scholarly journals The Concept of Taste in South Korea: Historical, Aesthetical and Philosophical Aspects

2020 ◽  
Vol 4 (4) ◽  
pp. 83-101
Author(s):  
T. V. Zimenko
Keyword(s):  
Aesthetic Experience ◽  
Historical Analysis ◽  
Colonial Rule ◽  
Conceptual Representation ◽  
New Approach ◽  
Scientific Approach ◽  
Japanese Colonial ◽  
The Aesthetic ◽  
Aesthetic Concepts ◽  
Korean Food

The focus of this paper is on the Korean aesthetic model of taste. In order to investigate the origins of aesthetics in Korea and its current place in Koreans’ lives, it analyzes the key concepts of the Korean aesthetics and spiritual aspects of life for Koreans. In a way to exemplify this cultural system, traditional Korean food is presented as a conceptual representation of the aesthetic experience. Its role in integrating different aspects of meanings and values in everyday lives of Koreans is also discussed. The research subject is studied through the complex lenses: its association with both the gastronomic taste, which comprises organoleptic perception and aesthetic judgements, and the semiotic aspect of culture, represented by basic units thereof – words. The optics of the interdisciplinary outlook of this method suggests a new approach to viewing Korean aesthetic of taste. The research shows that scientific approach to aesthetics was first adopted in Korea in the 1930s under the cospicuous cultural influence of the Japanese colonial rule; the ideas formed at that time still remain important aesthetic concepts. The study proposes that meot should be viewed as the most important and representative concept in Koreans’ everyday aesthetic experience. The cultural and historical analysis of Korean gastronomic culture suggests there is a number of specific cultural and cosmogonic meanings that were typical of the royal cuisine during the Joseon era and demonstrates how certain Korean dishes are endowed with aesthetic and existential values today.

scholarly journals Where the Twin Oceans of Beauty and Horror Meet: An Aesthetic Analysis of Annie Dillard's Pilgrim at Tinker Creek // Donde los océanos gemelos de belleza y horror se encuentran: Un análisis estético de Pilgrim at Tinker Creek de Annie Dillard

2016 ◽  
Vol 7 (2) ◽  
pp. 85-97
Author(s):  
Anastasia Cardone
Keyword(s):  
Aesthetic Experience ◽  
Nature Writing ◽  
Annie Dillard ◽  
Natural Signs ◽  
Letting Go ◽  
The Subject ◽  
Modern Vision ◽  
The Aesthetic ◽  
Concept Of Beauty ◽  
Aesthetic Concepts

      Although Annie Dillard's masterpiece Pilgrim at Tinker Creek (1974) has conventionally been analyzed as a piece of Nature writing embedded in the Thoreauvian tradition, little has been said about the aesthetic concepts that underlie the text and Dillard's entire take on Nature. This research applies the concepts of Baumgarten's “science of sensible knowledge” to the narrator's perceptions in order to demonstrate that Dillard's ultimate message is the acceptance of Nature, even in its seemingly inhuman places. The study begins with the analysis of the structure of the book, which outlines two types of experience of Nature. Thevia positivais related to the aesthetic concept of beauty and to an active participation of the subject in the aesthetic experience of seeing as a verbalization, whereas the via negativais linked to the concept of the sublime and the experience of seeing as a letting go. Furthermore, the analysis employsand develops Linda Smith's valid conclusions (1991) to show how these two paths join in a third mystical and aesthetic path, the via creativa. By leaving the interpretation of natural signs open-ended, Dillard's modern vision enables the author's total acceptance of Nature's freedom, which fosters its beautiful intricacy as well as its horrible fecundity. Thus, Nature's creativity becomes the basis for an aesthetics of Nature's wholeness, which leadshuman beings to embrace the true essence of Nature, freed from anyprejudices.Resumen       A pesar de que Pilgrim at Tinker River (1974), obra maestra de Annie Dillard, ha sido analizada convencionalmente como una pieza de literatura y medio ambiente incrustada en la corriente Thoreauviana y ha sido estudiada extensivamente, poco atención se le ha prestado a los conceptos estéticos que subyacen la obra y que pueden servir para comprender mejor la opinión de Dillard sobre la naturaleza. Por lo tanto, esta investigación aplica los conceptos de “ciencia del conocimiento sensible” de Baumgarten a la percepción del narrador con el fin de demostrar que el mensaje final de Dillard es la aceptación de la naturaleza, incluso en sus lugares aparentemente inhumanos. El estudio comienza con el análisis de la estructura del libro, que describe dos tipos de experiencia de la naturaleza relacionados con caminos místicos que llevan a Dios, dentro de la teología Neoplatónica. La vía positiva está asociada al concepto estético de la belleza y a la participación activa del sujeto en la experiencia estética de ver, la cual es definida como una verbalización. Por otra parte, la vía negativa está vinculada con el concepto de lo sublime y la experiencia de ver como un dejar ir. Además, el análisis emplea y desarrolla las válidas conclusiones de Linda Smith (1991) para mostrar cómo estos dos caminos se unen en un tercer camino místico y estético, la vía creativa. Al dejar la interpretación de signos naturales abierta, la visión moderna de Dillard permite al autor la total aceptación de la libertad de la naturaleza, lo que fomenta su hermosa intrincación, así como su horrible fecundidad. Así, la creatividad de la naturaleza se convierte en la base para la estética de la naturaleza en su totalidad, lo que lleva a los seres humanos a aceptar y respetar la verdadera esencia de la naturaleza, libre de cualquier prejuicio.

