scholarly journals Maß (Moderation, Measure)

2021 ◽  
Vol 1 (2) ◽  
Author(s):  
Jocelyn Holland
Keyword(s):  
Aesthetic Experience ◽  
Nodal Point ◽  
Torquato Tasso ◽  
Societal Norms ◽  
Theatrical Performance ◽  
Wilhelm Meisters Lehrjahre ◽  
Elective Affinities ◽  
Theoretical Question ◽  
Narrative Control

This entry on Maß (moderation, measure) explores a concept that has not received much attention in Goethe scholarship and makes a case for its usefulness and versatility in tracking how Goethe addresses a philosophical issue with a history stretching at least back to Aristotle’s conception of “the golden mean.” It shows how Goethe’s writings respond to numerous issues connected with the concept of moderation, ranging from the problem of self-moderation, when an individual’s own internal calibration comes in conflict with societal norms, to the more theoretical question of how to define the correct standard of measure (Maßstab). The discussion of moderation in Goethe’s work is, to be sure, coupled with its opposite, namely the potentially deadly threat of immoderation and excess, such as one finds in Die Leiden des jungen Werthers (1774; The Sorrows of Young Werther), Wilhelm Meisters Lehrjahre (1795; Wilhelm Meister’s Apprenticeship), and Torquato Tasso (1790). Such potential conflicts, which also raise questions of where to position the standard of measure (Maßstab) of behavior, lead naturally into contexts of scientific experimentation, as in Goethe’s essay “Der Versuch als Vermittler von Objekt und Subjekt” (1792; The Experiment as Mediator of Object and Subject), where such standards take on a different valence from their role in mathematically based natural sciences. In addition, Goethe’s novel, Die Wahlverwandtschaften (1809; Elective Affinities), provides a poetic model where conflicts between individually and socially calibrated notions of measure and moderation play out with major ethical consequences. The entry concludes with a reflection on different kinds of aesthetic experience, each with its particular understanding of Maß: the individual’s appreciation of the sublime, the theatrical performance, and the embodiment of the self through poetic meter. Throughout these examples, the entry will underscore the role of narrative constraints: regardless of whether the medium is prose or poetry, one finds that questions of Maß as moderation in Goethe’s writings are often accompanied by questions of narrative control and excess. The following overview and analysis of Maß in Goethe’s writing will show that this term is a nodal point of ethical, epistemological, and aesthetic concerns.

Schopenhauer and the Paradox of the Sublime

2020 ◽  
pp. 237-255
Author(s):  
Bart Vandenabeele
Keyword(s):  
Aesthetic Experience ◽  
Human Being ◽  
Aesthetic Object ◽  
Human Reason ◽  
The Sublime ◽  
The World ◽  
The Aesthetic

Schopenhauer explores the paradoxical nature of the aesthetic experience of the sublime in a richer way than his predecessors did by rightfully emphasizing the prominent role of the aesthetic object and the ultimately affirmative character of the pleasurable experience it offers. Unlike Kant, Schopenhauer’s doctrine of the sublime does not appeal to the superiority of human reason over nature but affirms the ultimately “superhuman” unity of the world, of which the human being is merely a puny fragment. The author focuses on Schopenhauer’s treatment of the experience of the sublime in nature and argues that Schopenhauer makes two distinct attempts to resolve the paradox of the sublime and that Schopenhauer’s second attempt, which has been neglected in the literature, establishes the sublime as a viable aesthetic concept with profound significance.

Sex Discrimination and the Transformation of U.S. Education

2018 ◽  
Author(s):  
Erin E. Buzuvis
Keyword(s):  
Equal Opportunity ◽  
Sex Discrimination ◽  
Sexual Misconduct ◽  
Fourteenth Amendment ◽  
Equal Protection Clause ◽  
Lgbt Students ◽  
Societal Norms ◽  
Sex Equality ◽  
Equality In Education

This chapter highlights the role of Title IX of the Education Amendments Act of 1972 and the U.S. Constitution’s Equal Protection Clause of the Fourteenth Amendment in transforming the gendered landscape of U.S. education. After first providing an overview of these two sources of law, the chapter examines the role they have played in challenging sex-based designations in admissions and in the classroom, in promoting equal opportunity and access to school-sponsored athletics, in challenging sexual harassment and other sexual misconduct, in reducing barriers to LGBT students, and in promoting equal opportunity for students who are pregnant. Sections addressing each one of these topics will also note limitations and shortcomings of the law’s approach to these issues, as there is still more work to do to fully realize sex equality in education. While the law has not cured all the problems of sex discrimination education, owing to limitations in its scope, as well as enforceability, it has proven to be a powerful source of societal norms and expectations, which themselves operate to motivate compliance and beyond.

