THE CONTROVERSY OF ROOTING AND CONTRASTING ONE-‎LETTER FORMATIONS

The concept of rooting and renewal in Arabic calligraphy is linked to the ‎calligrapher’s need to show new aesthetic methods, through formations and calligraphic ‎structures based on a single letter. The perceptual vision of the calligrapher, so this ‎research was concerned with studying the rooting and renewal of the rule of the single ‎letter in the formations of Arabic calligraphy in particular, which included four chapters, ‎the first chapter included the research problem, its importance, objectives, limits and ‎definition of its terms. ‎ As for the second chapter, it deals with tracing the concept of rooting and ‎renewal and its connection with the artist and the possession of the idea and the ability ‎to technical aesthetic expression, through the one-letter linear formations made by ‎calligraphers, relying on the spatial organization and choosing the appropriate letter for ‎the composition. The analysis concluded with a number of results that were devoted to the fourth ‎chapter, which showed rooting, renewal, acceptance of decorative and different ‎aesthetic formations in structural structures, and investing some characteristics of letters ‎to arrange and divide the linear structure into creative forms and structures.

Introduction

This introduction argues that even though decadence and culture are incompatible concepts, the former based on the idea of decay and the latter on the concept of growth, decadence is a type of culture in its own right, however much it may go against the grain of culture at large. This basic paradox is evident in the literature produced by such figures as Charles Baudelaire, J.-K. Huysmans, Rachilde, Arthur Symons, Oscar Wilde, and many others, all of whom drew creative energy from a sense of historical decline, philosophical pessimism, and sexual perversity. Moreover, the culture of decadence concerns not only forms of aesthetic expression such as literature and art, but also sensuous, lived experience, however self-destructive such experience might be. This “lived decadence,” moreover, was—and is—available not only to artists and writers on the margins of society but also to the economically secure and socially ascendant bourgeoisie, the beneficiaries of that very modernity so many decadents set themselves against.

Aesthetic expressions as data in researching the lived-world of children with advanced cancer

Background: Understanding the true world of children needs a special method. Using aesthetic expressions through artworks with reflections assists nurse researchers in exploring children’s feelings, thoughts, and behaviors in relation to their health and well-being. Objective: This article focuses on the use of aesthetic expressions as innovative data sources in a study of the lived worlds of children experiencing advanced cancer. Method: The use of aesthetic expressions in Gadamerian hermeneutic phenomenology and aesthetics, by means of van Manen’s approach using draw and write, is examined as a suitable approach in a study of the lived worlds of children experiencing advanced cancer. Results: The aesthetic expressions through the Draw-and-Write method of data generation were well-suited to a hermeneutic phenomenological study involving the group of Filipino children living with advanced cancer. The children drew images and figures of themselves, their families, classmates, friends, and teachers in several places and events during the series of two days. The drawings showed their facial expressions, home, parents, hospital stay, school activities, extracurricular activities, and other daily activities. Conclusion: Aesthetic expression linked to art and connected to human experience drew the participants into different realms and expanded their perceptual capacities so that the fullness of the meaning of the experience was appreciated. The understanding of the experience through aesthetic expression provided sensitivity to and awareness of the variation of experience among children with advanced cancer. It is hoped that this paper can contribute to an understanding of aesthetic expressions as pathways to understanding and support health professionals as they embark on their goal of creating or restoring a comfortable relationship with children. Funding: This study obtained a research scholarship grant from Thailand Education Hub for ASEAN Countries (TEH-AC).

Pathetic Predicament and Resistance of the Subaltern in Trishna Gurung’s Selected Songs

This article overviews the distress situation of the Nepalese ethnic subaltern concerning Trishna Gurung’s five selected songs- “Sajha Ko Bela”, “Gainey Dajai”, “Khani Ho Yahmu”, “Rail Lai Ma” and “Maya Man Bhari” and explores how the aesthetic expression and the pathetic predicament of the subaltern come to be a subtle form of resistance. Her songs hold the spirit of remoteness and auratic root and counter the western musical hegemonic propensity and the dominant music culture of Nepal. Articulating subaltern sighs as a major concern of her songs in the auditory and visual representation she presents the repressed aesthetics as a constructive and creative space formation for the resistance.

