scholarly journals Intorno al brutto. Una categoria controversa

2022 ◽  
Author(s):  
Maddalena Mazzocut-Mis
Keyword(s):  
The Other ◽  
Paul Valery ◽  
Negative Judgment ◽  
Other Hand ◽  
Works Of Art ◽  
Paul Valéry ◽  
The One

Paul Valéry, in his “Discourse on Aesthetics”, which he pronounced in 1936 in front of an audience of philosophers, reproached them, accusing aesthetics in particular of having pursued the abstract idea of beauty for too long, losing itself in the shadows of specialized terminology or in verbal games and thus forgetting the varied reality of works of art. Following an abstract idea of beauty means losing sight of the artistic object. It also means deluding oneself that the ugly is merely a counterbalance to a dominant category. But what does ugly mean? Its ambivalence lies precisely in a continuous oscillation between an evaluative and a descriptive use. There is a duplicity, so that on the one hand it expresses a negative judgment, and on the other hand - suspending its normal semantic destiny - it reclaims for itself some positivity. It is precisely from this positivity that the ugly begins its journey in the field of aesthetics.

scholarly journals Creative derivatives the poetics of derivation and its formative assumptions

2021 ◽  
pp. 233-252
Author(s):  
Jagor Bučan
Keyword(s):  
The Other ◽  
Common Denominator ◽  
Creative Work ◽  
Work Of Art ◽  
Cognitive Insight ◽  
Other Hand ◽  
Works Of Art ◽  
Aesthetic Pleasure ◽  
The One ◽  
Existing Form

The creative derivatives phrase has in itself two terms: creativity (lat. creatus - having been created) and derivation (lat. derivatio - derivation, departure). Creativity presupposes the realisation of the new, the non-existent. Derivation, on the other hand, means transition, formation or arrangement. A derivative is what is derived or comes from something else (like gasoline which is a petroleum derivative). Creative derivations would therefore be processes in which a new is derived from the existing; procedures of rearranging the existing, conversion (transitioning) from one system to another. There are two basic requirements that are necessary for the realisation of these and such actions: an adequate poetic means and a common denominator of two or more phenomena, i.e. two or more systems that are brought into contact. We define the poetic means here in Jakobson's terms as the axis of combination (syntagm) and the axis of selection (paradigm). The paper systematises the poetic possibilities of artistic modeling, which is based on the template of already existing works of art. Different versions of the approach to modern and postmodern practice of taking over the already existing form and content aspects of a work of art are briefly explained and described. When choosing examples, the author adheres to the principle of representativeness instead of compendial comprehensiveness. The outcome of the paper should be twofold. On the one hand, the aim is to get to know and understand the poetics of taking over, which is one of the preconditions for aesthetic pleasure and cognitive insight when encountering works of art of that provenance. On the other hand, the work should be useful to students in their own creative work. The poetic means exhibited in it should facilitate a creative approach to the inexhaustible source of tradition.

scholarly journals Donner à voir : explorer et exploiter les images en histoire de ľinterprétation

Translationes ◽  
2019 ◽  
Vol 11 (1) ◽  
pp. 92-107
Author(s):  
Alina Pelea
Keyword(s):  
New Technologies ◽  
Visual Representations ◽  
The Other ◽  
The Sublime ◽  
Other Hand ◽  
Works Of Art ◽  
The Status ◽  
History Of ◽  
History Of Translation ◽  
The One

Abstract It may be too much to say that a picture is worth a thousand words, but no one can deny the informative potential of visual representations. Considering that the history of translation would also benefit from their use, we propose an intervention that will try to look at these resources in order to shed additional light on the status of the interpreter and its evolution. We analyze visual resources dating back to the 17th and 18th centuries (works of art) and others from 2018 (potentially more objective) to see how they reflect, on the one hand, the status of the dragomans of the Sublime Porte and, on the other hand, that of today’s interpreters. In conducting this research, we also look at how new technologies can contribute to the study of different media.

