Auswahl der wissenschaftlichen Literatur zum Thema „Cross-cultural aesthetics and concepts“
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Zeitschriftenartikel zum Thema "Cross-cultural aesthetics and concepts":
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Sobolev, Yuriy. „Aesthetic Ideas and Concepts of the Hindu Tradition: Specific Features and Analogies“. Vestnik of Northern (Arctic) Federal University. Series Humanitarian and Social Sciences, Nr. 3 (21.07.2021): 119–27. http://dx.doi.org/10.37482/2687-1505-v108.
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This article deals with the main ideas and basic concepts of Hindu aesthetics. The problem area reveals itself in the question of European culture’s perception of Hindu aesthetics. In this connection, the following questions are actualized: what can be considered as original aesthetic conceptions of Hinduism? is it possible to find direct analogies in other cultures? how relevant and correct is the conceptual apparatus describing various aesthetic phenomena? what is the role of the religious thought in the proposed aesthetic context? Proceeding from the historical and cultural position of aesthetic knowledge as it is presented in the European tradition, key approaches to the phenomenon of the aesthetic are shown, with the ideas of classical German philosophy – the cradle of aesthetic science (A. Baumgarten, I. Kant) – at the centre. The marked heterogeneity of aesthetic knowledge indicates its problematic status in the European historical-philosophical discourse and at the same time allows one to see, against its background, the harmonious place of aesthetics in Hindu culture. It mainly concerns the peculiarities of religious and worldview systems. Further, the paper studies the similarities and differences between the theoretical and ritual ideas and practices in Christianity and Hinduism. In particular, what they have in common is the importance of “threshold people” – liminal personae – in the spiritual life of society. Among the radical differences is the natural embedding of aesthetics in the religious system of India, while for European aesthetics, the religious world is just one of the spheres of the aesthetic. Using the method of comparative text analysis with reference to leading Russian orientalists and foreign researchers (V. Shokhin, D. Zilberman, E. Torchinov, R. Guénon, N. Gupta), the author takes a number of concepts as an example to demonstrate identity of religious and aesthetic ideas in Hindu and European cultures, as well as a possibility of mutual “cultural translation” of such basic concepts as aesthetics, the aesthetic, rasa and bhava.
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Zimenko, T. V. „The Concept of Taste in South Korea: Historical, Aesthetical and Philosophical Aspects“. Concept: philosophy, religion, culture 4, Nr. 4 (29.12.2020): 83–101. http://dx.doi.org/10.24833/2541-8831-2020-4-16-83-101.
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The focus of this paper is on the Korean aesthetic model of taste. In order to investigate the origins of aesthetics in Korea and its current place in Koreans’ lives, it analyzes the key concepts of the Korean aesthetics and spiritual aspects of life for Koreans. In a way to exemplify this cultural system, traditional Korean food is presented as a conceptual representation of the aesthetic experience. Its role in integrating different aspects of meanings and values in everyday lives of Koreans is also discussed. The research subject is studied through the complex lenses: its association with both the gastronomic taste, which comprises organoleptic perception and aesthetic judgements, and the semiotic aspect of culture, represented by basic units thereof – words. The optics of the interdisciplinary outlook of this method suggests a new approach to viewing Korean aesthetic of taste. The research shows that scientific approach to aesthetics was first adopted in Korea in the 1930s under the cospicuous cultural influence of the Japanese colonial rule; the ideas formed at that time still remain important aesthetic concepts. The study proposes that meot should be viewed as the most important and representative concept in Koreans’ everyday aesthetic experience. The cultural and historical analysis of Korean gastronomic culture suggests there is a number of specific cultural and cosmogonic meanings that were typical of the royal cuisine during the Joseon era and demonstrates how certain Korean dishes are endowed with aesthetic and existential values today.
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Zimenko, T. V. „The Concept of Taste in South Korea: Historical, Aesthetical and Philosophical Aspects“. Concept: philosophy, religion, culture 4, Nr. 4 (29.12.2020): 83–101. http://dx.doi.org/10.24833/2541-8831-2020-4-16-83-101.
Annotation:
The focus of this paper is on the Korean aesthetic model of taste. In order to investigate the origins of aesthetics in Korea and its current place in Koreans’ lives, it analyzes the key concepts of the Korean aesthetics and spiritual aspects of life for Koreans. In a way to exemplify this cultural system, traditional Korean food is presented as a conceptual representation of the aesthetic experience. Its role in integrating different aspects of meanings and values in everyday lives of Koreans is also discussed. The research subject is studied through the complex lenses: its association with both the gastronomic taste, which comprises organoleptic perception and aesthetic judgements, and the semiotic aspect of culture, represented by basic units thereof – words. The optics of the interdisciplinary outlook of this method suggests a new approach to viewing Korean aesthetic of taste. The research shows that scientific approach to aesthetics was first adopted in Korea in the 1930s under the cospicuous cultural influence of the Japanese colonial rule; the ideas formed at that time still remain important aesthetic concepts. The study proposes that meot should be viewed as the most important and representative concept in Koreans’ everyday aesthetic experience. The cultural and historical analysis of Korean gastronomic culture suggests there is a number of specific cultural and cosmogonic meanings that were typical of the royal cuisine during the Joseon era and demonstrates how certain Korean dishes are endowed with aesthetic and existential values today.
4
Dai, Chuang. „Philosophical-aesthetic reflection in China in the century: Wang Guowei and Zong Baihua“. Философская мысль, Nr. 12 (Dezember 2020): 15–29. http://dx.doi.org/10.25136/2409-8728.2020.12.34614.
