Aesthetic Perception and Cultural Identity of Nepal

1997 ◽  
Vol 7 (3) ◽  
pp. 115-125
Author(s):  
Madan M. Dikshit ◽  
Keyword(s):  
Cultural Identity ◽  
Personal Experience ◽  
Aesthetic Perception ◽  
The People ◽  
Aesthetic Sense ◽  
Preliminary Account ◽  
Religious Perspectives ◽  
The Aesthetic

In this paper I intend to present a preliminary account of the development and sources of aesthetic perception and cuhural identity of the people of Nepal. The paper consists mainly of two sections. In the first section I have tried to explore our country's topographical, sociocultural, historical and religious perspectives which provided the background scenario and basis for the development of the emerged cultural and aesthetic picture. The second section tries to show how the aesthetic sense finds an expression in Nepalese cultural identity. At the very outset, I would hke to submit to this august gathering that the views expressed in this regard are based on my own personal experience and observations, and that they need to be confirmed with further studies in this field.

scholarly journals PEDAGOGICAL POTENTIAL OF THE ARTS COMPLEX IN THE PROCESS OF THE FORMATION OF AESTHETIC PERCEPTION OF JUNIOR PUPILS

2020 ◽  
Vol 3 ◽  
pp. 97
Author(s):  
Liudmyla Brovchak ◽  
Lesia Starovoit ◽  
Larysa Likhitska ◽  
Nataliia Todosienko
Keyword(s):  
Educational Process ◽  
School Age Children ◽  
Aesthetic Perception ◽  
Modern School ◽  
The Arts ◽  
Aesthetic Sense ◽  
Aesthetic Attitude ◽  
Sense Of Reality ◽  
The Aesthetic ◽  
Education And Development

In the research are illuminated the following subjects: the topical issue of the aesthetic development of junior pupil's personality, search for new approaches to children's education and development and their implementation to the educational process of the modern school, maximal use of pupil's creative potential in the elementary school, the formation and development of the aesthetic sense of reality, the aesthetic attitude to the surrounding world, to the nature, to the arts and applying the principle of different art forms correlation.The use of the art at the lessons of the art cycle at establishments of primary education and approaches, which have been proposed by us, analysis of findings of experimental data allows to assume that the development of aesthetic feelings, tastes, ideals, artistic skills, competences in the sphere of art, should be an undetectable condition of the educational subjects of primary school, especially of the art cycle.We detected the growth of the level of aesthetic perception which is connected with the development of emotional and sensitive sphere and artistic potential of junior school children, that is determined by results of applying of the proposed approach to activation of aesthetic perception of junior school-age children through the art at the lessons of the art cycle. It also determines positive changes in the tendency of humanization and the aestheticization of the educational process. 

scholarly journals The Factor of Visual Symmetry Perception in Aesthetic Experience

2018 ◽  
Vol 11 (1) ◽  
pp. 166-177 ◽  
Author(s):  
S.L. Artemenkov ◽  
G.V. Shookova ◽  
K.V. Mironova
Keyword(s):  
Visual Perception ◽  
Cognitive Processes ◽  
Aesthetic Experience ◽  
Ecological Context ◽  
Aesthetic Perception ◽  
Multiscale Representation ◽  
Aesthetic Sense ◽  
Physical Symmetry ◽  
The Aesthetic ◽  
Symmetry Perception

The article deals with the formation of aesthetic experience in connection with the perception of physical symmetry of objects and their images. An overview of modern works on the psychology of aesthetic perception in the context of the problem of the perception of symmetry is presented. The phenomenon of symmetry preference in visual perception is illustrated by arguments in its favor and data on its situationality. The ecological context of symmetry in animals and plants is touched in connection with the phenomenon of fluctuating asymmetry as an undirected deviation in the symmetry of a two-sided structure normally distributed in the population. Mathematical models of symmetry of forms and their multiscale representation are discussed. The analysis of the study of the Zen stone garden perceptual peculiarities from the position of the medial axes’ model is carried out.On the basis of the provisions of the transcendental psychology of perception, a hypothesis is advanced about the meta-sensory origin of the aesthetic sense, based on the process of interrelation of the internal symmetrical mechanisms of visual perception and the cognitive processes of creating figurative representations. The relation to the principle of symmetry in the context of the transcendental psychology of perception is shown.

