scholarly journals “[I]t is a word unsaid”

2018 ◽  
Vol 1 (126) ◽  
pp. 1-8
Author(s):  
Amer Rasool Mahdi
Keyword(s):  
Terra Incognita ◽  
Literary Geography ◽  
The Aesthetic ◽  
The One

This study attempts to trace the aesthetic of the act of naming in Walt Whitman’s poem “Song of Myself”. It tries, furthermore, to approach America as a geo-poetic concept and formation in the earlier American poetics of being. The literary geography of Whitman’s poetry might here be measured against the poeticity of the American con(text) or poetic dwelling, with all the nuances of the question of identity being implicated. The poet as a namer is the one who re-invents his linguistic-poetic gear to re-signify his existence in the act of renaming the second creation. Building on the Emersonian pseudo-philosophical premises, the poet Whitman thus sets himself the task of mapping out his Eden, or this terra incognita, by creating his textual geography and by Whitmanizing the American scene for that matter. 

Contraste, Dissonanzen, Missklänge: Zum Verhältnis von Idylle und Tourismus in literarischen Schweiz-Reisen des 19. Jahrhunderts (Ida Hahn-Hahn, Hans Christian Andersen)

2021 ◽  
Vol 50 (1) ◽  
pp. 34-56
Author(s):  
Christian Schmitt
Keyword(s):  
19Th Century ◽  
The Other ◽  
Hans Christian Andersen ◽  
The Aesthetic ◽  
The One ◽  
The 19Th Century ◽  
The Relationship

Abstract The discrepancy between common temporary expectations of Switzerland as idyll on the one hand, and the reality of its industrially organized tourism on the other, imposes irritations upon the touristic gaze. This article, then, traces the origins of this discrepancy and examines the relationship between Swiss idyll and tourism in the 19th century. The analyses of Ida Hahn-Hahn’s Eine Idylle and Hans Christian Andersen’s Iisjomfruen showcase different ways of relating idyll and tourism to one another as well as the aesthetic merit produced by this constellation.

Vegan attendance: reading Gibbons’s animals

2020 ◽  
Vol 29 (3) ◽  
pp. 379-394
Author(s):  
Emelia Quinn
Keyword(s):  
The Other ◽  
Other Hand ◽  
Aesthetic Pleasure ◽  
Simone Weil ◽  
The Aesthetic ◽  
The One ◽  
Embodied Presence

When we encounter the work of Grinling Gibbons, we find ourselves in the presence of multiple non-human animals. However, it is unclear how one should address these presences. On the one hand, for ecofeminist scholars such as Josephine Donovan, the aestheticization of animal death is to be vehemently resisted and the embodied presence of animals recovered by looking beyond the surface: a mode of looking that Donovan terms ‘attentive love’. On the other hand, a re-reading of the philosophical ideas of Simone Weil, upon which Donovan premises her argument, suggests that attention to others requires a mode of radical detachment. These two positions speak in important ways to the dilemmas faced by a vegan spectator. Drawing on Jason Edwards’s previous work on ‘the vegan viewer’, this article seeks to reconcile a vegan resistance to Gibbons’s depictions of animal death, in their spontaneous falling under human dominion, with the aesthetic pleasure generated by Gibbons’s craftmanship. I therefore propose ‘vegan camp’ as a means of reconciling oneself to insufficiency and complicity in systems of violence without renouncing pleasure. Vegan camp is detailed as an aesthetics that acknowledges the violence of humanity and one’s inescapable place within it, dissolving the subjective idea of the beautiful vegan soul to pay attention to the pervasive presence of an anthropocentrism that, in the case of Gibbons, decoratively adorns the sites at which animals might be eaten, worn, or offered up for sacrifice.

scholarly journals Computer Gameplay and the Aesthetic Practices of the Self: Game Studies and the Late Work of Michel Foucault

2018 ◽  
Vol 3 (3) ◽  
Author(s):  
Feng Zhu
Keyword(s):  
Michel Foucault ◽  
Computer Games ◽  
The Self ◽  
Game Studies ◽  
The Other ◽  
Late Work ◽  
Practices Of The Self ◽  
The Aesthetic ◽  
The One ◽  
The Way

This paper aims to critically introduce the applicability of Foucault’s late work, on the practices of the self, to the scholarship of contemporary computer games. I argue that the gameplay tasks that we set ourselves, and the patterns of action that they produce, can be understood as a form of ‘work on the self’, and that this work is ambivalent between, on the one hand, an aesthetic transformation of the self – as articulated by Foucault in relation to the care or practices of the self – in which we break from the dominant subjectivities imposed upon us, and on the other, a closer tethering of ourselves through our own playful impulses, to a neoliberal subjectivity centred around instrumentally-driven selfimprovement. Game studies’ concern with the effects that computer games have on us stands to gain from an examination of Foucault’s late work for the purposes of analysing and disambiguating between the nature of the transformations at stake. Further, Foucault’s tripartite analysis of ‘power-knowledge-subject’, which might be applied here as ‘game-discourse-player’, foregrounds the imbrication of our gameplay practices – the extent to which they are due to us and the way in which our own volitions make us subject to power, which is particularly pertinent in the domain of play.

