scholarly journals Tension Is the Kinetic Energy: Modernity Drives the Spiral Development of the Aesthetic Ideas of Chinese Animation

2019 ◽  
Author(s):  
Song Yang
Keyword(s):  
Kinetic Energy ◽  
The Aesthetic ◽  
Aesthetic Ideas

Futuro pasado. la evolución del concepto Poesía en Octavio Paz

2021 ◽  
Vol 66 (4) ◽  
pp. 173-186
Author(s):  
Alí Calderón Farfán ◽  
Keyword(s):  
Twentieth Century ◽  
Nobel Prize ◽  
Nobel Prize Winner ◽  
Octavio Paz ◽  
Marcel Duchamp ◽  
Spanish Speaking ◽  
Time Semantics ◽  
The Aesthetic ◽  
Aesthetic Ideas ◽  
Horizon Of Expectations

Future Past. The Evolution of the Concept of Poetry in Octavio Paz. Octavio Paz (1914) is a poet writing in Spanish whose aesthetic ideas have built a vision of relevant poetry for at least three traditions: poetry in French, English and, of course, Spanish. This study will analyze, from the metalinguistic perspective proposed by Reinhart Koselleck, how the concept of “poetry” evolved in the thought of the Mexican Nobel Prize winner. Framed by his tradition, by his space of experience, Octavio Paz wrote works that have been instrumental in understanding and valuing poetry in the twentieth century. From “Poesía de soledad y poesía de communion” (1943) to La otra voz, Poesía y fin de siglo (1990), Paz synthesized the aesthetic ideas of his time in El arco y la lira (1956), rethought the lyrical exercise in “Los signos de rotación” (1956), modified his poetic in the prologue to Poesía en movimiento and made his position explicit in Los hijos del limo and his thoughts on Lévi-Strauss and Marcel Duchamp. By focusing on these texts, as well as on a corpus of conferences, interviews, correspondence and even poetry recitals, this study explores the evolution of poetic thought and the horizon of expectations that the work of the last Spanish-speaking poet who received the Nobel Prize opens for us. Keywords: Octavio Paz, style, poetics, post-utopian time, semantics of concepts

Introduction

2019 ◽  
pp. 1-14
Author(s):  
Dana Seitler
Keyword(s):  
Aesthetic Experience ◽  
Gender And Sexuality ◽  
Fin De Siecle ◽  
Literary Fiction ◽  
Economic Equality ◽  
Aesthetic Form ◽  
Fin De Siècle ◽  
History Of ◽  
The Aesthetic ◽  
Aesthetic Ideas

This book explores the pivotal role that various art forms played in American literary fiction in direct relation to the politics of gender and sexuality at the turn of the century. I track the transverse circulation of aesthetic ideas in fiction expressly concerned with gender and sexuality, and I argue that at stake in fin-de-siècle American writers’ aesthetic turn was not only the theorization of aesthetic experience, but also a fashioning forth of an understanding of aesthetic form in relation to political arguments and debates about available modes of sociability and cultural expression. One of the impulses of this study is to produce what we might think of as a counter-history of the aesthetic in the U.S. context at three (at least) significant and overlapping historical moments. The first is the so-called “first wave” of feminism, usually historicized as organized around the vote and the struggle for economic equality. The second is marked by the emergence of the ontologically interdependent homosexual/heterosexual matrix—expressed in Foucault’s famous revelation that, while the sodomite had been a temporary aberration, at the fin de siècle “the homosexual was now a species,” along with Eve Sedgwick’s claim that the period marks an “endemic crisis in homo-heterosexual definition.”...

