scholarly journals Aesthetic Eating

2021 ◽  
Vol 21 (62) ◽  
pp. 269-284
Author(s):  
Adam Andrzejewski
Keyword(s):  
Aesthetic Autonomy ◽  
Potential Factor ◽  
The Aesthetic ◽  
To Receive

The aim of this paper is to sketch a framework for perceiving the act of consumption as an aesthetic phenomenon. I shall argue that, under some circumstances, it is possible to receive aesthetic satisfaction from the act of eating food, in which the object of one’s appreciation is, for the most part, considered separately from what is actually eaten. I propose to call such a process “aesthetic eating” and argue that due to its aesthetic autonomy it might be a potential factor in enjoying certain kinds of food. This phenomenon is apparent in the case of the types of food that are acquired tastes. It is plausible that distinguishing the aesthetic pleasures of food from the ones associated with the act of eating can not only enrich our aesthetic life but also deepen the aesthetics of our overall gustatory experience.

scholarly journals The Aesthetic Interior as Incubator of Health and Well-Being

2017 ◽  
Vol 60 ◽  
pp. 277-301
Author(s):  
Richard W. Hayes
Keyword(s):  
Interior Design ◽  
Well Being ◽  
Walter Pater ◽  
Theophile Gautier ◽  
Aesthetic Movement ◽  
Domestic Interiors ◽  
Victorian Britain ◽  
Aesthetic Autonomy ◽  
The Aesthetic ◽  
Dress Reform

ABSTRACTDomestic interiors created during the Aesthetic Movement have often been interpreted in terms of the ideas of aesthetic autonomy associated with Théophile Gautier, Walter Pater and Joris-Karl Huysmans. This essay takes a different tack by analysing the aesthetic interior in light of concerns with health reform. It focuses on the writings and designs of architect E.W. Godwin (1833–86) who pursued interior design as part of an effort to foster a healthy life, one that consisted of hygiene, relief from urban stress, and an enlargement of the aesthetic responsiveness of his clients. He conceived of spare and calm interiors that were healthful alternatives to dust-infested Victorian clutter while concomitantly offering psychological respite from the ‘high-pressure, nervous times’ endemic to metropolitan life. This goal accords with Godwin's related interest in dress reform, a preoccupation that led to his participation in the Health Exhibition of 1884. By unpacking Godwin's specific contribution to the sanitary discussions that prevailed in Victorian Britain, I align the aesthetic interior with the central imperative of sanitary reform: promoting health through ameliorating Britain's urban environment.

Natural Histories of Form

2020 ◽  
Vol 151 (1) ◽  
pp. 51-73
Author(s):  
Ian Duncan
Keyword(s):  
Scientific Knowledge ◽  
Charles Darwin ◽  
Natural Basis ◽  
Alternative Account ◽  
Aesthetic Sense ◽  
Aesthetic Autonomy ◽  
And Gender ◽  
The Aesthetic ◽  
Natural Histories ◽  
Descent Of Man

Arguing that aesthetic preference generates the historical forms of human racial and gender difference in The Descent of Man, Charles Darwin offers an alternative account of aesthetic autonomy to the Kantian or idealist account. Darwin understands the aesthetic sense to be constitutive of scientific knowledge insofar as scientific knowledge entails the natural historian’s fine discrimination of formal differences and their dynamic interrelations within a unified system. Natural selection itself works this way, Darwin argues in The Origin of Species; in The Descent of Man he makes the case for the natural basis of the aesthetic while relativizing particular aesthetic judgments. Libidinally charged—in Kantian phrase, “interested”—the aesthetic sense nevertheless comes historically adrift from its functional origin in rites of courtship.

Use of Postmastectomy Radiation in Patients Treated for Invasive Breast Cancer with Mastectomy and Immediate Reconstruction

2019 ◽  
Vol 85 (11) ◽  
pp. 1299-1303
Author(s):  
Genevieve Hayek ◽  
Mary Winslow ◽  
Morgan Maier ◽  
Ralph Corsetti ◽  
Amy Rivere ◽  
...  
Keyword(s):  
Breast Cancer ◽  
Invasive Breast Cancer ◽  
Psychological Impact ◽  
Tumor Stage ◽  
Immediate Reconstruction ◽  
Aesthetic Result ◽  
Postmastectomy Radiation ◽  
Postmastectomy Radiation Therapy ◽  
The Aesthetic ◽  
To Receive

