012 ◽  
Vol 25 (1) ◽  
pp. 203-214
Author(s):  
Carlos Morujiio
Keyword(s):  
Rear Window ◽  
Life World ◽  
The World ◽  
Aesthetic Attitude ◽  
Image Consciousness ◽  
The Aesthetic

Abstract This paper addresses Husserl’s theory of image consciousness and phantasy, which, along with remembering, constitute three kinds of presentification, a sort of intuitive intentional relational different from perception. In the second place, the paper tries to highlight the significance of «neutralizatiom> - as a means to access the world of phantasy - for the understanding of the origin of the aesthetic attitude. Finally, the paper discusses the kind of spacial relations that arise from «neutralizatiom>, in contrast with life-world experience of space, and how those relations can be exemplified in Alfred Hitchcock’s The Rear Window.

THE CONCEPT OF THE CREATIVE METHOD. FEATURES OF THE ARCHITECT'S CREATIVE METHOD

2021 ◽  
Vol 3 (2) ◽  
pp. 51-57
Author(s):  
Pohranychna I ◽  
Keyword(s):  
Social Relations ◽  
Cross Sections ◽  
Personal Characteristics ◽  
Cultural Development ◽  
Theoretical Development ◽  
Compositional Techniques ◽  
The World ◽  
Aesthetic Attitude ◽  
Public Consciousness ◽  
The Aesthetic

The problem of method in architecture, as a subject of research, always appears as a result of the development of artistic life and new aesthetic needs. Each new stage of artistic development reveals the insufficiency of the previous one not because it has become irrational, but because it no longer corresponds to new ideas about social relations and the nature of the human activity. Therefore, the theoretical development of the question is closely related to certain time cross-sections in the evolution of architecture, the consideration of which allows us to build a complete retrospective picture of the development of ideas about the method. The concept of the creative method is very broad and multifaceted. This is not only a set of certain geometric proportions and compositional techniques that are systematically repeated. The creative method is the result of an original cognitive ability to solve tasks using our intellectual search, which is aimed at developing a unique product. For the first time, the concept of an artistic method was formed in the 20–30s of the XIX century. The creative method in architecture and art is defined as a system of principles that control the process of creating a work of art. Artistic methods are designed to reflect the development of reality itself and the development of public consciousness in a specific way – in an aesthetic form. The complexity of the aesthetic characterization of methods lies in the fact that most often their features are considered from the cognitive side outside of the artistic and aesthetic features of art. However, it is from the period of formation of artistic methods that the artist's aesthetic attitude to the world is established. The method is a synthesis of the artist's worldview and the originality of his artistic thinking. The main components of the creative method are: the environment, which is a constant in the creative method of the architect, socio-economic conditions, ideology and worldview of society in a certain historical era, personal characteristics of the architect, culture of project thinking, theoretical foundations of the designer, practical activity of the architect. It is established that the creative method is formed by a) a set of principles of ideological and artistic knowledge and imaginative reproduction of the world; b) a creative approach to solving the set of architectural problems; c) the results of creative activity that is expressive and unique; d) the natural repeatability of architectural techniques that become the architectural rules of the architect; e) a set of certain geometric proportions, compositional techniques and planning features; f) the creation of an architectural object taking into account the influence of the social and cultural development of the architect; g) overcoming the usual techniques and traditions; h) creating own rules.

TRADITIONS OF AESTHETIC EDUCATION IN MILITARY EDUCATIONAL INSTITUTIONS OF PRE-REVOLUTIONARY RUSSIA

2021 ◽  
Vol 3 ◽  
pp. 5-10
Author(s):  
V. Lipsky ◽  
Keyword(s):  
Aesthetic Education ◽  
Educational Institutions ◽  
Educational Work ◽  
Imperial Russia ◽  
The World ◽  
Aesthetic Attitude ◽  
The Aesthetic

