aesthetic response
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Author(s):  
Alex Saum

Potential Ideas and Other Things that Live in Your Gut is a survey poem built around a standard “product concept testing” structure, designed and distributed on Qualtrics software. It captures real-time feedback on a selection of eleven new poetic concepts by evaluating readers’ emotional and aesthetic response to a set of surprising biological facts about bacteria and human development.


2021 ◽  
Vol 13 (24) ◽  
pp. 13799
Author(s):  
Esperanza Ayuga-Téllez ◽  
Juan José Ramírez-Montoro ◽  
Maria Ángeles Grande-Ortiz ◽  
Diego Muñoz-Violero

For centuries, agricultural activities have marked and defined the landscape with its own distinctive features. The consideration of the rural landscape as a resource has gained traction in recent years. In Europe, the European Landscape Convention offers a solid framework that places landscape at the forefront of European policies on cultural heritage, environment, and territorial ordination. The most important new development is the integrated vision of the landscape in its cultural and natural aspects, and the introduction of its social dimension. This work analyses the influence of different factors on preferences for rural landscapes in the locality of Campo de Criptana (Ciudad Real), representative of the singular rural landscape of the La Mancha plain. The method for assessing landscape is the people’s aesthetic response to it. Specifically, an analysis has been made of the observers’ preferences in relation to their educational level (university educated or not), gender, age, and place of origin (whether they come from the locality itself or from outside). This is one of the few works that analyse the place of origin of the observer. In view of these results, it can be concluded that all the demographic factors analysed have an influence on preferences in rural landscapes.


2021 ◽  
Vol 12 (6) ◽  
pp. 85
Author(s):  
Eyitayo Tolulope Ijisakin ◽  
Olusegun Jide Ajiboye ◽  
Foluso Modupe Abejide ◽  
Idowu Folorunso Adeyanju

In traditional Africa, beads function as adornments, as designation of royalty, and in many activities that have to do with commerce, religion, and healing among others. The use of beads has however found it ways into modern artistic expression. Literature abounds on the traditional use of beads, whereas there is a dearth of literature on creative usage of beads in contemporary Nigerian art. This study therefore examines creativity in the beadworks of David Herbert Dale. Data were collected through oral interviews with David Herbert Dale and relevant key informants such as art connoiseurs and gallery owners. This study relies on the theory of aesthetic response and functional theories of art; it also adopts the visual analysis approach to evince the aesthetics and deconstruct the contents of the beadworks. The paper argues that the beadworks of Dale are visual chronicles of historical, religious, economic, and socio-cultural aspects of Nigeria in particular, and Africa as a whole.   Received: 7 September 2021 / Accepted: 24 October 2021 / Published: 5 November 2021


2021 ◽  
pp. 201-206
Author(s):  
Cynthia J. Davis

The Epilogue begins with final reflections on the high realist project concerning pain, the validity and limitations of its critique, the relevant historical context, and the lingering impact of its preferred aesthetic response to suffering—which can seem, ironically, like another form of anesthesia whenever it encourages numbing to and distance from the pain of others. It then offers summary comments on the less myopic, more inclusive and imaginative versions of reality envisioned by Twain, Chesnutt, and another contemporary author, W. E. B. Du Bois. After tracing patterns of sensitizing, insulating, and distancing behavior in our current reactions to seemingly intractable suffering that resonate with the high realist aesthetic, the book concludes by suggesting that the simultaneously politically galvanizing and aesthetically complex response to physical suffering that Part Two proves was available to the responsive imagination during the realist era remains available in our own day.


2021 ◽  
Vol 51 (2) ◽  
pp. 282-295
Author(s):  
Bo Cao

In light of the relevant merits and defects of translation practice over sixty years, this article presents a critical history of the Chinese translation of the work of Samuel Beckett. The article argues that the history may be divided into two periods: the pre-1980 period and the post-1980 period, with China's reopening to the outside world in the late 1970s as the watershed. The first period is dominated by the politically propelled translation of Waiting for Godot and harsh criticism of Beckett as a ‘decadent’ author. The second period, characterized by a more complex aesthetic response, may be further divided into three stages: the first stage is marked by the pioneering Proust as a booklet on irrationalism and the debatable Collection of Samuel Beckett translated from French; the second stage by the annotated Complete Works of Samuel Beckett; the third stage by the scholastically motivated Letters of Samuel Beckett. In retrospect, the transition between the two periods is a dramatic one from political misreading to aesthetic appreciation. Or, rather, the progress of the Chinese translation since the turn of the twentieth century mirrors both the re-evaluation of Beckett as an innovative artist and the ‘inward turn’ of Chinese intellectual circles.


2021 ◽  
pp. 2455328X2110378
Author(s):  
Punnya Rajendran

When Bhimayana: Experiences of Untouchability, a graphic biography of the life of B. R. Ambedkar, was first published in 2011, it was welcomed as an enunciation of Dalit identity and as a uniquely Indian counterpart to the Western sequential art of comics in its use of Pardhan Gond artistic practices. My argument for moving beyond the twin poles of ‘Dalit identity’ and ‘tribal art’ is threefold. First, a close reading of Bhimayana reveals that the narrative emphasis is not so much on caste as identity as it is a critique of the processes involved in that very identity. Second, the visual style of Bhimayana does not merely mirror the political concerns of the text; the images are an aesthetic response to the ‘problem’ of identity as enunciated in the linear narrative. Third, in order to identify how exactly the images form such a response, we need to arm ourselves with an alternative methodology. The question is therefore how to read, how to look—what is the ideal spectatorial position for the pages of Bhimayana such that it critically intersects with the question of identity? The analysis of the visual object at a ‘subrepresentative’ realm, therefore, becomes the key to breaking out of old habits of looking at the image as a site of representation towards the possibility that the politics of image-making lies instead in its aesthetic intensities.


2021 ◽  
Vol 34 (01) ◽  
pp. 164-176
Author(s):  
Prakash Rai

In the Eastern part of Nepal, Kirant Rai in traditional attires perform Sakela Sili, a dance style performed twice a yearin a larger circle to honour of Sakela, a deity in Kirant Rai community. The performance of Sakela or Sakkew involves singing and dancing simultaneously. Sakela connects the Kirant to their original source of energy, cultural root, origin and the civilization. Ethnic Kirant Rai, including youth and the old in their dance steps of working in the farmland and worshiping gods, with their hands and legs raising low and high, embody their connections to the terrestrial and celestial, profane and sacred, and the humanity and the divinity to maintain a perfect balance of art and life. The dancers in their body movements blend their passionate intensity to work and aesthetic response to art and embody socio -cultural practices and ecological awareness. While dancing, they work and dance for representing the life in totality. The Kirant Rai work pleasingly, and they dance with their strong passion to work. This paper as an instance of qualitative research employs both emic and etic perspectives to find out how such Sakela Sili performed shapes the socio - cultural values and ecological awareness among Kirant Rai community.


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