Т.СЫДЫКБЕКОВДУН «КӨК АСАБА» РОМАНЫНДАГЫ ФРАЗЕОЛОГИЗМДЕРДИН

2020 ◽  
pp. 16-19
Author(s):  
Аттокур Джапанов
Keyword(s):  
Great Success ◽  
Complex Phenomenon ◽  
Work Of Art ◽  
Full Version ◽  
Quantum Version ◽  
The Creation ◽  
The Aesthetic ◽  
Lexical Variant

Аннотация: Фразеологизмдердин варианттары өзүлөрүнүн жасалышы, пайда болуш мүнөздөрү боюнча бирдей эмес. Алар тутумуна сөз кошулуу, экинчисинде бир компоненттин башка сөз менен алмаштыруу жана үчүнчүсүндө компоненттердин өз ара орун алмаштыруу аркылуу жасалат. Көркөм чыгарма жаратууда фразеологизмдердин лексикалык варианттарын колдонуу стилистикалык аспектиден алганда да татаал кубулуш, ал кепте анын маданияттуулугун көтөрүү стилди жакшыртуу максаттарын ишке ашырууда табылгыс тилдик каражат болуп саналат. Т.Сыдыкбеков бул максатта лексикалык кордогу фразеологизмдердин айрым бөлүктөрүн башка сөз менен алмаштыруу аркылуу зор ийгиликтерге жетишкен. Мындай сөздөрдүн түгөйлөрүн колдонуу чыгармага эстетикалык мазмун жаратып, автордун кебинин маданияттуулугун арттырган. Квантативдик вариантта фразеологизмдин толук вариантынан айрым бир компоненттеринин кыскартылып айтылышынан, же тескерисинче, анын табиятына мүнөздүү болбогон башка бир сөздүн кошулуп айтылышынан фразеологизм-дин негизги маанисине доо кетпейт. Түйүндүү сөздөр: фразеологизм, компонент, лексикалык вариант, квантативик вариант, "көк асаба", публицисттер. Аннотация: Варианты фразеологизмов неоднородны по своему строению, характеру возникновения. Они создаются путем присоединения слова к системе, замена одного компонента другим словом и взаимозаменяемости компонентов третьего. Использование лексических вариантов фразеологизмов в создании художественного произведения-сложное явление даже в стилистических аспектах, которое является незаменимым языковым средством в реализации целей улучшения стиля, повышения его культуры. С этой целью Т.Сыдыкбеков добился больших успехов путем замены некоторых фразеологизмов лексического корня другими словами. Использование пар таких слов создало эстетическое содержание произведения, повысило культурность внешности автора. Из полного варианта фразеологизма в квантативном варианте не вытекает искушение основного значения фразеологизма из сокращенного произношения отдельных компонентов, или, наоборот, сложного произношения другого слова, не характерного для его природы. Ключевые слова: фразеологизм, компонент, лексический вариант, квантативный вариант, публицисты. Abstract: the variants of phrase logical units are heterogeneous in their structure and origin. They are created by attaching a word to the system, replacing one component with another word, and interchanging the components of a third. The use of lexical variants of phrase logical units in the creation of a work of art is a complex phenomenon, even in stylistic aspects, which is an indispensable language tool in the implementation of the goals of improving the style, increasing its culture. To this end, T.Sydykbekov achieved great success by replacing some phrase logical units of the lexical root with other words. The use of pairs of such words created the aesthetic content of the work, increased the words created the aesthetic content of the work, increased the cultural appearance of the author. И The full version of phraseology in the quantum version does not lead to the temptation of the main meaning of phraseology from the abbreviated pronunciation of individual components, or, conversely, the complex pronunciation of another word that is not characteristic of its nature. Keywords: phraseology, component, lexical variant, quantiative variant, publicists.

scholarly journals “HUMAN, HUMANITY, AND HUMANITIES” DALAM PENCIPTAAN KARYA KRIYA KULIT

