Journal articles on the topic 'Aesthetics – Moral and ethical aspects'
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1
Nakamura, Tomoe. "The Cognitive and Ethical Scope of “Confusion” in Baumgarten’s Aesthetics." Philosophica: International Journal for the History of Philosophy 22, no. 44 (2014): 27–46. http://dx.doi.org/10.5840/philosophica2014224416.
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This article explores the genealogical and metaphysical grounds for the positive re-evaluation of the concept of “confusion”, which played a vital role in Baumgarten’s foundation of aesthetics as scientia cognitionis sensitivae. First, a reconsideration of Descartes’ and Leibniz’ conceptualisations of “confusion” attempts to identify the place of Baumgarten’s aesthetics within the rationalistic dilemma of evaluating moral and art-related thinking. Secondly, the way in which Baumgarten attempted to resolve the dilemma is explored by a close examination of his concept of “the aesthetic” and of how the concept changed in the course of his writings. The ultimate purpose of this article lies in illuminating an aspect of Baumgarten’s aesthetics, that is, an attempt to synthesize the cognitive and the ethical by means of a re-configuration o f the concept of “confusion”.
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Dyer, Jeffrey. "Popular Songs, Melodies from the Dead: Moving beyond Historicism with the Buddhist Ethics and Aesthetics of Pin Peat and Cambodian Hip Hop." Religions 11, no. 11 (November 22, 2020): 625. http://dx.doi.org/10.3390/rel11110625.
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This article illustrates how the aesthetics of two types of Cambodian music—pin peat and Cambodian hip hop—enact Cambodian–Buddhist ethics and function as ritual practices through musicians’ recollections of deceased teachers’ musical legacies. Noting how prevalent historicist and secular epistemologies isolate Cambodian and, more broadly, Southeast Asian musical aesthetics from their ethical and ritual functions, I propose that analyses focusing on Buddhist ethics more closely translate the moral, religious, and ontological aspects inherent in playing and listening to Cambodian music. I detail how Cambodian musicians’ widespread practices of quoting deceased teachers’ variations, repurposing old musical styles, and reiterating the melodies and rhythms played by artistic ancestors have the potential to function as Buddhist rituals, whether those aesthetic and stylistic features surface in pin peat songs or in hip hop. Those aesthetic practices entail a modality of being historical that partially connects with but exceeds historicism’s approach to Buddhism, temporality, and history by enacting relations of mutual care that bring the living and dead to be ontologically coeval. Such relational practices bring me to conclude with a brief discussion rethinking what post-genocide remembrance sounds like and feels like.
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Amiridis, Kostas. "The Shadow of Sophocles: Tragedy and the Ethics of Leadership." Business Ethics Quarterly 28, no. 1 (November 21, 2017): 15–29. http://dx.doi.org/10.1017/beq.2017.39.
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ABSTRACT:This article explores how the idea of tragedy can highlight some of the complex and paradoxical aspects of the relationship between ethics and leadership. First, it offers a comparative analysis of the way in which questions of leadership are addressed as a practical and theoretical concern when leaders are confronted with situations of moral crisis. The context is provided by a critical reading of the MBA oath, a student-led pledge that tries to establish a higher moral standard for leaders, and by Norman Bowie’s attempt to develop a Kantian theory of leadership. Second, it introduces a novel philosophical approach based upon Hegel’s interpretation of tragedy and ethical life developed in his theory of aesthetics. Through the idea of tragedy, the concept of ethical leadership could also encompass those ambiguous situations when good conflicts with good and when a possible reconciliation of a moral conflict might require the sacrifice of otherwise legitimate ends.
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Rohana, Rohana. "ANALISIS NILAI PENDIDIKAN DALAM NOVEL CAHAYA DI ATAS CAHAYA KARYA OKI SETIANA DEWI." Ksatra: Jurnal Kajian Bahasa dan Sastra 2, no. 1 (September 4, 2020): 45–52. http://dx.doi.org/10.52217/ksatra.v2i1.501.
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The problems raised in this study are related to the analysis of educational values in the novel Cahaya di Atas Cahaya by Oki Setiana Dewi. The educational aspects studied include aesthetic (beauty), moral, religious and social aspects. The purpose of this research is to describe the value of education in the novel Cahaya di Atas Cahaya by Oki Setiana Dewi and to find out the dominant value and its relevance in the reader's life. This research uses descriptive qualitative method. The results of data analysis that have been carried out on the novel Cahaya di Atas Cahaya by Oki Setiana Dewi which is studied from its educational values, both aesthetics (beauty), moral, religious and social, strongly indicate the existence of educational values that are beneficial to readers and connoisseurs of literature in particular. novelist. The value of education in the aesthetic education aspect tells about the beauties of real work as reality based on God's truth. The value of education, especially moral education, such as being devoted to parents, positive thinking in all things faced, not being arrogant and selfish, and always being able to care for others and not being arrogant towards something you have and being able to control yourself in any situation. Educational values in the aspect of social education include always thinking positively towards others, needing each other, knowing hostility, having courtesy, always forgiving others mistakes, and being able to understand differences in beliefs. The value of religious education is such as the attitude of always being patient in dealing with endless problems, having good morals and ethics.
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Ibragimova, Fatima Magomedovna. "LULLABIES OF RUTULS AND TSAKHURS: PLOTS, IMAGES, MEANS OF ARTISTIC EXPRESSION." Herald of the G. Tsadasa Institute of Language, Literature and Art, no. 23 (September 14, 2020): 67–74. http://dx.doi.org/10.31029/vestiyali23/10.
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The article analyzes the themes, poetic means, plots and images of lullabies of Rutuls and Tsakhurs, emphasizes that they have found a vivid artistic embodiment of the moral, ethical and moral aspects of the life of these peoples. Songs are rich in artistic and visual means, sound and rhythmic refinement and are an important means of aesthetic, ethical and labor education of the younger generation.
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Clammer, John. "Can Art Embody Truth? Ethics, Aesthetics and Gandhi." Social Change 51, no. 1 (March 2021): 92–103. http://dx.doi.org/10.1177/0049085721996859.
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The philosophical question of whether moral standards apply in art and the practical one of whether the arts can be vehicles of positive social transformation run through a great deal of social theory. In this article, these issues are discussed through an examination of Mahatma Gandhi’s approach to art and in particular his views on music and visual arts as they formed part of his personal world view and his socio-political programme. The article contextualises this in relation to Gandhi’s over-arching concern with the pursuit of truth and its theistic basis, his relationship to certain aspects of classical Indian philosophy and in particular the status of rasa among the four traditional purusharthas, and his relationship with Rabindranath Tagore and the artists at Kala Bhavan in Santiniketan, in particular Nandalal Bose. The article suggests that Gandhi was far from uninterested in aesthetic matters, but that the key to his thought lies in his holistic approach to both philosophy and lifestyle where the arts play an important role when integrated with ethical and religious demands.
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Iqbal, Shazia, Khalid Akkour, Bushra Bano, Ghaiath Hussain, Manal Khalid Kamal Ali Elhelow, Atheer Mansour Al-Mutairi, and Balqees Sami Khaza'l Aljasim. "Awareness about Vulvovaginal Aesthetics Procedures among Medical Students and Health Professionals in Saudi Arabia." Revista Brasileira de Ginecologia e Obstetrícia / RBGO Gynecology and Obstetrics 43, no. 03 (March 2021): 178–84. http://dx.doi.org/10.1055/s-0041-1725050.
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Abstract Objective The present study aimed to explore the opinion and ethical consideration of vulvovaginal aesthetics procedures (VVAPs) among health professionals and medical students in Saudi Arabia. Methods This is a cross-sectional study performed between January 2020 and April 2020. Data was collected through electronic media, WhatsApp, and emails. The results were analyzed by applying the Students t-test, and correlations were considered significant if they presented a p-value < 0.05. Results There is significant demand to educate doctors, health professionals, medical students, and gynecologists for the VVAPs to have a solid foundation, justified indications, and knowledge about various aesthetic options. Although female doctors, medical students, young doctors, and gynecologists have more knowledge about VVAPs, all health professionals ought to be aware of recent trends in vulvovaginal aesthetics (VVA). The present analysis determined that VVA should be under the domain of gynecologists, rather than under that of plastic surgeons, general surgeons, and cosmetologists. The majority of the participants considered that vaginal rejuvenation, “G-spot” augmentation, clitoral surgery, and hymenoplasty are not justifiable on medical grounds. Conclusion The decision to opt for different techniques for vaginal tightening and revitalization should be taken very carefully, utilizing the shared decision-making approach. Ethical aspects and moral considerations are important key factors before embarking in the VVAPs purely for cosmetic reasons. Further research is required to determine the sexual, psychological, and body image outcomes for women who underwent elective VVAPs. Moreover, medical educators must consider VVAPs as part of the undergraduate and postgraduate medical curriculum.
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Hrytsiv, Vitaliia. "Ensuring the professional and ethical orientation of the personality of a future specialist in banking." Scientific visnyk V.O. Sukhomlynskyi Mykolaiv National University. Pedagogical Sciences 65, no. 2 (2019): 74–78. http://dx.doi.org/10.33310/2518-7813-2019-65-2-74-78.
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The article highlights theoretical aspects of the professional and ethical orientation of the personality of a future specialist in banking. The author consistently examines the key concepts of the problem under study and defines the relationship between them. On the basis of this, specification of the professional and ethical orientation of the personality of a future specialist in the industry has been disclosed. It is shown that the professional and ethical orientation of the personality of a specialist in banking is strengthening of his/her positive attitude towards the future profession, interests, inclinations and abilities to it, the desire to improve his/her qualifications, the development of ideals, views, beliefs about the importance of following the ethical norms in professional activity. The author considers the need to increase the interest of students in studying the problems of professional ethics by means of potential of the educational process. The content of educational materials, a review of literature on the topic, the emphasis on the practical significance of the material and its importance for the profession are determined as important aspects for achieving set goals. It is pointed out that the basis of professional and ethical knowledge is the knowledge acquired in the study of such disciplines as «Ethics and Aesthetics», «Ethics of business communication», «Psychology of business success». The necessity to combine the material of the Humanities with the current problems of banking and the life aspirations of students and to help them to determine their value orientations, to enrich their moral personality potential has been noted in the article. According to the author the professional interest acquired by the students should have special personal content, related to their daily life and future life prospects. In order to do this, it is important to emphasize the importance of professional and ethical knowledge in the activities of the banking industry, to reveal its entirety with the ethical content of the chosen profession at the announcement of the topic at each class.