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This article is dedicated to examination of the philosophical-aesthetic reflection in China in the XX century, and the impact of European aesthetics upon the development and transformation of the traditional Chinese aesthetics. The article employs the method of historical and cultural with elements of structural analysis of aesthetic text of the modern Chinese philosophers. In the XX century, a number of Chinese thinkers made attempts of reforming the traditional Chinese aesthetics, complementing it with the viewpoint of European philosophy. The article examines the paramount aesthetic thoughts of the modern Chinese philosophers Wang Guowei and Zong Baihua, and determines the impact of European philosophy upon them. The scientific novelty of this study lies in assessing the impact of the concepts of European aesthetics upon self-reflection and development of Chinese aesthetics in the context of cross-cultural problematic. It is demonstrated that Chinese modern aesthetics in many ways retains its connection with the tradition, which determines its specificity and imparts peculiar semantic symbolism. The conclusion is made that in the XX century, Chinese philosophers sought to complement the existing traditional Chinese reflection on art, which is based mostly on the ideas of Taoism and Buddhism, with what can be referred to as the Western viewpoint, associated with a scientific approach and scientific interpretation. Another vector in the area of humanistic understanding of the phenomenon of art was related to the attempts of interpretation of the European aesthetic thought from through the prism of Chinese traditional philosophy. The philosopher Wang Guowei tried to incorporate the European aesthetics into the scientific problematic of China. The philosopher Zong Baihua wanted to synthesize the Chinese and European aesthetic theories, and create what he believed is the modern Chinese aesthetics.
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Pyrova, Tatiana Leonidovna. „Philosophical-aesthetic foundations of African-American hip-hop music“. Философия и культура, Nr. 12 (Dezember 2020): 56–62. http://dx.doi.org/10.7256/2454-0757.2020.12.34717.
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This article is dedicated to the philosophical-aesthetic foundations of African-American hip-hop music of the late XX century. Developed by the African philosopher Leopold Senghor, the author of the theory of negritude, concept of Negro-African aesthetics laid the foundations for the formation of philosophical-political comprehension and development of the principles of African-American culture in the second half of the XX century in works of the founders of “Black Arts” movement. This research examines the main theses of the aesthetic theory of L. Senghor; traces his impact upon cultural-political movement “Black Art”; reveals which position of his aesthetic theory and cultural-political movement “Black Arts” affected hip-hop music. The author refers to the concept of “vibe” for understanding the influence of Negro-African aesthetics upon the development of hip-hop music. The impact of aesthetic theory of Leopold Senghor upon the theoretical positions of cultural-political movement “Black Arts” is demonstrated. The author also compares the characteristics of the Negro-African aesthetics and the concepts used to describe hip-hop music, and determines correlation between them. The conclusion is made that the research assessment of hip-hop music and comparative analysis of African-American hip-hop with the examples of global hip-hop should pay attention to the philosophical-aesthetic foundations of African-American hip-hop and their relation to Negro-African aesthetics, which differs fundamentally from the European aesthetic tradition.
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Mulia, Prajanata Bagiananda, und D. ,. Dharsono. „EDITING CROSS-CUTTING IN THE FILM HAJI BACKPACKER“. Capture : Jurnal Seni Media Rekam 11, Nr. 1 (27.11.2019): 104–22. http://dx.doi.org/10.33153/capture.v11i1.2686.
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The aim of this research is the revealing the use of editing cross-cutting formed in Haji Backpacker’s film. This research uses qualitative research method: interpretative analysis formalist aesthetics approach, editing cross-cutting of Karel Reisz through Sergei Eisenstein’s montage theory. This research focuses on studying the aesthetic and the application of editing cross-cutting in Haji Backpacker’s film. Editing cross-cutting observed from the forms, functions, relations of themes, and motivation of existence, until analysis of Sergei Eisenstein’s montage, those are metric, rhythmic, tonal, overtonal and intellectual. The results of this research reveals the artistic meanings of Haji Backpacker’s film as formalist aesthetics, and editing cross-cutting’s concepts that formed in Haji Backpacker’s film by Danial Rifki through montage analysis of Sergei Eisenstein.
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Siuta, Halyna. „Terminology of receptive stylistics: the adaptation of other-disciplinary concepts“. Terminological Bulletin, Nr. 5 (2019): 104–11. http://dx.doi.org/10.37919/2221-8807-2019-5-13.
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Receptive stylistics is the latest trend in the stylistics of text. It studies the mechanisms of text perception, in view of the account time, socio-cultural and individual psychological factors of perception. This integrative model of textology combines the ideas of hermeneutics, phenomenology, receptive aesthetics and poetics, traditional poetics, linguоsynergetics etc. Maximum openness to the researching of the intellectual and communicative nature of the text is reflected in the terminology of receptive stylistics. One of the theoretical platforms of receptive stylistics is receptive aesthetics (aesthetics of the reception). Terminology of this scientific branch was actively accepted and integrated into the special language of the new stylistic direction. First of all, we are talking about key concepts such as aesthetic experience and horizon [expectations] of the author / reader, horizons of perception / understanding. empty spaces / semantic gaps in the structure of the text, identification of the reader with the text, specification of the text, actual dimension of the text, etc. Today, the Ukrainian receptive theory is structured by the concept of actualization of the text, the horizon of the text, the constitution of the text, the communicative certainty / uncertainty of the text. Emphasizing theoretical and methodological cores of contemporary Ukrainian receptive theory, it is necessary to focus on the national historical and cultural context of its constructing. Especially important from this point of view is the treatise by Ivan Franko From the Secrets of Poetic Art. Most of the theses of this work present a progressive vision of the deep psychological mechanisms of reading the artistic text in the measure of active perception, as lingual and aesthetic communication, dialogue between the author and the reader through the text. Also, the concurrence of Ivan Franko’s views with fundamental receptive principles of studying artistic text constitutes the scientific concepts of aesthetics, inductive aesthetics, perception, reception, suggestion, resonance, sensory vibration, etc. Consequently, the concept of reading and interpreting works of verbal art, formed in the treatise From the Secrets of Poetic Creativity, implicitly contains the basic principles of receptive aesthetics and poetics. Cardinally new philosophy of reconnaissance of the nature of artistic text, psycholinguistic mechanisms of influence on the reader, regularities of reception and interpretation at the end of the 20th century presented linguistic synergetic. Actual, and in some aspects methodological for receptive theory has become the following concepts of linguistic synergetic: nonlinearity of development, stability / instability of development, openness of the system, rhizomes, energy of the text, energy resonance, author’s energy, reader energy, etc. In contemporary receptive stylistic studies they do not stagnate, but are in a state of active deepening, refinement. For example, the concept energy of the text is coordinated with such established, well-known categories of stylistics as linguistic and literary tradition, lingual and cultural memory, reception and interpretation. Process of terminological borrowing and assimilation of units of other disciplines contributes to the development of an integrative terminological paradigm optimally adapted to the needs of the reciprocal description of the nature of artistic text.
