scholarly journals The Evolution of the Aesthetic Vision in Kabbani’s Poetic Discourse

2018 ◽  
Vol 9 (4) ◽  
pp. 180
Author(s):  
Samir Al-Sheikh ◽  
Ahmed Hasan Mousa
Keyword(s):  
Aesthetic Judgment ◽  
The Body ◽  
Cultural Patterns ◽  
Verbal Art ◽  
Poetic Discourse ◽  
Poetic Image ◽  
Poetic Imagery ◽  
The Aesthetic ◽  
Modern Arabic ◽  
The Universe

If poetry is the verbal art of beauty, and beauty is truth, then, poetry has its own truth which is universal by nature since the poetic patterns embody a particular vision of the universe. This universal truth is encoded in poetic image. The poet who creatively used the poetic image to express his aesthetic vision is Nizar Kabbani (1923- 1998). The study aims at exploring the development of the notion of beauty as structured in the modern Arab poetic works. It aims at investigating Kabbani’s poetic imagery in its amorous-erotic aspects. The study proceeds with the hypothesis that the modern love poet’s synesthetic imagery is an impressive representation of Kant’s aesthetic axioms as encoded in his Critique of the Aesthetic Judgment. The scope of the inquiry focuses upon the love lyrics and songs of the modern Arabic love poet regardless his political writings. Kabbani’s poetics is investigated in terms of Aesthetic Cultural Approach (ACA), a critical orientation that links the cultural patterns of meaning to the aesthetic structures of the poem. Of the seminal findings of the study is that Kabban’s love poems are pleasurable moments in which the body of the beloved becomes the source of the poet’s ecstasy and joyfulness.

Aesthetic Experience and Verbal Art

1998 ◽  
pp. 145-151
Author(s):  
Hugo Roeffaers
Keyword(s):  
Distinctive Feature ◽  
Aesthetic Experience ◽  
Fine Art ◽  
Verbal Art ◽  
Philosophical Discourse ◽  
Poetic Discourse ◽  
Artistic Experience ◽  
Literary Art ◽  
Philosophical Account ◽  
The Aesthetic

In this paper I intend to present a philosophical account of what is commonly called verbal or literary art. Starting from the Hegelian conception of language and of the aesthetic experience, I shall argue that literary, and more specifically poetic, discourse can be defined as the verbal completion of an aesthetic experience, and that this distinctive feature marks off literary discourse from other types of discourse, such as scientific and philosophical discourse. In his phenomenological description of the growth of a subject's identity, Hegel situates the birth of language in the transition from consciousness (Verstand) to self-consciousness (Vernunft). In his Philosophy of Fine Art, this transition also marks the locus philosophicus of the artistic experience.

scholarly journals Taste, Sensation, and Skill in the Sociology of Consumption

2018 ◽  
pp. 472-486
Author(s):  
David Wright
Keyword(s):  
Aesthetic Judgment ◽  
The Body ◽  
Taste Sensation ◽  
Sociological Study ◽  
The Social ◽  
The Aesthetic ◽  
Sociology Of Consumption ◽  
And Training ◽  
Is Value

This chapter re-examines foundational philosophical controversies about the meaning of taste and reflects on how tastes have been understood by sociologists. It argues these insights, while revealing the social patterning of tastes, have also obscured the extent to which tastes are bound up both with sensory experience and with the process of learning the management of the body and its responses to the world. It concludes that, while the substantive weight of the sociological study of tastes has concerned itself with questions of the aesthetic and to the identification of different dispositions held by individuals and groups in relation to aesthetic judgment, there is value, in understanding contemporary cultures, to building up those accounts of taste that are more oriented to questions of the ascetic and to the role of restraint and training in the development and cultivation of tastes.

‘A pinch of unseen, unguarded dust’: The World and Self in Thomas Hardy's Poems

2018 ◽  
Vol 8 (1) ◽  
pp. 49-66
Author(s):  
Monika Szuba
Keyword(s):  
The Body ◽  
The Self ◽  
Phenomenological Philosophy ◽  
The Earth ◽  
The World ◽  
The Universe ◽  
Recurrent Theme ◽  
Body Subject