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Ivanov, Dmitry I., and Vladimir V. Varava. "Ethics and aesthetics of Russian rock (as exemplified by K. Kinchev`s creative work)." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 61 (2021): 345–56. http://dx.doi.org/10.37816/2073-9567-2021-61-345-356.
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The paper deals with the analysis of ethical and aesthetic aspects of Russian rock by the example of the work of one of its prominent representatives Konstantin Kinchev. The authors suggest that Russian rock poetry is an organic and distinctive element of the large text of Russian culture, reflecting its deep typological characteristics. This is primarily a synthesis of literature and philosophy with a prevalence of moral issues. The mutual transition between the ethical and the existential, which is characteristic of Russian philosophical culture finds its highest embodiment in the work of K. Kinchev. From this point of view, the paper addresses some important aspects of the rock poet’s creative career, which are characterized by very strong spiritual conflicts, manifested in such topics as a painful search for truth, rushing from darkness to light, immersion in infernal areas, etc. The paper shows that these states are necessary for generating of a full-fledged art world, which is unthinkable without such contradictions. Thus, the authors debunk traditionally reduced and openly negative image of the representative of rock culture as a carrier of aggressive and destructive principles. The feeling that a poetic gift of the creator makes him a part of the divine being, and, accordingly, morally responsible for each word spoken comes to be important for all the work of K. Kinchev. As the paper identifies this is an essentially religious concept of artistic creation, rooted in the ideas of N. V. Gogol.
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Tronconi, Giulia. "Ethical Criticism and There Will Be Blood: Autonomism, Moralism, and Immoralist Perspectives." Film Matters 13, no. 1 (March 1, 2022): 118–33. http://dx.doi.org/10.1386/fm_00209_1.
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The article explores the role played by moral categories in the assessment of an artwork’s overall aesthetic value. By means of close analysis of Paul Thomas Anderson’s 2007 There Will Be Blood, the work maintains an immoralist approach, where an artwork’s unethical attitude may yield cognitive gain to its receiver—or perhaps unsettle their moral compass in an unusual, pleasant way. There Will Be Blood is considered a cinematic masterwork; yet, the viewing experience is complicated by the film’s greedy and self-obsessed protagonist, Daniel Plainview (Daniel Day-Lewis). The article scrutinizes the film’s most notable sequence—the explosion of the oil derrick—to formulate an aesthetic evaluation that manages to assess, simultaneously, formal and moral aspects.
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Stadler, Jane. "“Mind the Gap”." Projections 12, no. 2 (December 1, 2018): 86–94. http://dx.doi.org/10.3167/proj.2018.120211.
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Murray Smith’s Film, Art, and the Third Culture makes a significant contribution to cognitive film theory and philosophical aesthetics, expanding the conceptual tools of film analysis to include perspectives from neuroscience and evolutionary psychology. Smith probes assumptions about how cinema affects spectators by examining aspects of experience and neurophysiological responses that are unavailable to conscious, systematic reflection. This article interrogates Smith’s account of emotion, empathy, and imagination in cinematic representation and film spectatorship, placing his work in dialogue with other recent interventions in the fields of cinema studies and embodied cognition. Smith’s contribution to understanding the role of emotion in screen studies is vital, and when read in conjunction with recent publications by Carl Plantinga and Mark Johnson on ethical engagement and the moral imagination, this new work constitutes a notable advance in film theory.
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Sharma, Yam Prasad. "Magical and Mystical Aspects in Nepali Manuscript Illuminations." Curriculum Development Journal 29, no. 43 (December 1, 2021): 163–72. http://dx.doi.org/10.3126/cdj.v29i43.41087.
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Nepali Manuscript illuminations are traditional miniature paintings found in religious manuscripts, including Prajnaparamita, Pancaraksa, Shivadharma, Visnudharma, and Devimahatmya. The religious manuscripts narrate mythical events in verbal texts and illustrate mythical characters and their actions simultaneously. The forms, figures and activities of the characters are symbolic, magical and mystical. The paintings present divine and supernatural characters in their spectacular feats of real life. The artworks represent the characters and events of Hindu and Buddhist myths. Despite the presence of magical and mystical elements, the visual narratives teach moral lessons to the real people of the real world. The symbols signify something else beyond the represented visuals. The miniature paintings motivate the readers and viewers for reading and learning by telling interesting stories. Presentation of strange and unusual characters and events renews viewers' perception providing delight while suggesting ethical values of the society. The presentation through magical and mystical characters and actions conveys moral lessons aesthetic manner. This article traces the magical and mystical features of Nepali manuscript illuminations and attempts to throw light on their significances.
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Humenna, I. R., and Ya M. Nakhaieva. "THE MORAL PRINCIPLES FORMATION OF FUTURE DOCTORS DURING THE EDUCATIONAL PROCESS." Медична освіта, no. 2 (June 2, 2020): 56–60. http://dx.doi.org/10.11603/me.2414-5998.2020.2.11147.
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The article reveals the issue of moral principles formation during professional education, the concept of moral characters of a specialist in the field of medicine as a system of moral qualities and actions.
The aim of humanitarian education is to form the future doctors’ needs for continuous education, development of general culture, formation of professional and communicative competence, legal consciousness, tolerance, humanity. In addition to the aesthetic, such training also has a moral impact on the younger generation of doctors, helping to understand the internal state of the patient. The importance of moral principles in the medical profession are found out. It is revealed that the principle of collegiality in medicine contributes to the development of professional and ethical culture of medical workers. Theoretical aspects of this problem are considered.
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Rocks, Carolin. "Praktiken zur Autonomie." Zeitschrift für Ästhetik und Allgemeine Kunstwissenschaft Band 63. Heft 2 63, no. 2 (2019): 187–204. http://dx.doi.org/10.28937/1000108210.
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"Praktiken zur Autonomie Zu Moritz’ Über die bildende Nachahmung des Schönen Karl Philipp Moritz’ Über die bildende Nachahmung des Schönen (1788) gilt als der autonomieästhetischeProgrammtext in der zweiten Hälfte des 18. Jahrhunderts. DerAufsatz stellt diese ästhetikgeschichtliche Klassifikation nicht in Frage, zeigt aber,dass die im Kern unbestreitbar kunstmetaphysische Argumentation über ethischePraktiken begründet wird. Diese Praktiken nehmen in der Arbeit an der Autonomieeinen so entscheidenden Stellenwert ein, dass sich eine heteronomieästhetischeGrundierung der Moritz’schen Kunsttheorie aufweisen lässt. Diese tritt hervor,wenn man den Fokus darauf richtet, wie Ethik und Ästhetik zueinander insVerhältnis gesetzt werden: Moritz verpflichtet die autonome Kunst nicht einfachauf moralische Normen oder soziale Funktionen, modelliert aber den genialenKünstler als Praktiker, als ›Hand-Werker‹, dessen künstlerische Produktivität immerschon einem ›guten Leben‹ zuarbeitet. Der Aufsatz demonstriert, wie Moritz ineinem eigenwilligen Begriffsspiel mit dem Schönen und dem Guten ›Nachahmung‹neu entwirft als auf Moralität zusteuernde ästhetische Praxis. Diese praxeologischeGrundlage der Argumentation wirft zusätzlich ein neues Licht auf Moritz’ Rezeptionneuplatonistischer Philosopheme. Karl Philipp Moritz’s »Über die bildende Nachahmung des Schönen« (1788) is regarded asone of the key texts of autonomous aesthetics from the late 18th century. This article doesnot challenge this classification. Instead, it argues that Moritz’s metaphysics of art is foundedupon ethical practices. These practices are so essential to his conception, that one can show thatit is also based on heteronomous aesthetics. This aspect of his argument emerges from how herelates ethics to aesthetics. Moritz does not simply reduce autonomous art to moral norms orsocial functions. Instead he portrays the ingenious artist as an artisan (›Hand-Werker‹) whoseaesthetic productivity serves a ›good life‹. This article therefore demonstrates how Moritz playswith the concepts of the beauty and the good in order to remodel mimesis as an aesthetic practicethat significantly contributes to morality. Finally, by emphasising this praxeological foundationof Moritz’s argument, one can also reconsider his reception of Neo-Platonism "
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Scott, Sarah. "From Genius to Taste." Journal of Jewish Thought & Philosophy 25, no. 1 (May 23, 2017): 110–30. http://dx.doi.org/10.1163/1477285x-12341281.
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I reconstruct the aestheticism of Martin Buber in order to provide a new way of framing his moral philosophy and development as a thinker. The evolution of Buber’s thought does not entail a shift from aesthetics to ethics, but a shift from one aspect of aesthetics to another, namely, from taking genius to be key to social renewal, to taking taste to be key. I draw on Kantian aesthetics to show the connection between Buber’s aesthetic concerns and his moral concerns, and to defend the notion that a certain aesthetic orientation may be just what is needed for moral response.
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Sharonova, Elena Alexandrovna. "Folk Ballad: National Aspects of the Genre (Based on the Material of Russian Erzya, Moksha folklore)." Филология: научные исследования, no. 11 (November 2022): 1–13. http://dx.doi.org/10.7256/2454-0749.2022.11.39204.
