‘Making New’ and ‘Attention’ in Poe’s ‘Poetic Principle’ and Olson’s ‘Projective Verse’

This article argues for a neural basis behind Edgar Allen Poe’s ‘Poetic Principle’ and Charles Olson’s ‘Projective Verse’ to create a more robust cross-disciplinary aesthetic model. Brian Boyd and Ellen Dissanayake show that ‘attention’ and ‘making new’ in poetry is a stable but evolving technique. This shows up in constant variation in ‘classic’ and ‘modern’ poetry and it forms a pattern for interpretation. This article will look at Poe’s and Olson’s essays in relation to this technique, steering their conclusions toward a partially naturalized conception of poetics in conjunction with more standard literary models in order to broaden aesthetic understanding.

The designing of ocean threat comics by elementary students

A paucity of research has been conducted with learners in elementary classrooms on both the use of and the student creation of science comics. During the classroom-based research featured in this article, Grade 4 students designed ocean threat comics for the culminating activity of an interdisciplinary Ocean Literacy unit, one component of a larger study. Throughout the research, the students were afforded with opportunities to develop their visual meaning-making skills and competences, as well as their aesthetic understanding of and critical thinking about multimodal ensembles through participation in activities that focused on various elements of visual art and design, and conventions of the medium of comics. The visual and descriptive analysis of one student’s ocean threat comics, which includes excerpts from the interview about her work, reveals her motivations for selecting and orchestrating specific semiotic resources to represent and express particular meanings that realized her objectives as a sign-maker. Overall, the descriptions of the pedagogy featured during the research and the student’s ocean threat comics demonstrate how the development of student knowledge about elements of visual art and design, and conventions of the medium of comics can inform and deepen students’ semiotic work of comprehending, interpreting and designing science comics.

Bertolt Brecht’in Epik Tiyatrosu Üzerinden İnteraktif Belgesellere Bakmak

In the 21st century, which is called the digital age, documentary cinema has undergone many changes in terms of both content and form. Apart from being a display medium, interfaces and screens have become spheres where the narrative is constructed. Thus, the production and viewing dimensions of documentary films have changed and traditional narrative documentaries have started to be replaced by interactive documentaries. In these documentaries, the director becomes the designer and the viewer becomes the participant/user. In this context, Walter Benjamin’s approach to epic theater, which he believes is compatible with new technical forms and is the culmination of technology, is the starting point of this study. Because especially since the early 1960s, Bertolt Brecht’s understanding of epic theater has influenced directors and shaped their understanding of filmmaking. The directors who wanted to make the audience feel that the images they see in a film were made with designed decorations, used Brecht's aesthetic understanding to destroy mimesis and break identification. In this context, Seven Digital Deadly Sins (2014), which is an example of an interactive documentary developed with new communication technologies and opens the door to different possibilities for the director and the audience, is evaluated through Bertolt Brecht's understanding of epic theater.

The reminiscences of Salome’s dance and the Danse Macabre in authors’ models of the late 19th — early 20th centuries literature

The subject of the study is the topos of dance. The article identifies the factors of its actualization in the literature of the late 19th — early 20th centuries; considers the origins of its reading through the prism of Eros and Thanatos; analyses works with “dance” imagery, and clarifies its role in the texts poetics. These tasks aim to outline the author’s models that utilize “Dance of the Seven Veils” and “The Danse Macabre”. Comparative, mythological-archetypal, historical-cultural research methods have been applied to study the specifics of dance interpretation in the aesthetic coordinates of modernism. The interest in these aspects of the archetypal topos existence and the need to define the author’s representations as variants of the national determine the relevance of the study. Results of the Study. The reminiscences of Salome’s dance and the Dance of Death are due to the perception of the era as a “plague age”; aesthetic understanding of dance as a personification of the phenomenon of death; interest in the body as a socio-cultural concept and its sensory cognition; a revival of the art of dance; interest in the theme of the East; popularity of erotic motives and the character “woman-child”; the relevance of archetypal codes for the triad “life — death — art”. Charles Baudelaire’s poetry is analyzed as the origins of the modernist interpretation of dance at the intersection of Thanatos and Eros. His dance imagery is characterized by its ironic understanding through the prism of existential categories and interpretation in the context of eschatological and aesthetic issues. The development of the Baudelaire tradition is reflected in the examples of the “new drama”: Lesya Ukrainka reminiscences Salome’s dance as an embodiment of bodily freedom (The Forest Song) and dance as a sign of humility and choice of “death” of the spirit (The Orgy). In Henrik Ibsen’s A Doll’s House the tarantella is both an image of a festive atmosphere and a sign of falsified values of the characters. The dance heralds the catastrophe of Nora’s “puppet” house and at the same time opens up prospects for finding one’s self. The Danse Macabre for Mykhailo Kotsyubynsky (Ivan’s dance with Chuhaister in Shadows of Forgotten Ancestors) and Thomas Mann (dance seen in Aschenbach’s bizarre dream in Death in Venice) is connected with the infernal. It symbolizes the heroes’ awareness of the new “reality” and the transition to another level of worldview; concentrates on thanatological and erotic and defines the complex relationship of mind and body as issues of works. For both characters, the dance is a warning of imminent physical death. But for Aschenbach, it is also the last act of dying as an artist, a symbol of his soul’s death. In contrast, for Ivan, it is a duel-dance to protect his beloved, reunion with whom gains his integrity.