Vicissitudes of the Aesthetic Ideas of Marx

1974 ◽  
Vol 25 (9) ◽  
pp. 37
Author(s):  
Adolfo Sánchez Vázquez
Keyword(s):  
The Aesthetic ◽  
Aesthetic Ideas

Some Relations between Ethics, Aesthetics and Politics in Contemporary Art in Times of Crisis

2019 ◽  
Vol 29 (2) ◽  
pp. 9-27
Author(s):  
Maria Elena Ramos ◽  
Keyword(s):  
Contemporary Art ◽  
Political Action ◽  
Human Action ◽  
Aesthetics And Politics ◽  
Artistic Creation ◽  
The Aesthetic ◽  
Ideal Sphere ◽  
Aesthetic Ideas ◽  
Aesthetic Structure ◽  
The Ideal

The inclusion of ethics and politics into artistic creation process is for many contemporary creators/artists an essential motivation while they consciously act in an aesthetic space polluted with the realities of a world in crisis. Art, which produces visible and sensible forms, can reveal aesthetic ideas and fundaments through aesthetic objects: drawing, video-installing or poem/poetry. And artists can make someone feel with their creations—whether these are beautiful, sublime, tragic, or ironic—ethical contentions violated by human action or the exertion/exercise of political power. Works of art that are not only guided by the categories signed by beauty, because in artistic languages, violence and suffering also make/create form. And times of crisis are the ideal sphere/dimension for an art that gives a vivid way of seeing/watching the uncertainty, the perversion, the terrible. In bringing these philosophical—ethical, aesthetic and political—topics, I do it from an approach that departs form artistic creations and curatorial research. I try to penetrate the narrow thread between an ethical topic and the plastic form in which it incarnates/embodies itself, or between a political action and the aesthetic structure of language as a creative, expressive consequence.

RIGHT AND WRONG: THE MUSIC OF ANDREW HAMILTON

Tempo ◽  
2014 ◽  
Vol 68 (269) ◽  
pp. 30-41 ◽  
Author(s):  
Donal Sarsfield
Keyword(s):  
Analytical Study ◽  
Visual Artists ◽  
The Aesthetic ◽  
Aesthetic Ideas ◽  
Simple Materials

AbstractThis article is the first extended analytical study of the music of the Irish composer Andrew Hamilton. It explores the aesthetic ideas that inform Hamilton's music, which often have as much in common with the work of contemporary visual artists and writers as they do with that of other composers. It discusses the particular sense of humour underlying many of his pieces, as well as his music's use of common and supposedly simple materials, which are put in the service of new and original aims.

scholarly journals “Have a heart, have a soul, and be a man at any time…” (evaluating D.I. Fonvizin’s comedy “The Minor”)

2020 ◽  
pp. 9-19
Author(s):  
T.A. Alpatova
Keyword(s):  
Role Models ◽  
Private Life ◽  
Historical Study ◽  
Main Role ◽  
Cultural Changes ◽  
Semiotic Model ◽  
A Value ◽  
The Aesthetic ◽  
Aesthetic Ideas ◽  
Made In

The purpose of the study is to consider D.I. Fonvizin’s anthropological concept formed in his comedy “The Minor”. It was formed as the result of comprehension of the changes that the Russian nobility of the second half of the XVIIIth century manifested in their everyday behavior and which were mainly associated with forming the opportunities in private life and the life choice of a behavior strategy. The research methods used in the article are based both on the traditions of the cultural and historical study of the creative personality of the writer in the context of the Russian literature of the second half of the XVIIIth century – the Catherinian Era – and on the semiotic model of the poetics of everyday behavior of the Russian nobility, formed in the works of Yu.M. Lotman’s. The focus of the work is to identify the topic of private existence as a value guide for people of the second half of the XVIIIth century, which was made possible thanks to the “Manifesto on Freedom of the Nobility”, which methodologically must be taken into account not only in the process of compiling a real commentary on the play of D.I. Fonvizin’s, but also while analyzing the ideological structure of the play and the specifics of the characters portrayal. Each of them (primarily ideological heroes, madam Prostakova and Starodum), in one way or another, gives their assessment of the “Manifesto on Freedom of the Nobility”; their fate can be seen as the illustration of the main role models that appeared in the poetics of everyday behavior of the Russian nobility of the second half of the XVIII century. The main results of the study are related to the refinement of ideas about Fonvizin, a writer and thinker of his era, his views on the cultural changes of the Catherinian Era, the specifics of the aesthetic ideas of the writer, and the correlation of classic and pre-realistic trends in his work. The brief conclusions made in the article are that the comedy “The Minor” became an important step of the writer’s in comprehending the cultural and anthropological processes that were outlined in Russia during the Catherinian Era, eventually making the period of the late XVIII – early XIX centuries “The golden age” of cultural creativity of the Russian nobility.