The Remains of Humanity

2020 ◽  
Vol 1 (1) ◽  
pp. 16-28
Author(s):  
Kathryn Mara
Keyword(s):  
Human Remains ◽  
Literary Representations ◽  
Aesthetic Perception ◽  
Aesthetic Responses ◽  
Intended Function ◽  
The People ◽  
Field Notes ◽  
The Dead ◽  
The Aesthetic ◽  
Previous Scholarship

In this autoethnographic article, I examine the presentation of human remains at memorials commemorating the 1994 genocide in Rwanda, focusing on witnessing and voyeurism. Drawing on my own and others’ experiences visiting these memorials, I address the following questions: How do we represent humans who are no longer living? How do we conceptualize the humanity of human remains produced by violent means? This article examines these questions through an engagement with literary representations of Rwanda’s dead, specifically Boubacar Boris Diop’s Murambi: The Book of Bones and Koulsy Lamko’s La Phalène Des Collines (A Butterfly in the Hills), as well as analysis of my field notes and diary entries regarding my personal responses to genocide memorials I visited in Rwanda. Whereas previous scholarship has focused primarily on the intended function of the memorials and the anticipated response of their visitors, by concentrating on affective and aesthetic responses to the dead, I address something in between: the aesthetic perception of human remains, particularly in relation to the dignity of the people they were. At stake in this research is who is able to make a claim to humanity and under what theoretical guises.

N.Ya. Danilevsky as Art Critic

2020 ◽  
Vol 58 ◽  
pp. 366-378
Author(s):  
Vitaliy Yu. Darenskiy
Keyword(s):  
Personal Experience ◽  
Personal Transformation ◽  
Individual Experience ◽  
Religious Art ◽  
Russian History ◽  
Historical Experience ◽  
Russian Art ◽  
The People ◽  
The Aesthetic

The article considers the aesthetic concept of N.Ya. Danilevsky. The specifics of Russian artistic thinking, revealing a special type of world experience, according to the analysis of N.Ya. Danilevsky, are as follows. 1) Russian art mainly reflects the processes of personal transformation and moral processes in a person. It’s natural, since this is also the essential content of Russian history, and art is the embodiment of the historical experience of the people in a personally expressed form. 2) The special “Russian style” in art is the highest possible realism and noble simplicity of form, combined with the most subtle spiritual movements in a person; this combination is especially difficult for art, and therefore constitutes special Russian achievement, akin to the art of Antiquity. 3) Russian art is conciliar, i.e. it is always the expression of personal experience rather than individual (in contrast to individual experience, personal experience is based on the principle of responsiveness and responsibility for others). 4) Russian art in its highest manifestations is “iconic”, i.e., it is focused on the Evangelical ideal of Holiness and sacrifice, while maintaining continuity with religious art. These four aspects of Russian art in the work of N.Ya. Danilevsky are shown as essential features of our cultural and historical type.

scholarly journals Love and homophobia in Malawi's spoken-word poetry movement

Africa ◽  
2021 ◽  
Vol 91 (3) ◽  
pp. 361-387
Author(s):  
Harri Englund
Keyword(s):  
Gender Stereotypes ◽  
Gender Relations ◽  
Spoken Word ◽  
The Internet ◽  
Modern Poetry ◽  
Spoken Word Poetry ◽  
The People ◽  
Popular Interest ◽  
The Aesthetic ◽  
Selection Of

AbstractBy the early 2010s, a number of Malawian poets in their twenties had begun to substitute the elliptical expression of earlier generations with a language that resonated with popular idioms. As poetry directed at ‘the people’, its medium is spoken word rather than print, performed to live audiences and distributed through CDs, radio programmes and the internet. Crafted predominantly in Chichewa, the poems also address topics of popular interest. The selection of poetry presented here comes from a female and a male poet, who, unbeknown to each other, prepared poems sharply critical of homosexuality and what they regarded as its foreign and local advocacy. The same poets have also gained success for their love poems, which have depicted intimate desires in remarkably compatible ways for both women and men. The poets who performed ‘homophobic’ verse went against popular gender stereotypes in their depictions of romantic love and female and male desires. This introductory essay, as a contribution toAfrica's Local Intellectuals series, discusses the aesthetic challenges that the new poets have launched in the context of Malawi's modern poetry. With regard to gender relations in their love poems, the introduction also considers the poets’ possible countercultural contribution despite their avowed commitment to perform for ‘the people’.