Julius Meier-Graefe und die plurale Logik der Bilder

2016 ◽  
Vol 61 (1) ◽  
Author(s):  
Stephanie Marchal
Keyword(s):  
Art History ◽  
Reference System ◽  
Spoken Language ◽  
Body Language ◽  
The Other ◽  
Wird Eine ◽  
Other Hand ◽  
Works Of Art ◽  
Modern Experience ◽  
The One

Für den Kunstkritiker Julius Meier-Graefe (1867-1935) haben Bilder eine ganz eigene Logik, die sich nicht in Sprache übersetzen lässt. Ausgehend von dieser Prämisse denkt Meier-Graefe die Kunstgeschichte als interpiktoriales, sich selbst regulierendes Geflecht und bedient sich zur Vermittlung von Bildern selbst auf gleich zweifache Weise einer bemerkenswerten Bildlichkeit – sei es qua Plädoyer für oder Einsatz von Reproduktionen, sei es qua einer der ikonischen entsprechen- den somatischen Deixis: Indem er sich selbst in seiner physischen Reaktion auf ein Werk(erlebnis) Tableauartig in Szene setzt, kehrt er die Wirksamkeit von Bildgefügen hervor, macht sie visuell nachvollziehbar und aktualisiert deren Potential. Diesen Vorstellungen und Vorgehensweisen liegt, so die These des Beitrags, die Erfahrung musealer Präsentation und Rezeption zugrunde. Entwickelt wird eine »praktische Ästhetik«, die auch für aktuelle Interpiktorialitätsdebatten diskussionswürdige Ansätze bereithält. <br><br>In the opinion of the art critic Julius Meier-Graefe (1867-1935), pictures have a specific logic which is impossible to translate into spoken language. Given this premise, Meier-Graefe develops a specific theory of how art history constructs itself as an interpictorial, self-regulated reference system. Furthermore, in order to convey works of art, he operates with pictures and images in a remarkable way: on the one hand, he makes specific use of reproductions, on the other hand, he communicates via body language that parallels the iconic deixis: By describing and presenting himself in his texts in the physical act of perception and/or reception, he turns himself into a tableau and makes the effect as well as the potential of the artwork visible. The basis of these ideas and methods seems to be the modern experience of museum presentation and reception. Meier-Graefe develops a kind of “practical aesthetic” which can enrich the current debates on interpictoriality.

Boundary Issues

2018 ◽  
Author(s):  
K. E. Gover
Keyword(s):  
The Other ◽  
Site Specific ◽  
Other Hand ◽  
Works Of Art ◽  
Boundary Issues ◽  
The One ◽  
Proper Interpretation

This chapter reconsiders Sherri Irvin’s theory of the ‘artist’s sanction,’ which articulates the authority of artists to determine the boundaries of ontologically innovative works of art through their public declarations. While this theory shares some similarities with the ‘dual-intention theory’ of art authorship, it is importantly different in scope. The chapter argues that this principle effaces the boundary between the artist’s authority to determine, on the one hand, the disposition of the work as an object-to-be-interpreted and, on the other hand, the proper interpretation of the work. It turns to the example of site-specific artworks to illustrate the theoretical and practical difficulties that can arise when artists use their authority to bestow features of an artwork through their declarations.

Literature and Life Again

PMLA ◽  
1932 ◽  
Vol 47 (1) ◽  
pp. 283-302 ◽  
Author(s):  
Elmer Edgar Stoll
Keyword(s):  
The Other ◽  
Raw Material ◽  
External Object ◽  
Paul Valery ◽  
Imaginative Literature ◽  
The Subject ◽  
Paul Valéry ◽  
The One

I am prompted to enter again upon this subject by two considerations, which hang together. One is that opinions I had previously expressed upon it have, in a respectable quarter, been treated with greater condescension than a man not wholly in error can well be expected to ignore; the other is that similar opinions, as I have lately noticed, have (independently) appeared in recent reputable criticism, particularly the foreign. I had said that it is not justifiable to treat literary or other art as a document, a record of the time, on the one hand, or of the author's life, on the other; that, rather, art reflects the taste of the time, and the taste of the author; and that while much of the life of the period may be reflected, and of the author, too, it is only with the greatest difficulty and uncertainty that this can be isolated and recognized. Imaginative literature is not only not history or unconscious autobiography but not even raw material for it; big allowances must be made both for the limitations and conventions of the art and also for the character of the artists. Some of these, to be sure, are realists, intent on the external object; some also are egoists, concerned, directly or indirectly, with their own nature and experience: but good art, and the greatest, is not limited or determined either by the artist's person or his day. And rather similar are the opinions of the critics Mm. Rémy de Gourmont, Paul Valéry, and Henri Bremond; and of recent notable novelists such as Proust and Gide. Like writers of their nation and of England whom I have cited in discussing the subject before, they are all of one accord against the biographical or historical attitude as unfruitful and irrelevant; and nearly all of them have much to say of Racine as one who did not recognizably reflect his time or his own life within it, and is, because of that, all the more significant as a poet.

