scholarly journals The Ballad „Meșterul Manole”: an Archetypal Interpretation

Philologia ◽  
2021 ◽  
pp. 119-126
Author(s):  
Tatiana Butnaru ◽  
Keyword(s):  
Sacred Space ◽  
Human Sacrifice ◽  
Aesthetic Perception ◽  
Human Spirit ◽  
Work Of Art ◽  
Distinctive Features ◽  
Life And Death ◽  
Historical Significance ◽  
The World ◽  
The Aesthetic

In this article, the interpretation of the ballad „Meșterul Manole” found expression in an archetypal perspective, in correlation with the message of ideas, the legendary-historical significance and the sources of mythical inspiration. A symbol of the aspiration for the perfection of a work of art, the ballad is a masterpiece of universal inspiration, where the motive of human sacrifice in the service of a social, aesthetic, spiritual ideal becomes the essence of our millennial spirituality, is the artistic synthesis of a sacred space of values their fundamentals. One of the distinctive features of the ballad is the opening to new areas of mythical transcendence, orientation to some original images, with an ancient mythological substratum, prone to successive changes, to reveal new dimensions in the aesthetic perception of the world, in the context of serious meditations on life. and death, fulfillment, and sacrifice, about the perpetuation of the human spirit through creation.

Das Regime des Ästhetischen

2019 ◽  
Vol 95 (1) ◽  
pp. 91-102
Author(s):  
Diana Lohwasser
Keyword(s):  
Mass Media ◽  
Social Life ◽  
The Self ◽  
Aesthetic Perception ◽  
The World ◽  
Assessment Systems ◽  
The Mass Media ◽  
The Aesthetic ◽  
The Individual ◽  
Influence Perceptions

Abstract The Regime of the Aesthetic As a preliminary, the text deals with the question of what can be understood by a regime of the aesthetic. The aesthetic regime generates patterns of perception that guide people in their behavior and actions. The regime of the aesthetic oscillates between social regression and emancipation. The regression of the individual aesthetic perception of the world and of the self is evident in all areas of social life. Through the mass media, the aesthetic regime has the ability to manipulate people and influence perceptions and judgment. The ability of the self to defend itself against manipulation regresses. The adoption of given perception, explanation and assessment systems makes life easier than having to question contexts. The difficult task is to emancipate oneself from the regressive aesthetic regime. Referred to Rancière, it requires an ›emancipated viewer‹ capable of emancipating itself from the assigned structures of an aesthetic regime. This endeavor represents an infinite task.

Mass aesthetic changes in the context of the development of world museums

2021 ◽  
pp. 016555152110077
Author(s):  
Yu He ◽  
Zheng Chen
Keyword(s):  
The Public ◽  
Historical Significance ◽  
Social Forms ◽  
Mass Consciousness ◽  
Structural Content ◽  
The World ◽  
Public Consciousness ◽  
The Aesthetic ◽  
Global Art ◽  
Single World

This article is relevant, as in the process when the world community is experiencing crisis phenomena in the public consciousness and social forms of existence, the change of the museum as an accumulator of works of art and cultural centres acquires historical significance. The novelty of the study is determined by the fact that exhibitions can be held not only online or during the period when museums act as cultural centres. The purpose of the study is to research the aesthetic changes in the context of global art communication through exhibition areas in the world of museums. The leading research method was comparative analysis, thanks to which mass aesthetic changes in the process of changing the global socio-economic environment were studied. The basis for the work of UNESCO as a global repository and management centre in the museum community was shown. The authors note that the formation of museum competence and a change in the aesthetics of mass consciousness on this basis is possible only if the structural content of the coordination of museum art. The authors see the creation of a single-world museum centre as the basis for such a change.

scholarly journals Dialectic of Restlessness

2017 ◽  
Vol 3 (3) ◽  
pp. 678
Author(s):  
Marcus Steinweg
Keyword(s):  
Aesthetic Perception ◽  
Work Of Art ◽  
Negative Dialectic ◽  
The Aesthetic ◽  
Final Synthesis

In the section of Aktive Passivität (2014) entitled “Ästhetik des Nichtwissens” (The Aesthetic of Unknowing) Martin Seel follows Adorno’s formulation of “determinate indeterminateness” in order to proclaim the “celebration of unknowing” as the “telos of all aesthetic perception” (Seel 2014, 102ff). He’s undoubtedly right that uncertainty and unknowing are part of experiencing a work of art as well as aesthetic reflection. Adorno’s formulation restricts the dimensions of the certain and the uncertain, the known and the unknown, the determinate and the indeterminate. Everything depends upon grasping the character of this restriction. You can speak of dialectic insofar as it remains a negative dialectic that denies itself a final synthesis—a dialectic of restlessness.