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The subject of the study is the genre originality of Erzya, Moksha and Russian folk ballads, the object of the study is typical and rare ballad plots and characters, which allows us to consider the phenomenon in all the variety of genre aspects. The article, based on scientific literature and folklore material, characterizes the poetic techniques and visual and expressive means used in Erzya, Moksha, and Russian ballads. A special contribution of the authors to the study of the topic was the comprehension of the ballad through the prism of the memory of the myth, which is persistently present in it. Erzya, Moksha and Russian ballads are united in genre with their thematic diversity. Their characters and events represent different aspects of life, illustrate various aesthetic and moral codes, obeying a common poetic system. The scientific novelty lies in the consideration of the elements of the myth in the ballad, the content of which is transformed in it, it does not explain the myth and cannot do this, because it has lost its understanding. But she operates with the data of the myth, retains the attributes of the myth in her poetics, which allows her to have a complex genre constitution that leads away from a simplified understanding of the plots and images of the actors. Erzya, Moksha and Russian ballads are the product of national mentality, artistic and aesthetic, social, moral views. In them, the life of the people is concretized by the destinies of individuals, the emphasis is on spiritual life, on ethical, social, moral ideas – both traditional and those that have arisen at a new stage of historical development. Their attention is drawn to the tragic aspects of human existence caused by his negative reaction to the world.
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Novitska, Oksana. "Genre and stylistic modifications of realistic essay of Anton Krushelnytsky." Vìsnik Marìupolʹsʹkogo deržavnogo unìversitetu. Serìâ: Fìlologìâ 12, no. 21 (2019): 57–62. http://dx.doi.org/10.34079/2226-3055-2019-12-21-57-62.
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The article deals with genre-style modifications of the realistic essay of the 19th-20th centuries. In the article the author studies Anton Krushelnytsky’s artistic legacy (1878–1937) in the context of the dominant trends of Ukrainian literature at the end of XIX – the beginning of XX century and through the receptive dimensions of modern theory of literature. The paper defines the ideological and axiological background of the writer’s artistic understanding the reality and aesthetic nature of his creativity. The unity of the form and contest of prose texts is determined. The prose of the given period has a great variety of intra-genre modifications: essay, feuilleton, short story, story, novel. The works demonstrate exceptional multidimensionality of their inner structure, style diffusion, eclecticism of belles lettres methods and ways to achieve reality; the motives of «true morals» appear, which form counterbalance and alternative to moral chaos. Syncretic interaction of aesthetic paradigms of neorealism with impressionism, expressionism, symbolism is observed in prose. The characteristic features of the literature of the transitional stage in the moral-ethical, psychological and emotional aspects are revealed. Ukrainian literature of the late nineteenth and early twentieth centuries was accompanied by the synthesis of sociological, psychological, aesthetic systems. The genre and style features and modifications of A. Krushelnytsky’s small form of prose are considered. The narrative models of the writer’s novels are analysed. Consequently, the essay as a genre of small prose is a complex and multifaceted phenomenon that contains philosophical and aesthetic representations, artistic, socio-political, and moral-ethical quest for the breakthrough of the turn of the 19th and 20th centuries. The artistic practice of writers contributed to enriching of Ukrainian writing with new themes, images and genre forms, expanding the limits of traditional realism, so, updating the artistic and stylistic palette. The given motives of writers’ works reflected to the inside feelings and experiences of heroes are present as intertextual inclusions in prose of M. Kotsubinskiy, V. Stefanik, P. Mirniy, L. Ukrainka, O. Kobilianska and other writers at the turn of XIX-XX centuries. Being an organic component of Ukrainian literature, the narrative represents a tendency to expand the social sphere of personality images, to deepen the personal psychological characteristics of the individual. The place and role of prose creative works in Ukrainian literary process at the turn of the century are grounded.
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Läänemets, Urve, Katrin Kalamees-Ruubel, Kristi Kiilu, Kadi Kaja, and Anu Sepp. "VALUES CREATED BY MUSIC EDUCATION IN GENERAL COMPREHENSIVE SCHOOLS." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 2 (May 28, 2021): 318–29. http://dx.doi.org/10.17770/sie2021vol2.6297.
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This is the final part of research started in 2014 when development of the new National Curricula (NC) was initiated. The role of music education had to be mapped to prove its meaning as a traditional mandatory subject in the NC. According to the research program, different aspects, related to music education (content, integration of art subjects, informal and non-formal music activities, supportive learning environments, etc.), were analysed. The research of 2020 is summarising the values music education can provide for development of educated, responsible, ethical and creative people. The data collected from essays of school students and (future and in-service) music teachers (n=166), were analysed by qualitative methods. The values were classified by the following categories: social, cultural, cognitive, moral, aesthetic, personal. The research results can be used as arguments for developing music education syllabi in the NCs from kindergartens to gymnasia. The whole program of research is already being used for further development of music teacher education.
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Matich, Olga. "Poetics of Disgust: To Eat and Die in Andrei Belyi's Petersburg." Slavic Review 68, no. 2 (2009): 284–307. http://dx.doi.org/10.2307/27697959.
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The article examines the aversive emotion of disgust and its deployment in the visual arts and in the premier Russian modernist novel, Andrei Belyi's Petersburg, which has not been considered in regard to its affective poetics before. Based on recent studies of the emotions in cultural history and theory, it explores the philosophical, psychological, and aesthetic aspects of disgust as a response to something viscerally and/or morally repugnant. The emotion, induced by the experience seen or imagined close up, provokes the observer's recoil as defined by cultural norms. As such, disgust is performative in spatial terms. Olga Matich argues that movement away from the loathsome image or idea affords the possibility of making the experience cognitively readable or legible, that disgust creates a space in which the individual negotiates her emotional as well as moral response. Yet she claims that aesthetically—and in certain instances ethically—disgust, which is always about the boundaries of the permissible, is also liberating: it offers society, its artists, and their consumers the opportunity to transgress established norms. Through extensive close readings of Petersburg, Matich shows that Belyi's experimental novel does precisely that, challenging the reader not to avert her readerly gaze from that which is unsettling and to appreciate, even to delight in, his shocking metamorphic image-making. She calls Petersburg a modernist exemplar of baroque aesthetics, characterized by excessive affect and grotesque representation, especially of the corpse, invoking the transience of life and dissolution of form.
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Morozov, A. Y. "NOSTALGIA AS THE CULTURAL PHENOMENON." UKRAINIAN CULTURAL STUDIES, no. 2 (3) (2018): 13–18. http://dx.doi.org/10.17721/ucs.2018.2(3).03.
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The article is devoted to the observation of the cultural phenomenon of nostalgia, its social, psychological, ethical and general philosophical aspects. It is shown that nostalgia is based on value-laden memory that helps us differ pleasant and unpleasant, useful and useless, meaningful and meaningless. This value-laden memory has its ethical dimension that deals with moral tradition, our concepts of good and evil, justice and injustice, sense of life and sense of death. We may say that ethical memory is a part of a larger “cultural memory” that enables every kind of social and individual identity. Due to nostalgia the generation`s continuity is established. In the act of nostalgia a person recalls the past but also rebels against actual state of presence. It is affirmed that our time-arrangement of “bad presence” and “good past” is possible because of ontological time regress. Nostalgizing for the past, a man is trying not only to mythologize the latter, but to resurrect it symbolically. Nostalgia’s faith in revival contains a hope for annihilation of time and triumph of eternity. We may call it an archetypical need, a manifestation of ancient mythological and religious motive of death and resurrection. Longing for past accompanies mankind dur- ing all its history and especially rises in the postmodern culture – in forms of metaphysical, political and aesthetical nostalgias. Metaphysical nostalgia is the lust for Logos, (God, meaning, truth, the good and the beauty) in the post-nihilistic absurd world, where god is claimed to be dead, and all supreme values are seemed to be devalued. It is also longing for the sacred reality, the being, that postmodern culture is lacked. Political nostalgia is the lust for the real power, subconscious desire for its increasing, expanding, absolutization. Aesthetical nostalgia is the sadness for the art as symbolic hierarchical structure with definite cultural and historical code as today we observe fakes and simulations, chaos and “metastases of cultural codes” (J. Baudrillard).
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Kokhan, Tymofii. "Cinematographic Process as an Example of Collective Creativity: From Dialogism and Communication to Self-expression." Culturology Ideas, no. 16 (2'2019) (2019): 63–71. http://dx.doi.org/10.37627/2311-9489-16-2019-2.63-71.
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The article, based on the general outline of the problem of creativity, defines the specificity of the cinematographic process attributed as an example of a more complex type of collective creativity compared to the theater. It shows how the harmonious cooperation of the director with the screenwriter, cameraman, artist, actor made it possible to identify the potential of the script and “find” those aesthetic and artistic means that influenced the quality of the film. The article reproduces theoretical position of Ukrainian scientists, which in recent decades has significantly expanded the space for the study of collective creativity due to the emphasis on moral and psychological aspects. On the example of the Marcel Carne film crew, it illustrates how creative teams were formed in the practice of European cinema, the joint work of which was transformed into the creation of a number of bright cinema works. It emphasizes that the collective type of creativity is a structural element of the problem of “creativity”. On the one hand, it is multidimensional; on the other, it is the inter-scientific one, where philosophical, psychological, cultural, aesthetic, art history and ethical approaches naturally coexist. The process of realizing the idea of the film allows filmmakers to fruitfully use the potential of such fundamental principles of cultural analysis as “dialogism” and “communication”, stimulating “self-expression” of the personality.
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Shirshov, Alexander V. "Traditions of the Old Believers and the Fate of the Russian World in the XXI Century: Cultural and Philosophical Aspect." Humanitarian: actual problems of the humanities and education 21, no. 4 (December 30, 2021): 429–38. http://dx.doi.org/10.15507/2078-9823.056.021.202104.429-438.
