scholarly journals Implementation of the aesthetic ideal in the ” Diary of a writer

2020 ◽  
pp. 195-205
Author(s):  
Elena O. Sycheva ◽  
Anatoliy A. Serebryakov
Keyword(s):  
The Body ◽  
Moral Principle ◽  
Human Soul ◽  
Domestic Literature ◽  
Ideal Person ◽  
The Aesthetic ◽  
The Individual ◽  
Immortality Of The Soul ◽  
Aesthetic Ideal ◽  
The Ideal

The proposed work is devoted to the study of F. M. Dostoevsky’s aesthetics, in particular, the aesthetic ideal of the writer. Following Kant, Hegel, and Schiller, the Russian writer considered the ideal in an anthropological aspect. The aesthetic ideal of the Russian writer is a person who expresses the moral principle, the divine in man. The idea of moral beauty is expressed in the theoretical thought of the Russian writer. Harmony and good looks serve only as an outer shell, when the moral height appears as the aesthetic ideal of F. M. Dostoevsky. To this beauty, truth, his works strive. Following the examples of “positive beauty” of world and domestic literature and art, 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 “Madona” - high, connected with spiritual beauty, a person can combine both. The writer’s aesthetic ideal is turned to spiritual beauty. Of particular interest is Dostoevsky’s “Diary of a writer”. It is in it that the idea of the writer’s aesthetic ideal is 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 funny man”. These stories and the publicistic texts that frame them reveal the inner dynamics of the writer’s worldview: from the statement of the corruption of the spirit and the immortality of the soul (“Bobok”) to the tragic insight of the truth (“Meek”) and to the statement of the” living”image of the truth (“the dream of a funny 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.

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.

Embodying the culture of achievement: Culture between illness and perfection is a ‘thin line’ – obtaining the ideal female body as an act of achievement

2021 ◽  
pp. 1354067X2110040
Author(s):  
Josefine Dilling ◽  
Anders Petersen
Keyword(s):  
Experimental Study ◽  
Human Body ◽  
Female Body ◽  
The Body ◽  
Thin Line ◽  
Complex Processes ◽  
The Individual ◽  
Different Levels ◽  
The Ideal ◽  
Body Ideals

In this article, we argue that certain behaviour connected to the attempt to attain contemporary female body ideals in Denmark can be understood as an act of achievement and, thus, as an embodiment of the culture of achievement, as it is characterised in Præstationssamfundet, written by the Danish sociologist Anders Petersen (2016) Hans Reitzels Forlag . Arguing from cultural psychological and sociological standpoints, this article examines how the human body functions as a mediational tool in different ways from which the individual communicates both moral and aesthetic sociocultural ideals and values. Complex processes of embodiment, we argue, can be described with different levels of internalisation, externalisation and materialisation, where the body functions as a central mediator. Analysing the findings from a qualitative experimental study on contemporary body ideals carried out by the Danish psychologists Josefine Dilling and Maja Trillingsgaard, this article seeks to anchor such theoretical claims in central empirical findings. The main conclusions from the study are used to structure the article and build arguments on how expectations and ideals expressed in an achievement society become embodied.

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.

The Modification of Plan in Plato's Republic

1913 ◽  
Vol 7 (4) ◽  
pp. 265-272 ◽  
Author(s):  
R. Hackforth
Keyword(s):  
Social Structure ◽  
Human Soul ◽  
Ideal State ◽  
General Plan ◽  
The Individual ◽  
Argument Proceeds ◽  
The Ideal

In a recent number of the Classical Quarterly Mr. F. M. Cornford argues against the commonly accepted view, according to which the tripartite social structure of the Republic is a corollary, in Plato′s mind, to the tripartition of the individual Soul. In the present paper I propose to examine the general plan of the dialogue, in the hope of showing that Plato′s conceptions of State and Soul were not, as generally assumed and as assumed by Mr. Cornford, ready-made and clearly formulated in his mind before he began to write the Republic: that, on the contrary, we can detect profound and vital modifications of his original views as the argument proceeds: and that the conceptions of the Ideal State and the rightly constituted human soul grow out of one another and react on one another in such a way that it is impossible to give a simple answer, affirmative or negative, to the question ‘ Which is prior, the tripartition of State or the tripartition of Soul ?’

