scholarly journals POSTCOLONIAL AESTHETICS: AFFECT, AFFECTION OR AFFECTATION?

2019 ◽  
Vol 58 (1) ◽  
pp. 13-23
Author(s):  
Faisal Nazir
Keyword(s):  
Cultural Identity ◽  
Postcolonial Literature ◽  
Foreign Languages ◽  
Emotional Involvement ◽  
Affective Dimension ◽  
Alternative Approach ◽  
The Aesthetic ◽  
Deep Sense

This article analyzes the concept of postcolonial aesthetics as developed and debated by such critics as Bill Ashcroft, Elleke Boehmer and Robert Young. In particular, it critiques Ashcroft’s theorization of the postcolonial aesthetics in his article ‘Towards a Postcolonial Aesthetics’ and recommends an alternative approach to the conceptualization of postcolonial aesthetics with reference to Muhammad Hasan Askari’s essay on Ahmed Ali’s novel Twilight in Delhi. It questions Ashcroft’s emphasis on the hybrid linguistic makeup of the postcolonial text as the source of the particular aesthetic effects of the text and emphasizes the need for differentiating between affection– the writer’s deep sense of engagement with and involvement in the narrative – and affectation – a clever use of native words and expressions by the writer to authenticate his or her cultural identity – in discussing the affective dimension of a postcolonial text. The article argues that the aesthetic impact of the postcolonial text is produced by the intensity of experience and emotional involvement of the postcolonial writer (affection) as opposed to being produced by creative wordplay and mixing of local and foreign languages (affectation). Thus, the article contributes to the ongoing debates about the aesthetic dimension of postcolonial literature.

Language and Art in Senegal: The Crossbreeding of Identities in Music

2021 ◽  
Vol 8 (1) ◽  
pp. 61-69
Author(s):  
Ibrahima Sarr
Keyword(s):  
Cultural Identity ◽  
Arab World ◽  
The Other ◽  
Foreign Languages ◽  
The West ◽  
Melting Pot ◽  
Classical Form ◽  
Language And Culture ◽  
African Languages ◽  
Contact Situation

Senegal is a melting pot of several civilizations mainly originated from the West (Europe) and the East (the Arab world). Assuming that language and culture are intrinsically related, the settlement of those people and their status as dominant minority sparked and strengthened the use of their languages in formal domains. In the long ran, as they became domesticated, thus now considered African languages because they have contributed to mold the cultural identity of younger generation, they involve in all linguistic interaction. Arab, in its classical form, remains a symbol of Islam which earns it a certain degree of sacredness. Nevertheless the contact situation with the other languages forced it to crossbreed in special ways like borrowings and interferences. As for the other foreign languages, namely French, English, Spanish, and German at a least extent, they are made to carry the weight of local cultures.

scholarly journals Thinking in colors

2021 ◽  
pp. 12-38
Author(s):  
Nikolai Aleksandrovich Kormin
Keyword(s):  
Cultural Identity ◽  
Color Harmony ◽  
Color Determination ◽  
The World ◽  
New Interpretation ◽  
The Aesthetic ◽  
First Time ◽  
Philosophy Of Arithmetic

This article reveals the philosophical grounds of the aesthetics of color, analyzes the correlation between the structures of philosophical and artistic comprehension of coloristics. Interaction of philosophy and art as the forms of cultural identity manifests in the sphere of intellectual understanding of the perception of color and its semantics in painting. In the hidden logic of contemplation of color, can be traced the outlines of the problematic of transcendental and intelligible in art conditions for the aesthetic approach towards chromatic space. Color creates the visual beauty, thus it is apparent why the aesthetic knowledge seeks to clarify to which extent we can assess the experience of color – the result of coloration of light. The art itself creates the so-called color ontology of the world. First the first time, the beauty of color and its perception are analyzed in the context of correlation between art and transcendental traditions of philosophizing  (Descartes, Kant, early Husserl –  his work “The Philosophy of Arithmetic”) that allows matching the key to a new interpretation of the tradition of color. Determination of its meaning requires comparing history and structure of the philosophical and artistic metaphor of color. It is demonstrated that the phenomenon of color is of crucial significance for the aesthetics, as it implies not only comprehension of the problem of correlation between nature and art, but also cognition of the beauty of color, its universal value for all forms of art, profound structures of perception of coloristic phenomena, picturesque unveiling of the color harmony of the painting.

