scholarly journals The Philosophical Perspective of the Poems of Maria Ajima: The Instance of Cycles

2021 ◽  
Vol 04 (03) ◽  
Author(s):  
Carmel A. Igba-Luga ◽  
Keyword(s):  
Intellectual Development ◽  
African Literature ◽  
Philosophical Perspective ◽  
Shared Experiences ◽  
Life Issues ◽  
African Writer ◽  
The Aesthetic ◽  
The Voice ◽  
Poetic Vision ◽  
Philosophical Writings

Philosophical writings and poetic rendition are both human endeavour that are universal in outlook as well as specific to indigenous societies. They are insightful discourses that contribute to learning, knowledge and sustained intellectual development of a society’s human resource. Philosophy and poetry exist in Africa’s complex of cultural mechanism and provide the foundation as well as the sustenance of Africa’s indigenous knowledge reservoir. African literature and its poetry specifically, portray perspectives of life from the experiences of the African writer who most times functions as the voice and intellectual conduit of his society. A Poetic vision of life is committed in a rendering that is philosophic and depicts shared experiences of the members of a society. Cycles by Maria Ajima is a collection of poems by a Nigerian writer. The poems provoke the reader to confront daily life issues by redressing them from the standpoint of logical reasoning, stark presentation and an existential position. The paper surmises that in this collection of poems the writer combines the aesthetic mode with a philosophic outlook that is essentially African to situate poetry as an indigenous enterprise that advances intellectual development.

“Lamaism” and the Disappearance of Tibet

1996 ◽  
Vol 38 (1) ◽  
pp. 3-25 ◽  
Author(s):  
Donald S. Lopez
Keyword(s):  
Nineteenth Century ◽  
National Gallery ◽  
Qing Empire ◽  
The West ◽  
Abstract Noun ◽  
Age Of Exploration ◽  
Coffee Table ◽  
The Aesthetic ◽  
The Individual ◽  
The Voice

At an exhibition in 1992 at the National Gallery in Washington, D.C., “Circa 1492: Art in the Age of Exploration,” one room among the four devoted to Ming China was called “Lamaist Art.” In the coffee-table book produced for the exhibition, with reproductions and descriptions of over 1,100 of the works displayed, however, not one painting, sculpture, or artifact was described as being of Tibetan origin. In commenting upon one of the Ming paintings, the well-known Asian art historian, Sherman E. Lee, wrote, “The individual [Tang and Song] motifs, however, were woven into a thicket of obsessive design produced for a non-Chinese audience. Here the aesthetic wealth of China was placed at the service of the complicated theology of Tibet.” This complicated theology is named by Lee with the term “Lamaism,” an abstract noun that does not occur in the Tibetan language but which has a long history in the West, a history inextricable from the ideology of exploration and discovery that the National Gallery cautiously sought to celebrate. Lee echoes the nineteenth-century portrayal of Lamaism as something monstrous, a composite of unnatural lineage, devoid of the spirit of original Buddhism (as constructed by European Orientialists). Lamaism was a deformity unique to Tibet, its parentage denied by India (in the voice of British Indologists) and by China (in the voice of the Qing empire), an aberration so unique in fact that it would eventually float free from its Tibetan abode, an abode that would vanish.

scholarly journals Problems of time and space in the philosophy of Shūzō Kuki (1888 – 1941)

2021 ◽  
pp. 1-12
Author(s):  
Lyubov' Borisovna Karelova
Keyword(s):  
Time Correlation ◽  
Edo Period ◽  
Time And Space ◽  
Space And Time ◽  
Art Works ◽  
Temporal Aspect ◽  
The Subject ◽  
The Aesthetic ◽  
Different Characteristics ◽  
Philosophical Writings

The subject of this research is the philosophy of Shūzō Kuki, which is usually associated with his original concept, built around the concept of iki that simultaneously denotes taste, wealth, sensibility, dignity, reserve, and spontaneity, as well as embodies the aesthetic ideal formed in urban culture of the Edo period (1603 – 1868). The Japanese philosopher is also notable for a number of other intellectual insights. For depicting a holistic image on the philosophical views of Shūzō Kuki, a more extensive array of his works is introduced into the scientific discourse. A significant part of these work have not been translated into the Russian or other foreign languages. This article explores the problems of time and space, which are cross-cutting in the works of Shūzō Kuki  using examples of such philosophical writings as the “Theory of Time”, “What is Anthropology?”, “Problems of Time. Bergson and Heidegger”, “Metaphysical Time”, "Problems of Casualty”. The research employs the method of historical-philosophical reconstruction and sequential textual analysis of sources. Special attention is given to the problems of cyclical time, correlation between the infinite and the finite, and its reflection in the literary or art works, existential-anthropological landscape of space and time, spatial-temporal aspect of casualty and relevance. The conclusion is made on the contribution of Shūzō Kuki to elaboration of the problems of space and time, namely his cross-cultural approach that allows viewing the general philosophical problems from the perspective of both Western and Eastern thought, as well as a distinct  “interdisciplinary” approach towards analysis of the phenomena of space and time, which are viewed from different perspective and acquire different characteristics depending on the angle and aspect of reality of the corresponding context. Thus, there is a variety of concepts of time, which do not eliminate, but complement each other.