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Gannon, Matthew. „The Aesthetic Death Drive of Modernism“. differences 31, Nr. 2 (01.09.2020): 58–85. http://dx.doi.org/10.1215/10407391-8662174.
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This essay argues not only that Wilhelm Worringer’s concept of the urge to abstraction from his work of art history Abstraction and Empathy (1908) prefigures Sigmund Freud’s notion of the death drive in Beyond the Pleasure Principle (1920) but also that Worringer’s aesthetics of nonrepresentational art solves in advance some key problems that Freud had in accounting for the modernism of his day. Though Worringer and Freud did not appear to ever engage with each other, their two central concepts share a high degree of compatibility, and it is possible to think of Worringer’s urge to abstraction as an aesthetic death drive. But because Freud argues that art is fundamentally pleasurable and rooted in mimetic representation, his own aesthetics remains insistently Aristotelian. By rejecting an Aristotelian paradigm, Worringer provides a modernist aesthetic theory of the death drive that Freud himself was never able to envision.
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Astafyeva, Olga N., und Natalia V. Kuzmina. „“Interesting” in the Aesthetic Landscape of the City“. Observatory of Culture 15, Nr. 6 (28.12.2018): 693–707. http://dx.doi.org/10.25281/2072-3156-2018-15-6-693-707.
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The article examines the aesthetic category of “interesting” as a dominant of urban environment development. The authors try to comprehend this category from the point of view of cultural knowledge. The article includes a theoretical section, where, basing on well-known concepts, the authors outline the principles of embedding the “interesting”, as something aesthetics and artistic, in the postmodern fabric of modern megacities. The analytical part of the article is based on specific examples represented by urban cultural landscapes, by the postmodern clash of art and non-art in urban space, by event communications and other forms of urban culture representation. The study resulted in designation of one of the main problems of modern cities: as a result of their excessive saturation with “interesting”, there can be observed a growing cultural and aesthetic insensitivity to the “interesting” among their citizens.From the methodological point of view, the study revealed that, in interpretation of modern phenomena of socio-cultural reality, it is not enough to proceed from the basic principles of a particular science. So, the interdisciplinary approach, as a methodological resource in demand today, allows revealing, by the example of the concept of “interesting”, the interconnection and interdependence of the methodological approaches of aesthetics and culturology for studying the cultural environment of modern cities.The authors analyze the “interesting” as an instrument of influencing on the cultural environment of the city and the perception of its text. As a result, the “interesting” intensifies the nonlinearity and fractality of urban space. On the example of Russian cities development, the article reveals that the formation of a new cultural environment is always connected not only with changing of artistic design solutions or/and aesthetics trends. The authors prove that the need for “interesting” widens the frames of the subject field of aesthetics. The “interesting” is moving to the center of interdisciplinary cultural studies.
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Frisch, Simon. „The Aesthetics of Flow and Cut in the Way of Film: Towards Transnational Transfers of East Asian Concepts to Western Film Theory“. Arts 8, Nr. 3 (16.09.2019): 119. http://dx.doi.org/10.3390/arts8030119.
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The general concepts in theorising the aesthetics of film are still rooted in occidental traditions. Thus, thinking about film is dominated by Western terms and aesthetic paradigms—such as “pieces of work”, the representation of reality or regarding the arts as an act of communication. From such an angle, it is difficult to describe different characteristics of the cinematic image, for example, its ephemeral character. In contrast to occidental thinking, the cultural traditions of East Asia are based on the concept of the way (dō or dao), which allow for the description of aesthetics of transitions and transformations. Inspired by the concept of kire-tsuzuki, as developed by the Japanese–German philosopher Ryōsuke Ōhashi, I shall, in this paper, describe some alternative ways of understanding appearance and occurrence in relation to the cinematic picture.
Dissertationen zum Thema "Cross-cultural aesthetics and concepts":
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Reed, Rick. „An applied model for communicating theological concepts cross-culturally“. Theological Research Exchange Network (TREN), 1985. http://www.tren.com.
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Lee, Ya-Chen. „Chen Qigang's voices, 1995-2008 : cross-cultural aesthetics, nationalism, translated modernity, gender and politics“. Thesis, University of Sheffield, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.531172.
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Cooke, Patricia K. „From the sublime to duende: a cross-cultural study on the aesthetics of artistic transcendence“. Thesis, Wichita State University, 2008. http://hdl.handle.net/10057/2032.
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For centuries, artists have used their works as a means of communication. Such
communication can, at times, connect artist and audience in a unique experience which defies barriers of both language and culture. Although artists have written about this experience--referred to here as “artistic transcendence” or “artistic transport”--since classical times, no word seemed able to encompass its meaning until Longinus used the word “sublime” to describe it. The concept has since undergone several reinterpretations, beginning with the additions by Joseph Addison in the eighteenth century, and continuing to the present day in which the word remains subjective and its uses diverse. Consequently, the notion of artistic transport now requires a new definition--one which embraces both the classical and eighteenth-century notions, yet also incorporates a contemporary understanding of the concept. This thesis submits that the Spanish word duende not only fulfills, but exceeds these requirements. Both the sublime and duende contain elements of a struggle between artist and art, an ability to elevate both artist and audience to a higher realm, and shared roots in the classical notion of artistic transport. Using primary texts from Gorgias’ “Encomium of Helen” to Lorca’s “Play and Theory of the Duende,” this thesis establishes a connection between the classical notion of artistic transport, the eighteenth-century understanding of the sublime, and the twentieth-century concept of duende. Furthermore, the analysis demonstrates how duende, which contains both historical and contemporary connotations, represents the modern sublime both in works of art as well as in the artistic process itself.Thesis [M.A.] - Wichita State University, College of Liberal Arts and Science, Dept. of English
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Cooke, Patricia K. Waters Mary. „From the sublime to duende : a cross-cultural study on the aesthetics of artistic transcendence“. A link to full text of this thesis in SOAR, 2008. http://hdl.handle.net/10057/2032.