Revival of Hejaz embroidery: a collaborative design process engaging Saudi female academics

2018 ◽  
Vol 22 (2) ◽  
pp. 138-156
Author(s):  
Sahar Ejeimi ◽  
Diane Sparks ◽  
Ruoh-Nan Yan
Keyword(s):  
Saudi Arabia ◽  
Cultural Identity ◽  
Design Process ◽  
Collaborative Design ◽  
Content Type ◽  
Saudi Women ◽  
Fea Model ◽  
Apparel Production ◽  
The Aesthetic ◽  
Workplace Attire

Purpose The purpose of this study was to collaboratively design eight professional dress ensembles incorporating Hejazi tribal embroidery and to evaluate Saudi female academics’ perceptions about those ensembles as appropriate for professional attire. The concept aimed to offer the potential for increased cultural identity by wearing modernized ethnic dress as everyday workplace attire that was relatively practical, affordable and expressive of Saudi cultural identity. Design/methodology/approach The goal in this research was to engage Saudi female academic professionals in designing clothing that integrated Saudi textile and costume traditions into contemporary styles appropriate for the academic work environment. Two models guided the research. The FEA model (Lamb and Kallal, 1992) was used to organize the questions in the survey questionnaire around an integration of culture with functional, aesthetic and expressive aspects of apparel. The second model guiding the research was an adaptation of the USAP participatory co-design model (Demirbilek and Demirkan, 2004). This model was used to engage study participants in the design process. Findings Qualitative results showed that participants were willing to wear the garments in this study, as the garments represented heritage, looked contemporary in terms of style lines, had comfort and interchangeable garment components, embroidery and printed fabric, fabric used in garment designs and color. Quantitative results showed that the ratings for the final garments were generally higher than the first sketches in the first phase. Results of the eight designs in the collection revealed that the aesthetic aspect was the most referenced by the participants among the FEA aspects. Results also indicated that silver waves design received the highest rating among the designs in terms of FEA aspects. Originality/value This research provides greater understanding of the ethnic culture of the Western region of Saudi Arabia for Western scholars. Previous research has indicated an interest in having garment manufacturing take place in Saudi Arabia (Turkustani, 1995). Findings from this research may lead to future study on the state of apparel production in Saudi Arabia and the potential feasibility of establishing a center for training in digital technology to support small business opportunities for Saudi women who are trained for work in the apparel industry.

scholarly journals Student of a pedagogical institute of Donbass: cultural identity

2021 ◽  
Author(s):  
С.А. Кочетова
Keyword(s):  
Cultural Identity ◽  
Historical Memory ◽  
Foreign Languages ◽  
Cultural Environment ◽  
Classical Literature ◽  
Educational Work ◽  
Pedagogical Institute ◽  
The Creation ◽  
The Right

Автор представляет опыт культурно-просветительской работы в Горловском институте иностранных языков, направленной на повышение уровня культуры каждого студента, создания культуроразвивающей среды, моды на интеллект и образование в условиях преодоления разрыва между низовой культурой и духовностью русской классической литературы, между ориентацией на переписывание истории и сохранением традиций исторической памяти, между навязыванием в течение десятилетий русскому Донбассу самоощущения маргинальности и отстаиванием права на особый исторический путь жителей Донецкого края. Культурная идентичность студенчества Донбасса отражает процесс единения молодежи в условиях духовных испытаний, создание общности, способной противостоять идее разобщенности и индивидуально-эгоистического, потребительского отношения к окружающим. The article presents the experience of cultural and educational work at the Gorlovka Institute of Foreign Languages that aims at raising students’ level of culture and forming cultural environment, creating a fashion for the intelligence and education. That is to bridge a gap between the grassroots culture and the spirituality of Russian classical literature, between the orientation to rewrite history and the preservation of traditions of historical memory; between imposing for decades on Russian Donbass the feeling of marginality and defending the right to a special historical path of the inhabitants of the Donetsk region. The cultural identity of the Donbass students embodies the reflection of the process of youth unity in the context of spiritual trials, the creation of a community capable of opposing the idea of disunity to individual and selfish consumerism towards others.