Architecture

2009 ◽  
Author(s):  
Gordon Graham
Keyword(s):  
Conceptual Problem ◽  
Philosophical Perspective ◽  
The Aesthetic

This article traces the ideas that have marked and divided the major architectural fashions of the last 150 years, and the refinements that have been given to these ideas by philosophers of architecture working within a wider philosophical perspective. In fact, despite the differences between the various schools of thought just alluded to, it is not difficult to detect an underlying unity in the central conceptual problem that both philosophers and architects have sought to address. This may be summarized in the question ‘How is architecture to be secured a place in the sphere of the aesthetic?’ or, more simply, ‘What makes architecture an art?’

L'esthétique de Hegel au carrefour de la parole et de l'action

Dialogue ◽  
2000 ◽  
Vol 39 (4) ◽  
pp. 745-770
Author(s):  
Claude Thérien
Keyword(s):  
Aesthetic Experience ◽  
Philosophical Perspective ◽  
Modern Subject ◽  
The Subject ◽  
The Aesthetic

AbstractThe following paper is not a literal exegesis of Hegel's æsthetics, but rather the attempt to encounter his æsthetics from a philosophical perspective which considers the æsthetic experience as intuition of finitude. From this perspective our purpose is to indicate the contemporary philosophical relevance of Hegel's æsthetics by underscoring some elements of it which can help us to rethink the relation between æsthetic experience and the subject in his interaction with his world. The question of this essay is: how can æsthetic experience be a substantial experience for the modern subject?

Chinese Rock ‘n’ Roll Film and Cui Jian on Screen

2013 ◽  
Author(s):  
Ying Xiao
Keyword(s):  
Urban Youth ◽  
Rock Music ◽  
First Century ◽  
The Core ◽  
Ambient Sound ◽  
Twenty First Century ◽  
Rock N Roll ◽  
The Aesthetic ◽  
The Voice

This article appears in theOxford Handbook of New Audiovisual Aestheticsedited by John Richardson, Claudia Gorbman, and Carol Vernallis. During the 1980s and 1990s, China experienced an explosion of films for youth, imbued with the aesthetic and ethic of rock ‘n’ roll. This chapter examines a variety of films, from the countercultural to the more mainstream, focusing on the voice, image, persona, and iconography of Cui Jian, and offering an audiovisual perspective on urban youth cinema and Chinese rock. The emergence and development of Chinese rock ‘n’ roll film from the late 1980s to the twenty-first century resulted from widespread, multifaceted transformations in postsocialist China. At the core of this rock imaginary is the aesthetic of cinema vérité and postsocialist realism. In sync with the kaleidoscopic manifestation of the cityscape and long tracking shots of protagonists roaming the metropolis, rock music and the hand-held mobile camera seek to document a reality of postmodern life and capture a feeling of postsocialist anxiety-a concern for realism articulated through dialogue and ambient sound.

The “Coming” Epic of Freedom: Reading Sri Aurobindo’s Savitri as a Mythopoesis in Opposition to Sovereign Control

2021 ◽  
Vol 9 (2) ◽  
pp. 201-218
Author(s):  
Dr. Indrani Datta Chaudhuri
Keyword(s):  
Third World ◽  
General Trend ◽  
Future Generations ◽  
The West ◽  
Epic Poem ◽  
Aesthetic Autonomy ◽  
New Nation ◽  
The Aesthetic ◽  
The Voice

There is a general trend among Western critics, and scholars influenced by the West, to stereotype Third World Literatures, particularly those from India, either as the voice of national consolidation or as providing the emancipated West with the required dose of mysticism and spiritualism. Sri Aurobindo’s works have fallen within either of these two categories. As a result, much of the aesthetic autonomy of his writings have been ignored. This article focuses on the unique quality of Sri Aurobindo’s works, with particular reference to his epic poem Savitri, and shows how he recreates indigenous and classical Indian legends, myths and symbols to subvert sovereign control initiated by the West. Savitri emerges as the representative epic for a new nation that has much more to offer to the future generations apart from the intangible ideas of mysticism and spiritualism. By reinforcing the concept of Shakti and the Mother as the primal Universal Consciousness the mythopoesis in Savitri stands in opposition to the anthropocentric and the anthropogenic machines of sovereignty, both ancient and modern. It establishes the fact that in the human resides the divine and that divinity is a kind of life that can be lived on this earth.