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Botchkareva, Anastassiia Alexandra. „Representational Realism in Cross-Cultural Perspective: Changing Visual Cultures in Mughal India and Safavid Iran, 1580-1750“. Thesis, Harvard University, 2014. http://nrs.harvard.edu/urn-3:HUL.InstRepos:13070051.
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The concept of realism in visual representation has been defined and deployed largely within the domain of the Western artistic canon. In the field of art history, the term is often used in ways that depend on implicit, culturally coded assumptions about its connection with the formal markers of optical-naturalism. The Persianate tradition of pictorial representation by contrast, has been traditionally characterized in modern scholarship as stylized and decorative, with little acknowledgment of an interest in realism in its own visual language. Furthermore, normative Euro-centric attitudes have perpetuated the assumption that an engagement with realism entered Persianate artistic practices with the advent of Europeanizing modes of depiction in Safavid and Mughal spheres of production around the late sixteenth-century. This dissertation explores the topic of realism from the perspective of Persianate visual culture. In so doing, it proposes to refine our understanding of the concept in terms that accommodate the varied artistic production of cultures that laid claims to cultivating representational realism in their own primary sources.
The first chapter draws on multi-disciplinary discussions to challenge art historical treatments of pictorial realism as a style, in favor of a functional definition of the concept as an emergent quality rooted in formal strategies that activate particular patterns of mirror-response in their audiences.
The second and third chapters reject the principle of evaluating the realism of Persianate representations according to their degree of proximity to European models. The second chapter discusses the structural conditions of change in visual habitus in cases of inter-cultural encounter between foreign modes of representation and the resulting works of aesthetic hybridity. The third chapter presents material evidence of early modern Safavid and Mughal albums as discourses of aesthetic heterogeneity.
The fourth chapter explores the local Persianate roots of realism, including the changes these realism strategies underwent in the early modern period. The fifth and final chapter develops case studies of two seventeenth-century Mughal and Safavid drawings, which cultivate representational enlivenment in depicting harrowing moments of death. The discussion delves in greater detail into the particular patterns of realism developed in the seventeenth-century Persianate visual culture.History of Art and Architecture
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Petersson, Sonya. „Konst i omlopp : mening, medier och marknad i Stockholm under 1700-talets senare hälft“. Doctoral thesis, Stockholms universitet, Konstvetenskapliga institutionen, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-100419.
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The aim of this doctoral thesis is to explore how art was mediated and given meaning in the environment of an urban media culture in Stockholm during the second part of the 18th century. It comprises studies of how art was distributed on the market, how it was discussed in the press and how it was exhibited in public. It also includes an analytical orientation toward mixing of concepts and values, rather than purifying them into categories such as elite and popular. Art is approached as an open concept of investigation. The thesis presents three studies. The first discusses art as concepts and subject matter in papers, pamphlets and encyclopaedias, with a critical stand against the historiography emphasizing the establishment of the 'fine arts'. The second situates art in two parallel practises of showing art in public, exhibitions arranged by the Academy of Arts and the Auction Chamber's public sales. The third deals with prints on the market, a medium equally recognized as one of the fine arts and as a visual mass medium. All studies also consider notions of interaction, public, and social class. Two overarching arguments are developed. The first concerns media cultural functions as mechanisms of cultural transgression. This argument points to the mixing of international and local, regarding both themes in the press and prints on the market. It also stresses the mixing of art, commerce, and entertainment, in the dual character of both the academy's exhibitions and the auction's sales. The second argument consists in pointing to alternative cuts, by which I suggest discursive relations between art, luxury, entertainment, and knowledge. These are areas that, since the 18th century, have often been kept apart, but were nonetheless deeply interwoven. One overarchig pattern studied throughout the thesis is the 18th-century linking of the fine arts as well as luxury, entertainment, and knowledge to a perceptually defined subject.
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Miyoshi, Makoto. „THE ELEMENTS OF THE CLINICAL SUPERVISION: EXPORTING CONCEPTS TO JAPAN“. OpenSIUC, 2016. https://opensiuc.lib.siu.edu/dissertations/1167.
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The current Japanese counseling profession is in the process of reforming and uniting the system and training together for counseling and related professions. Supervision is one of significant training piece in this profession; however, its familiarity among Japanese counseling professionals is very unclear. This study explored how Japanese counseling professionals conceptualize the ideal figure of a clinical supervisor based on the identified fundamental elements of clinical supervision in the US. The preliminary analysis indicates that each aspect of the U.S. clinical supervision models might be adoptable to Japanese counseling professionals. Yet the small sample size does not confirm the conceptual framework of the ideal clinical supervisor for Japanese counseling professionals, the main analysis indicated an alternative culturally appropriate conceptual framework. Further research embracing Japanese cultural characteristics and sound ethical manner in the professional counseling and supervisory relationship would enrich the clinical supervision in Japan.
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Kennedy, Melissa. „"Striding both worlds" : cross-cultural influence in the work of Witi Ihimaera“. Thesis, University of Canterbury. English, 2007. http://hdl.handle.net/10092/3931.
