Piktoriale Reflexivität–(Nach-)Denken über Bilder als Denken in Bildern

2010 ◽  
Vol 55 (2) ◽  
pp. 101-113
Author(s):  
Simone Mahrenholz
Keyword(s):  
20Th Century ◽  
Aesthetic Experience ◽  
The Self ◽  
States Of Affairs ◽  
The World ◽  
The Subject ◽  
The Aesthetic ◽  
20Th Century Art ◽  
Self Reference

Der Text untersucht, inwiefern wir von »bildlichem Denken« sprechen können, insbesondere mit Bezug auf Kunst: Denken in Bildern also statt allein in Worten. Er verbindet diese Frage mit dem Konzept der konstitutiven Reflexivität der Kunst. Hierfür werden drei Bedeutungen von ästhetischer Reflexivität unterschieden und zu einander in Bezug gesetzt (Teil I): Reflexivität der Kunst im Sinne des Bezugnehmens und damit des Thematisierens, Reflektierens von etwas außerhalb des Werks: der Welt und./.oder des Selbst (R1), ferner Reflexivität im Sinne des materialen Selbst-Rückbezugs des Werks auf Züge seiner selbst (R2) sowie Reflexivität im Sinne des Selbst-Rückbezugs in Form einer Transformation des Subjekts im Prozeß der künstlerischen Erfahrung (R3). Die nähere Erläuterung an Beispielen zeigt, daß und inwiefern diese drei Formen zwar immer interagierend präsent sind, jedoch in verschiedenen Epochen und Stilen mit deutlich unterschiedlichen Akzentuierungen (Teil II). Abschließend wird die These aufgestellt (Teil III), daß diese Folge von Reflexivitäts-Akzenten Entwicklungen in der Kunst des 20. Jahrhunderts spiegelt.<br><br>The text examines forms of »pictorial thinking«, in particular with regard to artworks: thinking »in pictures« as analogous to thinking in words. It relates this topic to the concept of reflexivity in art. Three forms of aesthetic reflexivity are distinguished and related to each other (part I): reflexivity in the sense of reflecting, thematizing states of affairs outside the work: the world and./.or the self (R1), second: reflexivity as material self-reference within the artwork (R2), third: reflexivity as transformation of the subject in the process of the aesthetic experience (R3). The subsequent elucidation makes evident, that these forms of reflexivity never occur alone, but interact. Nevertheless, depending on the epoch and style of the work in question, distinctive emphases and accentuations arise, one of which generally dominates the others: (part II). As an upshot, the text suggests that this succession of reflexivity-forms from R1 to R3 mirrors developments in 20th century art (part III).

scholarly journals Towards an expansive object and a restrictive experience in Everyday Aesthetics: A Chestertonian metaxological approach

Kepes ◽  
2021 ◽  
Vol 18 (24) ◽  
pp. 197-231
Author(s):  
Miguel A. Romero-Ramírez ◽  
Duncan Reyburn
Keyword(s):  
Aesthetic Experience ◽  
Daily Life ◽  
The Self ◽  
Third Way ◽  
Original Intention ◽  
Everyday Aesthetics ◽  
The Everyday ◽  
The Subject ◽  
The Aesthetic ◽  
The One

This article proposes to resolve an internal ambiguity in the subdiscipline called Everyday Aesthetics (EA), systematized by the researcher Horacio Pérez-Henao, according to whom the extension of aesthetics to the everyday has been done, on the one hand, by means of a consideration of an expansive object and subject according to aesthesis itself, as mainly proposed by Katya Mandoki, and, on the other hand, by means of a restrictive object and subject according to the parameters of an authentic aesthetic experience, a theory headed by John Dewey. Methodology: To resolve this tension, a hermeneutic methodology known as the fourfold sense of being, related to Hegelian dialectic, albeit with important modifications supplied by William Desmond was used. This methodology allows a suitable way to explore and discuss different approaches in everyday aesthetics epitomized by Mandoki and Dewey, and makes possible the proposal of a third way, epitomized by G. K. Chesterton. Results: Bearing in mind the original intention of EA—according to which the everyday must be revitalized from an aesthetic perspective, as explained by Joseph Kupfer, it is argued that the two alternate positions of Mandoki and Dewey are unsatisfactory; an attempt is therefore made to respond to this through the analysis of the aesthetic approach of G. K. Chesterton. From his aesthetic reflections, it can be ascertained that to revitalize daily life, the object must be expansive and the subject, restrictive, from a certain méthodos and according to patterns that qualify an everyday aesthetic experience. All of this seeks to pave the way for subsequent investigations of EA being both expansive and restrictive. Finally, it is argued that this Chestertonian EA converges with and extends the aesthetics of design of Jane Forsey, and thus shows that design itself can be revitalized in keeping with a restrictiveexpansive approach to everyday aesthetics. Conclusion: aesthetics should be expansive every day, in that it should concern itself with any aspect of daily life, and restrictive, in that it should set certain limits on the self and its intentions with regard to the possibilities of aesthetic experience.