scholarly journals Репрезентанты концепта ПАМЯТЬ в свете новых задач стилистики

Stylistyka ◽  
2020 ◽  
Vol 28 ◽  
pp. 25-40
Author(s):  
Ольга В. Евтушенко
Keyword(s):  
Interdisciplinary Approach ◽  
Literary Work ◽  
Temporal Organization ◽  
Literary Texts ◽  
Family Chronicle ◽  
The Aesthetic ◽  
Definition Of ◽  
The Individual ◽  
Aesthetic Ideas ◽  
Individual Style

Starting with the definition of style by K.A. Dolinin, the article proposes to reflect on the perspectives of an interdisciplinary approach to stylistic research, using primarily the achievements of psychology and philosophy, as the style of a literary work is the result of the subject’s choices, which in turn result from his/her individual way of thinking. The interdisciplinary approach will also allow for more effective aesthetic assessment of the work. The article analyses three literary texts based on memories: The childhood years of Bagrov-grandson, serving as a continuation of the Family Chronicle by S.T. Aksakov, The Life of Arsenyev by I.A. Bunin and Be Like Children by V.A. Sharov. On the example of language constructions forming the concept of MEMORY, the researcher shows the factors that influence the choice of language means that ultimately create the individual style of the author. The study proves that this choice is influenced by non-linguistic factors: the situational context, era, the author’s professional and personal experience and education, philosophicaland aesthetic ideas, and other important circumstances that guide the artist’s thinking. Genre rules and current tastes are also of importance. The study shows that the ratio of the number of language constructions regarding experience memory and information memory can characterize the individual style of a given author. It also proves that a broader interdisciplinary view of style allows to see more determinants of the aesthetic value of a work. Among them are: the harmonious structure of the text including its spatial and temporal organization, and the compliance with the broadly understood norm that involves not only the linguistic but also the mental layer of the text, as expressed by appropriately selected means.

Wounds of the Past: the Chuanju Performance of Qingtan (Sighing)

2019 ◽  
Vol 35 (03) ◽  
pp. 221-237
Author(s):  
Lin Chen
Keyword(s):  
Cultural Revolution ◽  
Chinese Culture ◽  
Mainland China ◽  
Assistant Professor ◽  
Ordinary People ◽  
The Past ◽  
Deep Wound ◽  
The Aesthetic ◽  
Aesthetic Ideas ◽  
The Cultural Revolution

In this article Lin Chen seeks to locate the experimental chuanju production Qingtan (Sighing), directed by and starring Tian Mansha, in its special socio-political context. Based on a detailed performance analysis, she explores the aesthetics of the production and how it interweaves different performance cultures while referring continually to the deep wound of the Cultural Revolution, still felt by a significant number of ordinary people in mainland China. But while the production fully intends to present the trauma of the Cultural Revolution, it barely touches the wound of the past that it evokes. This is so because of the pervading presence of the xiqu idea of beauty, current dualistic political discourse, institutional difficulties, and, most of all, the fact that the collective cultural trauma at issue has not yet been properly articulated in Chinese culture and society. Lin Chen is an assistant professor of the Qingdao Institute of Humanities and Social Sciences, Shandong University. She completed her doctorate at the Freie Universität, Berlin. Her research interests include the aesthetic ideas of Leibniz and their far-reaching influence, the aesthetics of performativity, interweaving performance cultures and cultural studies.1

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