Al-Amr ‘inda ‘ulama al-Balagah wa ‘Ulama Usul al-Fiqh ‘ala Mustawa al-Ta’rif wa al-Siyag wa al-Ma’ani al-Siyaqiyah

Balagah and usul fiqh are two different sciences. Balagah science is the science that reveals an aesthetic meaning which is clearly used in a real expression, Takes an effect in our soul, and maintains the relevance of each sentence with where the phrase is being pronounced. Moreover, please pay attention to the coherence with the people we talk to. Whereas Usul Fiqih is the Islamic legal sciences (Islamic jurisprudence) studied theories, norms, and sources. Both sciences are studied in relation to fi'il amr, In Balagah, Fi'il amr is the one method from Insya Zalbi decree while in Usul Fiqih, fiil amr is the one of Usul Fiqih Norm which is due to that the law and syari’as can increase. And the result of this research is, in Balagah and Usul Fiqih have the same interpretation about fi’il amar that requires to have to do from a higher authority to underling, and that have 4 sigah. And the difference between the two science is from the meaning of fi’il amar, in Balagah have a special meaning from fi’il amar that there is no meaning in Usul Fiqih that the means is lasting. Permission and exemplary. So in Usul Fiqih have a special meaning from fi’il amr there is no meaning in Balagah that means is: obligatory, mouming, admonition, discussion, degradation, patience, dissuasion, delegation.

Interpretative ethnological model “decalogue and harmonizing hermeneutic maxims of obligatoriness: an aspect of upbringing”: on the example of the memoir prose of a native of Chisinau

The interpretive ethnological model “The Decalogue and Harmonizing Hermeneutic Maxims of Obligatoriness: An Aspect of Upbringing” is developed within the framework of a noetic interdisciplinary system of our four concepts (concept of humanization of myth; concept of megamodern; concept of ethicizing mythological consciousness; concept of aesthetic meaning). This system is based on the works by many outstanding scholars, including the achievements of interpretive (hermeneutic) anthropology by C. Geertz, the ideas of J.J. Wunenburger, K. Hubner, V. Frankl, E. Fromm, N. Berdyaev, J. Ortega y Gasset, K. Jaspers, etc. In the interpretative model, the eight “implicit principles of upbringing (world perception, behavior) according to the Decalogue” revealed by us are applied: these principles are based on the concept of man and the Universe represented in the Ten Commandments. This model allows examining distinct hermeneutic maxims as a sort of ethnocultural specificity of shaping the epoch of “new humanism for the 21st century” (UNESCO). A Family Portrait in the Midst of Chisinau Landscape, memoir prose by Susanna Cușnir, is examined according to this model. One of the revealed hermeneutic maxims reads: “The Universe is such that man can follow his creative impulses at any age”.

The aesthetics of political resistance: On silent politics

This article analyses the aesthetics of silent political resistance by focusing on refugees’ silent political action. The starting point for the analysis is Jacques Rancière’s philosophy and his theorisation of the aesthetics of politics. The article enquires into the aesthetic meaning of silent refugee activism and interprets how refugees’ silent acts of resistance can constitute aesthetically effective resistance to what can be called the ‘speech system’ of statist, representative democracy. The article analyses silence as a political tactic and interprets the emancipatory meaning of silent politics for refugees. It argues that refugees’ silent acts of political resistance can powerfully affect aesthetic, political subversion in prevailing legal-political contexts.

A COMPARISON STUDY ON ORNAMENT OF RUMOH ACEH IN ACEH BESAR AND UMAH PITU RUANG IN ACEH TENGAH

This study aims to describe the diversity of ornaments used in traditional house in Aceh Besar and Aceh Tengah. The diversity of ornaments was viewed through four approaches, including: the location of ornament used in traditional house, types of ornament, the basic form of geometric, and the function. The location of ornaments used in traditional houses Is divided into three parts, lower part (the feet of the building), middle part (the body of the building), and top (the head of the building). The type of ornament described the category of ornament. The basic form of ornament is a study that described the geometric type of ornament. Finally, the ornament function is to explain the aesthetic, meaning, and technical functions of using ornamentation. Rumoh Aceh and Umah Pitu Ruang are cultural assets and local identities of Aceh with all its local wisdom. This study was conducted as an effort to preserve the existence of ornaments in Aceh traditional house, especially in Aceh Besar and Aceh Tengah.