The place and significance of a person’s aesthetic attitude to the world for the formation of future officers based on the experience of education and upbringing in military educational institutions of pre-revolutionary Russia are considered in the article. The role of various types of art in the practice of educational work, primarily in the cadet corps of imperial Russia, is shown. Various types of documents and instructions of those years have become the basis for the analysis. The directions of the aesthetic education in cadet corps, techniques and methods used by mentors for involving students in the activities related to the personality aesthetic formation are regarded. The article shows that the result of the analyzed practice of the educational work of those years was training educated personnel for the army and navy, which can be used in modern conditions.

scholarly journals The Art Through the Media in the Conditions of the COVID-19 Pandemic

2021 ◽  
Vol 11 (1) ◽  
pp. 24-34
Author(s):  
Luchia Angelova ◽  
Bojidar Angelov
Keyword(s):  
Primary School ◽  
Information Society ◽  
Aesthetic Perception ◽  
Media Pedagogy ◽  
The World ◽  
Aesthetic Attitude ◽  
The Media ◽  
Modern Information ◽  
The Aesthetic

In kindergarten and primary school, the aesthetic perception and aesthetic attitude to the world, as components of aesthetic culture are formed through a cycle of artistic and aesthetic activities. children's audience in the context of the COVID-19 pandemic The question is answered, what do we need to know about the media in order to be able to live in accordance with the modern information society? It is pointed out that the task of media pedagogy is to specify where the interactions between the media and people - especially children, intervene by educating, educating and advising, orienting and informing despite the new conditions of the COVID-19 pandemic.

Textual Events

2018 ◽  
Keyword(s):  
Cultural Norms ◽  
Homeric Hymns ◽  
The World ◽  
Real Performance ◽  
Textual Traditions ◽  
The Aesthetic ◽  
The Relationship ◽  
Ritual Practices ◽  
Formal Features

Recent decades have seen a major expansion in our understanding of how early Greek lyric functioned in its social, political, and ritual contexts. The fundamental role song played in the day-to-day lives of communities, groups, and individuals has been the object of intense study. This volume places its focus elsewhere, and attempts to illuminate poetic effects that cannot be captured in functional terms. Employing a range of interpretative methods, it explores the idea of lyric performances as textual events. Several chapters investigate the pragmatic relationship between real performance contexts and imaginative settings. Others consider how lyric poems position themselves in relation to earlier texts and textual traditions, or discuss the distinctive encounters lyric poems create between listeners, authors, and performers. In addition to studies that analyse individual lyric texts and lyric authors (Sappho, Alcaeus, Pindar), the volume includes treatments of the relationship between lyric and the Homeric Hymns. Building on the renewed concern with the aesthetic in the study of Greek lyric and beyond, Textual Events re-examines the relationship between the poems’ formal features and their historical contexts. Lyric poems are a type of sociopolitical discourse, but they are also objects of attention in themselves. They enable reflection on social and ritual practices as much as they are embedded within them. As well as enacting cultural norms, lyric challenges listeners to think about and experience the world afresh.

The Power of Everyday Aesthetics in World-Making

2017 ◽  
Author(s):  
Yuriko Saito
Keyword(s):  
Quality Of Life ◽  
Social Responsibility ◽  
Interpersonal Relationships ◽  
Daily Life ◽  
Personal Life ◽  
Moral Virtues ◽  
Everyday Aesthetics ◽  
The World ◽  
The Aesthetic

This chapter argues for the importance of cultivating aesthetic literacy and vigilance, as well as practicing aesthetic expressions of moral virtues. In light of the considerable power of the aesthetic to affect, sometimes determine, people’s choices, decisions, and actions in daily life, everyday aesthetics discourse has a social responsibility to guide its power toward enriching personal life, facilitating respectful and satisfying interpersonal relationships, creating a civil and humane society, and ensuring the sustainable future. As an aesthetics discourse, its distinct domain unencumbered by these life concerns needs to be protected. At the same time, denying or ignoring the connection with them decontextualizes and marginalizes aesthetics. Aesthetics is an indispensable instrument for assessing and improving the quality of life and the state of the world, and it behooves everyday aesthetics discourse to reclaim its rightful place and to actively engage with the world-making project.