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Introduction. Questions of continuity and cultural conservatism of the Russian society of the Modern era are one of the problems of the research in this article. The author suggests that the Old Russian religious and moral heritage was not completely destroyed by the Nikon church reforms in the Moscow state. The purpose of the article is to consider the diversity of forms of Russian religiosity in the context of the development of traditions of Russian society. Materials and Methods. In modern conditions, interest in religion and Old Believers continues to grow, as a rich cultural heritage of Russian society. Therefore, the appeal to the texts of the past in the philosophical method of dialogicality, hermeneutics, and a comprehensive analysis of the works of the Old Believers allows us to identify all the features of the heritage of the past of Russia. Results. The positions of the ethical and aesthetic consciousness of the schism teachers worried many Russian philosophers of the “Silver Age” era. The dramatic nature of the situation was that there was no complete reconciliation between the parties to the split in Russian spiritual thought. Discussion and Conclusion. Many of the ideas of Protopop Avvakum, one of the leaders of the Old Believers in Russia, continue to be relevant to the present day. The questions of the moral and socio-cultural identity of the Russians as the “last Orthodox kingdom” are of an eschatological nature. Many aspects of ritualism and rite-believing are preserved among the Russian people and among many Russian and foreign communities of believers. The confessional culture of the Old Russian epoch remains a mystery for many modern researchers and is of an actual nature, since many aspects of this problem remain poorly studied. The subject of the analysis of the influence of Old-Belief traditions on the fate of the spirituality of the Russian people is important.
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Rosidin, Rosidin. "Problematika Pendidikan Islam Perspektif Maqâṣid Sharîʻah." Maraji: Jurnal Ilmu Keislaman 3, no. 1 (September 1, 2016): 185–210. http://dx.doi.org/10.36835/maraji.v3i1.58.
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The article seeks to reveal problems faced by Islamic education from the perspective of Maqâṣid al-Sharîʻah, namely ideological (ḥifẓ al-dîn), practical (ḥifẓ al-nafs), academic (ḥifẓ al-‘aql), relationships or networks (ḥifẓ al-nasl), vocational (ḥifẓ al-mâl) and quality (ḥifẓ al-‘irḍ) aspects. In order to know the details of crucial problems of the Islamic education along with their alternative solutions, this paper suggests that the Islamic education should consider the insider’s and outsider’s perspective which has four types of roles as follow: a) complete observer; b) observer as participant; c) participant as observer; d) complete participant. This article proposes three important implications, are: first, the problems of the Islamic education can be categorized and mapped based on Maqâṣid al-Sharîʻah, in order to ease the analysis of such problems. Second, the analysis of the problems should be based on the insiders’ and outsiders’ point of views, so that it would be able to comprehensively detect the problems of Islamic education and show the inclusiveness of the Islamic education. Third, problem solving alternatives should be oriented at the level of theological (faith and religious [îmân]), theoretical (philosophical and empirical [‘ilm]), practical (learning and teaching [‘amal]) and moral (ethics and aesthetics [akhlâq]) realms.
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Dergach, Marharita. "DEVELOPMENT PECULIARITIES OF DOMESTIC THEORY AND PRACTICE OF USING THEATER ART IN EDUCATIONAL WORK WITH CHILDREN IN THE FIRST THIRD OF THE XX CENTURY." Scientific journal of Khortytsia National Academy, no. 2 (2020): 15–29. http://dx.doi.org/10.51706/2707-3076-2020-2-2.
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The article presents the results of the analysis of historical materials on the use of theatrical art as a means of education, training and socialization of children by teachers and theatrical practitioners of Ukraine in the early twentieth century. The in-depth analysis of archival sources, manuscripts, and old printed works allowed to distinguish teachers whose achievements allow us to understand the peculiarities of the formation of the theoretical foundations and practice of introducing theatrical art into the educational system of Ukraine. During this historical period, the following issues were raised: the age limits of children's involvement in theatrical creativity, the specifics of the audience; mechanisms of children's dramatic creativity and development of appropriate approaches to the organization of theatrical work with children; requirements for repertoire selection; stages of acquainting children with theatrical art, methods of organizing and conducting rehearsal work, etc. Scholars and educators of the time noted that children and adolescents who played only for their peers and parents could be involved in theatrical work; acquaintance with theatrical art should begin with simple theatrical forms, dramatized games, acting out charades, proverbs, "living pictures" and gradually move on to staging dramatic works; the basis of children's theatrical play are emotional experiences, and therefore the task of the leader is to emotionally captivate the child, put him/her in the right emotional state. Based on the analysis of culturological aspects of the functioning of theatrical art in society, theoretical approaches to understanding the pedagogical possibilities of theater and the practice of using theatrical art in school, it was determined that pedagogical materials of the early twentieth century emphasized the importance of theater for the development of human aesthetics, moral and ethical qualities of the personality, activation of his/her creative forces, psychological and psychophysical characteristics of a child: imagination, memory; self-awareness, emotions, feelings, empathy, communication skills and abilities. Possibilities of theatrical art in fostering children’s mastering a native language, in the training of attentive and competent spectators were defined.
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Yailenko, Evgeny V. "Titian and Lorenzo Lotto: From the History of Art Dialogue by the Example of the “Collector’s Portrait”." Observatory of Culture 16, no. 6 (December 30, 2019): 618–27. http://dx.doi.org/10.25281/2072-3156-2019-16-6-618-627.
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The article explores various aspects of the practice of collecting works of classical art in Renaissance Venice, as well as its influence on the content program formation of the so-called “Collector’s Portrait”, a typological kind of portraiture common in the art of the 16th century. The most interesting examples of it are the “Portrait of Andrea Odoni” by Lorenzo Lotto and the “Portrait of Jacopo Strada” by Titian, considered in this article. The study is relevant because of its connection with the research attention, outlined in recent decades, to the history of collecting, antique trade and the role of socio-economic factors in the development of art history. The article aims to investigate, on the basis of written sources, the matter of how the content of such paintings reflects the moral and ethical ideas about the meaning of antique collecting, as well as to identify its characteristic features on the Venetian grounds. One of the features was that a significant proportion of the artistic material in private collections was composed of works of Greek-Hellenistic art. The interest in collecting these works speaks about the special aesthetic predilections of collectors, their sensitivity to the actual artistic merits of antiques, and not only about their desire to possess antiquities. In addition, the practice of collecting was intended to express the moral virtues of the collector, the greatness of their spirit and the nobility of their thoughts. On the other hand, it served as an important way of social self-assertion for those who were not part of the exclusive elite of Venetian society (patricians), but sought to approach it in their social ambitions. First of all, the article is of interest to historians, art historians, culturologists, museum specialists and antique trade specialists.
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Yang, Fan. "Analysis on the Relationship Between the Media Literacy of Film & Television and the Innovation of Ideological and Political Education of Contemporary College Students." Lifelong Education 9, no. 2 (March 4, 2020): 41. http://dx.doi.org/10.18282/le.v9i2.820.
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<p>Ideological and political education has always been playing an important role for the development of socialist ideological education in China, as well as the main means to grasp the social trends of thoughts and influence the construction of their social essential values. Based on the in-depth questionnaire and survey of 1000 college students, the author deeply believes that the college students' current reading habits, mainstream way of information acceptance and the external communication ways in China are characterized by networking, video personalization and some other new features. Nowadays, it is difficult to meet the college students' ideological and political education needs through the single way of traditional classroom education. In view of the changes of information acceptance and exchange of college students, this paper fully understands that the film & television media are strengthening and improving their ideological and political education, and puts forward the relationship between "film & television media literacy" and the innovation of ideological and political education of college students, which makes film and television media resources become new forms and highlights of ideological and political education of college students with positive energy and helps to improve the effect of ideological and political education on their moral education, ethics, art aesthetics and other aspects.</p>
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Parsheva, Evgenia, Ekaterina Egorova, and Natalya Bedina. "Revisiting the Use of the Writer’s Image in Advertising Discourse." Ideas and Ideals 14, no. 3-2 (September 29, 2022): 486–96. http://dx.doi.org/10.17212/2075-0862-2022-14.3.2-486-496.
Full textAbstract:
The article’s purpose is to identify the functional aspects of the use of а writer’s image in advertising discourse and to raise the ethical issues that arise in this case. Being at a junction of masscult and elitism, а writer’s image is exploited in advertising and becomes a brand, a stamp, a label. It becomes the part of what implements both functions of attracting attention and self-presentation. The ‘pleasure of recognition’ and the feeling of satisfaction from the involvement in cultural integrity are those positive emotions that advertising marketing focuses on. For this the advertising of consumer goods, catering establishments, shops, medical services, etc., uses literary classics texts. In this way, advertising refers to cultural memory as collective reconstructions of our common past image. The transfer of the classical text specific element into the advertising genre as into another semiotic system automatically simplifies and schematizes the meanings of the source text. At the same time, the range of images used in advertising as in a utilitarian genre demonstrates what fills the collective cultural memory, what is considered as necessary for its preservation. The analysis of advertising texts against the ethical permissibility-inadmissibility, the acceptability-redundancy (being extreme/over the line) gives grounds to draw the following conclusions: - advertising using а writer’s image, being only a small part of the general advertising discourse, creates a visual noise situation, ‘simplifying’ the classical text understanding impoverishes the process of its interpretation; - advertising built on the basis of the writer’s images desemantization and deformation, works towards the deformation and perception of the author, forms false meanings; - advertising, based on linguistic turns of phrase, like any joke, has the potential to cross the border of what is permissible when the writer’s image (name, text) as a result of carnivalization acquires additional vulgar and taboo meanings. The mechanisms that determine the flexibility of language matter also since its instability and aesthetic choice turns out to be inextricably linked with a moral choice.
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Lita, Ana. "Iris Murdoch's Criticism of Traditional Views of the Moral Self: An Alternative Account of "seeing" the Others." Labyrinth 16, no. 2 (December 30, 2014): 100. http://dx.doi.org/10.25180/lj.v16i2.6.
