aesthetic realism
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2021 ◽  
Vol 2 (6) ◽  
pp. 1-12
Author(s):  
Souleymane Diallo

The transmedia narrative of the scope of Season of Migration to The North, emphasizes substantial composite creations where specific characters and idiosyncratic plot lines imply a neo-perception method and a post-conception model within the dimensionality of understanding becomes a generative system and a transformative experience. In this run, the anamorphic format of imagination and intellection inside the indigenized process of encoding, designs a new method of normative functionalism, an original attitude of discernments and a prima materia empirical perceptive consignment. Therefore, through a relational value of model and an aesthetic realism, Salih defines an innovative interactive and immersive reality within an analytic functionalism and a psycho-functionalist view in the perspective to transcend the Islamist conservative approach of formal concept analysis and then to deconstruct the Western absorption of temporal concept analysis. It is within this respect, the principle of this paper appears to be a social deconstructionism, a modality and property differentiation concerning the status quo of the Be-ing, and a transformative reform about anthropological prerequisites and requests. In this respect, the realm of functionalism, functional linguistic and aesthetic realism involve this Salih’s object argument in a transgressive object relation.


2020 ◽  
Vol 8 (3) ◽  
pp. 890-899
Author(s):  
Fadlil Munawwar Manshur

Purpose: The formal objective of this study is to explore the beauty and ugliness contained within the poetry collection Maulīd Al-Diba'i, an Arabic-language text that conveys messages of beauty and ugliness in its verses. The material of this study is the poetry collection Maulīd Al-Diba'i, which was written by Imam Wajihuddin 'Abdur Rahman bin Muhammad bin 'Umar bin 'Ali bin Yusuf bin Ahmad bin 'Umar ad-Diba'ieasy-Syaibani al-Yamani az-Zabidiasy-Syafi'i (henceforth Abdur Rahman Al-Diba'i). Methodology: The current research is descriptive that explains the crux of poetry. For this purpose the poetry collection Maulīd Al-Diba' I was used and analysed. To achieve the objective analytical method was used. .Main Findings: Based on the analysis, it may be concluded that the poetry collection Maulīd Al-Diba'i is a work of Arabic-language Islamic literature that was influenced by the verses of the Qur'an and their beauty. The verses of Maulīd Al-Diba'i are conveyed through the language of prayers, hopes, and blessings. These prayers, hopes, and blessings contain within them their beauty, both at the surface and below it. The poet, Abdurrahman Al-Diba'i, readily conveys his prayers, hopes, and blessings by briefly retelling the story of the Prophet Muhammad's travels to spread Islam throughout the Arabian Peninsula. Implications/Applications: This article applies the theory of aesthetic realism, which contains within it two key concepts: physical beauty and divine beauty. Physical beauty is related to the perceptions of the senses, and is cognitive, cultural, and natural, whereas divine beauty is perceived through the mind and promotes awareness and mental experience. Novelty/Originality of this study: This research will uncover the facts that on what basis, in the poetry collection Maulīd Al-Diba'i, is there a dominant message of beauty that is expressed explicitly and opposed with a message of ugliness that is expressed implicitly. It will also add to literature explaining that the text Maulīd Al-Diba'i may be understood as a tool for satisfying the spiritual demands of readers and enabling them to contemplate their religion.


ICONI ◽  
2020 ◽  
pp. 56-67
Author(s):  
Edward Green ◽  

We learn in this interview with the leading Norwegian composer of his generation, Marcus Paus (b. 1979), how critical he is of the “academic tradition” which, in his view, has hurt a good deal of contemporary music over the last several decades: a certain snobbish adherence to non-tonal, non-melodic “abstract modernism.” Paus, on the contrary, asserts the living freshness of traditional values. His own music is grounded in tradition, is steeped in the value of careful craftsmanship, and yet, at the same time, is passionate, surprising, original, deeply lyrical, and fervently humanist in its social and political orientation. We learn, too, of his great esteem for the American composer John Williams, best known for his cinematic scores. Paus sees Williams as a model of nobility: both musically, and as a human being. In this interview there is also substantial discussion of the value of the philosophy of Aesthetic Realism, founded by the great American philosopher Eli Siegel, and his profound ideas concerning Art and Life. During this wide-ranging conversation, Paus speaks likewise of world music, pop music, and his abiding interest in literature and painting. There is also an extended passage where he keenly and generously comments on the composers of his own generation, and points to several of their most outstanding works.


ICONI ◽  
2020 ◽  
pp. 41-45
Author(s):  
Alan Shapiro ◽  

This article (with musical links) looks at one of the important compositions of Duke Ellington from the mid-1940s through the perspective of Aesthetic Realism, the philosophy founded by the American critic and poet Eli Siegel. The basis of this approach is that when a work of art in any fi eld is good or beautiful, the reason is that it puts opposites together, opposites that are in the structure of reality as a whole and that every person is hoping to make sense of. This is true of Ellington’s “Happy Go Lucky Local”: it is wild and organized, repetitive and surprising, cacophonous and orderly. It is musical evidence that diffi cult, even unbearable things can be seen with form, seen beautifully.