Modesty in the Anthropocene

This chapter argues that modesty offers an alternative, legitimate model of critical engagement with a world defined by limited human agency and perpetual crisis in which we are irrevocably implicated. This argument is situated in the context of the profound changes in worldview entailed by what I call “Anthropocene thinking.” With this phrase, I signal a departure from solely environmental approaches to the Anthropocene, instead focusing on how the era unsettles conventional habits of aesthetic expression and critical inquiry. The second section offers a defence of “modesty” as opposed to other possible key terms (such as humility or generosity) by showing how critical modesty has a precursor in the style of William James’s pragmatism. The chapter offers a reading of literary and narrative form in the writing of Bruno Latour. Despite Latour’s growing popularity in literary studies, critics have tended to overlook the crucial function of form, style, and technique in his writing. Attending to Latour’s writing at a more granular level illustrates how a work can be formally modest about its position with respect to what it studies while also being critical, insofar as any redescription offers a contrasting account of the world. The chapter’s literary approach allows that the Latourian style of inquiry and novelistic discourse are up to the same kind of thing: attempting to make sharable a process of thinking that opens up conversation about the composition of our world.

ECOLOGICAL AWARENESS STRATEGY OF THE PICTET PHOTO AWARDS

The selfish ambitions of mankind have done terrible damage to our planet. The results of the understanding that puts people in the foreground have caused great destruction in nature. The disasters that followed the warming of the climate made visible the effects of excessive consumption, unplanned urbanization, and destroyed forests on ecology and therefore on humanity. In recent years, the focus of art has also clearly shifted to ecology. Projects that define the coming of the world to the present and suggest future scenarios have been supported by institutions working on culture and art. In this context, photographers, who keep the record of the change of the world, are an important figure in individual or collaborative work on the subject. One of them is the Pictet Photography Award, which financially supports photography projects in the context of the environment and sustainability. In this article, the mission of the Pictet photography award, its method of operation, the reason for the selection of the determined themes and their importance today, the definition of the final photography projects in terms of content and aesthetics, and how they contribute to the photographers will be discussed. The names considered as examples were chosen from photographers using various aesthetic expression methods. In addition, each of the sample projects corresponds to a topic determined as a theme. <p> </p><p><strong> Article visualizations:</strong></p><p><img src="/-counters-/edu_01/0895/a.php" alt="Hit counter" /></p>

Aesthetic Expression dalam Praktik Keperawatan

Aesthetic expression adalah hubungan yang unik antara pasien dan perawat dengan melakukan tindakan kepedulian yang berdasarkan pada pengalaman hidup, keyakinan individu, pengembangan diri, dan memungkinkan perawat dapat melihat dan mengintegrasikan diri mereka ke semua tindakan asuhan keperawatan. Studi ini merupakan tradisional literatur review yang bertujuan untuk mengeksplore penerapan aesthetic expression dalam praktek keperawatan. Kriteria inklusi pada studi literatur ini antara lain; jurnal yang membahas tentang bentuk penerapan aesthetic expression dalam praktek keperawatan, artikel bebahasa Inggris dan Indonesia, artikel terbitan tahun 2009-2020. Strategi penelusuran literatur review ini dilakukan dengan mengakses beberapa data base seperti Proquest, CINAHL, Elsevier/Science Direct, Pubmed, dan Google Schoolar dengan menggunakan kata kunci aesthetic, aesthetic expression, nursing care, nursing practice, estetika dan praktik keperawatan, Hasil dari literatur review menemukan beberapa bentuk penerapan asthetic expression dalam praktek keperawatan meliputi terapi music,terapi dance, puisi, humor, dan visual. Studi selanjutnya diharapkan dapat mengembangkan penelitian tentang penerapan aesthetic expression khususnya pada spesifikasi bidang dalam praktek keperawatan.

“The desert’s no home for a rose”: Filipinx childhood and music as aesthetic experience

This article examines Diane Paragas’ film Yellow Rose (2019) for its capacity to offer important insights into the reparative utility of music for a child separated from a parent due to deportation. While the film depicts the brutality of contemporary U.S. migration policies, Yellow Rose is also a story about the role of aesthetic expression in childhood’s diasporic imaginaries. The film teaches us about the agentic potential of music as a mode of dealing with the trauma of forced separation. In particular, the genre of American country music is affectively instrumentalized by the film’s young, Filipinx protagonist. In deepening my argument, I work with the film to explain that the kinship between Rose and a genre of music that is hegemonically associated with whiteness produces a “queer sonic” that serves as conduit for the emergence of contingent networks of care and methods of survival. I propose that queer sonic expression, or the unassimilable qualities of sound and genre, is a site where we can broaden racialized imaginings of Filipinx childhood, as it offers an opportunity for reparation.