scholarly journals Heart of Darkness – Heart of Redness: Heartache and Pain in two Commonwealth Novels

Linguaculture ◽  
2013 ◽  
Vol 2013 (1) ◽  
pp. 9-24 ◽  
Author(s):  
Ana-Maria Ştefan
Keyword(s):  
Comparative Analysis ◽  
Cultural Identity ◽  
Cultural Memory ◽  
Culture Shock ◽  
Postcolonial Literature ◽  
The Body ◽  
Cultural Meanings ◽  
Heart Of Darkness ◽  
Anthropology Of The Body ◽  
Postmodern Novel

Abstract Our study is conceived as a comparative analysis of Zakes Mda’s postcolonial and postmodern novel The Heart of Redness and Joseph Conrad’s canonical and colonial novella Heart of Darkness, from the viewpoint of a literarily encoded anthropology of the body. In both texts, body marks and body pain are prominent and recurrent motives, carrying along important cultural meanings, related to several classic themes of colonial and postcolonial literature: the birth and becoming of cultural identity and awareness, culture shock, cultural contacts, enculturation versus deculturation, and cultural memory, as a vehicle and repository of myths, history and (body) image stereotypes.

scholarly journals NEGOTIATING TRADITION AND INNOVATION UPON THE CROSS-GENERATIONAL ART OF SINGIRAN (IMPROVISATION, CULTURAL IDENTITY AND MILLENNIAL COMMUNITY)

Teosofia ◽  
2020 ◽  
Vol 8 (1) ◽  
pp. 69
Author(s):  
Mohamad Sobirin
Keyword(s):  
Cultural Identity ◽  
Traditional Culture ◽  
Muslim Community ◽  
Digital Society ◽  
Positive Image ◽  
Virtual Observation ◽  
The Cross ◽  
The Aesthetic ◽  
Cultural Negotiations ◽  
Muslim Identities

<p>This study, based on recent virtual observation, explores the process of cultural negotiations of singing <em>Singiran</em> among millennial. In addition, it also breaks down the strategies practiced by the <em>Singiran</em> musicians in introducing their artistic products into digital society. In this study, in addition to observing the lyrics and chords of <em>Singiran</em>, I interviewed Rijal Vertizon and his associates; the musicians who have popularity based on the number of their subscribers. The <em>Singiran</em> musicians regenerated the tradition of singing <em>Singiran</em> with innovation, especially upon the arrangement of the music, as well as developing a strategy to improve sounds and fulfill the aesthetic changes of populist Muslim markets and newly emerging millennial Muslim identities. In addition to reconstructing this traditional culture, <em>Singiran</em> musicians are interested in creating a positive image both for insiders and outsiders of Javanese cultures and reaching the larger Muslim community. My observations to the <em>Singiran's</em> enthusiasts show that innovative <em>Singiran</em> can play a role in shaping the cultural identity of the Javanese Millennial Muslim. In other perspective, it could be called as a new kind of local wisdom in contemporary Javanese life.</p>

scholarly journals The Imperceptibility of Style in Danto's Theory of Art: Metaphor and the Artist's Knowledge

CounterText ◽  
2015 ◽  
Vol 1 (3) ◽  
pp. 366-381 ◽  
Author(s):  
Stephen Snyder
Keyword(s):  
Work Of Art ◽  
Theoretical Concepts ◽  
Alternative Approach ◽  
Aesthetic Style ◽  
Artistic Interpretation ◽  
History Of ◽  
Artistic Theory ◽  
The Aesthetic ◽  
The Mind

Arthur Danto's analytic theory of art relies on a form of artistic interpretation that requires access to the art theoretical concepts of the artworld, ‘an atmosphere of artistic theory, a knowledge of the history of art: an artworld’. Art, in what Danto refers to as post-history, has become theoretical, yet it is here contended that his explanation of the artist's creative style lacks a theoretical dimension. This article examines Danto's account of style in light of the role the artistic metaphor plays in the interpretation of the artwork, arguing that it is unable to account for the metaphorical power he claims is embedded within the work of art. An artist's style issues from a unique perspective, the way an artist inhabits a specific spot in history. Though each person has such a perspective, when applied aesthetically, it is the key to the articulation of a unique historical meaning in the work of art. At the same time, artists' knowledge of their contribution remains cut off from this perspective, for they are unaware of their self-manifestation of the historical concept of style. This article makes the case that Danto's notion of style, based on Sartre's notion of being-for-itself, cannot fulfil the role he allots it in his theory because, at some level, artists must apprehend their style to create a work of art capable of functioning critically as a countertext. It is only through the apprehension of their style, and dialogical activity that takes place between the artist and the beholders, that the unseen body of artworld theory is formed. Without this, when oriented to the aesthetic, style provides no concept or theory for the mind to behold. This article presents an alternative approach to style that recognizes the role of theory in the creation of metaphor, which would circumvent this problem.