CORAK ◽  
2017 ◽  
Vol 6 (2) ◽  
Author(s):  
Rohmad Eko Priyono
Keyword(s):  
Final Stage ◽  
Three Dimensional ◽  
Charles Sanders Peirce ◽  
Two Dimensional ◽  
Aesthetic Value ◽  
Work Of Art ◽  
Standard Values ◽  
The Creation ◽  
The Aesthetic ◽  
Aesthetic Values

The creation of it has a title “human, humanity, and humanities” The author would like to learn about the unique symbol of a Human and its application in the form of the installation of art. The approach used in the creation is an aesthetic approach, the method used is based on the aesthetic values embodied in art. Aesthetic is the main objective in the creation of works derived from the shape of a Human. Terms of design that has been studied in the study of art as craft unconscious part spontaneously out of the standard values in making the creation of craft art, starting from sketches to the final stage. Semiotics is used in the creation of works of art craft is semiotics Charles Sanders Peirce - sign approach based on the idea of a philosopher and thinker United clever, Charles Sanders Peirce (1839-1914) is the method used to determine whether a work of art has meaning symbol, index, and icon. This approach is actually used as the meaning of the meaning and purpose of the philosophical. In this case, the artist commented aesthetic value and his symbolization, artists explore the beauty, the uniqueness of the shape of a human and then pour it into the leather craft three-dimensional and two-dimensional. And artists have chosen the concept of human as a concept in leather craft work.Keyword: Creation, Craft, Leather and the Making Process  Jurnal Penciptaan ini memiliki judul "human, humanity, and humanities". Penulis ingin mengetahui simbol unik tentang manusia dan mengaplikasikannya dalam bentuk instalasi seni. Pendekatan yang digunakan dalam penciptaan adalah pendekatan estetika, yaitu pendekatan yang berdasar pada nilai estetika yang terkandung dalam karya seni. Estetika memiliki tujuan utama dalam penciptaan karya yang berasal dari bentuk manusia. Kerangka desain yang telah dipelajari dalam studi seni sebagai karya seni bagian bawah sadar secara tak langsung keluar dari nilai fungsional dalam pembuatan karya seni, mulai dari sketsa hingga tahap akhir. Semiotika yang digunakan dalam penciptaan karya seni adalah semiotik Charles Sanders Peirce - pendekatan tanda berdasarkan gagasan seorang filsuf dan pemikir Amerika yang cerdas, Charles Sanders Peirce (1839-1914) adalah metode yang digunakan untuk menentukan apakah suatu karya seni Memiliki makna simbol, indeks, dan ikon. Pendekatan ini sebenarnya digunakan sebagai makna - makna dan tujuan filosofis. Dalam hal ini, seniman memiliki pandangan bahwa nilai estetika dan simbolisasi, seniman mengeksplorasi keindahan, keunikan bentuk manusia dan kemudian menuangkannya ke dalam kriya kulit tiga dimensi dan dua dimensi. Dan seniman telah memilih konsep manusia sebagai konsep dalam karya seni kriya. Kata Kunci: Penciptaan, Kriya, Kulit dan Proses Pembuatan

scholarly journals SESTINA DALAM SUDUT PANDANG ESTETIKA MONROE. C. BERDSLEY

2019 ◽  
Vol 1 (1) ◽  
pp. 37
Author(s):  
I Wayan M. Dhamma Narayanasandhy
Keyword(s):  
Literary Work ◽  
Elizabeth Bishop ◽  
Aesthetic Theory ◽  
Work Of Art ◽  
Literary Works ◽  
The World ◽  
The Creation ◽  
The Aesthetic

