scholarly journals The Beauty of Iraqi Shrines and Their Reflection in Iraqi Painting

2021 ◽  
Vol 11 (4) ◽  
Author(s):  
Mahmoud Hussein Abdul Rahman
Keyword(s):  
Research Problem ◽  
Research Community ◽  
Islamic Architecture ◽  
Important Place ◽  
The Aesthetic ◽  
Definition Of ◽  
The Individual

This research deals with the study of (the aesthetics of the Iraqi shrines and its reflection in modern Iraqi painting) and is located in two axes: The first theoretical axis is devoted to (a statement of the research problem and its importance, its objectives, its limits, and the definition of terminology). The research problem is summarized in answering this question: What are the aesthetic features of the Iraqi shrines? What is the extent of its reflection in modern Iraqi painting? The importance of this research was evident in addressing the artistic and emotional beauty of the shrines' status on the individual and their great impact on it, which prompted Iraqi artists to master their simulation to be reflected in their many artistic achievements in different ways, so there was a necessary and urgent need for this study represented in leadership in some of its aspects, and it was not studied in this way. And to occupy an important place in the national, Arab and Islamic libraries that deal with this type of study. This axis also included two topics: The first section dealt with the aesthetic features of Islamic architecture represented by domes and minarets, their decoration, sanctity and distinctive colors. However, the second topic dealt with the styles of artists (Ismail AlSheikhly, Widad Al-Orfali, Salman Abbas and Ayath Al-Doori). But the second axis (applied) was concerned with the procedures, as it included (the adult research community and its sample models, its method and tool, and the analysis and discussion of the sample models). Then the conclusion, which contained the results of the research, conclusions, recommendations, and proposals. Then he mentioned the margins and the most important sources that were adopted in this study.

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.

scholarly journals Sound in the individual poetic picture of the world of Mykola Vihranovskyi

2019 ◽  
pp. 86-95
Author(s):  
Iryna Ivanenko
Keyword(s):  
National Space ◽  
Individual Author ◽  
Living Things ◽  
The World ◽  
Poetic Practice ◽  
The Aesthetic ◽  
Poetic Texts ◽  
Definition Of ◽  
The Individual ◽  
Metaphorical Structures

The article analyzes models of metaphorical description of sounds that are relevant to M. Vinhranovsky’s individual poetic picture of the world. It is determined that the most productive type of audio metaphorization is related to the verbalization of associative sound-to-nature relationships. Its relevance is determined by the collective (secured by verbal tradition) and individual (author) experience of perceiving objects of national space, such as river, sky, water, forest, grove, trees, as well as related phenomena of nature (wind, storm, thunder, rain). and living things (birds, animals, insects). The persistence of associations in the poetic texts motivated by this experience has been consistently confirmed. The collective and individual experience of perception of the phenomena of the nature of rain, thunderstorm, rain, wind, water motivates the active use of «sound» verbs, which metaphorize the various actions and intensity of manifestation of these phenomena. The stylistic performance of common linguistic formulas with stylistically neutral verbs – carriers of the archives of ‘sounds of nature’ is traced. It is proved that an important fragment of the sound definition of the world in the national linguistic-poetic practice and in the idyllic style of M. Vinhranovsky as its symbolic fragment is the image of “silence”. Updating the “zero” manifestation of audio semantics, it creates a semantic opposition to images with the seven “sound”. The aesthetic unfolding of the image of silence in various structural metaphorical structures: verbal predicative, verbal object, oxymoronic, tautological is attested. Analyzed metaphors confirm that the aesthetized verbalization of sound impressions is one of the dominants of M. Vinhranovsky’s individual poetic phrase, in which the metaphors with the seven ‘sound’ are indisputable artistic dominants.

scholarly journals The aesthetic turn: exploring the religious dimensions of digital technology

2016 ◽  
Vol 6 (2) ◽  
pp. 156-163
Author(s):  
Henrik Åhman
Keyword(s):  
Digital Technology ◽  
Interaction Design ◽  
Technology Development ◽  
Academic Research ◽  
Research Fields ◽  
Religious Dimensions ◽  
Definition Of Religion ◽  
The Aesthetic ◽  
Definition Of ◽  
The Individual