Immediate reconstruction after mastectomy helps women manage the psychological impact of deforming surgery. Postmastectomy radiation therapy (PMRT) can negatively impact the aesthetic result after breast reconstruction. We performed this study to achieve a better understanding of how PMRT is used after reconstruction in our institution. We conducted a retrospective review of a pro-spectively maintained database of all women who underwent mastectomy for invasive breast cancer followed by immediate reconstruction from 2006 to 2017. Patients were divided into two groups depending on whether PMRT was included in their treatment, and we compared clinical and pathologic characteristics to determine which factors were likely to lead to PMRT. A total of 315 women treated with mastectomy and immediate reconstruction were identified. A total of 96 were treated with PMRT; 219 had mastectomy and immediate reconstruction without radiotherapy. Tumor characteristics, tumor stage, demographics, and comorbidities did not predict the use of PMRT. Neoadjuvant chemotherapy (NAC) was the most powerful predictor for using PMRT. In 47 of 81 (58%) patients treated with NAC, PMRT was used. Whereas 49 of 234 (21%) patients who did not receive NAC were treated with PMRT ( P = 0.0001, risk ratio 2.77, 95 per cent confidence interval 2.03–3.77). In our institution, patients treated with NAC followed by mastectomy and immediate reconstruction are significantly more likely to receive PMRT. The increased use of PMRTafter NAC should be factored into the preoperative discussion with patients choosing mastectomy and immediate reconstruction.

Wainting for...

2018 ◽  
Vol 8 (2) ◽  
pp. 361-367
Author(s):  
Alexandra Bandac
Keyword(s):  
Samuel Beckett ◽  
First Year ◽  
First Year Of College ◽  
The Subject ◽  
The Creation ◽  
The Spectator ◽  
The Aesthetic ◽  
The One ◽  
To Receive

Abstract I have known Professor Huțanu since the first year of college and, although he wasn’t my professor, I have always admired the glimpse in the eyes of his students when they talked about rehearsing with him for exams or shows. Recently, when I found out that he was staging a show after a text by Samuel Beckett, I dared to approach him in order to “question” him about my favourite author, who is also the subject of my PhD research, as to say, a serious matter. This is how I came to discover a passionate man, director, teacher and actor, who mingles these three hypostases naturally, with diffidence. A generous man, who has permitted me to lift up (with shyness from me, of course) the frail curtain of the creation laboratory behind a difficult show, as to the nature of the animation theatre, implying technical rigors, and also to the aesthetic of the approach. I was permitted to attend rehearsals, to ask questions, to discuss, debate, to have doubts and, more importantly, to receive answers from the man behind the curtain, the one who thought and felt the Godot. Below there is a fragment of an interview – part of my PhD study – and, maybe a subjective mirror of the rustle reflected between the spectator and the creator.

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.

Intent in Practice

2019 ◽  
pp. 150-184
Author(s):  
Leonard Diepeveen
Keyword(s):  
Aesthetic Experience ◽  
General Point ◽  
Avant Garde ◽  
Turn On ◽  
Works Of Art ◽  
Aesthetic Autonomy ◽  
The Aesthetic

This chapter begins with an account of the Blind Man’s defense of Duchamp’s Fountain, using it to make a more general point that inferring intent is central to the aesthetic experience and meaning of art in general, and in highly particular ways in modernist works of art. Inferring intent is inevitable, and it is always uncertain and messy. Modernist works of art highlighted that tension, presenting unclear signs of intent and making uncertainty central to the value of their aesthetic experience. Particularly at modernism’s avant-garde edges, readers and viewers uncertainly perform intent in modernist artworks, an experience which implies a particular argument about the place of intent and fraud in aesthetic experience. The chapter ends with an inductive turn on the basis of this argument, presenting a theory of intent’s function in aesthetic experience, and its relation to ideas of aesthetic autonomy.

Legacies: Socialism, Aesthetics, and the Modernist Generation

2007 ◽  
Author(s):  
Ruth Livesey
Keyword(s):  
Virginia Woolf ◽  
Fin De Siecle ◽  
Bloomsbury Group ◽  
Aesthetic Autonomy ◽  
Fin De Siècle ◽  
The Aesthetic

This chapter examines the afterlife of 1880s socialism in the early modernist generation. It focuses upon Virginia Woolf and Roger Fry and examines their negotiations with the productive, engaged aesthetics of those Bloomsbury socialists before the Bloomsbury Group. Both Woolf and Fry had significant relations with writers examined in earlier chapters of this work. Woolf's writings concerning the Women's Co-operative Guild reflect her rejection of the socially engaged and productive aesthetics of that generation in favour of a radical statement of aesthetic autonomy and the individualism of the artist. Meanwhile, Roger Fry's aesthetics strained between a belief in a democracy of aesthetic responsiveness and a conscious attempt to rewrite the aesthetic legacy of Ruskin and Morris. In the debacle that surrounded Wyndham Lewis's secession from Fry's collective Omega Workshops, however, Lewis himself sexed Fry's aesthetics as effeminate traces of the fin de siècle.