Time, Rhythm, and Subjectivity

2019 ◽  
pp. 272-290
Author(s):  
Max Paddison
Keyword(s):  
Large Scale ◽  
Aesthetic Experience ◽  
Temporal Experience ◽  
Aesthetic Experiences ◽  
The Aesthetic ◽  
Aesthetic Concepts ◽  
Historical Periods ◽  
Point Of Reference

Chapter 17 argues for an experiential concept of temporality that takes Kantian subjectivity as its point of reference. Drawing on Bachelard’s phenomenology of duration, it makes a case for temporal experience as fundamentally subjective and exploratory, but historically contingent. Placing the aesthetic experience of music in this context, it argues for a large-scale notion of “rhythmicized duration” as form that affords extended scope for the aesthetic experience of temporality. Finally, the author argues that aesthetic concepts of temporality, duration, and rhythm are subject to change, development, and displacement, and as a result have functioned both normatively and metaphorically in different historical periods. It suggests that there are distinctly different aesthetic experiences of time, and that this is reflected in the fact that historical paradigms of temporal experience in music shift, which in turn serves to shape our experience of rhythm as structured duration.

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.

Exploring Tourist Behavior in a Reused Heritage Site

2021 ◽  
pp. 109634802110200
Author(s):  
Yi-Ju Lee ◽  
I-Ying Tsai ◽  
Te-Yi Chang
Keyword(s):  
Behavioral Intention ◽  
Structural Equation ◽  
Aesthetic Experience ◽  
Equation Modeling ◽  
Tourist Behavior ◽  
Heritage Site ◽  
Modeling Analysis ◽  
Heritage Buildings ◽  
The Aesthetic ◽  
The Relationship

This study investigated the relationship among tourists’ perceived sustainability, aesthetic experience, and behavioral intention toward reused heritage buildings by employing stimulus–organism–response theory. There were 354 valid questionnaires collected from the Sputnik Lab in Tainan, Taiwan. A positive correlation was found between tourists’ perception of sustainability and aesthetic experience. When tourists perceived higher aesthetic experience, they also had stronger behavioral intention. Structural equation modeling analysis verified that the aesthetic experience of tourists had mediating effects between perceived sustainability and behavioral intention in the reused heritage space. The reuse of space should be attached significantly to the aesthetic display of space and service so as to promote such scenic spots and increase tourists’ intention to revisit through word of mouth.

The Role of Understanding on Architectural Beauty: Evidence From the Impact of Semantic Description on the Aesthetic Evaluation of Architecture

2021 ◽  
pp. 003329412110021
Author(s):  
Sizhe Liu ◽  
Wei Zhang ◽  
Xianyou He ◽  
Xiaoxiang Tang ◽  
Shuxian Lai ◽  
...  
Keyword(s):  
Aesthetic Experience ◽  
Supplementary Information ◽  
Aesthetic Evaluation ◽  
Abstract Description ◽  
Social Meanings ◽  
Different Types ◽  
Appearance Design ◽  
The Aesthetic ◽  
The Impact

There is evidence that greater aesthetic experience can be linked to artworks when their corresponding meanings can be successfully inferred and understood. Modern cultural-expo architecture can be considered a form of artistic creation and design, and the corresponding design philosophy may be derived from representational objects or abstract social meanings. The present study investigates whether cultural-expo architecture with an easy-to-understand architectural appearance design is perceived as more beautiful and how architectural photographs and different types of descriptions of architectural appearance designs interact and produce higher aesthetic evaluations. The results showed an obvious aesthetic preference for cultural-expo architecture with an easy-to-understand architectural appearance design (Experiment 1). Moreover, we found that the aesthetic rating score of architectural photographs accompanied by an abstract description was significantly higher than that of those accompanied by a representational description only under the difficult-to-understand design condition (Experiment 2). The results indicated that people preferred cultural-expo architecture with an easy-to-understand architectural appearance design due to a greater understanding of the design, providing further evidence that abstract descriptions can provide supplementary information and explanation to enhance the sense of beauty of abstract cultural-expo architecture.

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