The arena for developing digital technology has undergone an aesthetic turn, broadening the focus from a functionalist approach producing centralized systems in the 1970s and 1980s to an increased awareness of the aesthetic aspects of the individual user’s interaction with technology in the 1990s and 2000s. Within the academic research fields studying digital technology (e.g. Human-Computer Interaction and Interaction Design) the aesthetic turn has resulted in a shift from a strong emphasis on user behaviour to an increased interest in aesthetic perspectives on the role of the designer, the design process, and the design material. Within these fields, aesthetics has often been interpreted as belonging to the realm of the individual; personal experiences such as pleasure, engagement, and emotions have been emphasized in both technology development and technology research. Aesthetics is not, however, only an individual phenomenon but also has relational and structural components that need to be acknowledged. Structural aspects of aesthetics condition the possibilities for individuals interacting with digital technology. Thus, the tension between individual and relational aspects of aesthetics in digital technology also reflects a tension between freedom and limitation; between change and permanence; between destabilizing and stabilizing forces.Such a broadened understanding of aesthetics offers a model of digital technology that roughly corresponds to Mark C. Taylor’s definition of religion. Taylor argues that religion is constituted by, on the one hand, a figuring moment characterized by structural stability and universality, and, on the other hand, a disfiguring moment characterized by disruption, particularity, and change. The purpose of this paper is to discuss the aesthetic turn and Taylor’s definition of religion to illustrate similarities between the two, suggesting possible religious dimensions of digital technology and how that can inform our understanding of people’s interaction with digital technology. 

scholarly journals In praise of light and shadows

2020 ◽  
Vol 5 (1) ◽  
pp. 82-85
Author(s):  
Nuno Grande
Keyword(s):  
Great Part ◽  
Great Influence ◽  
Le Corbusier ◽  
Frank Lloyd Wright ◽  
Interior Space ◽  
The Aesthetic ◽  
The Moment ◽  
Definition Of ◽  
The Individual ◽  
Modern Movement

The interaction of light and shadow has always fascinated architects, and even more so since Le Corbusier’s famous quote from 1923, published in Vers une Architecture, in which he describes architecture as “the learned game, correct and magnificent, of forms assembled in the light”. This game, which thus motivated the painters of Purism and Cubism – among whom Le Corbusier would come to be included – contributed in great part to the definition of the aesthetic ideals of the artistic avant-garde in the West in the first half of the 20th century. Associated with the purity of crystal, with the idea of total transparency, and with the blurring of the boundaries between the interior and the exterior, this very same game served as the conceptual premise of (and later as a critical challenge to) the architecture of the Modern Movement. The counterpoint to the purist and crystalline impetus of modernism would emerge, and indeed one of many, by way of “In Praise of Shadows”, a reference to the book written in 1933 by Junichiro Tanizaki. In this work, the author examines how Oriental culture (in contrast with Western culture) has always sought to shield the interior space from the invasion of light and from exterior views by use of trees, porches, patios, shutters, and translucent sliding doors or dividers (the Japanese shôji). It is not by accident that many of these traditional elements would once again come to be adopted by Western architecture from the late 1950s onward in its search for vernacular values deriving from a broad variety of cultures. Having studied in these seminal years of critical review of the Modern Movement and coinciding with the publication of the Survey on Regional Architecture in Portugal – (Inquérito à Arquitetura Popular em Portugal) (1955-1961), the young architect Álvaro Siza learned from Fernando Távora – his former teacher and mentor – to appreciate not only the effect of light on forms (Távora himself admitted to being an avid admirer of Le Corbusier), but also to stroll about the shadows in traditional habitats (Távora would gather important teachings from Japanese architecture during his grand tour in 1960 and filtering it through another great influence of his: Frank Lloyd Wright). These different “phantom-characters” would come to also occupy the imagination of the young Siza, and to them he added references to Alvar Aalto, Bruno Taut or Adolf Loos, at the moment of considering the relationship between the individual and the collective space, between the domestic and the monumental scale, between the window and the city. The photographic work of Mark Durden and João Leal focusing on Álvaro Siza’s work in Porto – now published by Scopio Newspaper – goes in search of not only this same game of shadows upon the target surfaces of the façades and the interiors of the buildings but also the multiplicity of transparencies and penumbras that unfold through their ample glazed windows. [...]

scholarly journals AUTHOR’S INDIVIDUAL PUNCTUATION AS AN ELEMENT OF TEXT GRAPHICS

Movoznavstvo ◽  
2021 ◽  
Vol 319 (4) ◽  
pp. 60-69
Author(s):  
N. S. PRУKHODKO ◽  
Keyword(s):  
Structural Features ◽  
Graphic System ◽  
Punctuation Mark ◽  
Poetic Text ◽  
Research Findings ◽  
The Aesthetic ◽  
Definition Of ◽  
The Individual ◽  
Historical Epoch ◽  
Individual Style