scholarly journals The aesthetics of vision in the poem of supplication in the models of the poetry of Asir region: جماليات الرؤيا في قصيدة المناجاة في نماذج من شعر منطقة عسير

2019 ◽  
Vol 5 (1) ◽  
Author(s):  
Taher Massad Saleh Al - Jaloub - Abdul Hamid Saif Ahmed Al -
Keyword(s):  
The Self ◽  
Poetic Discourse ◽  
The World ◽  
The Subject ◽  
The Absolute ◽  
The Aesthetic ◽  
Asir Region ◽  
The Relationship ◽  
Study Plan

  This study is based on the hypothesis that the vision of the poem (the evangelism)- the transfer of the self- confessed mysteries to the divine self- is its aesthetic peculiarity, which distinguishes it from the vision of other poetic models such as the poem of the spinning, the praise and the lamentation for mere representation. The choice was made to test this hypothesis on the poetry of the Asir region; to clarify the specificity of the vision of the poem in the fabric of its texts; interacting with a striking intimacy with the values ​​of the poet's spiritual surroundings, which leads poets to speak to the divine; Thus, the study reduced its problem with the question: What is the aesthetic peculiarity of a poem in the poetry of Asir? The nature of the subject dictated to the researcher to adopt the mechanism of discourse- according to the theories of critic Henry Mishonic- whose task is to clarify the relationship between the structures of poetic discourse, and the specificity of the self- poet involved. The study plan consists of an introduction, a preface, two papers, and a conclusion. The second is the world of the divine self, which is characterized by the absolute ability to resolve the rift, and the second is the world of the divine self, Serenity, support for the defeated, and the relief of the Mujahedeen.

scholarly journals COLORISTICS AS A FACTOR OF AESTHETIC EXPERIENCE

2019 ◽  
Vol 4 (10) ◽  
pp. 111-109
Author(s):  
М. Дудченко ◽  
M. Dudchenko ◽  
А. Попов ◽  
A. Popov
Keyword(s):  
Aesthetic Experience ◽  
Scientific Research ◽  
Architectural Space ◽  
Wide Range ◽  
The World ◽  
Spatial Environment ◽  
Successful Design ◽  
Creative Experience ◽  
The Subject ◽  
The Aesthetic

The article describes the importance of coloristics. Color is an integral part that forms a complete image of the world. It can unite urban ensembles, to bear the emotional and aesthetic burden. Color fills the world with expressiveness. The various functions of light in a person's life help to reveal the concepts of a color phenomenon, which contains a mixture of colors, the theory of color harmonies, manifested in the spiritual and material qualities of being. The color phenomenon is association formed in the consciousness. An important aspect in the formation of architectural space is the color of the object-spatial environment. This is a system that includes the color environment of natural objects and the human made architecture. Creative experience and scientific research in the field of color solutions are used for the successful design of the subject-spatial environment. In architecture, color is manifested in terms of aesthetic and psychological approaches. Any activity to create color solutions of the architectural space aims to meet the aesthetic requirements. In addition, coloristics must consider the function of objects, their design and features of the object concept in order to solve a wide range of issues.

scholarly journals Magical Aspects in Chandra Shyam Dangol's Stone Sculptures

2021 ◽  
Vol 2 (4) ◽  
pp. 55-65
Author(s):  
Yam Prasad Sharma
Keyword(s):  
Research Method ◽  
Aesthetic Experience ◽  
Research Area ◽  
The Self ◽  
Surface Level ◽  
The World ◽  
Thesis Statement ◽  
The Aesthetic ◽  
The Individual ◽  
The Universe