scholarly journals Decoding the Visual Characteristics of Chinese Painting Strokes-A Study on Gao Gu You Si Stroke

2021 ◽  
Vol 236 ◽  
pp. 05093
Author(s):  
Xue Hu ◽  
Eakachat Joneurairatana ◽  
Sone Simatrang
Keyword(s):  
Visual Culture ◽  
Le Corbusier ◽  
Visual Design ◽  
Chinese Painting ◽  
Cultural Characteristics ◽  
Local Characteristics ◽  
Visual Characteristics ◽  
The Aesthetic ◽  
The One ◽  
Aesthetic Characteristics

The architect Le Corbusier once said this theory: Design has local characteristics and universal characteristics. Local characteristics are greatly influenced by culture. The strokes are the one essence of Chinese painting that characteristics of the strokes are unique to Chinese visual culture. Among Chinese painting strokes, Eighteen Strokes are the typical representative of the aesthetics of Chinese visual culture. However, the current research on the cultural characteristics of Eighteen Strokes is insufficient. The objective of this article is taking Xie He’s Six Canons as the theory to decode the content of the aesthetic characteristics of the Gao Gu You Si Stroke (one of the Eighteen Strokes), then to get the visual cultural characteristics of Chinese painting strokes and the fundamental perspective characteristics of the inheritance visual cultural. Based on this, this article will use the Content Analysis Approach to conduct research, by decoding the aesthetic content of the Chinese painting strokes to construct the personality and characteristics required by Chinese visual design.

scholarly journals Non-Theurgy: Iamblichus and Laruelle

Labyrinth ◽  
2018 ◽  
Vol 20 (1) ◽  
pp. 64
Author(s):  
Stanimir Panayotov
Keyword(s):  
The Aesthetic ◽  
The One

Mysticism, theurgy, non-philosophy: this text will experiment with the three in an attempt to perform a non-philosophical hijacking of so-called theurgy (theurgia). I will experiment with a comparison between Iamblichus' theurgy, Laruelle's non-philosophy, and the notion of the Vision-in-One. I claim their point of convergence is their allegiances to the theory of the One, derived from Plato's Unwritten Doctrines. The ancient notion of the One is subject to a similar procedural gesture in both Iamblichus and Laruelle, namely, the procession of the One from the noematic to the aesthetic realm. What connects them is their rejection of the theory that the soul's descension from the One to the visible realm represents a degeneration of the Nous. In a concept akin to the very idea of theurgy, Laruelle proposes his Vision-in-One, which is to think from the One rather than the One. The Vision-in-One is an attempt to materialize the disembodied fate of the noema against realistic skepticism.  

scholarly journals Identifying the Perceptual Qualities of a Heritage Precinct - Entrance Gateway (Rajagopuram)

2019 ◽  
Vol 9 (1) ◽  
pp. 931-935
Keyword(s):  
Cultural Heritage ◽  
Urban Design ◽  
Perceptual Quality ◽  
Thought Process ◽  
Rural Space ◽  
Aesthetic Sense ◽  
Basic Meaning ◽  
The Aesthetic ◽  
The One

Existence of a heritage / historical structure is the one that adds meaning to urban or rural space. The perceptual quality of the structure enhances the aesthetic sense to the settings or place. The aesthetic sense makes the place, a visual appealing entity with augment of identity. It develops a sign and symbol to the place. Without that, the meaning is lost, identity is destroyed and placelessness is formed. Urbanization and globalization always concentrate more on development, without understanding the basic meaning and cultural heritage of any built environment with its tangible and intangible aspects. This paper explores the ideas and thought process of the architects, urban design theorists, and psychologist in considering perceptual qualities of a structure and it turns in relation with the feature of a Dravidian style Rajagopuram that acts as an entrance gate way to a heritage precinct .

Epilogue

2021 ◽  
pp. 223-240
Author(s):  
Mark A. Allison
Keyword(s):  
Twentieth Century ◽  
Political Institutions ◽  
Labour Party ◽  
The Other ◽  
World State ◽  
Collective Ownership ◽  
Political Tradition ◽  
Socialist Movement ◽  
The Aesthetic ◽  
The One

This Epilogue sets the waning of British socialist anti-political aspiration in the context of the literary career of H. G. Wells, on the one hand, and the coalescence of the Parliamentary Labour Party, on the other. In their respective spheres, both Wells and the Labour Party represent a decisive turn toward a statist—and forthrightly political—conception of socialism in the early decades of the twentieth century. Wells, the new century’s most prolific and influential socialist writing in English, shares with his antecedents an abiding preoccupation with the aesthetic dimension of socialism. In stark contrast to his predecessors, however, he self-consciously subordinates this aesthetic impulse to his overmastering vision of an emerging socialist world state. Concurrently, the fledgling Labour Party became a locus for the longstanding debates about how socialism was to be made and what posture the socialist movement should adopt to Britain’s existing political institutions and traditions. These debates were foreclosed by the party’s adoption of a new constitution and party program in 1918, which were drafted by the Fabian socialist Sidney Webb. The constitution includes the famous Clause IV, which affirms the party’s commitment to the collective ownership of the means of production. Labour’s reorganization effectively confirmed that in Britain, socialism would be pursued via the parliamentary road—and that state socialism would be its ultimate institutional goal. Consequently, 1918 provides a symbolic end to the anti-political tradition Imagining Socialism delineates—and of the socialist century that it surveys.