The article sheds light on the concept of text graphics and the importance of punctuation in the graphic system of the text, in particular, poetic text. The author elucidates various scholars’ approaches to the definition of the term author’s individual punctuation, with a focus on the system-structural features of some punctuation marks and the most important functions of punctuation as a stylistic device. The article analyzes the expressive and stylistic means used to produce the greatest emotional influence on the listener or reader and classifies them into constructive, emotive, combined, and contaminated groups. The multi-functionality of the author’s punctuation embraces strengthening the aesthetic loading of punctuation marks and expanding the boundaries of their use. The unregulated use of punctuation mark is determined by historical changes and the semantic principles concerning the location of punctuation marks. Author’s punctuation can be interpreted as a substitution of some normatively motivated signs/marks with the unregulated ones; as a text devoid of any marks; as an excessive use of either some particular punctuation marks or only one of them and, on the contrary, their complete absence in the text. The article outlines the main functions of the author’s punctuation: emotional, emphatic, logical, evaluative, semantic, dividing. The individual style, dependence on the functional style, genre, traditions, and norms of a definite historical epoch are the factors that influence the author’s individual punctuation system formation. The author’s punctuation is an interstyle phenomenon because it is inherent in texts of different functional styles. The research findings argue that the author’s individual punctuation system should be interpreted in a broad sense as any conscious, deliberate choice of the unregulated punctuation mark, not fixed in the spelling rules, and in a narrow understanding — all the punctuation marks in the author’s manuscript, which are different from the normative use.

scholarly journals AESTHETIC AND DRAMATIC EMPLOYMENT IN THE NARRATIVE OF DECORATION IN THE TURKISH SERIES (THE SULTAN’S HAREM SERIES AS A MODEL)

2021 ◽  
Vol 03 (07) ◽  
pp. 61-71
Author(s):  
Ibrahim Khalaf JASSIM
Keyword(s):  
Research Methodology ◽  
Research Problem ◽  
Theoretical Framework ◽  
Research Community ◽  
Expert Committee ◽  
Methodological Framework ◽  
Sample Analysis ◽  
Unit Of Analysis ◽  
The Third ◽  
The Aesthetic

The topic of employing decoration in the narrative of the Turkish series was chosen due to the great importance it carries in the dramatic construction and because of the aesthetic, dramatic and narrative tool it represents in dramas, so the researcher specified the following research title (aesthetic and dramatic employment in the narrative of decoration in the Turkish series). Four chapters came as follows: (Methodological framework) and included the research problem, its importance, the objectives of the research, the limits of the research, and the chapter concluded by specifying the terms. (Theoretical framework): It was divided into three topics as follows: The first topic: decoration in cinema and television, the second topic: the aesthetic and dramatic employment of decoration, the third topic: the use of decoration in the narrative of the Turkish series: The researcher came up with a set of indicators that he adopted as tools for sample analysis After taking the opinion of the expert committee. (Research procedures): It includes the research methodology and research tools, the unit of analysis, the research community and the research sample, the validity of the tool, the analysis steps and finally the sample analysis, which was an episode of the Turkish series Valley of the Wolves. (Results and Conclusions): The results and conclusions of the research include: 1. The decorator in the Turkish series has the ability to list important information and broadcast it to the recipient about the character, which contributes to fully conveying the idea. 2. Decoration occupies a great importance in television series, given that most of the scenes are interior, so reliance on decorations is to fill the space of the shot.

The Impact of Multi-functionality in Promoting the Aesthetic Values of Modern Islamic Architecture

2020 ◽  
Vol 27 (2) ◽  
pp. 122-134
Author(s):  
Ibtisam Abdulelah Al Khafaji ◽  
Israa Jabber Theban
Keyword(s):  
Basic Research ◽  
Research Problem ◽  
Great Role ◽  
Islamic Architecture ◽  
Architectural Form ◽  
Main Target ◽  
Analytical Research ◽  
The Aesthetic ◽  
The Impact ◽  
Aesthetic Values

Relationship between function and aesthetic has been occupied researchers, philosophers, artists and architects considerably to define meanings and to show significance degree of mutual influences. This analytical research investigates – How multi-functionality improve aesthetic values of architectural forms in contemporary Islamic architecture. We have  defined procedurally  the concept of  multi-functionality  as a  potential forces of  generative centers  and aesthetic  as geometrical  coherence  of  architectural form. The absence of clear relations between multi-functionality and how it can be used to improve aesthetic values formed a basic research problem. The main target of this research is to determine how designers can enhancing aesthetic values of forms by using different functions. We suppose that multi-functionality improve the aesthetic values of the architectural form by strengthening   geometrical coherence. We selected Five projects of contemporary Islamic centers and sample of 20 person’s. Semantic differential scale was used to analyze variables. The research found that multi-functionality has a great role in supporting the aesthetic values of architectural form by defining physical characters, Identifying and intensifying its visual and physical connections.