The Circles of Prominence, A New Theory on Beauty

2016 ◽  
Vol 33 (4) ◽  
pp. 165-175 ◽  
Author(s):  
Philip A. Young
Keyword(s):  
Upper Lip ◽  
Eyelid Margin ◽  
Nasal Bridge ◽  
Lower Lip ◽  
Beauty Ideal ◽  
The Face ◽  
The Aesthetic ◽  
Aesthetic Ideal ◽  
The Ideal

The Circles of Prominence, A New Theory on Beauty: Ideal Distances in the Eyes, Nose, Ears and Lips. The Circles of Prominence (COP) theorizes that the width of the iris serves as an ideal for multiple distances and shapes within the face. We wanted to test if the iris width (IW) dictates: 1.) the aesthetic ideal distance between eyelid margin and bottom of the eyebrow; 2.) the aesthetic ideal width of the nasal bridge and tip; 3.) the aesthetic ideal height of the upper lip; 4.) the aesthetic ideal height of the lower lip; 5.) and the aesthetic ideal distance the ear extends from the side of the face. This was a subjective survey to test these distances to find the ideal. The data supports that the ideal distance for eyebrow height, nasal bridge & tip width, and lower lip height are all 1 IW as predicted by the COP. The ideal height of the upper lip was statistically found to be ½ IW. The ideal distance that the ear extends from the side of the face was split between ½ IW and 1. As predicted, the data supports the idea that the Iris width serves as the ideal distance or shape for many elements in the face.

The Æsthetic Ideal: Conceptions of the Ideal

The Art World ◽  
1917 ◽  
Vol 1 (4) ◽  
pp. 285
Author(s):  
Fr. Roussel-Despierres
Keyword(s):  
The Aesthetic ◽  
Aesthetic Ideal ◽  
The Ideal

scholarly journals Postacie kobiece Starego Testamentu w alegorycznej egzegezie Orygenesa

Vox Patrum ◽  
2016 ◽  
Vol 66 ◽  
pp. 39-56
Author(s):  
Mariusz Szram
Keyword(s):  
Old Testament ◽  
The Body ◽  
Spiritual Warfare ◽  
Human Soul ◽  
Early Christian ◽  
Intellectual Abilities ◽  
Bodily Feelings ◽  
The Individual ◽  
The Mind ◽  
The Church

The article systematises the metaphors ascribed by Origen (185-253/254) to the well-known female characters of the Old Testament utilising the method of allegorical exegesis of the text of Scripture. Females appearing on the pages of the historical books of Bible are – according to the Alexandrian – allegories of hu­man virtues or defects. They embody the spiritual warfare between the spirit and the body, between the mind and the feelings. In the collective sense they symbo­lize the synagogue or the church chosen from the Gentiles, and in the individual sense – the human soul in its relation to God. Origen refers to the telling names of women, translating them and embedding into the spiritual context often giving the several different allegorical meanings to the same biblical person. Despite the often-quoted in his writings beliefs characteristic to the ancient world, procla­iming that the woman is a symbol of bodily feelings and the man – a symbol of the intellectual abilities, majority of allegorical interpretations relating to the Old Testament women indicates a personification of the virtues worthy of imitation. This phenomenon is conditioned with the meaning of the names of those persons and the role attributed to them by the biblical authors, but Origen’s interpretations are original and based on his own concept of spiritual life. They deny opinions of misogyny of Origen and the early Christian writers in general.

scholarly journals The rhetorical purpose of Israel's notion of the 'whole body' as the ideal body in the psalms: A comparative study of selected psalms from four different genres

2013 ◽  
Vol 34 (1) ◽  
Author(s):  
Cornelius J.J. Wessels ◽  
Johan H. Coetzee
Keyword(s):  
The Body ◽  
Whole Body ◽  
God Concept ◽  
Embodied Language ◽  
Cultural Construct ◽  
Ideal Body ◽  
The Individual ◽  
Body Rhetoric ◽  
Psalm 2 ◽  
The Ideal

The authors of the psalms implemented body rhetoric, especially the notion of the �whole body� as the ideal body, in the various genres of psalms, with specific purposes in mind. The whole body as ideal body served as a defining paradigm within the ancient Israelite culture. In this article, the relationship between the embodied God-concept, the ideal societal body and the individual body is investigated in order to determine the purpose of the implementation of this ideology of whole-bodiedness in selected psalm genres. In Psalm 2, the political body as cultural construct plays a prominent role in directing the individual to think of the body in a specific manner. In Psalm 6, the �broken body� drives the lamentation of the psalmist towards recovery. Psalm 29 reflects the poet�s ability to sketch, in hymnic-embodied language, God�s relationship with his creation and his people and the poet�s worship for God�s fullness of existence and activity. Psalm 32, as a psalm of thanksgiving, pictures God as the whole body in terms of the saviour, protector and healer of the broken (sinful) body.