Setiap karya musik yang dinyanyikan, biasanya memiliki sebuah lirik yang ikut andil di dalamnya. Kebanyakan, penciptaan sebuah lirik terinspirasi dari sebuah puisi. Banyak sekali jenis-jenis puisi di dunia, salah satunya adalah puisi Sestina. Puisi sestina adalah salah satu puisi kuno yang tidak memiliki unsur rima tetapi memiliki algoritma repetisi yang disebut circular of sestina. Dalam sebuah karya seni, selalu memiliki suatu estetika yang terkandung di dalamnya. Dengan meninjau lebih dalam tentang estetika, penelitian ini berfokus pada teori estetika yang dikemukakan oleh Monroe C. Berdsley. Tujuan penelitian ini adalah untuk mengetahui jenis karya sastra sestina dalam sudut pandang teori estetika dari Monroe C. Berdsley. Penelitian ini bersifat deskriptif dengan sebuah pendekatan yang menjurus pada studi kepustakaan. Hasil dari penelitian ini adalah menjelaskan tentang ketiga unsur penting teori estetika Monroe yaitu Intensity, Complexity, dan Unity yang terdapat dalam suatu karya sastra sestina dengan menggunakan contoh karya puisi “Sestina” yang diciptakan oleh Elizabeth BishopEvery piece of music that is sung, usually has a lyrics that contributes to it. Mostly, the creation of a lyrics is inspired by a poem. There are so many types of poetry in the world, one of which is Sestina's poetry. Sestina poetry is one of the ancient poems that has no rhyme element but has a repetition algorithm called the circular of sestina. In a work of art, always has an aesthetic contained in it. With a deeper review of aesthetics, this study focuses on the aesthetic theory proposed by Monroe C. Berdsley. The purpose of this study was to find out the types of Sestina's literary works in Monroe C. Berdsley's aesthetic theory. This research is descriptive with an approach that leads to the study of literature. The results of this study are to explain the three important elements of Monroe aesthetic theory, namely Intensity, Complexity, and Unity contained in a sestina literary work using the example of the poem "Sestina" created by Elizabeth Bishop

Kaki Manusia Sebagai Objek Estetik Penciptaan Fotografi Seni

2014 ◽  
Author(s):  
Dira Herawati
Keyword(s):  
Social Situation ◽  
Work Of Art ◽  
Social Phenomena ◽  
Aesthetic Object ◽  
Human Foot ◽  
Works Of Art ◽  
The Social ◽  
The Creation ◽  
Art Photography ◽  
Artistic Images

Accountability report is a written description of creative experiences as an artist or a photographer of aesthetic exploration efforts on the image and the idea of a human as a basic stimulant for the creation of works of art photography. Human foot as an aesthetic object is a problem that relates to various phenomena that occur in the social sphere, culture and politics in Indonesia today. Based on these linkages, human feet would be formulated as an image that has a value, and the impression of eating alone in the creation of a work of art photography. Hence the creation of this art photography entitled The Human Foots as Aesthetic Object  Creation of Art Photography. Starting from this background, then the legs as an option object art photography, will be managed creatively and systematically through a phases of creation. The creation phases consist of: (1) the exploration of discourse, (2) artistic exploration, (3) the stage of elaboration photographic, (4) the synthesis phase, and (5) the stage of completion. Methodically, through the phases of the creative process  through which this can then be formulated in various forms of artistic image of a human foot. The various forms of artistic images generated from the foots of its creation process, can be summed up as an object of aesthetic order 160 Kaki Manusia Sebagai Objek Estetik Penciptaan Fotografi Seni in the photographic works of art. It is specifically characterized by the formation of ‘imaging the other’ behind the image seen with legs visible, as well as of the various forms of ‘new image’ as a result of an artistic exploration of the common image of legs visible. In general, the whole image of the foot in a photographic work of art has a reflective relationship with the social situation, cultures, and politics that developed in Indonesian society, by value, meaning and impression that it contains.Keywords: human foots, aestheti,; social phenomena, art photography, images

scholarly journals Portrait of the artist as a philosopher

2021 ◽  
pp. 105971232199468
Author(s):  
Jeannette Pols
Keyword(s):  
Know How ◽  
The Past ◽  
Aesthetic Practice ◽  
The Creation ◽  
The Aesthetic ◽  
The Relationship

The response asks about the relationship between artist and audience in the RAAAF artworks. Is the artist an Autonomous Innovator who breaches the ties with the past and the environment? Or is the aesthetic practice located in the creation of relationships around these objects, hence expanding the artwork by using know-how, experiences and enthusiasm of the audience/users?