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The main objective of this article is to reconstruct Iris Murdoch's criticism of the moral self as it was developed by liberalism, romanticism, existentialism and linguistic empiricism that interpreted the moral person as entangled either in a world of essences (Kant's view) or in a world of mere existence in which the interplay of both necessity and freedom is at stake. Thus what is missing from all these theories is a sufficient development of what it is to have a regard for others through aesthetic perception, which is the most important aspect of the moral self. At the difference of these conceptions Murdoch offers an alternative view, both to liberal ethics in the Kantian tradition and to contemporary ethics, as she argues that to have regard for others demands responsiveness which can also be explained in terms of aesthetic sensibility. Murdoch's ethics rests on an analogy between aesthetic sensibility and moral sensibility based upon the model of the artist's unconditional love for his characters, which she interprets as being a matter of seeing and loving others. The author's thesis is that love is the crucial point of Murdoch's conception of the moral self where the moral and aesthetical sensibility, as well cognition, intersect each other, because seeing others incorporates emotions of respect and compassion that characterize love and such seeing is cognitive love.
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Windiadnyani, Ni Kadek Rista, Jro Ayu Ningrat, and Ni Luh Gede Wariati. "TOGOG TUALEN MAKETU DI PURA TAMAN BAKA BANJAR PENGAMBANGAN BATUBULAN GIANYAR (Perspektif Aksiologi)." Sanjiwani: Jurnal Filsafat 13, no. 2 (September 30, 2022): 197–205. http://dx.doi.org/10.25078/sanjiwani.v13i2.1392.
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In general, Tualen is in puppetry, but in Taman Baka Temple, it appears in the form of a statue using Ketu. When viewed in the concept of puppetry this has gone beyond the power of a king who is revered by his people. The status of tualen is also very different, surpassing the color level in Hinduism. So the existence of Tualen Maketu needs to be studied to find out how the concept of Tualen actually is. This study is included in qualitative research with the research methods used, namely observation, and interviews. So that the results obtained, namely, ethical values gave rise to the habit of offering tulung sayut squeeze with Wayang Kelupak Tiying when falling in Batubulan. In addition, good actions seen from the figure of Tualen who has noble and wise qualities give rise to moral aspects. Ketu in Tualen also has a spiritual value that also shows that the local community does not forget about history and must remember its obligation as a Hindu community to always worship Ida Sang Hyang Widhi and its manifestations. Aesthetic Value, namely the figure of Tualen appears in the form of a statue made of solid stone with a height of approximately one meter. Tualen Maketu is a Bhujangga who is made a Bhagawanta who knows all activities. The figure of Tualen who uses this ketu is also believed to be a figure who protects the Batubulan area, so Togog Tualen Maketu is still worshipped today. The socio-cultural value, namely the existence of Tualen Maketu, brought changes in people's lives.
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Татаровська, Олеся. "СЕМАНТИКО-КОМУНІКАТИВНА ХАРАКТЕРИСТИКА ЛЕКСИКИ ПОЗИТИВНОЇ ОЦІНКИ В СУЧАСНІЙ АНГЛІЙСЬКІЙ МОВІ." Inozenma Philologia, no. 134 (December 15, 2021): 16–25. http://dx.doi.org/10.30970/fpl.2021.134.3507.
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The article deals with the content space of positive assessment in modern English, which is formed under the infl uence of the type of assessment (moral and ethical, aesthetic, intellectual, social, emotional as well as the assessment of physical and empirical characteristics of the evaluation object), the obje ct of evaluation (person / non-person), and the nominative plane of subjects, actions and qualities that can potentially be positively assessed. The units used to positively assess moral, ethical, and emotional characteristics of the evaluation object correlate with the object of the “person” assessment, and units that correlate with a positive assessment of empirical features correlate with the object of the “non-person” assessment. The study reported in the article was conducted at the lexical and semantic levels. Semantics of the content plane of positive assessment is mainly laid down by three main verb ideas of “love”, “appreciate”, “improve”. Common for all parts of nominative thematic spheres are “love”, “friendship”, “pleasure”, “intelligence”, “harmonicity”, “respect” and others. The largest number of thematic planes can be noticed in adjectives and adverbs. Analysis at the lexemic level proved that multivalued words, in which all values would be evaluated, are rather few. In most cases, the evaluative value appears in the vocabulary of positive evaluation as the main one. Only in a small number of lexemes, semantic variants are formed in the process of development of semantic structure of lexemes. Within the semantic structure, lexemes are sometimes combined by semantic variants, which have an opposite score. All this indicates that the assessment in a number of cases is secondary: it is formed as an indication of the secondary characteristcs of the sign. If the score is at the “top” of a lexeme’s semantics, it can usually be applied to a large number of disparity characteristics of various objects. The assessment depends greatly on the situation in which it is used, that is, on the contextual environment and the nature of the speech act. Sociolinguistic aspects of communication as well as expressive stylistic color of the speech act play a special role in the variability of speech assessments. Adjectives that express the assessment and indicate any sign of the subject more often than other parts of the language are independently used to form the evaluative context. However, a signifi cant number of estimated nouns and verbs rarely appear in the context of isolation. These words require the explication of the estimated signs of the reference, which creates the possibility of sharing the evaluated words of diff erent parts of the language in the same context. Key words: vocabulary of positive semantics, register, semantic space, “plus-score”, melioration, derogativeness.
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Black, Steven P. "The Ethics and Aesthetics of Care." Annual Review of Anthropology 47, no. 1 (October 21, 2018): 79–95. http://dx.doi.org/10.1146/annurev-anthro-102317-050059.
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This article is positioned at the intersection of linguistic, medical, and psychological anthropology and reviews scholarship on the communicative processes that constitute moral/ethical care. Varying notions of care have become a leitmotif in efforts to include the analysis of agency and creativity in discussions of the lived experience of marginalization. Understandings of care have in common an emphasis on relationality and activity: Communicative activities of care both constitute and are made relevant by morally/ethically framed relationships with others and oneself. Embodied communication is central in both care activities and the constitution of moral/ethical care. From a phenomenological standpoint, communicative activities of care are simultaneously social action and embodied experience. This article reviews three key themes: ( a) the embodied linguistic constitution of care, ( b) the performance of care, and ( c) exclusion from care. Together, these themes reveal common moral/ethical–aesthetic processes that are shared across diverse social and cultural contexts.
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Drewniak, Tomasz. "O tragizmie cnoty zadufanej. Analiza estetyczno-etycznych aspektów pedagogiki tragicznej Henryka Elzenberga cz. I." Polska Myśl Pedagogiczna 8 (November 14, 2022): 259–76. http://dx.doi.org/10.4467/24504564pmp.22.013.16066.
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Cierpienie stanowi niezbywalny aspekt ludzkiej egzystencji. Wymaga ono po pierwsze wyjaśnienia, a po drugie przyswojenia, w czym szczególną rolę odgrywają religia i sztuka. W religii i tragedii greckiej zwracano uwagę na wychowawczą rolę cierpienia, co wyrażała formuła pathei mathos („ucz się przez cierpienie”), a w judaizmie i chrześcijaństwie należało ono do środków, jakimi w formowaniu człowieka posługuje się boska sprawiedliwość. W aksjocentryzmie Henryka Elzenberga cierpienie stanowi korelat przekraczania sfery wartości względnych (hedonistycznych i utylitarnych) oraz realizacji wartości samoistnych. Część pierwsza artykułu prezentuje analizę rozważań Elzenberga w zakresie kulturotwórczej roli tragiczności, ogniskujących się na interpretacji szekspirowskiego Juliusza Cezara, będącej zarazem krytyką racjonalistycznego modelu wychowawczego. Brutus, jawiący się jako ucieleśnienie przymiotów moralnych, wzór stoickiego mędrca i republikanina, jednocześnie charakteryzuje się oderwaniem od życia, afektualną oziębłością, ślepotą aksjologiczną i biernością, co powoduje, iż niszczy tych, których kocha, i to, co kocha. The Tragedy of Self-Righteous Virtue: Analysis of the Aesthetic and Ethical Aspects of Henryk Elzenberg’s Tragic Pedagogy. Part I Suffering is an inalienable aspect of human existence. It requires, firstly, an explanation and, secondly, an assimilation, in which religion and art play special role. In Greek religion and tragedy, attention was paid to the educational role of suffering, which was expressed by the formula pathei mathos (“learn through suffering”), and in Judaism and Christianity it was one of the means used in shaping man by divine justice. In Henryk Elzenberg’s axiocentrism, suffering is a correlate of crossing the sphere of relative values (hedonistic and utilitarian) and the realization of objective values. The first part of the article presents an analysis of Elzenberg’s reflections on the culture-creating role of tragedy, focusing on the interpretation of Shakespeare’s Julius Caesar, which is also a critique of the rationalist educational model. Brutus, who appears as the embodiment of moral qualities, the model of the stoic sage and the republican, on the other hand is characterized by detachment from life, emotional coldness, axiological blindness and passivity, which cause him to destroy those he loves and what he loves.
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Ramantova, O. V. "The Value Semantics in “Intelligent Travel” Discourse." Discourse 7, no. 4 (September 28, 2021): 92–103. http://dx.doi.org/10.32603/2412-8562-2021-7-4-92-103.