The Role of Understanding on Architectural Beauty: Evidence From the Impact of Semantic Description on the Aesthetic Evaluation of Architecture

2021 ◽  
pp. 003329412110021
Author(s):  
Sizhe Liu ◽  
Wei Zhang ◽  
Xianyou He ◽  
Xiaoxiang Tang ◽  
Shuxian Lai ◽  
...  
Keyword(s):  
Aesthetic Experience ◽  
Supplementary Information ◽  
Aesthetic Evaluation ◽  
Abstract Description ◽  
Social Meanings ◽  
Different Types ◽  
Appearance Design ◽  
The Aesthetic ◽  
The Impact

There is evidence that greater aesthetic experience can be linked to artworks when their corresponding meanings can be successfully inferred and understood. Modern cultural-expo architecture can be considered a form of artistic creation and design, and the corresponding design philosophy may be derived from representational objects or abstract social meanings. The present study investigates whether cultural-expo architecture with an easy-to-understand architectural appearance design is perceived as more beautiful and how architectural photographs and different types of descriptions of architectural appearance designs interact and produce higher aesthetic evaluations. The results showed an obvious aesthetic preference for cultural-expo architecture with an easy-to-understand architectural appearance design (Experiment 1). Moreover, we found that the aesthetic rating score of architectural photographs accompanied by an abstract description was significantly higher than that of those accompanied by a representational description only under the difficult-to-understand design condition (Experiment 2). The results indicated that people preferred cultural-expo architecture with an easy-to-understand architectural appearance design due to a greater understanding of the design, providing further evidence that abstract descriptions can provide supplementary information and explanation to enhance the sense of beauty of abstract cultural-expo architecture.

scholarly journals THE PROBLEM OF NARRATION IN NOTES FROM A DEAD HOUSE BY FYODOR DOSTOEVSKY

2021 ◽  
Vol 19 (1) ◽  
pp. 221-238
Author(s):  
Tamara Batalova
Keyword(s):  
Sense Of Self ◽  
Self Esteem ◽  
Vital Role ◽  
Point Of View ◽  
Christian Faith ◽  
Fyodor Dostoevsky ◽  
Theatrical Performance ◽  
Essential Idea ◽  
The Dead

Within the framework of Pavel Medvedev’s sociological poetics, the article identifies and studies the features of the narrative in Fyodor Dostoevsky’s Notes from a Dead House, and examines the role of these features in expressing the key idea of this novel, namely the desire of convicts for freedom, for “resurrection from the dead”. From this point of view, the author examines the significance of the narrator’s duality (Goryanchikov and Goryanchikov-Dostoevsky) and the juxtaposition of the characters in the narrative (positive and negative). He also analyzes the compositional function of the XI chapter of the first part of Notes from a Dead House, “Presentation”, in the plot. The Christian faith plays the vital role in the expression of the essential idea of the work. An open-minded attitude to people, a friendly, Christian approach towards them is a distinctive feature of Goryanchikov-Dostoevsky and all the positive characters in the book. Inspired by the celebration of the Nativity of Christ, the convicts staged a theatrical performance, which alters the moral state of both the actors and the audience, fortifies their sense of self-esteem required to resist the prison orders that “deaden” people, and strengthens the prisoners’ desire for freedom, for “resurrection from the dead”. The article concludes that Notes from a Dead House is the beginning of aesthetic and artistic changes that manifested themselves in Dostoevsky’s post-prison works.

scholarly journals Who’s Afraid of the Audience? Digital and Post-Digital Perspectives on Aesthetics

2014 ◽  
Vol 3 (1) ◽  
pp. 120-130 ◽  
Author(s):  
Lotte Philipsen
Keyword(s):  
Immanuel Kant ◽  
Digital Technology ◽  
Aesthetic Experience ◽  
The Other ◽  
Artistic Practice ◽  
Works Of Art ◽  
Practical Analysis ◽  
The Way