The Autobiographical Subject and the Death Penalty

2013 ◽  
Vol 35 (2) ◽  
pp. 165-187
Author(s):  
E. S. Burt
Keyword(s):  
Death Penalty ◽  
First Person ◽  
Philosophical Investigation ◽  
The Subject ◽  
Definition Of ◽  
The Individual

Why does writing of the death penalty demand the first-person treatment that it also excludes? The article investigates the role played by the autobiographical subject in Derrida's The Death Penalty, Volume I, where the confessing ‘I’ doubly supplements the philosophical investigation into what Derrida sees as a trend toward the worldwide abolition of the death penalty: first, to bring out the harmonies or discrepancies between the individual subject's beliefs, anxieties, desires and interests with respect to the death penalty and the state's exercise of its sovereignty in applying it; and second, to provide a new definition of the subject as haunted, as one that has been, but is no longer, subject to the death penalty, in the light of the worldwide abolition currently underway.

ГЕРМЕНЕВТИКА ЛИЧНОСТИ КАК МЕТОД СОВРЕМЕННОЙ ПЕРСОНОЛОГИИ

1970 ◽  
Vol 6 (1) ◽  
pp. 32-42
Author(s):  
Елена Старовойтенко
Keyword(s):  
Text Setting ◽  
Research Setting ◽  
Textual Representations ◽  
General Scientific ◽  
Definition Of ◽  
The Individual ◽  
The Continuum

Персонологическая интерпретация текстов предполагает реализацию общенаучных, а также специфических для персонологии, герменевтических установок, к которым относятся: установка на интерпретацию текста как исследование, установка на разнообразие герменевтических действий с текстом, установка на выявление неисследованных содержаний текста, установка на творческое постижение тайн текста, установка на целостное отношение к личности и "Я" автора текста, установка на выявление способности автора быть "практикующим феноменологом", установка на определение места изучаемого текста в континууме текстовых репрезентаций "личности", установка на соотнесение своего понимания текста с другими интерпретациями и их интеграцию, установка на раскрытие сущности авторской "идеи личности", возможное только в единстве интерпретаций, установка на построение и применение герменевтической модели, определяющей процедуру интерпретации как исследования и творчества, установка на определение места проделанного герменевтического поиска в культуре познания и жизни личности, установка на интерпретацию различных видов "текстов личности". Personological interpretation of texts suggests the implementation of the general scientific and also hermeneutical settings specific for Personology which include the setting of the interpretation of the text as a research, setting of a variety of hermeneutical actions with the text, setting to identify unexplored contents of the text, setting of the creative comprehension of the mysteries of the text, setting of the integrity of the attitude of the individual and the "I" of the author of the text, setting to reveal the author's ability to be "practicing phenomenologist", setting of the definition of the place in the text in the continuum of textual representations of the "personality", setting in the correlation of the understanding of the text with other interpretations and their integration, setting of the disclosure of the author's "ideas person" is possible only in the unity of interpretation, setting of the construction and usage of hermeneutical models defining the procedure for the interpretation of both studies and work, the setting to determine the place of hermeneutical research in culture and knowledge of a person's life, setting of the interpretation of various types of "texts of the individual."

¿Quién soy yo? Reflexiones teórico sistémicas acerca de la indentidad individual

2017 ◽  
Vol 1 (1) ◽  
pp. 15-31
Author(s):  
Francisco Xavier Morales
Keyword(s):  
Identity Construction ◽  
Social Systems ◽  
Social Contexts ◽  
Individual Identity ◽  
Contemporary Society ◽  
Self Identity ◽  
Moral Communication ◽  
Identity Based ◽  
Definition Of ◽  
The Individual

The problem of identity is an issue of contemporary society that is not only expressed in daily life concerns but also in discourses of politics and social movements. Nevertheless, the I and the needs of self-fulfillment usually are taken for granted. This paper offers thoughts regarding individual identity based on Niklas Luhmann’s systems theory. From this perspective, identity is not observed as a thing or as a subject, but rather as a “selfillusion” of a system of consciousness, which differentiates itself from the world, event after event, in a contingent way. As concerns the definition  of contents of self-identity, the structures of social systems define who is a person, how he or she should act, and how much esteem he or she should receive. These structures are adopted by consciousness as its own identity structures; however, some social contexts are more relevant for self-identity construction than others. Moral communication increases the probability that structure appropriation takes place, since the emotional element of identity is linked to the esteem/misesteem received by the individual from the interactions in which he or she participates.

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