Motorcycling in a Repair Society: A Maintenance and Repair–Centered Approach to Automobility

2020 ◽  
pp. 088832542095080
Author(s):  
Gabriel Jderu
Keyword(s):  
Additional Material ◽  
Maintenance And Repair ◽  
Mass Tourism ◽  
Administrative Personnel ◽  
Lower Ranking ◽  
The Creation ◽  
Material Engagement ◽  
The 1950S ◽  
The Aesthetic ◽  
Car Driving

In a departure from car-centered analyses of the automobility systems, this article highlights the importance of motorcycles and motorcycling in the mobility practices of socialist countries. For at least half of the existence of socialist mobility systems, and especially during the 1950s and 1960s, there were more motorcycles on the roads than cars. Motorcycling was important in commuting, for the mobility of lower-ranking administrative personnel in the countryside, and for mass tourism and leisure. Although in that era maintenance and repair practices were equally central to motorcycling and car-driving, the distinction between user-owner and mechanic was much more fluid in the case of motorcyclists. As a result, the centrality of maintenance and repair to socialist-era motorcycling offers an ideal opportunity to enrich current interdisciplinary conversations about breakdown, maintenance, and repair. Building on the car-centered research into maintenance and repair activities, I add additional material on the nature, types, and complexity of such practices for motorcycling. I outline nine forms of material engagement with motorcycles that reference, but transcend, the current dichotomies between necessity and pleasure, the formal and the informal, the technical and the aesthetic, and the repair of existing objects and the creation of new ones.

II.—A Plea for the Study of Literature from the æsthetic Standpoint

PMLA ◽  
1891 ◽  
Vol 6 (1) ◽  
pp. 29-40
Author(s):  
John P. Fruit
Keyword(s):  
Divine Attributes ◽  
External Quality ◽  
Work Of Art ◽  
Divine Justice ◽  
The Aesthetic

That teacher of literature who has not comprehended the significance of a work of Art, has never been endued with the spirit and power of his high calling. He stands unwittingly in the place of an apostle of “that external quality of bodies which may be shown to be in some sort typical of the Divine attributes.”“Those qualities, or types,” according to Ruskin, “on whose combination is dependent the power of mere material loveliness” are:“Infinity, or the type of Divine Incomprehensibility; Unity, or the type of the Divine Comprehensibility; Repose, or the type of the Divine Permanence; Symmetry, or the type of the Divine Justice; Purity, or the type of the Divine Energy; Moderation, or the type of Government by Law.”

Telling refugees’ stories: Testimony and hospitality in graphic novel L’Odyssée d’Hakim by Fabien Toulmé

2021 ◽  
Vol 12 (1) ◽  
pp. 301-313
Author(s):  
Jennifer Boum Make
Keyword(s):  
Mediterranean Region ◽  
The Other ◽  
Graphic Novel ◽  
Bearing Witness ◽  
Visual Narratives ◽  
Ethical Implications ◽  
Testing Zone ◽  
The Creation ◽  
The Aesthetic ◽  
The Relationship

Following the increase in migratory flows since 2015, in the Euro-Mediterranean region, bandes dessinées are mobilized to stir up compassion and prompt engagement with marginalized biographies. It begins with the premise that aesthetic approaches of bandes dessinées reveal a testing zone to juxtapose modalities of representation and expression of refugees and ways to interact with otherness. To interrogate the relationship between aesthetic devices and the formation of solidarity, this article considers the first volume of Fabien Toulmé’s trilogy, L’Odyssée d’Hakim: De la Syrie à la Turquie (2018). How does Toulmé’s use of aesthetic devices make space for the other, in acts of dialogue and exchange? What are the ethical implications for the exercise of bearing witness to migrant and refugee narratives, especially in the transcription and translation in words and drawing of their biographies? This article argues that visual narratives can provide for the creation of a hospitable testimonial space for migrants and refugees’ voices. The article outlines the aesthetic methodology deployed in graphic storytelling, reflects on what it means for the perception of refugees, and questions the use and ethical appeal of visual narratives as a form to curate hospitality.

scholarly journals Aesthesis decolonial y los tiempos relacionales Entrevista a Rolando Vázquez