This article analyses how works of art that make use of or refer to digital technology can be approached, analysed, and understood aesthetically from two different perspectives. One perspective, which I shall term a ‘digital’ perspective, mainly focuses on poetics (or production) and technology when approach- ing the works, whereas the other, which I shall term a ‘post-digital’ perspective, focuses on aesthetic experience (or reception) when approaching the works. What I tentatively and for the purpose of practical analysis term the ‘digital’ and the ‘post-digital’ perspectives do not designate two different sets of concrete works of art or artistic practice and neither do they describe different periods.[1] Instead, the two perspectives co-exit as different discursive positions that are concretely ex- pressed in the way we talk about aesthetics in relation to art that makes use of and/or refers to digital technology. In short: When I choose here to talk about a digital and a post-digital perspective, I talk about two fundamentally different ways of ascribing aes- thetic meaning to (the same) concrete works of art. By drawing on the ideas of especially Immanuel Kant and Dominic McIver Lopes, it is the overall purposes of this article to ana- lyse and compare how the two perspectives understand the concept of aesthetics and to discuss some of the implications following from these understandings. As it turns out, one of the most significant implications is the role of the audience. 

scholarly journals The Role of Painting Activity as an Emotional Regulation in Children with Asperger Syndrome

2019 ◽  
Vol 8 (2S9) ◽  
pp. 666-672
Keyword(s):  
Asperger Syndrome ◽  
Character Education ◽  
Emotional Regulation ◽  
Aesthetic Experience ◽  
Self Confidence ◽  
Learning Programs ◽  
Research Findings ◽  
The Subject ◽  
The Aesthetic

Children with Asperger syndrome still need to be adjusted, in regulating their emotion, to their enjoyment in an activity that will be their emotional allocation. Art is able to improve their self-ability, to strengthen their self-confidence, and also to re-shape lack of knowledge about their own identity. This is because activity of art becomes a collection of inspiration, the aspect of imagination that is closely related to the aesthetic experience. This was a qualitative research as a study intended to understand the phenomenon of something that is experienced by the subject of research. For example: behaviour, perception, motivation, and action in holistic way and described in form of words and language, in a specific-natural context and by utilizing various methods. The research findings show that ability of emotional regulation is the ability of the subject in receiving and understanding a command, and then in minimizing tantrum, so that the subject is able to achieve a treatment therapy; including the subject's ability to identify and draw an object or other objects around them, to recognize some painting tools and to answer questions orally or in writing through the image media. The therapy can be packaged through art education based on painting activity which is the advantage of an area itself. Schools present learning programs that also support character education and the creative potential of the children, so that they can live independently later.

scholarly journals PELATIHAN SENI DEKORASI DI SEMINARI MENENGAH AGUSTINIANUM TOMOHON

2018 ◽  
Vol 1 (2) ◽  
Author(s):  
Budiyatmi Budiyatmi
Keyword(s):  
Character Education ◽  
Art Education ◽  
Arts Education ◽  
Aesthetic Experience ◽  
Human Life ◽  
Design Concept ◽  
Revenue Source ◽  
Business Opportunities ◽  
Aesthetic Values

Competition in all sectors and of human life : in local, national and global, requires the role of art education as a strategic choice. Arts education as part of character education is to obtain aesthetic experience and discover the value of beauty. Tomohon as one of the tourist city has a natural potential and very interesting to visit. Predicate ‘city of flowers’ is an attraction in itself too. Business opportunities in the field of Flora, make businessmen and investors keep to develop business in the field of this industrial. Then training dercoration art or art flower arrangement, became a media that needs to be selected in the creation of quality works. Media is easily obtained and if they supported with a design concept, this is can be interesting artwork in the middle of the competition and the development of applied arts. The charm of the plant is able to present the beauty of the room decor. They can complete by combining various types of flowers in a container, and inserted along with a variety of foliage. Set of parts of the plant will appear more attractive if they knew about the art of stringing. The problem is, there have some basic things who can make wild flowers or leaves to make it look attractive. Based on these ideas, skills need to be provided in an attempt to tackle the problem a lack of interest to pursue business in the field of art is one of the alternatives to bring in additional revenue source. Keywords: art education, aesthetic values, flora, flower, decoration.

scholarly journals Arte interativa: quem é o autor e onde está o espectador?

2020 ◽  
Author(s):  
António Cardoso
Keyword(s):  
Linear Structure ◽  
Global Dimension ◽  
Point Of View ◽  
Interactive Art ◽  
Traditional Role ◽  
External Observer ◽  
Theatrical Performance ◽  
Symbolic Meanings ◽  
The Spectator

This article examines how the emergence of interactive art brought about the necessity of re-positioning the traditional role of the spectator and led to the re-formulation of the notion of authorship. The non-linear structure of interactive artworks empowers the spectator with the (apparent) control of its narrative and creates a relational space filled with an input-output dynamic. It is suggested that this elevates the spectator to the realm of co-authorship of the work of art that he/she is interacting with, because the specificity of each interaction generates symbolic meanings that the original author cannot anticipate.It is also argued that the input required from the spectator to interact with the artwork could be compared to a theatrical performance. Thus, an analogy between the spectator-in-action of an interactive artwork and the figure of an actor is established. This brings us to the question concluding the article: as the reception of interactive art implies an action from its spectator, the compatibility between action and contemplation is questioned.Finally, the article concludes that the corpus of an interactive artwork has to include the spectator that acts and creates the input needed for the interaction to be established. Therefore, only from the point of view of an external observer one can gain access to its global dimension, that is, as meta-spectators.