Chandra Shyam Dangol's stone sculptures are magical and mystical suggesting supernatural and spiritual aspects related to wisdom and enlightenment. Unusual images and symbols have been put together. On the surface level, the combination appears strange and contrary but as we go through the myths related to the artworks, we find the underlined logic and coherent composition. The recurrent icons, images and symbols are the figures of deities, lotus, mudras (gestures) and asanas (postures) of meditating characters that are combined in an unusual manner.  They provide a sense of miraculous and thrilling spiritual experience. Breaking the monotony of mundane material existence, the works renew our perception. The aesthetic experience leads toward the awareness of the self and the universe and inspires for the harmonious existence of the individual in the world. Because of the mythical and spiritual contents, the sculptures appear to be mystical. The research area covers the stone sculptures of Chandra Shyam Dangol. About a dozen sculptures have been observed for the research but only four works have been interpreted in this paper. The paper attempts to trace the magical elements in his compositions and throw light on their significance. The study follows the qualitative research method to support the thesis statement since the interpretation of artworks may be multiple depending on viewers, time and place.

Dialetheism in the Work of Nishida Kitarō

2021 ◽  
pp. 123-142
Author(s):  
Yasuo Deguchi ◽  
Naoya Fujikawa
Keyword(s):  
20Th Century ◽  
East Asian ◽  
The Self ◽  
Kyoto School ◽  
Self Identity ◽  
The World ◽  
The Subject ◽  
Nishida Kitaro

This chapter shows that the 20th-century Kyoto School philosopher Nishida Kitarō was committed to dialetheism. We show that he argues both that the subject must be knowable as an object and that it cannot be known as an object. We also show that he argues that the self both is and is not identical to the world and to itself in the relation he calls “contradictory self-identity.” This chapter demonstrates that East Asian dialetheism persists in the 20th century.

EXPLORING THE INTERNAL STRENGTHS AND WEAKNESSES OF THE ORGANIZATION

2018 ◽  
Vol 28 (1) ◽  
pp. 73-78
Author(s):  
Venelin Terziev ◽  
Marin Georgiev
Keyword(s):  
20Th Century ◽  
Structural Changes ◽  
Cumulative Effect ◽  
Professional Culture ◽  
Social Revolution ◽  
Modern Times ◽  
The World ◽  
History Of ◽  
Scientific Technical ◽  
The Subject

The subject of this article is the genesis of the professional culture of personnel management. The last decades of the 20th century were marked by various revolutions - scientific, technical, democratic, informational, sexual, etc. Their cumulative effect has been mostly reflected in the professional revolution that shapes the professional society around the world. This social revolution has global consequences. In addition to its extensive parameters, it also has intensive ones related to the deeply-rooted structural changes in the ways of working and thinking, as well as in the forms of its social organization. The professional revolutions in the history of Modern Times stem from this theory.Employees’ awareness and accountability shall be strengthened. The leader must be able to formulate and bring closer to the employees the vision of the organization and its future goal, to which all shall aspire. He should pay attention not to the "letter" but to the "spirit" of this approach.

Delving into Horror

2019 ◽  
Vol 29 (5) ◽  
pp. 135-150
Keyword(s):  
The Self ◽  
Time And Space ◽  
The Third ◽  
The World ◽  
The Subject ◽  
Perception Of Time ◽  
Definition Of

The springboard for this essay is the author’s encounter with the feeling of horror and her attempts to understand what place horror has in philosophy. The inquiry relies upon Leonid Lipavsky’s “Investigation of Horror” and on various textual plunges into the fanged and clawed (and possibly noumenal) abyss of Nick Land’s work. Various experiences of horror are examined in order to build something of a typology, while also distilling the elements characteristic of the experience of horror in general. The essay’s overall hypothesis is that horror arises from a disruption of the usual ways of determining the boundaries between external things and the self, and this leads to a distinction between three subtypes of horror. In the first subtype, horror begins with the indeterminacy at the boundaries of things, a confrontation with something that defeats attempts to define it and thereby calls into question the definition of the self. In the second subtype, horror springs from the inability to determine one’s own boundaries, a process opposed by the crushing determinacy of the world. In the third subtype, horror unfolds by means of a substitution of one determinacy by another which is unexpected and ungrounded. In all three subtypes of horror, the disturbance of determinacy deprives the subject, the thinking entity, of its customary foundation for thought, and even of an explanation of how that foundation was lost; at times this can lead to impairment of the perception of time and space. Understood this way, horror comes within a hair’s breadth of madness - and may well cross over into it.

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.