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This thesis engages with aspects of Witi Ihimaera's oeuvre that demonstrate influences from cultures other than Maori. These may be overt in the fiction, such as plot settings in Venice, Vietnam and Canada, or implicit in his writing mode and style, influenced by English romanticism, Pakeha cultural nationalism, Katherine Mansfield's modernist epiphanies, and Italian verismo opera. In revealing Ihimaera's indebtedness to cultural and aesthetic influences commonly seen as irrelevant to contemporary Maori literature, this thesis reveals a depth and richness in Ihimaera's imaginary that is frequently overlooked and undervalued in New Zealand literary interpretation. Illuminating cross-cultural influence in Ihimaera's works calls into question the applicability of biculturalism as a comprehensive manner of accounting for both Maori cultural ambitions of self-determination and the Maori relationship with Pakeha on the national level. Far from an "us-versus-them" dialectic based on a separatist notion of two individually self-sufficient and complete cultures, Ihimaera's fiction shows Maori culture to have been shaped by a long history of interaction and influence with the colonial British and the Pakeha. This is manifest in the way that the Maori sovereignty and renaissance movements, which gathered force in the 1970s, have been inspired by European concepts of modernity, the structures of nation building and, more recently, by Western globalization described in the theories of transculturation and diaspora. Similarly, in New Zealand literature, Maori writing is commonly considered a parallel genre which describes a distinctive Maori worldview and literary style. Contrary to the familiar interpretation of Ihimaera's fiction from this standpoint, this thesis argues that an emphasis on difference tends to lose sight of fiction's capacity to bring into play issues of differentiation, originality and hybridity through its very form and function. In effect, Maori negotiation of its sovereign space in its literature takes place in its forms rather than in its storyline, for example in multiple linguistic significations, in the text's unstable relationship with reality, and the way that imagery escapes concrete, definitive explanation. In this optic, this thesis analyses little-discussed aspects of Ihimaera's fiction, including his love of opera, the extravagance of his baroque lyricism, his exploration of the science-fiction genre, and his increasing interest in taking Maori into the international arena. While reading against the grain of current New Zealand literary practice, this thesis does not intend to contest such reading. Rather, it endeavours to present an additional, complementary analytical framework, based on a conviction that contemporary Maori-Pakeha cultural and literary negotiation and contestation is far from unique, but a local manifestation of other international and historical efforts for recognition and respect.
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Peixoto, Luzanir Luíza de Moura. „APRENDIZAGEM DO CONCEITO DE ESTÉTICA: CONTRIBUIÇÕES DA TEORIA DO ENSINO DESENVOLVIMENTAL PARA O ENSINO DE ARTES VISUAIS“. Pontifícia Universidade Católica de Goiás, 2011. http://localhost:8080/tede/handle/tede/1048.
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Previous issue date: 2011-09-15The current study had as a investigative focus the learning of the concept of aesthetics on the perspective of historical-cultural theory, especially based on the contributions of V. Davydov s developmental teaching theory. This research privileged a form of a teaching organization of an art content, in addition to conventional teaching procedures, would contribute to the formation of theoretical thinking, combining ownership of content required for formation of the aesthetics concept with the development of related intellectual capacities. With this intention, the investigative proposal was directed to research the following questions: How does the teaching of visual arts can be organized so that student learning results in the formation of concepts? Working on the concept of aesthetic theory and cultural history? What are the advantages and difficulties in implementing this type of teaching organization? The research objectives were: to investigate and analyze the application of the methodology proposed by Davydov for learning the aesthetics concept; organize the teaching of visual arts to a class of 3rd year of high school in order teach the aesthetics concept, identifying the advantages and difficulties of implementing Davydov s proposal considering the context of a public High School. The survey consisted on the implementation and monitoring of an didactic training experiment. Data were collected through an observation of teachers and students activities during the execution of the teaching experiment, with reference on the teaching plan developed from the perspective of cultural historical theory. Besides the observation of classes, we used semi-structured interview with the teacher of the class, document analysis and focus groups with students. The research subjects were the art teacher and students from the 3rd class in high school. In the development of the experiment were systematically evaluated the effects of teaching procedures carried out in the promotion and expansion of the students mental processes, especially the ownership / internalization of concepts, the mental domain actions that correspond to it, the development of logical thought procedures and the ability to apply more general concepts to particular situations. The results point to the real possibility of using the methodology of teaching art that, based on content, values the students intellectual capacities formation. The main contribution of this research was to show what is possible in developmental teaching, that students learn more effectively in the arts content, particularly as regards the formation concepts, but the teacher must attend to the contradictions that surround her achievement. It is believed that their results are also useful to all who care about the issue of teaching art.
O presente estudo teve como foco investigativo a aprendizagem do conceito de estética na perspectiva da teoria histórico-cultural, especialmente com base nas contribuições da teoria do ensino desenvolvimental de V. Davydov. A pesquisa privilegiou uma forma da organização do ensino de um conteúdo de arte que, para além dos procedimentos didáticos convencionais, viesse contribuir para a formação do pensamento teórico do conceito de estética pelos alunos. A proposta de investigação foi direcionada para as seguintes indagações: De que modo o ensino de artes visuais pode ser organizado para que a aprendizagem dos alunos resulte em formação de conceitos? Como trabalhar o conceito de estética na Teoria histórico-cultural? Quais as vantagens e dificuldades na concretização desse tipo de organização do ensino? Os objetivos da pesquisa foram: investigar e analisar a aplicação da metodologia proposta por Davydov para a aprendizagem do conceito de estética; organizar o ensino de artes visuais para uma turma do 3º ano do Ensino Médio tendo em vista a aprendizagem do conceito de estética; identificar as vantagens e dificuldades da proposta de Davydov considerando o contexto de uma escola pública de Médio. A pesquisa consistiu na realização e acompanhamento de um experimento didático-formativo. Os dados foram coletados por meio de observação da atividade do professor e dos alunos no decorrer da realização do experimento didático. Além da observação das aulas, foi utilizada a entrevista semi-estruturada com o professor da classe, a análise de documentos e o grupo focal com os alunos. Os sujeitos da pesquisa foram o professor de arte e os alunos de uma turma de 3º ano do ensino médio. A análise focou efeitos dos procedimentos de ensino na promoção e ampliação dos processos mentais dos alunos, especialmente, quanto à apropriação/interiorização do conceito de estética. Os resultados mostram a possibilidade do ensino do conteúdo de estética como conceito a ser formado pelos alunos. A principal contribuição da pesquisa foi revelar as contradições que se apresentam no ensino desenvolvimental no contexto concreto da escola. Acredita-se que seus resultados são úteis também a todos que se preocupam com o tema da didática de artes.
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Tsartsara, Eirini. „The impact of miscarriage on women's psychological responses during a subsequent pregnancy and on concepts of femininity : a cross cultural study“. Thesis, Keele University, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.411886.