scholarly journals Corazón como símbolo de vulva

2018 ◽  
pp. 313-327
Keyword(s):  
The Other ◽  
Sexual Stereotypes ◽  
Other Hand ◽  
Works Of Art ◽  
Same Gender ◽  
Total Freedom ◽  
The One

Resumen.- Diferentes «símbolos de amor practicado por féminas»: amor propio (a sí misma: realiza sexo a solas); amor a otra persona en pareja: del mismo género (amor lésbico) o diferente (amor heterosexual); amor promiscuo [realiza sexo con varias personas, con total libertad y sin estereotipos sexuales: con práctica homosexual, heterosexual, bisexual, bien de forma simultánea (en trío, en grupo...), o diacrónica: una pareja tras otra; amor zoófilo... diseñados por La Autora. Por un lado, como imitación de algunos ideomorfos de obras de arte de culturas prehistóricas y primitivas, tras decodificar su simbología metafórica –que los prehistoriadores académicos, interesados en descubrir el sentido oculto de obras de arte complejas, han considerado indescifrables en los cien años de Arqueología científica–; por otro lado, desafiando las interpretaciones androcéntricas de algunas figuras humanas y quiméricas. Heart as a symbol of vulva Abstract.-Different «symbols of love practiced by females»: self-love (to herself: she does sex alone); love to another person as a couple: of the same gender (lesbian love) or different (heterosexual love); promiscuous love [performs sex with several people, with total freedom and without sexual stereotypes: with homosexual, heterosexual, bisexual practice, either simultaneously (in trio, in group ...), or diachronic: one partner after another; love zoophile ... designed by the Author.On the one hand, as an imitation of some ideomorphs of works of art from prehistoric and primitive cultures, after decoding their metaphorical symbolism -that academic prehistorians, interested in discovering the hidden meaning of complex works of art, have considered them indecipherable in the hundred years of Scientific archeology-; on the other hand, challenging the androcentric interpretations of some human and chimerical figures.

Stories and the Self

2020 ◽  
Vol 32 (2) ◽  
pp. 47-58 ◽  
Author(s):  
Stefan Krause ◽  
Markus Appel
Keyword(s):  
Meta Analysis ◽  
The Self ◽  
The Other ◽  
Lower Degree ◽  
Contrast Effects ◽  
Self Perception ◽  
Self Perceptions ◽  
Other Hand ◽  
The One ◽  
Implicit And Explicit

Abstract. Two experiments examined the influence of stories on recipients’ self-perceptions. Extending prior theory and research, our focus was on assimilation effects (i.e., changes in self-perception in line with a protagonist’s traits) as well as on contrast effects (i.e., changes in self-perception in contrast to a protagonist’s traits). In Experiment 1 ( N = 113), implicit and explicit conscientiousness were assessed after participants read a story about either a diligent or a negligent student. Moderation analyses showed that highly transported participants and participants with lower counterarguing scores assimilate the depicted traits of a story protagonist, as indicated by explicit, self-reported conscientiousness ratings. Participants, who were more critical toward a story (i.e., higher counterarguing) and with a lower degree of transportation, showed contrast effects. In Experiment 2 ( N = 103), we manipulated transportation and counterarguing, but we could not identify an effect on participants’ self-ascribed level of conscientiousness. A mini meta-analysis across both experiments revealed significant positive overall associations between transportation and counterarguing on the one hand and story-consistent self-reported conscientiousness on the other hand.