Schopenhauer and the Paradox of the Sublime

2020 ◽  
pp. 237-255
Author(s):  
Bart Vandenabeele
Keyword(s):  
Aesthetic Experience ◽  
Human Being ◽  
Aesthetic Object ◽  
Human Reason ◽  
The Sublime ◽  
The World ◽  
The Aesthetic

Schopenhauer explores the paradoxical nature of the aesthetic experience of the sublime in a richer way than his predecessors did by rightfully emphasizing the prominent role of the aesthetic object and the ultimately affirmative character of the pleasurable experience it offers. Unlike Kant, Schopenhauer’s doctrine of the sublime does not appeal to the superiority of human reason over nature but affirms the ultimately “superhuman” unity of the world, of which the human being is merely a puny fragment. The author focuses on Schopenhauer’s treatment of the experience of the sublime in nature and argues that Schopenhauer makes two distinct attempts to resolve the paradox of the sublime and that Schopenhauer’s second attempt, which has been neglected in the literature, establishes the sublime as a viable aesthetic concept with profound significance.

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.

Puccini's La Bohème

2020 ◽  
Author(s):  
Alexandra Wilson
Keyword(s):  
Cultural History ◽  
Cultural Contexts ◽  
Music Drama ◽  
Political Debates ◽  
The World ◽  
History Of ◽  
La Boheme ◽  
The Aesthetic ◽  
The Many ◽  
The City

La bohème is one of the most frequently performed operas in the world. But how did it come to be so adored? Drawing on an extremely broad range of sources, Alexandra Wilson traces the opera’s rise to global fame. Although the work has been subjected to many hostile critiques, it swiftly achieved popular success through stage performances, recordings, and filmed versions. Wilson demonstrates how La bohème acquired even greater cultural influence as its music and dramatic themes began to be incorporated into pop songs, film soundtracks, musicals, and more. In this cultural history of Puccini’s opera, Wilson offers a fresh reading of a familiar work. La bohème was strikingly modern for the 1890s, she argues, in its approach to musical and dramatic realism and in flouting many of the conventions of the Italian operatic tradition. Considering the work within the context of the aesthetic, social, and political debates of its time, Wilson explores Puccini’s treatment of themes including gender, poverty, and nostalgia. She pays particular attention to La bohème’s representation of Paris, arguing that the opera was not only influenced by romantic mythologies surrounding the city but also helped shape them. Wilson concludes with a consideration of the many and varied approaches directors have taken to the staging of Puccini’s opera, including some that have reinvented the opera for a new age. This book is essential reading for anyone who has seen La bohème and wants to know more about its music, drama, and cultural contexts.

THE AESTHETIC ATTITUDE

1972 ◽  
Vol 12 (3) ◽  
pp. 217-227
Author(s):  
C. A. Mace
Keyword(s):  
Aesthetic Attitude ◽  
The Aesthetic

The Life-World of Persons with Mood Disorders

2018 ◽  
pp. 616-633
Author(s):  
Thomas Fuchs
Keyword(s):  
Mood Disorders ◽  
Chronic Depression ◽  
Life World ◽  
The Past ◽  
The World ◽  
The Future ◽  
Implicit And Explicit ◽  
Lived Time

This chapter analyzes mood disorders as disorders of implicit and explicit temporality. First, depression is conceived (a) as a desynchronization from intersubjective time, (b) as an inhibition of conation or basic drive. The inhibition results in a disturbance of cyclical bodily functions and in a retardation of lived time, manifested both in a loss of the future as a space of possibilities, and in a predomincance of the past in the form of accumulated guilt. Depressive delusions may then be described as beliefs which result from the freezing of self-temporalization and which resist an intersubjective alignment of perspectives. Further considerations are given to chronic depression and mania, the latter being described as the opposite type of desynchronization as compared to depression, namely an acceleration and partial decoupling of the inner time from the world time. Finally, consequences for a “resynchronizing therapy” are outlined.

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