Las presencias de la Reto´´rica en la obra de Alfonso Reyes: Esbozo de una evolucio´´n

2003 ◽  
Vol 21 (3) ◽  
pp. 149-174
Author(s):  
Eugenia Houvenaghel
Keyword(s):  
20Th Century ◽  
Spanish America ◽  
Classical Rhetoric ◽  
Spanish American ◽  
Third Phase ◽  
The World ◽  
Alfonso Reyes ◽  
The Subject ◽  
American Society

The Mexican diplomat Alfonso Reyes (1889––1959) was notable in the cultural panorama of Spanish America in the first half of the 20th century for his acquaintance with classical rhetoric, a discipline rarely studied at that time in that part of the world. This article distinguishes four aspects of rhetoric throughout Reyes' oeuvre: (i) a vulgar sense, (ii) an erudite sense, (iii) classical theories, (iv) and modern applications. In his early work, Reyes uses rhetoric in a pejorative and vulgar sense. Around the year 1940, Reyes starts to show a lively interest in rhetoric, opts definitively for an erudite sense of the term, and initiates the study of the classical art of persuasion. In his third phase, Reyes gains deeper knowledge of rhetoric, lectures on the subject, and explains his favorite orators andtheorists. Finally,his use of rhetoric reveals a commitment to the reality of Spanish America. Reyes' rhetoric is an "actualised" and "Americanised" version that shows the possibilities of the classical art of persuasion in Spanish American society.

scholarly journals O romance de Ricardo Lísias: janelas escancaradas para o sujeito hipermoderno

2016 ◽  
Vol 51 (4) ◽  
pp. 491
Author(s):  
Ana Cláudia Munari ◽  
Taíssi Alessandra Cardoso da Silva
Keyword(s):  
Media Studies ◽  
Contemporary Literature ◽  
The Self ◽  
Police Chief ◽  
The Novel ◽  
The Media ◽  
The Subject ◽  
Media Narratives ◽  
Self Reference ◽  
Critical Production

A partir da análise dos romances de Ricardo Lísias e da sua produção autocrítica, este trabalho busca entender algumas relações entre a literatura de autoficção e a publicização do sujeito autor imerso no universo midiático. Partindo de uma revisão bibliográfica que conceitua os objetos aqui circunscritos e de uma apreciação anterior sobre a produção literária de jovens escritores brasileiros selecionados pela revista Granta em 2012, estreitamos nossa focalização no movimento do romancista em direção à escrita de si e à autorreferência. Nesse sentido, analisamos e contextualizamos a modalidade de escritura denominada autoficção, especialmente no que tange às aproximações entre as instâncias do narrador e do autor e entre biografemas e ficção (FIGUEIREDO, 2013; KLINGER, 2012), e evocamos estudos da Sociologia e da Comunicação de modo a caracterizar a sociedade da qual emerge o corpus deste estudo (LIPOVESTKY, 2004; SANTAELLA, 2012). A partir desse contexto, investigamos as obras literárias – O céu dos suicidas (2012), Divórcio (2013) e Delegado Tobias (2014) – e as narrativas midiáticas de Ricardo Lísias e identificamos nelas estratégias da publicidade.********************************************************************The novel by Ricardo Lísias: wide open windows to the subject hypermodernAbstract: Through the analysis of the novels of Ricardo Lísias and its self-critical production, this work intends to understand some relationships between the self-fiction literature and the popularization of the subject author immersed in the media universe. Starting from a literature review that conceptualizes the objects herein bounded and an earlier assessment of the literary production of young Brazilian writers selected by Granta magazine in 2012, we strengthened  ur focus on the novelist's movement toward the writing itself  nd self-reference. Pursuing this aim, we analyzed and contextualized the form of writing named autofiction, especially with regard to the similarities between instances of the narrator and the author and between biographema and fiction (FIGUEIREDO, 2013; KLINGER, 2012). We also evoked Sociology and Media Studies to characterize the society of which emerges the corpus of this study (LIPOVESTKY, 2004; SANTAELLA, 2012). From these premises, we investigated the literary works – Céu dos suicidas (Heaven suicide, 2012), Divórcio (Divorce, 2013) and Delegado Tobias (Tobias, the police chief, 2014) – and the media narratives of Ricardo Lísias and finally we identified his advertising strategies.Keywords: Self-ficction; Contemporary literature; Hypermodernity; Ricardo Lísias

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