On "Secondary Aesthetics, Without Isolation": Philosophical Origins of Mikhail Bakhtin's Theory of Form

2015 ◽  
Vol 59 (1) ◽  
pp. 1-22
Author(s):  
Dušan Radunović
Keyword(s):  
Ethical Judgment ◽  
Turn Of The Century ◽  
Empirical Reality ◽  
Literary Aesthetics ◽  
Arts And Humanities ◽  
The Social ◽  
Aesthetic Autonomy ◽  
Aesthetic Form ◽  
The Aesthetic ◽  
Intellectual Movements

This paper discusses the philosophical origins as well as the social context of Mikhail Bakhtin’s theory of aesthetic form. Bakhtin’s critique of the Russian Formalist conception of form, which reaches its most elaborate form in his 1924 article “The Methodological Questions of Literary Aesthetics” (“K voprosam metodologii estetiki slovesnogo tvorchestva”), is methodologically rooted in various strands of neo-Kantian philosophy and aesthetics, most notably, in the works of Hermann Cohen and Broder Christiansen. It was from the neo-Kantian philosophical repertoire that Bakhtin derived his foundational argument that aesthetic activity represents a “secondary creation.” Art, according to Bakhtin, stands in contrast to the “primary creative acts” of cognition and ethical judgment, hence it encounters a “reality” that had already been articulated and ordered by cognitive and moral acts. In keeping with this principle, Bakhtin postulates that the aesthetic act is the reassessment of, rather than a direct intervention into, empirical reality. In this constellation, artistic form is seen as the quintessential achievement of aesthetic activity that incorporates, but is categorically irreducible to, cognitively and ethically inarticulate material. Having traced the philosophical origins of Bakhtin’s meditation on form in turn-of-the-century German neo-Kantianism, the paper finally aims to appraise Bakhtin’s inquiry into aesthetic form, especially his emphatic rebuttal of the Russian Formalist assertion of the idea of aesthetic autonomy, against the background of more general trends in the humanities, both European and Russian, toward the separation and specialization of disciplines. Bakhtin’s neo-Kantian unitary vision of arts and humanities, the paper concludes, was fundamentally in conflict with the modernizing tendency in arts and humanities, the offshoots of which he recognized, and thus fervently denied, in a number of contemporaneous artistic and intellectual movements and practices.

Carl Schmitt’s Literary Criticism

2017 ◽  
Author(s):  
Peter Uwe Hohendahl
Keyword(s):  
Literary Criticism ◽  
Central Issue ◽  
Carl Schmitt ◽  
Contemporary History ◽  
Aesthetic Autonomy ◽  
The Aesthetic ◽  
Benito Cereno

As early as 1916, Carl Schmitt underscored the centrality of myth and religion in his analysis of the expressionist Theodor Däubler. He celebrated Däubler as a Christian poet and radical critic of modernity. This critique of modernity was then articulated in more systematic terms his 1919 essay Political Romanticism, which opposed the Romantic approach to life and art as ironic escapism and relativism. During the 1920s and 1930s, a personal search for new ground led Schmitt to the Catholic author Konrad Weiss, and subsequently to Herman Melville’s story Benito Cereno as a private allegory of Carl Schmitt as persecuted intellectual. His late literary criticism focused on William Shakespeare’s Hamlet. His interpretation emphasizes the tragic nature of the play, explicitly taking issue with Walter Benjamin’s reading of Hamlet as a Christian Trauerspiel (mourning play). For Schmitt, the central issue is the presence of contemporary history as a force that deeply impacts the drama. This argument is directed against the notion of play and the idea of aesthetic autonomy. Instead, for Schmitt, the older concept of representation defines the place and relevance of art and the aesthetic within a broader cultural and religious configuration.

scholarly journals Perception and fabrics: a preliminary investigation about the responses patterns by the stimulation of vision and touch

2020 ◽  
Vol 10 (20) ◽  
pp. 95-105
Author(s):  
Érica Pereira das Neves ◽  
Aline C. Brigatto ◽  
Cintia L. Samaan ◽  
Sergio Tosi Rodrigues ◽  
Luis Carlos Paschoarelli
Keyword(s):  
Mechanical Characteristics ◽  
Preliminary Investigation ◽  
Affective Responses ◽  
Response Patterns ◽  
Irregular Surface ◽  
The Aesthetic ◽  
The Individual ◽  
To Receive ◽  
Stimulation Of ◽  
Physical And Mechanical Characteristics

During the interaction of the individuals with the products, the sensorial channels are activated and begin to receive various information. In the Design exercise, the properties of the materials are responsible for giving the objects personality. In the case of fashion product, the aesthetic features, as well as the physical and mechanical characteristics of the fabrics promote varied perceptions that generate subjective and affective responses in the individual. In this sense, the present study presents a preliminary investigation about the responses patterns obtained through the simulation of two sensorial channels – vision and touch - in front of some varied fabrics. For this purpose, five different samples of fabric were evaluated through a semantic scale completed with bipolar adjectives to identify the response patterns. Comparing the individual perceptual of each fabric, it was observed that there were no substantial differences between the responses obtained by the different sensory channels. Fabrics with irregular surface, grainy and a voluminous fit, such as crepe, presented more negative perceptual responses, such as discomfort, hardness, and synthetic. It is noted that aesthetic qualities, such as repulsiveness, simplicity, ugly and coarse were more accentuated when considered the perception through vision.

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