scholarly journals Constituting the 'Woman Artist': A Feminist Genealogy of Aotearoa New Zealand's Art History 1928 - 1989

2021 ◽  
Author(s):  
◽  
Kirsty Baker
Keyword(s):  
Twentieth Century ◽  
Cultural Identity ◽  
Women Artists ◽  
Art History ◽  
Power Dynamics ◽  
Discursive Analysis ◽  
Alternative Approach ◽  
Starting Point ◽  
Cultural Power ◽  
Representations Of Women

<p>This thesis considers the ways in which the figure of the ‘woman artist’ has been constituted in published sources in Aotearoa New Zealand’s art history, between 1928 and 1989. Most of the texts dedicated specifically to women artists in this country were written in the latter half of the twentieth century, and were produced with the intention of writing women artists back in to the histories from which they had been excluded. This thesis operates from a different perspective. Rather than assuming a starting point of women’s absence from a national art history, it traces instead those written representations of the ‘woman artist’ as they exist in the published literature. Through the construction of a genealogy of such representation, this thesis examines the ideologies which are both embedded in, and perpetuated by them. In doing so it makes evident and interrogates the gendered power dynamics which have shaped the writing of Aotearoa New Zealand’s art history.   This thesis is structured chronologically, charting the formation and expansion of a coherent national arts discourse against shifting notions of national and cultural identity. The trajectory of this discourse was shaped by a canonical impulse, constructing an unfolding narrative which centres upon a succession of key artistic figures. This thesis argues that the structuring of this – largely male, Pākehā – narrative, acted to subsume gendered difference, rendering women increasingly peripheral within its pages. The model of subsumed difference is also apparent in feminist critiques of this dominant art history, which are critically interrogated in the latter half of this thesis. As women sought to challenge the relative exclusion of women artists from this dominant narrative, they also perpetuated their own exclusions, often in terms of culture or sexuality.   Through discursive analysis of both ‘mainstream’ art history, and the feminist writings which addressed it, this thesis presents two significant arguments. First, that stereotypical representations of women artists play a structural role – to marginalise women – within Aotearoa New Zealand’s art history. Secondly, that feminist interrogations of such histories failed to account for the multiplicity of women’s subjectivity. I conclude by instantiating and calling for an alternative approach that challenges the subsuming of such difference within a single, homogenous narrative. Such an approach will produce histories that interrogate, rather than perpetuate, the gendered and cultural power dynamics embedded within society.</p>

scholarly journals Constituting the 'Woman Artist': A Feminist Genealogy of Aotearoa New Zealand's Art History 1928 - 1989

2021 ◽  
Author(s):  
◽  
Kirsty Baker
Keyword(s):  
Twentieth Century ◽  
Cultural Identity ◽  
Women Artists ◽  
Art History ◽  
Power Dynamics ◽  
Discursive Analysis ◽  
Alternative Approach ◽  
Starting Point ◽  
Cultural Power ◽  
Representations Of Women

