Productive Excess: Aesthetic Ideas, Silence, and Community

2014 ◽  
Vol 48 (2) ◽  
pp. 1
Author(s):  
Bradfield
Keyword(s):  
Aesthetic Ideas

Futuro pasado. la evolución del concepto Poesía en Octavio Paz

2021 ◽  
Vol 66 (4) ◽  
pp. 173-186
Author(s):  
Alí Calderón Farfán ◽  
Keyword(s):  
Twentieth Century ◽  
Nobel Prize ◽  
Nobel Prize Winner ◽  
Octavio Paz ◽  
Marcel Duchamp ◽  
Spanish Speaking ◽  
Time Semantics ◽  
The Aesthetic ◽  
Aesthetic Ideas ◽  
Horizon Of Expectations

Future Past. The Evolution of the Concept of Poetry in Octavio Paz. Octavio Paz (1914) is a poet writing in Spanish whose aesthetic ideas have built a vision of relevant poetry for at least three traditions: poetry in French, English and, of course, Spanish. This study will analyze, from the metalinguistic perspective proposed by Reinhart Koselleck, how the concept of “poetry” evolved in the thought of the Mexican Nobel Prize winner. Framed by his tradition, by his space of experience, Octavio Paz wrote works that have been instrumental in understanding and valuing poetry in the twentieth century. From “Poesía de soledad y poesía de communion” (1943) to La otra voz, Poesía y fin de siglo (1990), Paz synthesized the aesthetic ideas of his time in El arco y la lira (1956), rethought the lyrical exercise in “Los signos de rotación” (1956), modified his poetic in the prologue to Poesía en movimiento and made his position explicit in Los hijos del limo and his thoughts on Lévi-Strauss and Marcel Duchamp. By focusing on these texts, as well as on a corpus of conferences, interviews, correspondence and even poetry recitals, this study explores the evolution of poetic thought and the horizon of expectations that the work of the last Spanish-speaking poet who received the Nobel Prize opens for us. Keywords: Octavio Paz, style, poetics, post-utopian time, semantics of concepts

Gender dialect stereotypes: national standards of male beauty

2021 ◽  
Vol 82 (2) ◽  
pp. 57-65
Author(s):  
L. V. Markina
Keyword(s):  
National Standards ◽  
Contextual Analysis ◽  
Male Dominance ◽  
Social Significance ◽  
Secondary Importance ◽  
Physical Strength ◽  
The Social ◽  
Aesthetic Ideas ◽  
Quantitative Calculations ◽  
Content Characteristics

This article aims to identify and substantiate the existence of specific national standards of male beauty as the nation’s value orientation. The research was conducted using the methods of descriptive, comparative and contextual analysis, as well as quantitative calculations. The article confirms that the carriers of modern dialects have the idea of the secondary importance of male beauty over such qualities as strength, activity, intelligence, etc., which represent male dominance and status superiority. This idea reflects the national traditional value attitudes. It is noted that, although the traditional society does not recognize the social significance of male beauty, this phenomenon and its standards find representation in dialects. The following content characteristics of male beauty, which meet the traditional aesthetic ideas of Russian people, were confirmed by paroemiological materials: strong and harmonious body, physical strength, manner, good height, round face, blond hair, light-coloured eyes, etc. In addition, it was found that the disdainful attitude of Russian men towards their appearance is associated with their adherence to the "norm of anti-femininity", which is typical of a patriarchal society. This norm also implies that men consider care about attractiveness as disrespectful, lowering their status. A conclusion is made about the specificity of Russian standards of male beauty, the content characteristics of which reveal the national-cultural idea of masculinity. Assumptions about the necessity to analyse the viability and stability of these stereotypes in the context of aggressive globalisation were made.

Aesthetic Ideas

1975 ◽  
pp. 88-106
Author(s):  
Sheila Mary Mason
Keyword(s):  
Aesthetic Ideas

Introduction

2019 ◽  
pp. 1-14
Author(s):  
Dana Seitler
Keyword(s):  
Aesthetic Experience ◽  
Gender And Sexuality ◽  
Fin De Siecle ◽  
Literary Fiction ◽  
Economic Equality ◽  
Aesthetic Form ◽  
Fin De Siècle ◽  
History Of ◽  
The Aesthetic ◽  
Aesthetic Ideas

This book explores the pivotal role that various art forms played in American literary fiction in direct relation to the politics of gender and sexuality at the turn of the century. I track the transverse circulation of aesthetic ideas in fiction expressly concerned with gender and sexuality, and I argue that at stake in fin-de-siècle American writers’ aesthetic turn was not only the theorization of aesthetic experience, but also a fashioning forth of an understanding of aesthetic form in relation to political arguments and debates about available modes of sociability and cultural expression. One of the impulses of this study is to produce what we might think of as a counter-history of the aesthetic in the U.S. context at three (at least) significant and overlapping historical moments. The first is the so-called “first wave” of feminism, usually historicized as organized around the vote and the struggle for economic equality. The second is marked by the emergence of the ontologically interdependent homosexual/heterosexual matrix—expressed in Foucault’s famous revelation that, while the sodomite had been a temporary aberration, at the fin de siècle “the homosexual was now a species,” along with Eve Sedgwick’s claim that the period marks an “endemic crisis in homo-heterosexual definition.”...

Sabor Latino: Bodegas of Aesthetic Ideas

Art Education ◽  
2006 ◽  
Vol 59 (1) ◽  
pp. 38-45
Author(s):  
Laura Felleman Fattal
Keyword(s):  
Aesthetic Ideas

The Aesthetics of the Intellectual (Wenrenhua) School in the Milieu of Chinese Renaissance Ideas

2020 ◽  
Vol 30 (3) ◽  
pp. 245-261
Author(s):  
Antanas Andrijauskas ◽  
Keyword(s):  
Creative Process ◽  
Complex Analysis ◽  
Natural World ◽  
Fine Art ◽  
Creative Potential ◽  
Internal Factors ◽  
Artistic Creation ◽  
Factors Influencing ◽  
Su Shi ◽  
Aesthetic Ideas

This article mainly focuses on one of the most refined movements in world aesthetics and fine art—one that spread when Chinese Renaissance ideas arose during the Song Epoch and that was called the Intellectual (Wenrenhua) Movement. The ideological sources of intellectual aesthetics are discussed—as well as the distinctive nature of its fundamental theoretical views and of its creative principles in relation to a changing historical, cultural, and ideological contexts. The greatest attention is devoted to a complex analysis of the attitudes toward the artistic creation of the most typical intellectuals, Su Shi and Mi Fu; the close interaction between the principles of painting, calligraphy, and poetry is emphasized; a special attention is paid to the landscape genre and to conveying the beauty of nature. This article discusses in detail the most important components of artist’s creative potential, the opportunities to employ them during the creative act, and the influence of Confucian, Daoist, and Chan aesthetic ideas. The various external and internal factors influencing the intellectual creative process are analyzed; artist’s psychological preparation before creating is discussed along with the characteristics of his entrance into the creative process. This article highlights the meditational nature of artistic creation typical of representatives of this movement, the freedom of the spontaneous creative act, and the quest for the inner harmony of the artist’s soul with expressions of beauty in the natural world.

Sign in / Sign up

Export Citation Format

Share Document