Bücher zum Thema "Cross-cultural aesthetics and concepts":
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Thomas, David C. Cross-cultural management: Essential concepts. 2. Aufl. Thousand Oaks: Sage Publications, 2008.
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Fleming, Bruce E. Caging the lion: Cross-cultural fictions. New York: P. Lang, 1993.
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Association, Information Resources Management. Cross-cultural interaction: Concepts, methodologies, tools, and applications. Hershey, PA: Information Science Reference, 2014.
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Dux, Günter, Mark Elvin und Hans Ulrich Vogel. Concepts of nature: A Chinese-European cross-cultural perspective. Leiden, The Netherlands: Brill, 2010.
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Ekstrand, Gudrun. Developing the emic and etic concepts for cross-cultural comparisons. Malmö, Sweden: Dept. of Educational and Psychological Research, School of Education, 1986.
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Man, Eva Kit Wah. Cross-Cultural Reflections on Chinese Aesthetics, Gender, Embodiment and Learning. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-0210-1.
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Boyle, Joyceen S. Transcultural concepts in nursing care. Glenview, Ill: Scott, Foresman, 1989.
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Damme, Wilfried Van. Beauty in context: Towards an anthropological approach to aesthetics. Leiden: E.J. Brill, 1996.
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Gilmore, David D. Manhood in the making: Cultural concepts of masculinity. New Haven, Conn: Yale University Press, 1990.
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Fleer, Marilyn. Early learning and development: Cultural-historical concepts in play. Melbourne: Cambridge University Press, 2010.
Buchteile zum Thema "Cross-cultural aesthetics and concepts":
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Coleman, Elizabeth Burns. „Cross-Cultural Aesthetics and Etiquette“. In Social Aesthetics and Moral Judgment, 180–95. 1 [edition]. | New York : Taylor & Francis, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315148496-11.
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Kapoula, Zoï, und Marine Vernet. „Dyslexia, Education and Creativity, a Cross-Cultural Study“. In Aesthetics and Neuroscience, 31–42. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-46233-2_3.
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Sperling, Alison. „Radiating Exposures“. In Cultural Inquiry, 41–62. Berlin: ICI Berlin Press, 2020. http://dx.doi.org/10.37050/ci-17_03.
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The brief explorations of radiation exposures presented within this essay draw primarily from nuclear art and culture and contribute to the field of nuclear aesthetics, which has long been fixated on the problem of visibility and the representation of nuclear residues. The examples draw primarily from photographic technologies and other aesthetic registers that capture visual residues of radiation. The challenges of nuclear aesthetics are also political and social. This constellation of objects and inquiries is meant to explore the fraught political, environmental, and social relations between radiation, visibility, toxicity, through the concept of exposure. They offer feminist glimpses into other ways of thinking exposure, as it develops in relation to (often imperceptible) toxicity that is not inscribed into a logic that partitions the passive victim of suffering from some pure or unaffected subject. They are examples that are both forms of exposure specific to the nuclear while also, perhaps, helping to expose more nuanced and complex ways of understanding forms of exposure that extend beyond nuclearity.
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Yang, Ning-Hsien. „Transforming Concepts of a Taiwanese Twin Cup into Social Design Activities“. In Cross-Cultural Design, 104–20. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-57931-3_9.
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Dubnov, Shlomo, Kevin Burns und Yasushi Kiyoki. „Cross-Cultural Aesthetics: Analyses and Experiments in Verbal and Visual Arts“. In Cross-Cultural Multimedia Computing, 21–41. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-42873-4_2.
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Mann, Darrell. „Beyond Systematic Innovation — Integration of Emergence and Recursion Concepts into TRIZ and Other Tools“. In Cross-Cultural Innovation, 45–61. Wiesbaden: Deutscher Universitätsverlag, 2005. http://dx.doi.org/10.1007/978-3-663-05626-3_4.
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Chen, Li-Yu, und Ya-Juan Gao. „From “Illustration” to “Interpretation”—Using Concrete Elements to Represent Abstract Concepts in Spatial Design“. In Cross-Cultural Design, 153–62. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-40093-8_16.
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El-Desouky, Ayman A. „Amāra: Concept, Cultural Practice and Aesthetic“. In The Intellectual and the People in Egyptian Literature and Culture, 18–45. London: Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137392442_2.
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Li, Zehou. „Aesthetics and Teleology“. In Sophia Studies in Cross-cultural Philosophy of Traditions and Cultures, 291–336. Singapore: Springer Singapore, 2018. http://dx.doi.org/10.1007/978-981-13-0239-8_10.
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Murphy, Jane M. „VIII. Social Science Concepts and Cross-cultural Methods for Psychiatric Research“. In Approaches to Cross-Cultural Psychiatry, herausgegeben von Jane M. Murphy und Alexander H. Leighton, 251–84. Ithaca, NY: Cornell University Press, 2019. http://dx.doi.org/10.7591/9781501742750-014.
Konferenzberichte zum Thema "Cross-cultural aesthetics and concepts":
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Ardhianto, Peter, Wei-Her Hsieh, Soteria Adia Mahanaim und Chi-Hsiung Chen. „Cross-Cultural Concepts in Cultural Product Design“. In 3rd International Conference on Arts and Design Education (ICADE 2020). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210203.031.
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Prameswari, Intan, und Haruo Hibino. „Indonesian Cultural Design Concept: Analysis on Association of Indonesians’ Design Perception and Culture“. In International Conference on Aesthetics and the Sciences of Art. Bandung, Indonesia: Bandung Institute of Technology, 2020. http://dx.doi.org/10.51555/338630.
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Zorn, Magdalena. „Musik mit dem Radio hören: Über den Begriff der musikalischen Aufführung“. In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.77.
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This article focuses on the phenomenon of listening to music via radio transmission. In an examination of linguistic findings and media archaeological observations, the specific performance characteristics of mediatized music are worked out using the example of a radio broadcast of a Beethoven symphony. The music-aesthetic and sociological essay “The Radio Symphony: An Experiment in Theory” (1941), written by Theodor W. Adorno during his stay in New York, is subjected to a re-reading. Although Adorno showed the full scope of his cultural conservatism in this essay, his thoughts nevertheless exemplify a function of technically mediated music reception that seems to be constitutive for the concept of musical performance as a whole.