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Introduction. The present paper aims at describing the results of researching the axiological aspect of the category “intelligent travel” functioning in the English language travel discourse. The relevance of the research is defined, firstly, by continuously developing tourist industry and the emergence of new tourist concepts which are embodied in numerous travel editions and, secondly, by insufficient knowledge of axiological aspect of certain travel-genres. The research is completed within the anthropooriented paradigm of linguistic studies and thus contributes to the development of this approach. The novelty of the study lies in revealing specific values represented in intelligent travel-texts and forming a special value line.Methodology and sources. The research is based on the English language texts about travelling. National Geographic was used as the main source of material. For the selection of travel texts, the continuously sampling method was used. The general methodology of studying the “intelligent/slow travel” concept also includes the method of semantic analysis, the method of semantic-stylistic analysis, elements of communicative-pragmatic analysis.Results and discussion. The results of the study include the description of the content of the intelligent travel category, the review of existing types of values, and the description of basic meanings forming the value picture of the world in travel-texts of this genre – sensory values, aesthetic values, morally-ethical and rationalistic value meanings. Within this research it is important to consider “anti-value” which is represented predominantly in texts about wildlife conservation and which enhances the pragmatic impact of the text on the reader. The result of the study is the conclusion about certain language specific of the category of intelligent travelling which is actualized through special value prism.Conclusion. The study reveals the specificity of the value paradigm of slow/intelligent travel texts. The semantic space of texts about intelligent travelling is filled with certain value markers in total constructing the value picture of the world through the prism o f which the travelling and experiencing author expresses not only his own vision of things, but the moral side of life aspects. The chosen methodology can be applied for further research and similar studies of other genres of travel-discourse.
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Bullock, Katherine. "Pious Fashion: How Muslim Women Dress." American Journal of Islam and Society 35, no. 3 (July 1, 2018): 87–90. http://dx.doi.org/10.35632/ajis.v35i3.486.
Full textAbstract:
This book is a very welcome addition to the literature on Muslim women’s dress. It is part of a growing trend to treat Muslim women and their sarto- rial choices through sophisticated theories that recognise the agency, even humanity, of Muslim women. We are far from the days when an Ameri- can author would simply read a headscarf as a symbol of oppression, and Muslim women in need of rescue—at least in the academic realm, though certainly not in the political and journalistic realms. Easy to read and en- gaging (but not simplistic) studies like Bucar’s will, hopefully, eventually trickle out of academia and lead to a sea-change in political and popular discourses as well. Bucar, a professor of philosophy and religion, has turned to ethnog- raphy to complement her philosophical explorations of the relationship between dress, aesthetics, and morality. One of the special features of this book, and what I believe distinguishes it and makes its insights possible, is Bucar’s self-reflective nature, and willingness to share that as she writes. The book begins with a preface, which explains how Bucar came to study this topic while in Tehran to study Persian and Islamic women’s groups in 2004. It opens with her very honest discussion of how she was sitting nervously in the airplane, wondering whether or not she would be able to follow the conditions of her visa to observe local laws and wear “proper hi- jab” (vii). A woman sitting in the aisle across from her winks and pulls out her own scarf and overcoat, setting Bucar at ease, who then follows suit. She describes how she spent a few months adjusting to wearing hijab and figur- ing out the various ways women in Tehran adhere to the hijab laws. Flying next to Turkey, and experiencing some unexpected internal reactions to going bareheaded, made her see that “modest dress had a moral effect on me” (ix), altering her sense of public space and the aesthetics of women’s clothing. “I found surprise, pleasure, and delight in pious fashion, as well as an intellectual challenge to the neat boxes I had once put things in: modest dress as imposed on women, fashion as a symptom of patriarchy, and aes- thetics as separate from ethics. This book is an exploration of this delight and challenge” (ix). Following is the introduction, where she lays out her key terms, meth- odology, and research questions. Bucar explains that she prefers the term “pious fashion” to “modest clothing” or “fashion veiling.” This is so because clothing is a cultural practice that is “governed by social forces as well as daily individual choices” (2). “Fashion” allows people to “construct iden- tities, communicate status, and challenge aesthetic preferences.” “Modest” is generally meant to describe clothing that is “decent and demure,” that discourages sexual attention, but she learned that Muslim women’s dress is more than this, as it is connected to “ethical and religious dimensions… such as character formation through bodily action, regulating sexual de- sires between men and women, and creating public space organized around Islamic moral principles” (3). Hence her preference for the phrase “pious fashion.”Next appear country case studies of how Muslim women in different locales take up “pious fashion”. She did fieldwork in three cities—Tehran, Iran (2004 and remotely 2011); Istanbul, Turkey (2004, 2012, 2013); and Yogyakarta, Indonesia (2011)—observing women in a variety of locations, going shopping, and participating in activities related to pious fashion (in- cluding wearing it herself sometimes). She conducted focus groups and interviews with women between ages eighteen and thirty wearing pious fashion. After opening with a brief introduction to the country-specific poli- tics of modest dress, each chapter is divided into two main sections: “style snapshots” and “aesthetic authorities.” The style snapshots are often very detailed descriptions (half a page for a single outfit) of different kinds of dress, including material, stitching, colour, patterns, style cuts, and accesso- ries. These sections can be a challenge for those not that interested in such details of fashion. The book contains twenty color photographs to illus- trate the styles of dress she discusses, but I still found a laptop an essential component to look up images of the stylists she was referring to, or more basic visual aids to know the difference between “chiffon” and “crepe,” or a “manteau” and a “tunic.” Yet it is such intimate details that give life to her book. These details of fashion are not the object of the book, though, for she embeds these discussions in deeper conversations about aesthetics, moral- ity, piety, beauty, and cultural and political aspects of clothing and fashion. The sections on “aesthetic authorities” cover religious authorities, governments, visual images, educators, fashion designers, magazines, and bloggers’ pious fashion discourses in each country. She is able to highlight differences and similarities across countries, as well as the prevalence of different interpretations and debates amongst all these different voices on what does and does not count as “pious fashion.” She includes discussions about what are counted as “bad hijab” or fashion failures, as an important way to understand the delimitations of pious fashion in each country. Chapter Four presents summarizing conclusions. Here she argues that unlike the normal western approach which considers hijab as a “problem” to be solved, it is rather a woman’s decision about what to wear which should be analytically considered: “the duty to dress modestly does not resolve this question: even if certain institutional structures and public norms related to taste, virtue, and femininity set limits and provide guidance, Muslim wom- en have a great deal of choice when they get dressed every day” (171). She explores the intersections between national identity, modernity, femininity, modesty, aesthetic rebellion, women’s agency, materialism, the consumer lifestyle, aesthetic concepts of beauty and its relationship to morality and fashion, and tradition and change. She concludes that the study of pious fashion teaches us that piety…[is] not just about obedience to orthodox interpretations of sacred texts: it also incorporates good taste, personal style, and physical attrac- tiveness. And fashion becomes a key location through which piety can be realized and contested. Piety is not only about being good – it is about appearing to be good as well…[Women who wear pious fashion] are pi- ous because they are using clothing and adornment to cultivate their own characters, to build community, and to make social critiques. (190) The book ends with an epilogue pointing to a sudden interest, since 2016, in “pious fashion” from the mainstream Western ‘secular’ fashion industry. She notes the two different directions this goes politically—ei- ther to celebrate Muslim women’s inclusion in wider society (CoverGirl’s use of first hijabi spokesperson, Nura Afia, 2016, 195) or to criticise Islam’s pollution of secular fashion (designers are encouraging the enslavement of women) (196). One of the main reasons this book works so well is Bucar’s wonderful ability to be empathetic without being an apologist. She does not wear hijab in her life in the United States; the book is not advocating hijab. She does not gloss feminist concerns over patriarchy and pressures to wear hijab, nor the impact of hijab laws that frustrate many women in Tehran. She recognises the complex nature between dress, identity, fashion, and philo- sophical questions like ethics and the nature of being. She normalizes hijiab so that it can be studied, not as some kind of weird, exotic, oppressive, sui generis piece of cloth, but like any other piece of women’s clothing, like mini-skirts, jeans, high heels, or the bra: While modest clothing can indeed be used as a form of social control or as a display of religious orthodoxy, in practice, it is both much less and much more. Much less, because for many Muslim women, it is simply what they wear. Much more, because like all clothing, Muslim women’s clothing is diverse, both historically and geographically, and is connected with much broader cultural systems. (1)
Katherine BullockLecturer, Department of Political ScienceUniversity of Toronto at Mississauga
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Bullock, Katherine. "Pious Fashion: How Muslim Women Dress." American Journal of Islamic Social Sciences 35, no. 3 (July 1, 2018): 87–90. http://dx.doi.org/10.35632/ajiss.v35i3.486.