The essay discusses selected poems from Thomas Hardy's vast body of poetry, focusing on representations of the self and the world. Employing Maurice Merleau-Ponty's concepts such as the body-subject, wild being, flesh, and reversibility, the essay offers an analysis of Hardy's poems in the light of phenomenological philosophy. It argues that far from demonstrating ‘cosmic indifference’, Hardy's poetry offers a sympathetic vision of interrelations governing the universe. The attunement with voices of the Earth foregrounded in the poems enables the self's entanglement in the flesh of the world, a chiasmatic intertwining of beings inserted between the leaves of the world. The relation of the self with the world is established through the act of perception, mainly visual and aural, when the body becomes intertwined with the world, thus resulting in a powerful welding. Such moments of vision are brief and elusive, which enhances a sense of transitoriness, and, yet, they are also timeless as the self becomes immersed in the experience. As time is a recurrent theme in Hardy's poetry, this essay discusses it in the context of dwelling, the provisionality of which is demonstrated in the prevalent sense of temporality, marked by seasons and birdsong, which underline the rhythms of the world.

A Rapture of the Nerds? A Comparison between Transhumanist Eschatology and Christian Parousia

2019 ◽  
Vol 24 (2) ◽  
pp. 343-367
Author(s):  
Roberto Paura
Keyword(s):  
Human Brain ◽  
Point Theory ◽  
The Body ◽  
Christian Theology ◽  
Human Beings ◽  
Human Species ◽  
The Future ◽  
The Creation ◽  
The Universe

Transhumanism is one of the main “ideologies of the future” that has emerged in recent decades. Its program for the enhancement of the human species during this century pursues the ultimate goal of immortality, through the creation of human brain emulations. Therefore, transhumanism offers its fol- lowers an explicit eschatology, a vision of the ultimate future of our civilization that in some cases coincides with the ultimate future of the universe, as in Frank Tipler’s Omega Point theory. The essay aims to analyze the points of comparison and opposition between transhumanist and Christian eschatologies, in particular considering the “incarnationist” view of Parousia. After an introduction concern- ing the problems posed by new scientific and cosmological theories to traditional Christian eschatology, causing the debate between “incarnationists” and “escha- tologists,” the article analyzes the transhumanist idea of mind-uploading through the possibility of making emulations of the human brain and perfect simulations of the reality we live in. In the last section the problems raised by these theories are analyzed from the point of Christian theology, in particular the proposal of a transhuman species through the emulation of the body and mind of human beings. The possibility of a transhumanist eschatology in line with the incarnationist view of Parousia is refused.

Trinity Metaphysics

2021 ◽  
pp. 107-116
Author(s):  
Nikita A. Solovyev ◽  
Keyword(s):  
The Body ◽  
Quantum Object ◽  
Material Body ◽  
Modern Cosmology ◽  
Ontological Model ◽  
Mental Space ◽  
The Absolute ◽  
Other World ◽  
The Universe ◽  
Living Being

A ternary ontological model in which the living being is a triad of I – form – substrate is described. I is an intangible subject, contemplating the content of consciousness and controlling the material body, which is the unity of the form and the substrate. The contents of consciousness are connected both with the form of the body, which I contemplate in the inner “mental space” in the form of in­formation, and with the substrate, which embodies the forms of the body and is responsible for sensations and intentions. The problem of control of the material body by the non-material self is solved under the assumption that the human brain is a quantum object. The ternary model of a living being is inscribed in an absolute ontology, in which the Absolute also has a threefold structure and is the unstitched unity of the absolute I, the absolute Form and the absolute Sub­strate. The Absolute creates the other world with its threefold energies, which provides the threefold structure of a living being. The created world arises from the timeless world of the potential possibilities of the Universe, which modern cosmology associates with its wave function. Created entities arise in the process of alienation from the Absolute, resulting in free will.

Music in migrant camps as a medium creating non-narrative human relationships

2021 ◽  
Vol 12 (1) ◽  
pp. 347-360
Author(s):  
Julien Labia
Keyword(s):  
At Risk ◽  
Personal Identity ◽  
Direct Relationship ◽  
The Body ◽  
Verbal Art ◽  
Problematic Situation ◽  
Human Relationships ◽  
The Real ◽  
Musical Interactions ◽  
Expressive Activity

A migrant camp is a ‘non-place’ where personal identity is put at risk. Music is a means of personal adaptation in camps, even if it means allowing little place for the real reasons for displacement of the very people shaping these new hybridizations of music. The present power of music in such a place is to create strong relationships, ‘shortcutting’ both narration and the longer time needed in order to create relationships. The kind of personal advantage it is for someone to be a musician is a topic surprisingly forgotten, obscured by theoretical habits of seeing music essentially as an expressive activity directed to an audience, or as being a communicative activity. Music has a performative power different from language, as a non-verbal art having a strong and direct relationship to the body. Musical interactions on the field give migrants the ability to balance their problematic situation of refugees, shaping a real present.