Relaciones Entre las Actitudes Bellas y las Morales

1998 ◽  
pp. 133-138
Author(s):  
María Rosa Palazón
Keyword(s):  
Literary Text ◽  
The Other ◽  
Good Person ◽  
Spontaneous Behavior ◽  
Moral Beauty ◽  
Moral Rules ◽  
The Aesthetic ◽  
The One ◽  
The Individual

There are no a-moral texts, even though amorality may be described by them: an amoral author would not dare into the search of beauty; it depends on a game of faculties that, also, play with the form. A moralizing literary text is not due to a game of author's faculties, but only to the author's conscience. Thus, it rebounds heavy and ugly. An ugly immoral literary text assaults on a redundant and calculated way some moral rules in favor of the "forbidden". Then, it is not a beautiful text. The aesthetic function is the one treating the stimulus as a purpose and not only as a means. This spontaneous behavior is condition of possibility for the moral act (the follower of the second kantian imperative). The one who spontaneously has the attitude that considers the other (alter) as a purpose and not only as a means, is a beautiful person. Its argued that it is not yet a morally good person. Anyway, "beau-ty" on its Latin etymologies (beau-t‚ and bello) means good, which involves a project that is dialoguing, truthful, respectful and advantageous for the community. It also means that the decision of using the proper means for the goal, has been taken. Once accepted the project, the individual shall act spontaneously on a ludicrous way so that the project may become real. He will be a more meritorious beautiful person if his spontaneous goodness means the overcoming over the experiences that have hurt hi. The matter is: is the moral beauty the highest point of morality? I will work on this topic on the basis of Schiller, Kant, Gadamer, and Sartre.

scholarly journals Flat Glass or Crystal Dome Aperture? A Year-Long Comparative Analysis of the Performance of Light Pipes in Real Residential Settings and Climatic Conditions

2020 ◽  
Vol 12 (9) ◽  
pp. 3858 ◽  
Author(s):  
Magda Sibley ◽  
Antonio Peña-García
Keyword(s):  
Comparative Analysis ◽  
Flat Glass ◽  
Climatic Conditions ◽  
Long Term Effect ◽  
Different Types ◽  
The Difference ◽  
The Aesthetic ◽  
One Year ◽  
The One

This paper presents the first comparative study of its type of the performance of light pipes with different types of apertures: a flat glass versus a bohemian crystal dome. Measurements were taken at 20-minute intervals over a period of one year in the bathrooms of two newly built identical houses of the same orientation located in Manchester, UK. The comparative analysis of the data collected for both light pipes types reveals that the crystal domed aperture consistently outperforms the flat glass one. Furthermore, the difference in the recorded horizontal illuminance is most marked during the winter months and at the end of the one-year experiment, indicating that the crystal dome has better performance for low incident winter light and higher resistance for the long term effect of weathering and pollution. This study provides strong evidence based on long term real measurements. Such evidence informs architects’ decisions when weighing up the aesthetic considerations of a flat glass aperture versus the higher illumination levels afforded by a crystal dome aperture with higher resistance to weathering and pollution.

scholarly journals Autonomy and Aesthetic Engagement

Mind ◽  
2019 ◽  
Vol 129 (516) ◽  
pp. 1127-1156 ◽  
Author(s):  
C Thi Nguyen
Keyword(s):  
The Other ◽  
Aesthetic Appreciation ◽  
Aesthetic Value ◽  
Aesthetic Object ◽  
Other Hand ◽  
Motivational Structure ◽  
The Aesthetic ◽  
The One ◽  
The Right ◽  
Aesthetic Judgments

Abstract There seems to be a deep tension between two aspects of aesthetic appreciation. On the one hand, we care about getting things right. Our attempts at aesthetic judgments aim at correctness. On the other hand, we demand autonomy. We want appreciators to arrive at their aesthetic judgments through their own cognitive efforts, rather than through deferring to experts. These two demands seem to be in tension; after all, if we want to get the right judgments, we should defer to the judgments of experts. How can we resolve this tension? The best explanation, I suggest, is that aesthetic appreciation is something like a game. When we play a game, we try to win. But often, winning isn’t the point; playing is. Aesthetic appreciation involves the same flipped motivational structure: we aim at the goal of correctness, but having correct judgments isn’t the point. The point is the engaged process of interpreting, investigating, and exploring the aesthetic object. When one defers to aesthetic testimony, then, one makes the same mistake as when one looks up the answer to a puzzle, rather than solving it for oneself. The shortcut defeats the whole point. This suggests a new account of aesthetic value: the engagement account. The primary value of the activity of aesthetic appreciation lies in the process of trying to generate correct judgments, and not in having correct judgments.

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