Full textAbstract:
This book is a very welcome addition to the literature on Muslim women’s dress. It is part of a growing trend to treat Muslim women and their sarto- rial choices through sophisticated theories that recognise the agency, even humanity, of Muslim women. We are far from the days when an Ameri- can author would simply read a headscarf as a symbol of oppression, and Muslim women in need of rescue—at least in the academic realm, though certainly not in the political and journalistic realms. Easy to read and en- gaging (but not simplistic) studies like Bucar’s will, hopefully, eventually trickle out of academia and lead to a sea-change in political and popular discourses as well. Bucar, a professor of philosophy and religion, has turned to ethnog- raphy to complement her philosophical explorations of the relationship between dress, aesthetics, and morality. One of the special features of this book, and what I believe distinguishes it and makes its insights possible, is Bucar’s self-reflective nature, and willingness to share that as she writes. The book begins with a preface, which explains how Bucar came to study this topic while in Tehran to study Persian and Islamic women’s groups in 2004. It opens with her very honest discussion of how she was sitting nervously in the airplane, wondering whether or not she would be able to follow the conditions of her visa to observe local laws and wear “proper hi- jab” (vii). A woman sitting in the aisle across from her winks and pulls out her own scarf and overcoat, setting Bucar at ease, who then follows suit. She describes how she spent a few months adjusting to wearing hijab and figur- ing out the various ways women in Tehran adhere to the hijab laws. Flying next to Turkey, and experiencing some unexpected internal reactions to going bareheaded, made her see that “modest dress had a moral effect on me” (ix), altering her sense of public space and the aesthetics of women’s clothing. “I found surprise, pleasure, and delight in pious fashion, as well as an intellectual challenge to the neat boxes I had once put things in: modest dress as imposed on women, fashion as a symptom of patriarchy, and aes- thetics as separate from ethics. This book is an exploration of this delight and challenge” (ix). Following is the introduction, where she lays out her key terms, meth- odology, and research questions. Bucar explains that she prefers the term “pious fashion” to “modest clothing” or “fashion veiling.” This is so because clothing is a cultural practice that is “governed by social forces as well as daily individual choices” (2). “Fashion” allows people to “construct iden- tities, communicate status, and challenge aesthetic preferences.” “Modest” is generally meant to describe clothing that is “decent and demure,” that discourages sexual attention, but she learned that Muslim women’s dress is more than this, as it is connected to “ethical and religious dimensions… such as character formation through bodily action, regulating sexual de- sires between men and women, and creating public space organized around Islamic moral principles” (3). Hence her preference for the phrase “pious fashion.”Next appear country case studies of how Muslim women in different locales take up “pious fashion”. She did fieldwork in three cities—Tehran, Iran (2004 and remotely 2011); Istanbul, Turkey (2004, 2012, 2013); and Yogyakarta, Indonesia (2011)—observing women in a variety of locations, going shopping, and participating in activities related to pious fashion (in- cluding wearing it herself sometimes). She conducted focus groups and interviews with women between ages eighteen and thirty wearing pious fashion. After opening with a brief introduction to the country-specific poli- tics of modest dress, each chapter is divided into two main sections: “style snapshots” and “aesthetic authorities.” The style snapshots are often very detailed descriptions (half a page for a single outfit) of different kinds of dress, including material, stitching, colour, patterns, style cuts, and accesso- ries. These sections can be a challenge for those not that interested in such details of fashion. The book contains twenty color photographs to illus- trate the styles of dress she discusses, but I still found a laptop an essential component to look up images of the stylists she was referring to, or more basic visual aids to know the difference between “chiffon” and “crepe,” or a “manteau” and a “tunic.” Yet it is such intimate details that give life to her book. These details of fashion are not the object of the book, though, for she embeds these discussions in deeper conversations about aesthetics, moral- ity, piety, beauty, and cultural and political aspects of clothing and fashion. The sections on “aesthetic authorities” cover religious authorities, governments, visual images, educators, fashion designers, magazines, and bloggers’ pious fashion discourses in each country. She is able to highlight differences and similarities across countries, as well as the prevalence of different interpretations and debates amongst all these different voices on what does and does not count as “pious fashion.” She includes discussions about what are counted as “bad hijab” or fashion failures, as an important way to understand the delimitations of pious fashion in each country. Chapter Four presents summarizing conclusions. Here she argues that unlike the normal western approach which considers hijab as a “problem” to be solved, it is rather a woman’s decision about what to wear which should be analytically considered: “the duty to dress modestly does not resolve this question: even if certain institutional structures and public norms related to taste, virtue, and femininity set limits and provide guidance, Muslim wom- en have a great deal of choice when they get dressed every day” (171). She explores the intersections between national identity, modernity, femininity, modesty, aesthetic rebellion, women’s agency, materialism, the consumer lifestyle, aesthetic concepts of beauty and its relationship to morality and fashion, and tradition and change. She concludes that the study of pious fashion teaches us that piety…[is] not just about obedience to orthodox interpretations of sacred texts: it also incorporates good taste, personal style, and physical attrac- tiveness. And fashion becomes a key location through which piety can be realized and contested. Piety is not only about being good – it is about appearing to be good as well…[Women who wear pious fashion] are pi- ous because they are using clothing and adornment to cultivate their own characters, to build community, and to make social critiques. (190) The book ends with an epilogue pointing to a sudden interest, since 2016, in “pious fashion” from the mainstream Western ‘secular’ fashion industry. She notes the two different directions this goes politically—ei- ther to celebrate Muslim women’s inclusion in wider society (CoverGirl’s use of first hijabi spokesperson, Nura Afia, 2016, 195) or to criticise Islam’s pollution of secular fashion (designers are encouraging the enslavement of women) (196). One of the main reasons this book works so well is Bucar’s wonderful ability to be empathetic without being an apologist. She does not wear hijab in her life in the United States; the book is not advocating hijab. She does not gloss feminist concerns over patriarchy and pressures to wear hijab, nor the impact of hijab laws that frustrate many women in Tehran. She recognises the complex nature between dress, identity, fashion, and philo- sophical questions like ethics and the nature of being. She normalizes hijiab so that it can be studied, not as some kind of weird, exotic, oppressive, sui generis piece of cloth, but like any other piece of women’s clothing, like mini-skirts, jeans, high heels, or the bra: While modest clothing can indeed be used as a form of social control or as a display of religious orthodoxy, in practice, it is both much less and much more. Much less, because for many Muslim women, it is simply what they wear. Much more, because like all clothing, Muslim women’s clothing is diverse, both historically and geographically, and is connected with much broader cultural systems. (1)
Katherine BullockLecturer, Department of Political ScienceUniversity of Toronto at Mississauga
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Lukyanchenko, E. A. "Human Capital: Moral and Ethical Aspects." MGIMO Review of International Relations, no. 3(30) (June 28, 2013): 142–43. http://dx.doi.org/10.24833/2071-8160-2013-3-30-142-143.
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Lamb, David. "Animals, Ethics and Aesthetics." Journal of Applied Animal Ethics Research 1, no. 1 (March 25, 2019): 66–87. http://dx.doi.org/10.1163/25889567-12340006.
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Abstract Mainstream theories which argue for enhanced ethical status of animals with appeals to sentience or intelligence have depicted aesthetics in a negative sense. This paper supports a different outlook. We explore reasons why aesthetic appreciation of animals is portrayed as subjective and sentimental, concerned only with superficial and external features. Aesthetic qualities, as understood here, are not intended as criteria for admission to a moral community or as a guide for veterinary professionals when prioritizing therapy. The case for measuring the extent of an animal’s beauty or attractiveness in order to establish its entitlement to moral status or rights is a non-starter. Nevertheless, aesthetic traditions, we argue, play a significant role in our moral response to animals and objectives to protect them. As a corrective to misunderstandings regarding the status of aesthetics in deliberation about moral obligations to animals a case for the integration of ethics and aesthetics is developed.
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McGregor, Rafe. "A Literary Aesthetics of War Crime." Croatian journal of philosophy 21, no. 61 (May 21, 2021): 135–53. http://dx.doi.org/10.52685/cjp.21.1.8.
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In order to develop a literary aesthetics of war crime, I examine the phenomenon of moral immunity in military memoir. Using three paradigmatic examples of memoirs of unjust wars characterised by the routine perpetration of war crimes, I argue that moral immunity is achieved by means of three literary devices: literary irresponsibility, ethical peerage, and moral economy. I then employ the proposed literary aesthetics of war crime to provide an answer to the perennial question of the relationship between literature and morality as well as to two specific instantiations of this question, the value interaction debate in literary aesthetics and the ethics of reading in literary theory. My conclusion is that the literary aesthetics of war crime demonstrates both that there is a systematic relationship between aesthetic value and moral value and that there is no systematic relationship between literary ambiguity and moral uncertainty.
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Kjeldgaard-Christiansen, Jens. "Narrative video game aesthetics and egocentric ethics." MedieKultur: Journal of media and communication research 36, no. 68 (October 1, 2020): 088–106. http://dx.doi.org/10.7146/mediekultur.v36i68.118777.
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This article argues that video gaming allows for player-focused (egocentric) moral experience that can be distinguished from the other-focused (allocentric) moral experience that characterizes literature and film. Specifically, a Deweyan perspective reveals that video games aff ord fi rst-personal rehearsals of moral scenarios that parallel how, in real life, individuals mentally rehearse the diff erent courses of moral action available to them. This functional equivalence is made possible because the aesthetics of video games bear unique affinities to the human moral imagination. However, whereas the moral imagination may be limited in terms of the complexity and vividness of its analog imaginings, the ethically notable video game may draw on the medium’s digital capacities in order to stage elaborate and emotionally compelling ethical rehearsals. The article concludes by applying this perspective to the ethically notable video game Undertale.
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Butterfield, Bradley. "Ethical Value and Negative Aesthetics: Reconsidering the Baudrillard-Ballard Connection." PMLA/Publications of the Modern Language Association of America 114, no. 1 (January 1999): 64–77. http://dx.doi.org/10.2307/463427.
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Like today's masses, the characters in J. G. Ballard's Crash are fascinated by what Jean Baudrillard calls the accident, especially when it involves the death of a celebrity. Ballard's characters, however, reenact their accidents as sexual rituals of a marriage between technology and death that are beyond the realm of moral judgment, making Crash sci-fi, hypothetical, unrealistic. Calling Crash “the first great novel of the universe of simulation,” Jean Baudrillard has drawn heavy criticism for missing the alleged moral point, both in Crash and in the still-real world. As a fiction writer, Ballard is given a wide moral berth, but when Baudrillard's theory turns sci-fi, the question of ethical boundaries is broached, and leniency is less likely. In defense of Baudrillard, I read him, like Ballard, in the Nietzschean tradition of a purposefully amoral, negative aestheticism, which I argue is of value to ethics and radical politics in a world governed by instrumental simulacra.
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KERIMOV , ALEXANDER, FATIMA SHEBZUKHOVA , and AKHMAT EBZEEV . "ON THE ISSUE OF MEDIATIZATION OF EDUCATION." Sociopolitical Sciences 12, no. 5 (October 30, 2022): 40–46. http://dx.doi.org/10.33693/2223-0092-2022-12-5-40-46.