Embodied Aesthetics

2018 ◽  
pp. 890-910
Author(s):  
Barbara Gail Montero
Keyword(s):  
Aesthetic Experience ◽  
The Body ◽  
Traditional View ◽  
Bodily Experience ◽  
Aesthetic Pleasure ◽  
Embodied Aesthetics ◽  
The Aesthetic ◽  
Bodily Movements

Although great art frequently revers the body, bodily experience itself is traditionally excluded from the aesthetic realm. This tradition, however, is in tension with the experience of expert dancers who find intense aesthetic pleasure in the experience of their own bodily movements. How to resolve this tension is the goal of this chapter. More specifically, in contrast to the traditional view that denigrates the bodily even while elevating the body, I aim to make sense of dancers’ embodied aesthetic experience of their own movements, as well as observers’ embodied aesthetic experience of seeing bodies move.

scholarly journals THE BODY IN THE HISTORY OF WESTERN EUROPEAN AND RUSSIAN THEATRE: CULTURAL VARIABILITY OF SHAME

Articult ◽  
2021 ◽  
pp. 19-31
Author(s):  
Leila F. Salimova ◽  
◽  
Keyword(s):  
Scientific Knowledge ◽  
Performing Arts ◽  
Point Of View ◽  
The Body ◽  
Ethical Aspect ◽  
Close Relationship ◽  
History Of ◽  
The Spectator ◽  
The Aesthetic ◽  
Considerable Body

Modern scientific knowledge approaches the study of the physical and aesthetic bodies with a considerable body of texts. However, on the territory of the theater, the body is still considered exclusively from the point of view of the actor's artistic tools. Theatrical physicality and the character of physical empathy in the theater are not limited to the boundaries of the performing arts, but exist in close relationship with the visual and empirical experience of the spectator, performer, and director. The aesthetic and ethical aspect of the attitude to the body in the history of theatrical art has repeatedly changed, including under the influence of changing cultural criteria of "shameful". The culmination of the demarcation of theatrical shame, it would seem, should be an act of pure art, independent of the moral restrictions of society. However, the experiments of modern theater continue to face archaic ethical views. The article attempts to understand the cultural variability of such a phenomenon as shame in its historical and cultural extent using examples from theater art from antiquity to the present day.

scholarly journals SEMANTICS OF POEM IN «DIV TICS OF POEM IN «DIVANI LUGATI-T-TURK»

2021 ◽  
pp. 36-45
Author(s):  
Qosimjon SODIQOV ◽  
Govhar RAHMATOVA
Keyword(s):  
World Literature ◽  
Fine Art ◽  
Oral Poetry ◽  
Verbal Art ◽  
Specific Expression ◽  
Artistic Value ◽  
Aesthetic Taste ◽  
History Of ◽  
Extensive Information ◽  
The Aesthetic

Lyric songs depict how rich is the aesthetic taste of the Turkic peoples and their special love for verbal art for a long period, and the fact that they possessed artistic resources capable of competing with the most agile peoples of their time. Moreover, these songs illustrate the artistic views of the Turks. Pure lyrical experiences, with their novelty, the richness of images, and unique pathos, have always engaged the reader. The poetry of the Turkic peoples is studied as a separate phenomenon in the history of world literature. Mahmud Kashgari’s Divani lugat at-Turk provides extensive information about the foundations of Turkish poetry and its scope. We can see the first paradigms of lyric poetry in the oral poetry of the Turkic peoples in the Divani lugat at-Turk. As a great linguist of his time and an advanced thinker – Kashgari proves each word with its specific expression or a piece of poetry. Each poem in his work is unique regarding its artistic value and semantics. We can see this, especially in these lyrical poems. Even simple episodes in lyrical songs demonstrate the ability of our ancestors to express thoughts beautifully. The lyrical passages in the Divani lugat at-Turk consist of the description of the mistress, the sad moments of the separation of beloved ones, and the poems addressed to his beloved one. The issue of fine art and its location is noteworthy in them. The devices used in them play an essential role as the initial version in the context of the literature of the Turkic peoples. The author cites some examples of such poetic art: tashbih, oxymoron, metaphor, tajnis, repetition, hyperbole (mubalaga), irsali masal, etc. These devices were actively reflected in all types of poetry of the later period. This article discusses the semantics of lyrical poems in the Divani lugat at-Turk and reveals their fine art.

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