Radioimmunotherapy for treatment of acute myeloid leukaemia and myelodysplastic syndrome

2005 ◽  
Vol 44 (03) ◽  
pp. 107-117
Author(s):  
R. G. Meyer ◽  
W. Herr ◽  
A. Helisch ◽  
P. Bartenstein ◽  
I. Buchmann
Keyword(s):  
Acute Myeloid Leukaemia ◽  
Myeloid Leukaemia ◽  
Primary Tumour ◽  
The Other ◽  
Haematopoietic Stem Cell ◽  
Other Hand ◽  
Primary Reduction ◽  
The One ◽  
Acute Myeloid

SummaryThe prognosis of patients with acute myeloid leukaemia (AML) has improved considerably by introduction of aggressive consolidation chemotherapy and haematopoietic stem cell transplantation (SCT). Nevertheless, only 20-30% of patients with AML achieve long-term diseasefree survival after SCT. The most common cause of treatment failure is relapse. Additionally, mortality rates are significantly increased by therapy-related causes such as toxicity of chemotherapy and complications of SCT. Including radioimmunotherapies in the treatment of AML and myelodyplastic syndrome (MDS) allows for the achievement of a pronounced antileukaemic effect for the reduction of relapse rates on the one hand. On the other hand, no increase of acute toxicity and later complications should be induced. These effects are important for the primary reduction of tumour cells as well as for the myeloablative conditioning before SCT.This paper provides a systematic and critical review of the currently used radionuclides and immunoconjugates for the treatment of AML and MDS and summarizes the literature on primary tumour cell reductive radioimmunotherapies on the one hand and conditioning radioimmunotherapies before SCT on the other hand.

The Salvage of Ideas: Schumpeter and the Core Problems Still Confronting Economics

2003 ◽  
pp. 15-26
Author(s):  
P. Wynarczyk
Keyword(s):  
The Other ◽  
The Core ◽  
Other Hand ◽  
The One

Two aspects of Schumpeter' legacy are analyzed in the article. On the one hand, he can be viewed as the custodian of the neoclassical harvest supplementing to its stock of inherited knowledge. On the other hand, the innovative character of his works is emphasized that allows to consider him a proponent of hetherodoxy. It is stressed that Schumpeter's revolutionary challenge can lead to radical changes in modern economics.

Pembaharuan Pesantren: Arah dan Implikasi

2018 ◽  
Vol 4 (1) ◽  
pp. 67-84
Author(s):  
Wahyudin Noor
Keyword(s):  
Rapid Development ◽  
The Other ◽  
Learning Methods ◽  
Technology Learning ◽  
Other Hand ◽  
The One ◽  
Traditional Term

Abstract Pesantren are often associated with backwardness and traditionalism in everything: facilities, technology, learning methods, and even the curriculum. For now, it seems like the traditional term for pesantren is no longer relevant enough. The pace of movement in the era of renewal marked by the rapid development of technology has demanded pesantren to make adjustments. However, on the one hand, when viewed from the direction of change, the reform efforts pursued by pesantren are not to erase the old tradition, but merely to add something new so that the old tradition and conditions can be maintained while accepting the presence of a new one. On the other hand, the reform efforts undertaken by pesantren have implications for the fact that the typical values of the pesantren are fading away. Abstrak  Pesantren seringkali diasosiasikan dengan keterbelakangan dan tradisional dalam segala hal: fasilitas, teknologi, metode pembelajaran, dan bahkan kurikulumnya. Untuk saat ini, sepertinya istilah tradisional untuk pesantren, sudah tidak lagi cukup relevan. Laju gerak pembaharuan zaman yang ditandai dengan pesatnya perkembangan teknologi telah menuntut pesantren untuk melakukan penyesuaian diri. Kendatipun demikian, di satu sisi, jika dilihat dari arah perubahan, upaya pembaharuan yang ditempuh pesantren tidaklah untuk menghapus tradisi yang lama, tetapi sekadar menambah dengan sesuatu yang baru sehingga tradisi maupun kondisi yang lama bisa dipertahankan sambil menerima kehadiran yang baru. Di sisi yang lain, upaya pembaharuan yang dilakukan pesantren ternyata berimplikasi pada kenyataan akan semakin pudarnya nilai-nilai khas yang dimiliki oleh pesantren.

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