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Haiawi, Maryam. „Das Oratorium im Spannungsfeld der Konfessionen: Zum interkonfessionellen Austausch von Oratorien im 18. Jahrhundert“. In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.55.
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The present study deals with interconfessional exchange of oratorios in German-speaking countries during the 18th century. In doing so, it pursues the goal of focusing on the question of the denominational or non-denominational nature of the sacred music genre, a question that has so far been insufficiently discussed in musicological and literary research. It analyses selected oratorios between 1715 and 1781 which were written at important contemporary musical locations and were received interdenominationally (Hamburg, Leipzig, Brunswick, Catholic imperial court of Vienna, Catholic Saxon court at Dresden). The study comes to the conclusion that the oratorio of the 18th century was not defined solely by its denominational orientation, but influenced by a number of other factors reflecting the intellectual-historical upheavals of the Age of Enlightenment: contemporary musical aesthetics, socio-cultural developments (middle-class concert business), and fundamental religious-historical dynamics that led to a distancing from dogma and to a change in piety practice.
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Zlotnikova, Tatyana. „Power in Russia: Modus Vivendi and Artis Imago“. In Russian Man and Power in the Context of Dramatic Changes in Today’s World, the 21st Russian scientific-practical conference (with international participation) (Yekaterinburg, April 12–13, 2019). Liberal Arts University – University for Humanities, Yekaterinburg, 2019. http://dx.doi.org/10.35853/ufh-rmp-2019-pc02.
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Contemporary Russian socio-cultural, cultural and philosophical, socio psychological, artistic and aesthetic practices actualize the Russian tradition of rejection, criticism, undisguised hatred and fear of power. Today, however, power has ceased to be a subject of one-dimensional denial or condemnation, becoming the subject of an interdisciplinary scientific discourse that integrates cultural studies, philosophy, social psychology, semiotics, art criticism and history (history of culture). The article provides theoretical substantiation and empirical support for the two facets of notions of power. The first facet is the unique, not only political, but also mental determinant of the problem of power in Russia, a kind of reflection of modus vivendi. The second facet is the artistic and image-based determinant of problem of power in Russia designated as artis imago. Theoretical grounds for solving these problems are found in F. Nietzsche’s perceptions of the binary “potentate-mass” opposition, G. Le Bon’s of the “leader”, K.-G. Jung’s of mechanisms of human motivation for power. The paper dwells on the “semiosis of power” in the focus of thoughts by A. F. Losev, P. A. Sorokin, R. Barthes. Based on S. Freud’s views of the unconscious and G. V. Plekhanov’s and J. Maritain’s views of the totalitarian power, we substantiate the concept of “the imperial unconscious”. The paper focuses on the importance of the freedom motif in art (D. Diderot and V. G. Belinsky as theorists, S. Y. Yursky as an art practitioner). Power as a subject of influence and object of analysis by Russian creators is studied on the material of perceptions and creative experience of A. S. Pushkin (in the context of works devoted to Russian “impostors” by numerous authors). Special attention is paid to the early twenty-first century television series on Soviet rulers (Stalin, Khrushchev, Brezhnev, Furtseva). The conclusion is made on the relevance of Pushkin’s remark about “living power” “hated by the rabble” for contemporary Russia.
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Vidulin, Sabina. „MUSIC TEACHING AND LISTENING TO ART MUSIC IN THE FUNCTION OF STUDENTS’ HOLISTIC DEVELOPMENT“. In SCIENCE AND TEACHING IN EDUCATIONAL CONTEXT. FACULTY OF EDUCATION IN UŽICE, UNIVERSITY OF KRAGUJEVAC, 2020. http://dx.doi.org/10.46793/stec20.391v.
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Music is a part of a child’s everyday life. In family and in preschool institutions, its function is different from the one in school. Music teaching influences the overall students’ development, which can be seen from a pedagogical and artistic perspective. It is aimed at acquiring knowledge and developing students’ skills in the field of art; it encourages aesthetic education, but also the preservation of historical and cultural heritage. The domain in which this is mostly realized is listening to music and music understanding. With the intention of bringing art music closer to children and young people, its more intense experiencing and understanding, the paper points to the necessity for an interdisciplinary and correlative relationship of music with other subjects, but also musical activities with each other. Since the author intends to indicate the importance of creating new didactical strategies for music teaching lessons, the Stage-English-Music concepts, the Listening to Music-Music Making model and the Cognitive-emotional approach to listening to music are briefly described. These strategies for the improvement of music listening are based on an interdisciplinary and intradisciplinary approach, depending on whether they include extracurricular activities in the work (e.g. English and drama education), or the work is carried out within musical activities such as singing, playing, or dancing with musicologically, but also humanistically oriented outcomes. Practice and research indicate that in addition to acquiring musical knowledge and developing musical skills, multimodal approaches affect students’ holistic development.
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Igleski, Joseph R., Douglas L. Van Bossuyt und Tahira Reid. „The Application of Retrospective Customer Needs Cultural Risk Indicator Method to Soap Dispenser Design for Children in Ethiopia“. In ASME 2016 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. American Society of Mechanical Engineers, 2016. http://dx.doi.org/10.1115/detc2016-60530.