ICONI ◽  
2020 ◽  
pp. 46-55
Author(s):  
Arnold Perey ◽  

This universal ethical question needs to be discussed honestly and deeply by everyone, regardless of culture, for social justice and personal kindness to prevail: “What does a person deserve by being alive?” Asked by Eli Siegel, founder of the philosophy Aesthetic Realism, this question provides us with an indispensable means for opposing the contempt that is the fundamental cause of injustice. Contempt Mr. Siegel defi ned as “the disposition in every person to think we will be for ourselves by making less of the outside world.” And its pervasive effects cannot be underestimated. Every person has a fi ght between the desire for contempt and the desire to respect people and the world. Contempt is very ordinary, it is present in everyday life. For instance when one person doesn't listen to another; or when we see someone in the street and think, “I wouldn’t be caught dead wearing shoes like that.” But when it predominates on a national scale, the results of making less are disastrous. In the caste system of India, contempt is institutionalized, as this article explains. It is related to caste-like institutions world-wide, including racism in my own country, the United States; and to the global horrors of economic injustice. The novel Untouchable, by Mulk Raj Anand, illustrates, from beginning to end, the hurtful manifestation of contempt in the caste system. The time period of the novel is the 1930s, but its truth continues today; and Anand shows in a young man named Bakha the pain of the Untouchable: unjustly despised and unjustly impoverished. The author of this article learned through his study of Aesthetic Realism that making himself “superior” by disparaging other people, including women and people of other ethnicities, made him despise himself and hurt every relationship he wanted to have. And this is representative of what contempt does to persons having it, everywhere. He changed, as he studied in Aesthetic Realism classes what a person deserves from me and how to have good will, the one opposition to contempt. He learned good will is not fl imsy or weak, it has a scientifi c basis and defi nition: it is “the desire to have something else stronger and more beautiful, for this desire makes oneself stronger and more beautiful.” People need, and want, good will in place of endemic contempt in Europe, Asia, America. There is a powerful, international desire in people today for a just world. Aesthetic Realism is the education that meets that desire and can make for a world that is fair to all people. That is why it is urgently necessary for persons to study its principles.


ICONI ◽  
2020 ◽  
pp. 28-45
Author(s):  
Kevin Fennell ◽  

This is an inquiry into what rock and roll as art can say to us about our very lives. It is based on the following principle of Aesthetic Realism, the philosophy founded by American poet Eli Siegel: “All beauty is a making one of opposites, and the making one of opposites is what we are going after in ourselves.” Six well-known rock and roll recordings are looked at for how they make a one of opposites — principally, inner feeling and outward expression, also wildness and precision, continuity and discontinuity, pleasure and pain; and how the seeing of these aesthetic opposites as one in the music of rock and roll can inform us about how we, as human beings, want to be in our everyday lives in order to be happy and truly expressed.


ICONI ◽  
2020 ◽  
pp. 108-128
Author(s):  
Anthony Romeo ◽  
◽  
Dale Laurin ◽  

This article shows how the enduring admiration people have for the architecture of Frank Lloyd Wright (1867–1959) is explained by this principle of Aesthetic Realism, stated by the founder of this philosophy, the great American poet and critic, Eli Siegel: “All beauty is a making one of opposites, and the making one of opposites is what we are going after in ourselves.” Scholars have written of Wright’s contradictions: his charm and his arrogance, the warmth of his interior designs and his coldness to persons near to him. The authors show that like people everywhere, Wright was trying in his life to put together opposites in himself, including the same opposites he was able to compose magnificently in his best architectural work: most particularly, the opposites of inside and outside, “the snug and exterior.” Two early examples discussed are his 1893 Gale House and the Heurtley House of 1902. Wright’s love of nature led to his concept of organic architecture: buildings inspired by, and at one with, their environment. A masterful example discussed in detail is his 1935 house design Fallingwater, built dramatically above a waterfall. The authors also show how two works from very different points in Wrightʼs long career — the 1904 Unity Temple, and the Guggenheim Museum, completed in 1960 — are opportunities for people to know ourselves better now. The explanation lies in the beautiful way each structure puts opposites together.


2019 ◽  
Author(s):  
Inês Morais
Keyword(s):  

ICONI ◽  
2019 ◽  
pp. 128-136
Author(s):  
John Stern ◽  
◽  
Carrie Wilson ◽  

This article is about one of the world’s most celebrated structures — the Brooklyn Bridge: what makes it beautiful, and why it has been loved by millions of people. It is based on this landmark principle, stated by Eli Siegel — poet, critic, and founder of the philosophy Aesthetic Realism: “All beauty is a making one of opposites, and the making one of opposites is what we are going after in ourselves.” Beginning with the effect of this bridge on such artists and poets as Joseph Stella and Hart Crane, it then describes each step of the design and construction of this magnifi cent structure, showing how the making one of opposites — Power and Grace, Heaviness and Lightness, Firmness and Flexibility, Simplicity and Complexity — is what makes it a great work of both engineering and art. For example, in Bridges and Their Builders, Steinman and Watson write: “The pierced granite towers, the graceful arc of the main cables, the gossamer network of lighter cables, and the arched line of the roadway combine to produce a matchless composition, expressing the harmonious union of power and grace”. Doesn’t every person want to be at once strong and graceful? The authors describe how, as people are affected by the beautiful sensible relation of opposing forces working together for one purpose in the Brooklyn Bridge, they feel more hopeful that these same opposites can make sense in their own lives.


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