2016 ◽  
Vol 11 (18) ◽  
pp. 76
Author(s):  
Rolando Vazquez ◽  
Miriam Barrera Contreras
Keyword(s):  
Contemporary Art ◽  
The Arts ◽  
Palabras Clave ◽  
The Creation ◽  
The Senses ◽  
The Difference ◽  
The Aesthetic ◽  
Arte Contemporáneo ◽  
The Way

RESUMEN Hay que pensar la decolonialidad en relación a las artes. En esta entrevista exploramos cómo las artes decoloniales se diferencian de la estética moderna/colonial. La decolonización de la estética conlleva la liberación de a la aiesthesis, es decir de las formas de relacionarnos con el mundo y de hacer mundo a través de los sentidos. La aiesthesis decolonial se distingue de los principios del arte contemporáneo y en particular de su sujeción a la temporalidad moderna, abriéndonos hacia las temporalidades relacionales. Los artistas decoloniales ejercen una temporalidad distinta que conlleva no sólo una crítica radical al orden de la representación y de la visualidad modernas sino que también nos dan la posibilidad de entender a la decolonialidad cómo un movimiento cargado de esperanza, cargado de la posibilidad de nombrar y vivenciar los mundos interculturales que han sido negados. PALABRAS CLAVE Decolonialidad, tiempo relacional, esperanza, cuerpo, interculturalidad KAI SUTI AESTHESIS ÑAGPAMANDA KAUSAKUNA TUKUIKUNAWA TAPUCHI SUG RUNATA ROLANDO VÁSQUEZ SUTITA SUGLLAPI Kaipi kawachinakumi iska ruraikuna ñugpamanda chasallata kunaurramanda. Kai suti aiesthesis, kawachiku imasami pai kawa kawachimanda ukusinama paipa iuaikunawa. Aiesthesis kame tukuikunamanda sugrigcha.Lsx artistxs kawachinakumi ñugpamanda kausikuna munankuna kawachingapa charrami kausanakunchi parlanakumi ñugpata imasami mana lisinsiaskakuna allí ruraikuna tukuikunamanda. IMA SUTI RIMAI SIMI: Ñugpamanda, parlaikuna sullai, nukanchi kikin, tukuikuna. DECOLONIAL AESTHESIS AND THE RELATIONAL TIMES. INTERVIEW WITH ROLANDO VÁSQUEZ ABSTRACT We have to hink the decoloniality in relation with the arts. This interview explores the difference between the modern/colonial aesthetic and the decolonial arts. The aesthetic decolonization leads to the release of the aesthesis, ergo it relates in every way to the connection and creation of a world through the senses. The decolonial aesthesis is particularly different from the contemporary art principles in the way it grasps the modern temporality consenting the creation of a path toward relational temporalities. The decolonial artists exercise a different temporality that results in not only a radical criticism to the modern representation and visuality but it makes possible to understand the decolonialization as a hopeful movement, full of possibilities for naming and experiencing neglected intercultural worlds. KEYWORDS Decolonialization, relational time, hope, body, interculturality ESTEHÉSIE DÉCOLONIALE ET LE TEMPS RELATIONNELS. ENTRETIEN À ROLANDO VASQUEZ RÉSUMÉ Il faut penser la décolonisation en relation aux arts. Dans cet entretien on explore comment les arts décoloniaux sont différents de l’esthétique moderne-coloniale. La décolonisation de l’esthétique entraîne la libération de l’estehésie, c’est-à-dire, la libération des façons de nous mettre en relation avec le monde et d’en créer un nouveau à travers les sens. L’estehésie décoloniale se différence des principes de l’art contemporain, principalement pour son fixation à la modernité en nous emmenant vers les temporalités relationnelles. Les artistes décoloniaux exercent avec une temporalité qui n’implique pas juste une critique radicale à l’ordre de la représentation et de la vision moderne, mais aussi de la possibilité de comprendre la décolonisation comme un mouvement plein d’espoir, chargé d’une possibilité de nommer et de mettre en relief les interculturalités qu’ont été niées. MOTS-CLEFS Décolonisation, temps relationnels, espoir, corps, interculturalité ESTESIA DESCOLONIAL E O TEMPO RELACIONAL ENTREVISTA A ROLANDO VAZQUEZ RESUMO Temos que pensar a descolonização em relação as artes. Nesta entrevista é explorado como as artes descoloniais são diferentes da estética moderna-colonial. A descolonização da estética conduz a emancipação da estesia, isto é, das formas de relacionamento com o mundo e da fôrma de fazer mundo a partir dos sentidos. A estesia descolonial distinguese dos princípios da arte contemporânea particularmente pela fixação o tempo moderno, abrindo-nos para a temporalidades relacionales. Os artistas descoloniais exercem uma temporalidade diferente que implica não só uma crítica radical à ordem da representação e à visão moderna, mas também à possibilidade de entender a descolonização como um movimento cheio de esperança, carregado da possibilidade de designar e viver os mundos interculturais que foram negados. PALAVRAS CHAVES Descolonização, esperança, tempo relacional, fôrma, intercultural.   Recibido el 20 de enero de 2015 Aceptado el 26 de febrero de 2015