Philology and Freedom

2018 ◽  
Author(s):  
Thomas Kselman
Keyword(s):  
Intellectual Development ◽  
The Other ◽  
Historical Method ◽  
The Bible ◽  
The Voice

This chapter draws on Ernest Renan’s memoirs and correspondence to examine his decision to abandon a promising clerical career as a young man in 1845. Renan’s religious choice involved personal struggle and family tension, as with the other converts in this book. This chapter emphasizes as well how the scrutiny of the Bible based on a rational and critical historical method eroded Renan’s faith. Although Renan was unable to resist the findings of philology and the voice of his conscience in rejecting Catholic dogma, he retained a deep respect for the priests who encouraged his intellectual development, and a nostalgia for the faith of his childhood.

‘Between Me and My Country’: Fugard's ‘My Children! My Africa!’ at the Market Theatre, Johannesburg

1990 ◽  
Vol 6 (21) ◽  
pp. 25-30 ◽  
Author(s):  
Stephen Gray
Keyword(s):  
South African ◽  
African Literature ◽  
Native Land ◽  
Critical View ◽  
African Writer

Continuing our coverage of South African theatre, which most recently featured a critical view of the policy of the Market Theatre, Johannesburg, by David Graver and Loren Kruger (in NTQ19), we now include a consideration by South African writer Stephen Gray of one of the Market's most recent productions, by assuredly its best-known playwright, Athol Fugard. My Children! My Africa! is, claims Fugard, ‘between me and my country’. Here, Stephen Gray acknowledges and analyzes the ways in which the play focuses with a new intensity upon the agony of Fugard's native land, as realized by a cast of three: two unknowns, plus the veteran John Kani – here cast, controversially, as a coward and traitor to his people. Stephen Gray has also edited the documentary volume on Athol Fugard in McGraw-Hill's ‘Southern African Literature’ series.

scholarly journals The beauty of continuous development of the nurse as the beauty of nursing as an art

2021 ◽  
Vol 0 (0) ◽  
Author(s):  
Zygmunt Pucko ◽  
Joanna Przybek-Mita
Keyword(s):  
Edmund Husserl ◽  
Continuous Process ◽  
Research Approach ◽  
Collective Consciousness ◽  
Continuous Development ◽  
Aesthetic Value ◽  
Philosophical Perspective ◽  
Points Of View ◽  
Cultural Code ◽  
The Aesthetic

AbstractIntroduction. Looking from a philosophical perspective at the continuous process of the nurse’s education, one can see in it a dimension that has not yet been brought to light. Meanwhile, it gives the nurse greater splendour and respect. It also changes the perception of the nurse in collective consciousness and creates her new image in the cultural code. This aspect is beauty, which also defines nursing understood as an art. The theoretical frame of this consideration is the concept of aesthetics of Cyprian Kamil Norwid. His approach determines the aesthetic shade of the nurse’s continuous development and legitimizes the aesthetic status of such thought categories as e.g. dynamism, purposefulness, proportionality, depth, originality, complementation, rigor or asceticism. It also authorizes the identification of nursing with art and opens the door for contemporary explanations of such identification.Aim. To show the beauty of the continuous development of the nurse. Indication of the constitutive features of the beauty of continuous learning. An attempt to justify giving nursing the title of an art.Method. Phenomenological method. This method was developed by Edmund Husserl and consists in viewing and describing a phenomenon or an object given to the researcher by eye. The purpose of this method is to get to the essence of the cognitively understood object and to recognize it clearly and distinctly. Capturing the quintessence of a phenomenon or an object is achieved through phenomenological reduction, meaning presuppositionlessness in the research approach and the so-called eidetic view.Conclusions. The permanent continuum of the nurse’s development process has an aesthetic value. Nursing has been elevated to the rank of art for several decades. The introduction of nursing to the pantheon of an art is proved from various points of view. Nursing understood as an art does not yet have a consistent theory or precise conceptual grid. Based on the resultant of many arguments, this ennoblement of nursing is difficult to challenge.

scholarly journals How Culture Influences Emotion Display in Transnational Television Formats: The Case of The Voice of China

2018 ◽  
Vol 6 (3) ◽  
pp. 40-47
Author(s):  
Yuanchen Zhang
Keyword(s):  
Chinese Culture ◽  
Cultural Influence ◽  
Chinese Version ◽  
Social Situations ◽  
Media Communication ◽  
Television Production ◽  
Production Practice ◽  
The Aesthetic ◽  
The Voice ◽  
Television Formats

Both television production practice and academic writings indicate the necessity of the localization of TV formats to fit sociocultural circumstances in different countries. This article narrows its focus to the issue of emotion display during localization. Inspired by Paul Ekman’s <em>neurocultural theory of emotion</em>, which describes human emotion expression in actual social situations, this article attempts to apply Ekman’s ideas about relations between culture and emotion to the field of media communication and to build a theoretical framework for the analysis of cultural influence in emotion display during the adaptation of a TV format. Applying the theoretical findings to the case of the singing competition show <em>The Voice of China </em>(adapted from <em>The Voice of Holland</em>), this article shows how the collectivist nature of Chinese culture influences the aesthetic and dramatic tools used to elicit emotion and to control emotion display in the Chinese version of the show.

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