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We present here the design and analysis of a cost-effective soap dispenser that prevents bar soap theft in schools in developing countries. The intended region of deployment is within Ethiopia and surrounding areas. Lack of public hygiene is attributed to 1.4 million global deaths annually due to preventable diarrheal diseases. Using soap while washing hands is estimated to decreases death due to diarrheal diseases by half. Theft of soap from public wash stations, such as those found in schools, is believed to contribute to the spread of diarrheal diseases. Currently there exists no adequate cost-effective solutions to protect bar soap from theft although there appears to be a demand and there is a need for such a device. An undergraduate student mechanical design team in a sophomore design course at Purdue University was tasked with developing a soap dispenser that prevents theft of bar soap. The project prompt was provided by Purdue Global Engineering Programs’ Innovation to International Development (I2D) Lab. Students were instructed to complete the first step (Product Concept) of the Lean Design for the Developing World (LDW) method to develop a Minimum Viable Product (MVP). The team then completed a retrospective analysis of the MVP using the Customer Needs Cultural Risk Indicator (CNCRI) method to determine potential shortcomings that may be identified in the second step (Validated Learning) of the LDW method. Several customer needs and their component and design solutions that need close monitoring during the second step of the LDW method were identified. The highest risk customer needs included: culturally appropriate design, aesthetic appeal, security, and durability. Based on the experiences of the design team, several important lessons were learned that can both be applied to improving the secure bar soap dispenser product and to the broader field of product design for the developing world. These lessons include: Customers in the developing world may be more concerned with cost than durability, cultural appeal of a device is highly dependent on first -hand experience and can easily be misunderstood or misrepresented, the LDW method is an invaluable tool in identifying customer needs that may be overlooked due to cultural and socio-economic differences. The use of the LDW framework and the CNCRI method in an undergraduate design group was found to be useful, viable, and valuable to both the undergraduate student learning outcomes and the development of a product that can be deployed to its intended market. Further development of an end-to-end tool chain is needed to better integrate product development for the developing world into mainstream engineering curriculum.
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Erdogan, Julien-Erdem, Ivica Zivanovic und Matthieu Guesdon. „Deviation saddles for cables bridges: development and qualification ofstay cable technology“. In IABSE Congress, New York, New York 2019: The Evolving Metropolis. Zurich, Switzerland: International Association for Bridge and Structural Engineering (IABSE), 2019. http://dx.doi.org/10.2749/newyork.2019.0976.
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<p>Deviation saddles for cables are regularly used in projects such as cable stayed bridges, suspended bridges or extradossed bridges. The choice of a deviation saddle may be imposed to improve the bridge aesthetics with a slender pylon and to simplify the construction with a solid pylon section. Saddles are a proper anchorage and must be designed such as to ensure a safe transfer of vertical forces and of differential forces of stay cables into the pylon structure.</p><p>For parallel strand cables, since grouted stay cable tends to disappear from commonly accepted design and technologies, due to corrosion protection and fatigue issues, the most widely used concept of saddle is made of a battery of individual tubes, placed inside a guide pipe poured of concrete.</p><p>The most recent saddle system developed consists in allowing the passage of the strands through the saddle without individual tubes. Strands go directly through concrete recesses within the Ultra High Performance Fiber Concrete (UHPFC) matrix. Recesses are made thanks to reusable rubber bars removed after poured concrete is hardened. Thanks to an optimized cross section of the recesses, individual holes maximize the friction between the concrete and specially sheathed strands with local application of a cohesive sheathing (Cohestrand®), which allow strands to transfer important asymmetrical loads to the saddle without sliding. Meanwhile, a continuous corrosion protection is ensured by the strand sheathing from one deck anchorage to the other.</p><p>This make the use of saddle a cost-effective and durable mean to deviate and anchor parallel strand cables, that suits Owners needing simple but robust design for stay cable or extradossed bridges. Such saddle bridge design is nowadays clearly described in the 7<span>th</span> edition of the PTI recommendations, that specifies the qualification process of saddle technologies, especially in regards to the accurate definition of a minimum friction coefficient.</p>
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Song, Feng, Rongxi Peng, Zijiao Zhang und Yixi Li. „Extending the concept of the morphological frame: a case study of Tangshan old military airport“. In 24th ISUF 2017 - City and Territory in the Globalization Age. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/isuf2017.2017.5686.
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Extending the concept of the morphological frame: a case study of Tangshan old military airport Rongxi Peng, Zijiao Zhang, Yixi Li, Feng Song* College of Urban and Environmental Sciences, Peking University. 100871 Beijing E-mail: pengrongxi@pku.edu.cn, 411148973@qq.com, elaine9565@yeah.net, songfeng@urban.pku.edu.cn*(corresponding author)Telephone Number: +86 132-6990-0350, +86 139-1013-6101* Keywords: China, morphological frame, three-dimensional view, airport Conference topics and scale: Urban form and social use of space/ City transformations/ Stages in territorial configuration The concept of the morphological frame is important in urban morphology, but it has been discussed much less than other critical concepts, such as the fringe belt and the fixation line. Passing its features on as inherited outlines, the morphological frame contains not only the linear fixation line, but also ground plan and three-dimensional aspects. In this research, the linear, ground plan, and three-dimensional morphological frame of Tangshan old military airport during the expansion of the city after the removal of the airport is identified. The former boundary roads of the airport exert obvious influences on the division of plots. The former arterial roads also function as a linear morphological frame. In relation to the ground plan, property rights and plots containing important buildings have an impact on the consequent town plan. The distinct feature of the morphological frame of the airport is its three-dimensional constraint, i.e. the vertical clearance requirement, which restricted the height of surrounding buildings. The impact of this institutional limit can last a very long time owing to the high cost of demolishing the old surrounding buildings or adding extra storeys even if the limit ceased to exist with the removal of the airport. Based on this case study, this paper refines and extends the connotation of the concept of the morphological frame and further discusses the relationship between function and form. References Conzen, M. P. (2009) ‘How cities internalize their former urban fringes: a cross-cultural comparison’, Urban Morphology 13(1), 29. Conzen, M. R. G. (1969) Alnwick, Northumberland: a study in town-plan analysis (Institute of British Geographers, London). Lin, Y., De Meulder, B. and Wang, S. (2011) ‘From village to metropolis: a case of morphological transformation in Guangzhou, China’, Urban Morphology 15(1), 5-20. Whitehand, J. W. R. (2001) ‘British urban morphology: the Conzenion tradition’, Urban Morphology 5(2), 103-109. Whitehand, J. W. R., Conzen, M. P. and Gu, K. (2016) ‘Plan analysis of historical cities: a Sino-European comparison’, Urban Morphology 20(2), 139-158.