Memory

2018 ◽  
Author(s):  
Maxwell Deutscher
Keyword(s):  
Memory Trace ◽  
Computer Models ◽  
Structural Analogue ◽  
Past Event ◽  
The Past ◽  
General Power ◽  
Ancillary Information ◽  
The Difference ◽  
Theoretical Question

Memory is central to every way in which we deal with things. One might subsume memory under the category of intellect, since it is our capacity to retain what we sense, enjoy and suffer, and thus to become knowing in our perception and other activities. As intelligent retention, memory cannot be distinguished from our acquisition of skills, habits and customs – our capabilities both for prudence and for deliberate risk. As retention, memory is a vital condition of the formation of language. Amnesia illustrates dramatically the difference between memory as retention of language and skills, and memory as the power to recollect and to recognize specific events and situations. In amnesia we lose, not our general power of retention, but rather our recall of facts – the prior events of our life, and our power to recognize people and places. Amnesiacs recognize kinds of things. They may know it is a wristwatch they are wearing, while unable to recognize it as their own. This recall of events and facts that enables us to recognize things as our own, is more than just the ability to give correctly an account of them. One might accurately describe some part of one’s past inadvertently, or after hypnosis, or by relying on incidental information. Thus, present research on memory both as retention and as recall of specific episodes, attempts to describe the connection which persists between experience and recall. Neurological or computer models of such a connection owe something to traditional notions of a memory trace, but emphasize also the re-tracing of original memories by later experience and episodes of recall. Historically, recollection has often been thought of as a mode of perceiving the past. Such an idea lends an exaggerated status to the role of imagery, which is but one member of a family of recollective activities that includes reliving, remembering, reminiscing and mulling over what has happened. It may be not in having imagery but in miming someone’s behaviour that one relives an event. Also, like imagery, what we feel about the past may seem integral to recollection. A sense of being brought close to the past arises particularly when events that involve our feelings are concerned. Yet we may also recollect an event, vividly and accurately, while feeling clinically detached from it, devoid of imagery. How a past event or situation remains connected with subsequent recollection has become a principal theoretical question about memory. It is argued that it is because of what we did or experienced that we recollect it. Otherwise, we are only imagining it or relying upon ancillary information. Neurological or computer models of such a connection owe something to traditional notions of a memory trace, but emphasize also the re-tracing of original memories by later experience and episodes of recall. Some argue that our very idea of memory is that of the retention of a structural analogue of what we do recall of them. Such an idea is not of some perfect harmony between what we remember and our recollection of it. Rather, it is suggested, only to the extent that we retain a structural analogue of some aspect of an event or situation do we remember, rather than imagine or infer it.

The writing profession in France: Between symbolic and professional recognition

2019 ◽  
Vol 30 (2) ◽  
pp. 105-120 ◽  
Author(s):  
Gisèle Sapiro
Keyword(s):  
Qualitative Research ◽  
National Survey ◽  
Literary Field ◽  
Writing Courses ◽  
Professional Recognition ◽  
Career Opportunities ◽  
Elective Affinities ◽  
Research Interviews ◽  
The Relationship

This article examines current transformations of the writing profession in France. Based on qualitative research (interviews with writers and their representatives, as well as organisers of literary events) and on a national survey conducted in 2016 by the Centre national du livre, it emphasises the tension between symbolic and professional recognition at different moments of a writer’s ‘career’. In a country where literary agents are only now starting to organise, and where creative writing courses are not as well established as elsewhere, publishers still play the key role of ‘gatekeepers’ into the literary field. The relationship with the publisher is thus crucial and is based on elective affinities. Yet, once published, an author still needs to be distinguished and recognised. Apart from the traditional literary prizes, which give symbolic and professional recognition, literary events (festivals, public readings) and residencies offer new career opportunities. These related activities, or ‘activités connexes’ have significantly increased in number: the article focuses especially on analysing how they now fit into and structure the literary careers of authors, as well as how authors themselves perceive them.

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