Ontology of a metaphor: the way from apophaticism to cataphaticism in the cognitive path to God

This work reasonably substitutes the literary and aesthetic understanding of metaphor as a poetic technique of expressiveness with the epistemological understanding of metaphor as an instrument for expanding the semantic possibilities of perception. Ontological dimension of a metaphor is reconstructed in accordance with the concept of “inertia” of nature. Nature repeatedly reproduces the previously acquired in some area of the phenomenal, while appearance of a human proliferated such reproduction to the area of the noumenal. Repetition of such reproductions of the acquired testifies to the fractality of being. Metaphor turns the linear evolution of semantics into a complex nonlinear process through topological transformations. It becomes most efficient in the cataphatic operation of “composition”. Unlike apophaticism, metaphor not only takes to a new level of cognition, but also arranges all these levels in accordance with the fractal nature of being. Therefore, metaphor is the primary means for transforming fractality into an epistemological tool in the area of the noumenal. If analytical reasoning fractionize the idea, by increasing the entropy of semantics, the metaphorical assertions reduce it, focusing the thought and synthesizing new semantic patterns. Such a focus fractalizes semantics, which should ultimately result in a semantic explosion and, most likely, bring a man closer to God.

SENI RUPA SEBAGAI MEDIA PENYADARAN

Fine Art as a form of expression of artists, certainly not like economists who need advantages in currency values. Art is not likely to be intervened by fields of pragmatic size. Then it will be so difficult to place art as part of the aesthetic element. So, in this case, we can see the strengths that are in the art itself. Art as a matter of which considered unconstitutional is certainly very paradoxical when it is part of standard rules. So when art works, it becomes part of aesthetic polarization and not being as a reading room in the future. The method used in this study is study of literature with an emphasis on the philosophy of art that gives bargaining power to change in thinking, freedom of interpretation Then The aim of study of literature is to gain an understanding that art gives its weight in thinking about renewal art with a constructive approach through aesthetic understanding. For this reason, fine arts should see forms of visualization as a form of social reality. With it, the artist must be able to create novelty as well as from ethics, aesthetics, and the philosophy of art itself. Without it, the existence of artists cannot be expected to advance the world of art, if the artists themselves lack understanding of the principles in creating fine arts. Therefore, in this paper, the author is obliged to offer solutions, as an effort to improve the quality of the concept of works and at the same time associated with the cultural movement in the public.

Mapping Loss as Performative Research in Ralph Lemon's Come home Charley Patton

In 2004, Ralph Lemon presented “Come home Charley Patton,” the last of his three-part project entitled The Geography Trilogy. The performance marked the end of a ten-year research journey for Lemon during which he struggled to define his relationship tocontemporary modes of dance. Lemon’s entire “Come home Charley Patton” project is an attempt to mourn and access the remains of a legacy of racialized violence. His travels throughout the South highlight the absence and complicated nature of memorializingefforts in regard to events associated with racialized violence. However, his project also exposes the difficulties in developing a sense of relation to this past as he navigates between collective and personal memories. The structural and thematic arrangement ofthe performance reflects Lemon’s efforts to negotiate the limits of representing a history of loss associated with racialized violence. In positioning the body as key in accessing the past, he employs the buck dance as the conceptual and physical framework to ask if andshow how embodied memory can transcend the spatial and temporal boundaries enforced by the stage. By examining Lemon’s own efforts to find an affective and aesthetic language as he maps loss across a number of sites, I read these interactions through atheoretical framework of mourning and melancholia to show that Lemon’s research provides him with a social and aesthetic understanding of loss that he then uses to construct the movements on the stage.

MÚSICA CONTEMPORÂNEA: DA ERUDIÇÃO DO PENSAMENTO À MASSIFICAÇÃO DO ENSINO

More than a hundred years have passed since Arnold Schoenberg's Pierrot Lunaire debut or Igor Stravinsky's Spring Rite, about seventy separate us from the time when John Coltrane “liberated” jazz with freestyle, and there is still talk. of these creations as being “contemporary” understood only by 'experts', even within the professional music class. In a society that lives in a spiral of information accessed almost in real-time, taking advantage of the answers to the knowledge that are at a distance from a smartphone connected to the network, we propose a short-term curriculum organization that focuses on: art as a factor of human affirmation; the concurrent participation of different disciplinary manifestations in the construction of the artistic object; the direct and / or indirect involvement of the social condition in which the work is created; their individual interpretation and aesthetic understanding. Above all, the aim is to demystify creative processes and promote educational policies that promote the inter and transdisciplinarity of educational development.

Aesthetic duality of belarusian literary critical periodicals

The study is devoted to the review of Belarusian literary critical publications and the identification of the main approaches to the critical understanding of the literary process. The program provisions and features of the existence of state and private periodicals, their language policy and representation on the Internet are considered. The fundamental difference between the two main approaches to aesthetic understanding of reality is described.