scholarly journals (G)hosting Television:Ghostwatchand its Medium

2014 ◽  
Vol 11 (2-3) ◽  
pp. 189-212 ◽  
Author(s):  
Tom Steward ◽  
James Zborowski
Keyword(s):  
Work Of Art ◽  
Historical Significance ◽  
Non Fiction ◽  
Key Features ◽  
The Aesthetic

This article's subject is Ghostwatch (BBC, 1992), a drama broadcast on Halloween night of 1992 which adopted the rhetoric of live non-fiction programming, and attracted controversy and ultimately censure from the Broadcasting Standards Council. In what follows, we argue that Ghostwatch must be understood as a televisually specific artwork and artefact. We discuss the programme's ludic relationship with some key features of television during what Ellis (2000) has termed its era of ‘availability’: principally liveness, mass simultaneous viewing, and the flow of the television super-text. We trace the programme's television-specific historicity while acknowledging its allusions and debts to other media (most notably film and radio). We explore the sophisticated ways in which Ghostwatch's visual grammar and vocabulary and deployment of ‘broadcast talk’ ( Scannell 1991 ) variously ape, comment upon and subvert the rhetoric of factual programming, and the ends to which these strategies are put. We hope that these arguments collectively demonstrate the aesthetic and historical significance of Ghostwatch and identify its relationship to its medium and that medium's history. We offer the programme as a historically reflexive artefact and as an exemplary instance of the work of art in television's age of broadcasting, liveness and co-presence.

“Tangled in a Golden Mesh”: Virginia Woolf and the “Deceptiveness” of Beauty

2017 ◽  
Author(s):  
Matthew Mutter
Keyword(s):  
Virginia Woolf ◽  
Aesthetic Experience ◽  
Moral Order ◽  
Work Of Art ◽  
Political Criticism ◽  
The Sublime ◽  
The World ◽  
Secular Modernity ◽  
The Aesthetic

There has been a small movement among recent critics and philosophers to rehabilitate the reputation of beauty, which suffered under the modernist fascination with ugliness, Romantic and postmodern prejudice in favor of the sublime, and political criticism of beauty as elitist, inefficacious, and complicit with injustice. This chapter seeks to reframe these debates by examining the link between beauty and religious ontologies. Weber, following Nietzsche, insisted that secular modernity had broken sympathetic relations between beauty and goodness, but in Woolf’s novels the beautiful cannot shed its theological aura: its promise of reconciliation, peace, and divine benevolence. Woolf’s famous conception of “the world as a work of art”—which has, nevertheless, no “creator”—remains entangled in the aesthetic theodicies she repudiates. Her novels struggle to conceptualize secular, mundane models of beauty while simultaneously clinging to intimations of a metaphysical and moral order implicit in aesthetic experience. Beauty is, in her writing, the last and most intractable stronghold of mystical feeling.

scholarly journals Søren Kierkegaard. La melancolía como fundamento de la existencia estética. Søren Kierkegaard. The Melancholy as the Foundation of Aesthetic Existence

2017 ◽  
Author(s):  
Alejandro Peña Arroyave
Keyword(s):  
Soren Kierkegaard ◽  
Critical Distance ◽  
German Romanticism ◽  
Work Of Art ◽  
The World ◽  
The Aesthetic

En diálogo con el Romanticismo alemán, Kierkegaard construye en O lo uno O lo otro el perfil de quien vive estéticamente como culminación de los ideales estéticos románticos. En el Romanticismo, la ironía se convierte en el elemento esencial a tal forma de vida, ya que permite alejamiento de la realidad en tanto superioridad de un yo que se concibe absoluto, mediante un distanciamiento crítico que le permite contemplarse a sí mismo como obra de arte. Sin embargo, desde la reelaboración de Kierkegaard, puede mostrarse que la ironía es el instrumento para aparecer en el mundo como yo absoluto y dominador, pero el fundamento de la existencia estética permanece anclado en la melancolía. La tesis del escrito consiste en mostrar precisamente que el elemento oculto en la existencia estética es la melancolía en la medida que determina una visión quebrada del mundo y por ello una disputa entre hombre y realidad.In discussion with German Romanticism, Kierkegaard built in Either/Or the profile who lives aesthetically as the culmination of the romantic aesthetic ideals. In Romanticism, the irony becomes so essential to life, allowing detachment from reality as superiority of me who is conceived absolutely, by means of a critical distance that it allows him to be contemplate himself as a work of art. However, in the Kierkegaard’s reprocessing, it can be shown that irony is the instrument to appear in the world as absolute and dominant, but the foundation of aesthetic existence remains anchored in the melancholy. The thesis of this paper is to show precisely that hidden element in the aesthetic existence is the melancholy in the measure that determines a broken vision of the world and therefore a dispute between man and reality.