scholarly journals ОСОБЛИВОСТІ ФОРМОУТВОРЕННЯ ГЛАМУРНОГО КОСТЮМА 1930–1950-х РОКІВ

2018 ◽  
pp. 65-74
Author(s):  
В. В. Будяк
Keyword(s):  
Professional Training ◽  
Individual Characteristics ◽  
The Body ◽  
Practical Significance ◽  
Design Practice ◽  
Historical Method ◽  
Film Studios ◽  
The Aesthetic ◽  
The Individual

To analyze the costumes of Hollywood actresses in the period 1930 – 1950's, which became the basis for the formation of typical structures of a glamor costume in the XX century; to establish the peculiarities of their formation and to determine their place in the structure of a fashionable costume of the beginning of the XXI century.  The stylistic and associative methods of studying the artistic compositional features of the glamorous outfit of actresses as a creative source in contemporary design practice have been used, the comparative-historical method and the method of system-comparative analysis have been applied, which allowed to carry out the general typology of structures of a glamor suit of a certain period and to establish the peculiarities of its formation.  The research shows how in 1930 – 1950's designers of American film studios developed stylistics of a glamorous suit, focusing on the individual characteristics of the body of the structure and appearance of the actresses, their role in the film industry. The results obtained concerning the structures of costumes of actresses and the peculiarities of their formation make it possible to characterize the artistic and compositional features of a glamorous costume and to show that they became the basis for the formation of typical images, and eventually – the typological structures of a glamor style suit, which before that time remain relevant and practically unchanged in the design of promising forms of clothing in stylistics of glamor. The peculiarities of the formation of a glamor suit in a certain period are established; outlined the formative searches of the designers of the cinema industry in the development of stylistics of glamor, which was reflected, first of all, in the formation of typical costume structures, its silhouette forms, constructive-compositional solution, the application of materials and their decorating; the basic means of embodiment of typical figurative-stylistic and formal-compositional signs of style of glamor in modern design practice are established. The practical significance of the work lies in the fact that the main results of the study may be useful for the development and production of clothing collections in the style of glamor; Provide capacious information on figurative-stylistic and formally-constructive characteristics of the typical glamor style of costume structures, silhouette forms and methods of shaping in general. The results can be used in the professional training of designers in order to improve the quality of design and art solutions in the development of collections of fashionable clothing that meet the aesthetic demands of contemporaries.

scholarly journals Hegel's aesthetics and Soviet Marxism: Mikhail Lifshits's Communist ideal

2019 ◽  
Vol 11 (2) ◽  
pp. 273-284
Author(s):  
Angela Harutyunyan
Keyword(s):  
Dialectical Materialism ◽  
Aesthetic Theory ◽  
Soviet Marxism ◽  
Soviet Philosopher ◽  
The Aesthetic ◽  
Aesthetic Ideal ◽  
The Ideal

This paper discusses the materialist reading of Hegel's Aesthetics by Soviet philosopher Mikhail Lifshits in his writings in the 1930s. Engaged in the development of Soviet Marxian aesthetic theory, Lifshits adapted the Hegelian conception of art as a form of truth and actualisation of the Idea in a sensible form as ideal. However, he rejected Hegel's tragic fatalism regarding the historical fate of arts and their sublation in a new supra-sensual stage of the Spirit's development. Lifshits sought the only answer to the historical destiny of arts in the Marxian dialectic of history. Here, he identified the aesthetic ideal with the realisation of communism. It is on this basis that throughout the 1930s Soviet aesthetic theory combined readings of Hegel, Marx, Engels and Lenin in order to develop its own version of art's autonomy, one that was anchored in the concept of the ideal. The ideal in its historical and trans-historical dimension was seen as bridging between sensuousness and truth, and pointing towards the Communist ideal. The paper argues that this concept of the ideal pointed towards a dialectical futurity that could not succumb to the official Stalinist formulations of dialectical materialism. Unlike the Stalinist victory of "socialism in one country" as the consummation of the historical dialectic, the question of the historical destiny of arts pointed at communism as an incomplete and yet historically actualisable ideal.

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