Evolution of bowerbirds' bowers: animal origins of the aesthetic sense

Nature ◽  
1982 ◽  
Vol 297 (5862) ◽  
pp. 99-102 ◽  
Author(s):  
Jared M. Diamond
Keyword(s):  
Aesthetic Sense ◽  
The Aesthetic

scholarly journals Thinking in colors

2021 ◽  
pp. 12-38
Author(s):  
Nikolai Aleksandrovich Kormin
Keyword(s):  
Cultural Identity ◽  
Color Harmony ◽  
Color Determination ◽  
The World ◽  
New Interpretation ◽  
The Aesthetic ◽  
First Time ◽  
Philosophy Of Arithmetic

This article reveals the philosophical grounds of the aesthetics of color, analyzes the correlation between the structures of philosophical and artistic comprehension of coloristics. Interaction of philosophy and art as the forms of cultural identity manifests in the sphere of intellectual understanding of the perception of color and its semantics in painting. In the hidden logic of contemplation of color, can be traced the outlines of the problematic of transcendental and intelligible in art conditions for the aesthetic approach towards chromatic space. Color creates the visual beauty, thus it is apparent why the aesthetic knowledge seeks to clarify to which extent we can assess the experience of color – the result of coloration of light. The art itself creates the so-called color ontology of the world. First the first time, the beauty of color and its perception are analyzed in the context of correlation between art and transcendental traditions of philosophizing  (Descartes, Kant, early Husserl –  his work “The Philosophy of Arithmetic”) that allows matching the key to a new interpretation of the tradition of color. Determination of its meaning requires comparing history and structure of the philosophical and artistic metaphor of color. It is demonstrated that the phenomenon of color is of crucial significance for the aesthetics, as it implies not only comprehension of the problem of correlation between nature and art, but also cognition of the beauty of color, its universal value for all forms of art, profound structures of perception of coloristic phenomena, picturesque unveiling of the color harmony of the painting.

scholarly journals The Place Of Karakalpak Ethnoculture In The Integration Of Society

2021 ◽  
Vol 03 (04) ◽  
pp. 676-688
Author(s):  
Halima Kadirova ◽  
Keyword(s):  
National Identity ◽  
Cultural Identity ◽  
Scientific Article ◽  
Social Changes ◽  
Next Generation ◽  
Way Of Life ◽  
The Past ◽  
Global Space ◽  
The People

This scientific article highlights the place and role of the Karakalpak ethnic culture in the development and preservation of the identity of the people. The authors analyze the culture and life of the modern Karakalpak family, which inherits to the next generation the traditional way of life associated with national holidays and traditions, dastans performed by Karakalpak bakhshi (singers), legends and legends of the past, told by the older generation. The article argues that social changes in the global space contribute to the emergence of certain changes in the content of cultural identity, language, art, spiritual categories, which are elements of the basis of the national identity of each nation and various ethno-regional units, which further strengthens the study of this issue under the influence of the process of globalization.

scholarly journals POSTCOLONIAL AESTHETICS: AFFECT, AFFECTION OR AFFECTATION?

2019 ◽  
Vol 58 (1) ◽  
pp. 13-23
Author(s):  
Faisal Nazir
Keyword(s):  
Cultural Identity ◽  
Postcolonial Literature ◽  
Foreign Languages ◽  
Emotional Involvement ◽  
Affective Dimension ◽  
Alternative Approach ◽  
The Aesthetic ◽  
Deep Sense

This article analyzes the concept of postcolonial aesthetics as developed and debated by such critics as Bill Ashcroft, Elleke Boehmer and Robert Young. In particular, it critiques Ashcroft’s theorization of the postcolonial aesthetics in his article ‘Towards a Postcolonial Aesthetics’ and recommends an alternative approach to the conceptualization of postcolonial aesthetics with reference to Muhammad Hasan Askari’s essay on Ahmed Ali’s novel Twilight in Delhi. It questions Ashcroft’s emphasis on the hybrid linguistic makeup of the postcolonial text as the source of the particular aesthetic effects of the text and emphasizes the need for differentiating between affection– the writer’s deep sense of engagement with and involvement in the narrative – and affectation – a clever use of native words and expressions by the writer to authenticate his or her cultural identity – in discussing the affective dimension of a postcolonial text. The article argues that the aesthetic impact of the postcolonial text is produced by the intensity of experience and emotional involvement of the postcolonial writer (affection) as opposed to being produced by creative wordplay and mixing of local and foreign languages (affectation). Thus, the article contributes to the ongoing debates about the aesthetic dimension of postcolonial literature.

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