scholarly journals The Art Through the Media in the Conditions of the COVID-19 Pandemic

2021 ◽  
Vol 11 (1) ◽  
pp. 24-34
Author(s):  
Luchia Angelova ◽  
Bojidar Angelov
Keyword(s):  
Primary School ◽  
Information Society ◽  
Aesthetic Perception ◽  
Media Pedagogy ◽  
The World ◽  
Aesthetic Attitude ◽  
The Media ◽  
Modern Information ◽  
The Aesthetic

In kindergarten and primary school, the aesthetic perception and aesthetic attitude to the world, as components of aesthetic culture are formed through a cycle of artistic and aesthetic activities. children's audience in the context of the COVID-19 pandemic The question is answered, what do we need to know about the media in order to be able to live in accordance with the modern information society? It is pointed out that the task of media pedagogy is to specify where the interactions between the media and people - especially children, intervene by educating, educating and advising, orienting and informing despite the new conditions of the COVID-19 pandemic.

scholarly journals THE SYMBOLISM OF IMRE MAKOVECH'S METAPHORICAL LANGUAGE IN THE FORMATION OF SACRED SPACE

2021 ◽  
pp. 113-122
Author(s):  
Liliia Gnatiuk
Keyword(s):  
Twentieth Century ◽  
Sacred Space ◽  
Human Life ◽  
Religious Communities ◽  
Material Object ◽  
Distinctive Features ◽  
Metaphorical Language ◽  
The World ◽  
Surrounding Landscape ◽  
The Relationship

The article analyzes the iconic temples of the twentieth century designed by the Hungarian architect Imre Makovec. The anthroposophical theory of architecture is presented, which assumed that the world and man are permeated with various types of spiritual forces, thanks to the forms of objects of the visible world, they can be strengthened or weakened. The understanding of the harmony of forms in the formation of the sacred space is presented. The architecture of sacred buildings erected according to the principle of organic architecture is considered. It is determined that the forms created by Makovech do not belong to any of the "languages" of architectural expression that have been created so far. The article presents a view on the mysterious nature of the connection of people in society – close to the types of connections that connect religious communities, as well as the concept of architecture as a bridge between heaven and earth, which also changed the approach to a building as an exclusively material object. The forms of individual sacred structures and the ways of organizing their interiors were analyzed, which made it possible to conclude that the ideas of reviving the unity of the surrounding landscape, the tendency to use local materials (primarily wood), but also a more general, philosophical attitude, allows us to consider architecture as an element that binds forces space with human life. The use of the metaphorical language of Makovech's architecture is considered based on the world of visual human products and their iconographic distinctive features. Revealed the need to take into account the relationship between certain forms and messages, through them are transmitted to the formations of the sacred space. An attempt is also presented to adapt the principles of modernism to the needs of the shaping of the sacred space. The tendencies of the formation of the sacred space in the twentieth century are revealed, namely: anthroposophical; continuation and development of Christian symbols. 

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

scholarly journals Time and chaos: the “imagination of possibilities” and the media

2019 ◽  
Vol 35 ◽  
pp. 45-60
Author(s):  
Gustavo Castro ◽  
Florence Dravet
Keyword(s):  
Space Time ◽  
Aesthetic Perception ◽  
Time And Space ◽  
Complex Thinking ◽  
The World ◽  
Time Order ◽  
Modern Physics ◽  
The Media ◽  
The Aesthetic

This article proposes a reflection about the notion of time and its relation to the media based on the complex thinking paradigm and the transdisciplinary perspective. Departing from reflections about literary and cinematographic narratives, our objective is to examine how the notion of time mediates the concept of comprehension of space/time as well as of the aesthetic perception of the world between order and chaos. We relied on the dialogue between science and narrative and on modern physics for concepts of time, order and chaos. Our conclusions point to three ideas: 1) the constant remembrance of catastrophe is an obsessive intimate theme which presents itself through an artistic and mediatic narrative; 2) the expression of catastrophic obsession partially satisfies the current humanity’s affection for horror and 3) the imaginary of catastrophe traverses time and space, being transdisciplinary.

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