<p>This thesis considers the ways in which the figure of the ‘woman artist’ has been constituted in published sources in Aotearoa New Zealand’s art history, between 1928 and 1989. Most of the texts dedicated specifically to women artists in this country were written in the latter half of the twentieth century, and were produced with the intention of writing women artists back in to the histories from which they had been excluded. This thesis operates from a different perspective. Rather than assuming a starting point of women’s absence from a national art history, it traces instead those written representations of the ‘woman artist’ as they exist in the published literature. Through the construction of a genealogy of such representation, this thesis examines the ideologies which are both embedded in, and perpetuated by them. In doing so it makes evident and interrogates the gendered power dynamics which have shaped the writing of Aotearoa New Zealand’s art history.   This thesis is structured chronologically, charting the formation and expansion of a coherent national arts discourse against shifting notions of national and cultural identity. The trajectory of this discourse was shaped by a canonical impulse, constructing an unfolding narrative which centres upon a succession of key artistic figures. This thesis argues that the structuring of this – largely male, Pākehā – narrative, acted to subsume gendered difference, rendering women increasingly peripheral within its pages. The model of subsumed difference is also apparent in feminist critiques of this dominant art history, which are critically interrogated in the latter half of this thesis. As women sought to challenge the relative exclusion of women artists from this dominant narrative, they also perpetuated their own exclusions, often in terms of culture or sexuality.   Through discursive analysis of both ‘mainstream’ art history, and the feminist writings which addressed it, this thesis presents two significant arguments. First, that stereotypical representations of women artists play a structural role – to marginalise women – within Aotearoa New Zealand’s art history. Secondly, that feminist interrogations of such histories failed to account for the multiplicity of women’s subjectivity. I conclude by instantiating and calling for an alternative approach that challenges the subsuming of such difference within a single, homogenous narrative. Such an approach will produce histories that interrogate, rather than perpetuate, the gendered and cultural power dynamics embedded within society.</p>

scholarly journals Ways of pointing to artworks: a Wittgensteinian approach = Formas de apuntar a las obras de arte: un enfoque wittgensteiniano

2019 ◽  
Vol 32 ◽  
pp. 23
Author(s):  
Salvador Rubio Marco
Keyword(s):  
Aesthetic Experiences ◽  
Alternative Approach ◽  
The Aesthetic ◽  
Main Criticism ◽  
In Virtue Of ◽  
Realist Concept ◽  
Do So

Abstract: The aim of P. Kivy’s recent De Gustibus: Arguing about Taste and Why We Do It (2015) is to answer to the very same question in terms of an emphasis on belief based on «phenomenological» (if not also ontological) «art-realism». Those who disagree on taste do so because they (explicitly or implicitly) see, in judgments relating to properties of artworks, the expression of beliefs, some of which are «true», and true in virtue of correctly reporting «facts» (non-aesthetic art-relevant facts, aesthetic art-relevant facts, or art value facts), and they try to convince others of what they think is «real» about art. Kivy follows the traces of this phenomenology of «beautiful» found in Hume’s work (and vs. Kant’s work). The main criticism is that it is actually possible to defend an alternative approach to understanding art in terms of «aspects» (an allegedly ‘anti-realist’ concept), so as to take account of rationality, disputes and the role of facts regarding judgments of taste. Kivy does not concede enough attention to the aesthetic experiences of seeing now what we were unable to see before (the «dawning» of an aspect), for example.Key words: Kivy, taste, phenomenology, belief, aesthetics, Wittgenstein.Resumen: El objetivo del reciente De Gustibus. Arguing about Taste and Why We Do It (2015), de P. Kivy es responder a la pregunta incluida en el título de su libro en términos de un énfasis en la creencia que se basa en un realismo en arte «fenomenológico» (si no también ontológico): quienes que disputan sobre «gusto» suelen hacerlo porque ellos (explícita o implícitamente) ven los juicios concernientes a las propiedades de las obras de arte como expresando creencias, algunas de las cuales son verdaderas, y verdaderas en virtud de reportar hechos correctamente (hechos no estéticos relevantes para el arte, hechos estéticos relevantes para el arte o hechos de valor artístico), y tratan de convencer a otros de lo que ellos piensan que es ‘real’ sobre el arte. Kivy sigue el rastro de esa fenomenología de ‘lo bello’ a partir de la obra de Hume (y contra la obra de Kant). Mi crítica principal es que es posible defender un enfoque alternativo de la comprensión del arte en términos de aspectos (un concepto supuestamente «antirrealista») a fin de tener en cuenta la racionalidad, las disputas y el papel de los hechos con respecto a los juicios de gusto. Kivy no presta suficiente atención a las experiencias estéticas de ver ahora lo que no podíamos ver antes (el «aparecer» de un aspecto), por ejemplo.Palabras claves: Kivy, gusto, fenomenología, creencia, estética, Wittgenstein.

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