A Study of the Aesthetic Thought and Application of "Virtual & Real" in Chinese Ink Animation from Strolling in Aesthetics ——A Case Study of Feelings of Mountains and Waters

Zong Baihua’s Strolling in Aesthetics is known as a textbook of contemporary Chinese aesthetic theory, while "virtual & real", as an important chapter in this book, is the core of Chinese traditional aesthetics. Its connotation of simple and natural aesthetic meaning has been applied in many fields with the rise of contemporary traditional art. The early ink animation Feelings of Mountains and Waters integrated this aesthetic conception deep into the film. In this paper, based on the analysis of Feelings of Mountains and Waters, a masterpiece of Chinese ink animation, and combined with the film, an in-depth analysis was carried out on the basic theoretical viewpoints in the "Virtual & Real in Chinese Artistic Expression" section in Strolling in Aesthetics. Then a summary was made on the presentation of "virtual & real" in Chinese ink animation, and a discussion was conducted on its internal association and application value with Chinese ink animation, so as to provide reference for the development of Chinese ink animation in the new era.

Women's lyrics in the Even poetry

The object of this research is women’s lyrics in the Even literature. It is underlined that women's poetry, represented by the Evdokia Nikolaevna Bokova, Maria Amamich, Maria Prokopievna Fedotova-Nulgynet, Varvara Grigorievna Belolyubskaya-Arkuk, Ekaterina Nikolaevna Gerasimova-Aynady is not broadly reflected in literary studies, although the topic was discusses by the writers, literary scholars and critics, such as V. B. Okorokovs, V. Shemetov, V. Sivtsev, A. Burykin and others. The subject of this research is the works of Evdokia Bokova and Varvara Arkuk. The article explores the genre uniqueness of poems, as well as cognitive, educational and aesthetic meaning of lyrics in the works of E. Bokova and V. Arkuk. Relevance of this study is defined by the need for conducting contextual analysis of the Even women’s poetry. The scientific novelty consist in characterization of aesthetic uniqueness of women's poetry in the Even literature, and in analysis of certain aspects of the works of E. Bokova, V. Arkuk as a remarkable hue in description of the images of nature and inner emotions of the people of the North. The poems of E. Bokova and V. Arkuk are familiar to wide audience. The collections of poems that enriched the Even poetry with women’s lyricism were published in the mid-1990s in the Even language.

The Beautiful and the Good

This chapter starts with the argument that the ancient Greek term to kalon (and its Latin equivalent honestum) can be read as having an aesthetic meaning. This discussion leads to the discussion of the argument ‘that only the beautiful is the good’ (μόνον τὸ καλὸν ἀγαθὸν εἶναι‎). The reconstruction suggests that, despite the fact that different interpretations of this argument are given in the doxographical material, the syllogism which accompanied the argument in the original Chrysippean version points to a very specific idea. In this argument, beauty plays the role of a distinguishing sign peculiar to the true good. Beauty signifies true goodness and makes it distinct from only apparent goodness. It supports the Stoic tenet that virtue is the only genuine good by claiming that beauty distinguishes true good from other, only apparent, goods.

THE TRADITION OF ABAY, IBRAY THE KAZAKH CHILDREN'S POETRY

The article devotes theespesialities of Showinq of Abay, Ibyray`s traditions in Kazakh children literature for beqinninq of ХХ century. So, author have been qivinq his opinion to problems of thematic, ideas, qarmony, structurinq and Same in verses of poets-democtrats. In the history of culture, as you know, which people have developed and developed over the centuries, has its own national Outlook, a peculiar philosophy, folklore heritage, in a word, its own spiritual world. It is proved that at different times one of the richest zhurttardyns comes to the Treasury of national spirituality of the people. In recent years, the amount of spiritual wealth has been achieved further, both in different ways and in terms of aesthetic effect. One of the most striking examples of this concept is the Kazakh written children's literature. Today it is one of the richest in Kazakh literature, the history of which has a deep, philosophical and aesthetic meaning, always rich in thought and content.The study of the subject of literature, on the basis of which comprehensive education of children should be an in-depth study and practical use of various types of folklore for children, samples of written literature.