scholarly journals George French Angas and the Creation of Colonial Knowledge in New Zealand

2021 ◽  
Author(s):  
◽  
Catherine Falconer-Gray
Keyword(s):  
New Zealand ◽  
Vital Role ◽  
The Body ◽  
Middle Ground ◽  
Cultural Encounter ◽  
The Creation ◽  
The Aesthetic ◽  
Natural Historian ◽  
British Culture ◽  
New Zealanders

<p>In 1844, George French Angas, the English traveller, artist, natural historian and ethnographer spent four months travelling in New Zealand. He sought out and met many of the most influential Maori leaders of the time, sketching and recording his observations as he went. His stated intention was to provide a ‘more correct idea’ of New Zealand and the New Zealanders. In Australia and then Britain he held exhibitions of his work and in 1847 he published two works based on this time in New Zealand: a large volume of full-colour lithographs, The New Zealanders Illustrated and a travel narrative based on his journal, Savage Life and Scenes in Australia and New Zealand. These exhibitions and publications comprised the nineteenth century’s largest collection of works about Maori and Maori culture. This thesis is a study of the ‘more correct idea’ that Angas sought to provide: his creation of colonial knowledge about Maori. Angas is most commonly described in New Zealand as being an unremarkable artist but as providing a window onto New Zealand in the 1840s. This thesis opens the window wider by looking at Angas’s works as a record of a cultural encounter and the formation of a colonial identity. The works were shaped by numerous ideological and intellectual currents from Britain and the empire, including humanitarianism and the aesthetic of the picturesque. Ideas about gender and the body form a central part of the colonial knowledge created in Angas’s work. Particularly notable is what this thesis terms ‘sartorial colonisation’ – a process of colonisation through discourse and expectations around clothes. Angas also travelled and worked in a dynamic middle ground in New Zealand and Maori played a vital role in the creation of his works. Angas represented Maori in a sympathetic light in many ways. Ultimately however, he believed in the superiority of the British culture, to the detriment of creating colonial knowledge that placed Maori as equal partners in the recently signed Treaty of Waitangi. This thesis also examines the ways in which Angas’s body of work has been engaged with by the New Zealand public through to the present. As a study of the products of a British traveller who spent time in other parts of the empire as well as in New Zealand, this thesis contributes to histories of New Zealand, and British imperial and transcolonial history.</p>

scholarly journals WAGNER - MITO E IMAGINAÇÃO NA ARTE TOTAL

2020 ◽  
Vol 13 (1) ◽  
pp. 101
Author(s):  
Paulo Alexandre Castro
Keyword(s):  
Essential Elements ◽  
Total Work ◽  
Work Of Art ◽  
The Creation

The purpose of this brief essay is to outline what can be considered the combination of two essential elements in the realization of Wagner's works: the strength of the myth's plot and the imaginative process in the creation of the artwork. However, it is not a simple presentation of these elements, but how Wagner, when wishing to create the total work of art, is guided by a phenomenological thought.

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