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The purpose of the article is to study the theoretical aspects of the problem of mediatization of education. The article discusses the content and various interpretations of the concepts of “media” and “mediatization”. The main attention is paid to the peculiarities of the process of mediatization, both in the school education system and in the field of higher education. Mediatization in school education is considered in the context of all elements of the educational process. First of all, this is expressed in the organization of the educational process in remote mode. In addition, mediatization makes it possible to conduct lessons using information technology, students perform creative projects, gain access to information sources and collections of various libraries. The mediatization of education expands opportunities for obtaining and correspondence education in the mode of distance communication, as well as through various online courses for obtaining professional education. The article also highlights the main tasks of mediatization of education and methods of organizing the educational process using mass communication media. Among these tasks are the possibility of obtaining information, using the potential of mediatization of education for moral and ethical education and personal development, familiarization with the achievements of the development of mass media, explaining their role and significance for the educational process, practical training in media technologies, aesthetic education of students. The evolutionary possibilities and trends in the development of education in the context of its mediatization, as well as the risks and negative aspects of this process are shown. The increasing role of the mediatization of education is explained by the continuous nature of education, total digitalization, the demand and availability of online courses for a wide audience. On the other hand, the mediatization of education will also have negative consequences. Firstly, the process of socialization of students will be difficult, and secondly, the educational process will acquire a formal character, which will affect its quality. Comparing the positive and negative aspects of the mediatization of education, it seems that there should be no abandonment of educational technologies that have been tested for decades, and here the task is to find the necessary balance between old technologies and new ones, which mutually complement each other, will contribute to the improvement of the educational system so that it meets the challenges and requirements of modernity. Methodologically, the article is based on the theoretical developments of foreign and Russian researchers. The article is based on general philosophical and socio-humanitarian methods of analysis.
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Sychev, A. A., E. V. Zaytseva, and P. S. Tolkachev. "MORAL-ETHICAL ASPECTS OF THE DIGITAL ECONOMY." Vestnik Universiteta, no. 1 (March 23, 2020): 36–42. http://dx.doi.org/10.26425/1816-4277-2020-1-36-42.
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At the present stage, the digital (information) economy is playing an increasingly important role in the world economy and national economies. Using rapid exchange of information benefits allows economic agents at all levels (from ordinary consumers to large corporations and state bodies, regulating economic relations) to make more accurate decisions in various economic issues. It is obvious, that the creation of the Russian information system will be able to increase the efficiency of our national economy (including the objectives of its state regulation) and at the same time raise the level of the country’s security. However, the effective use of the digital economy does not only depend on the level of development of the technical base of the information system. Only the moral state of society can send the information received for the benefit of all its members.
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Maruyama, Natalia. "Julie or the New Heloise and the moral transgressions of Rousseau." Educativa 20, no. 1 (September 29, 2017): 138. http://dx.doi.org/10.18224/educ.v20i1.5869.
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JÚLIA OU NOVA HELOÍSA E AS TRANSGRESSÕES MORAIS DE ROUSSEAU
Resumo: as descrições do lugar de convívio das personagens na Júlia ou Nova Heloísa revelam o aspecto transgressor das reflexões estéticas de Rousseau. Expressões como vida retirada e doméstica, diversão inocente e simples, gosto pela moderação apontam para uma tentativa de caracterização dos costumes, baseados em seus ideais éticos e políticos. Nosso filósofo não está apenas descrevendo um costume contra outro, mas transmitindo verdades inerentes ao humano, fontes de liberdade e felicidade. A temática estética reside num plano mais fundamental, o da relação entre o homem e as coisas.
Palavras-chave: Costumes. Natureza. Romance. Rousseau. Simplicidade.
Abstract: Descriptions of the characters' place of conviviality in Julie ou La Nouvelle Heloise reveal the transgressing aspect of Rousseau's aesthetic reflections. Expressions such as solitary and domestic life, innocent and simple entertainment, and taste for moderation, point to an attempt to characterize customs, based on their ethical and political ideals. Our philosopher is not only describing one custom against another, but transmitting inherent truths to the human, sources of freedom and happiness. The aesthetic theme lies in a more fundamental plane, that of the relationship between man and things.
Keywords: Customs. Nature. Romance. Rousseau. Simplicity.
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Taufik, Egi Tanadi. "Two Faces of Veil in the Quran: Reinventing Makna Jilbab dalam Al-Qur’an Perspektif Tafsir Maqāshidi dan Hermeneutika Ma’nā cum Maghzā." Panangkaran: Jurnal Penelitian Agama dan Masyarakat 3, no. 2 (August 13, 2020): 213. http://dx.doi.org/10.14421/panangkaran.2019.0302-05.
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Contemporary Qur’an and Hadith scholars are challenged in their way to develop comprehensive research while observing the realia in a multidisciplinary and cognitive perspective so that authoritative and arbitrary interpretations would not appear. This article examines the theory of Maqāshid al-Qur’an and Ma’nā cum Maghzā promoted by two scholars, Abdul Mustaqim and Sahiron Syamsuddin, especially in the context of reinventing the meaning of jilbab/hijab. The validity of Maqashidī and Ma’nā cum Maghzā interpretation is equivalent based in its process on identifying values of the Qur’anic text to develop moral-based interpretations. Through the maqāshidi interpretation approach, the development of hijab is observed as an effort of protection, prevention the rights of the mind, soul, body, family, financial, and ishahah to the legal, political, and sharia implications. On the other side, through the Ma’nā cum Maghzā approach, the development of hijab has experienced the axiological shift from ethical values to aesthetic one so that societal reception on its magnificence and sublimities have changed its position from within the fundamental-productive aspects of hifzh al-nasl which were originally istihsan towards dharuriyyat. Interpretation products emerged from the methodology of Maqāshidi and Ma’nā cum Maghzā are inclined to the conclusion that the use of the hijab in Indonesia needs to be adjusted to the needs of the community which underlining the dimensions of temporality and locality, so that an interpreter needs to observe the ahhām marhaliyāt (temporal law) philosophically, critically, and contextually.[Sarjana Alquran dan Hadis kontemporer dituntut untuk mengembangkan kajian yang komprehensif dengan mengamati realita dalam perspektif multidisiplin dan rasional sehingga tafsir otoritatif dan sewenang-wenang tidak akan muncul. Artikel ini membahas teori Maqāshid al-Qur’an dan Ma’nā cum Maghzā yang dikemukakan oleh dua ulama, Abdul Mustaqim dan Sahiron Syamsuddin, terutama dalam konteks memaknai kembali arti jilbab/ hijab. Validitas interpretasi Maqashidī dan Ma’nā cum Maghzā dalam hal ini setara kedudukannya berdasarkan prosesnya dalam mengidentifikasi nilai-nilai teks Alquran untuk mengembangkan interpretasi berbasis moral. Melalui pendekatan interpretasi maqāshidi, pengembangan jilbab diamati sebagai upaya perlindungan, pelanggaran hak-hak pikiran, jiwa, tubuh, keluarga, keuangan, dan ishahah terhadap implikasi hukum, politik, dan syariah. Di sisi lain, melalui pendekatan Ma’nā cum Maghzā, pengembangan jilbab telah mengalami pergeseran aksiologis dari nilai-nilai etis ke nilai estetika sehingga penerimaan masyarakat atas kemegahan dan keagungannya telah mengubah posisinya dari dalam aspek fundamental-produktif dari hifzh al-nasl yang awalnya istihsan menuju dharuriyyat. Produk tafsir yang berasal dari metodologi Maqāshidi dan Ma’nā cum Maghzā cenderung pada kesimpulan bahwa penggunaan jilbab di Indonesia perlu disesuaikan dengan kebutuhan masyarakat yang menggarisbawahi dimensi temporalitas dan lokalitas, sehingga seorang penafsir perlu mengamati ahhām marhaliyāt (hukum temporal) secara filosofis, kritis, dan kontekstual.]
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Sumpter, Caroline. "“NO ARTIST HAS ETHICAL SYMPATHIES”: OSCAR WILDE, AESTHETICS, AND MORAL EVOLUTION." Victorian Literature and Culture 44, no. 3 (August 30, 2016): 623–40. http://dx.doi.org/10.1017/s1060150316000127.
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“There is no mode of action, no form of emotion, that we do not share with the lower animals” (137). This evolutionary claim is not attributable to Darwin, but to Oscar Wilde, who allows Gilbert to voice this bold assertion in “The True Function of Criticism.” While critics have long wrestled with the ethical stance and coherence of Wilde's writings, they have overlooked a significant influence on his work: debates concerning the evolution of morality that animated the periodicals in which he was writing. Wilde was fascinated by the proposition that complex human behaviours, including moral and aesthetic responses, might be traced back to evolutionary impulses. Significantly, he also wrote for a readership already engaged with these controversies.
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Martin, Philip. "Toward a Model of Distributed Affectivity for Cinematic Ethics." Projections 13, no. 2 (June 1, 2019): 80–107. http://dx.doi.org/10.3167/proj.2019.130205.
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Many contemporary applications of theories of affect to cinematic ethical experience focus on its consequences for empathy and moral allegiance. Such approaches have made advances in bridging phenomenological and cognitivist approaches to film-philosophy, but miss the importance of complex affects that problematize empathy and moral judgment. For example, the rendering of trauma in Aimless Bullet (Hyun-mok Yu, 1961) involves aesthetic shifts that reframe its depiction of postwar experience and build a complex emotional picture of sociopolitical conditions that affect individual and community life. In this article, I argue that to understand the ethical significance of complex cinematic emotion we can develop an account of how affective-aesthetic affordances establish distributed spaces for dynamic affective engagement. To do this, I draw upon theories of scaffolded mind, classical Indian rasa aesthetics, and phenomenological aesthetics. This hybrid account will allow us to articulate the ways that film can help us comprehend the ethical significance of complex affective situations.
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Pevak, Elena. "Ethics and Aesthetics in Contemporary Russian Literature." Stephanos Peer reviewed multilanguage scientific journal 48, no. 4 (July 31, 2021): 108–14. http://dx.doi.org/10.24249/2309-9917-2021-48-4-108-114.
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Ethical totalitarism in the sphere of culture – a feature of the present time – is more dangerous than ethical indifferentism. One of the possibilities for realizing the principle of ethical independenсe is focusing on aesthetic issues. The history of Russian literature shows that the less ethics bounds there is in creativity, the more successful is the creativity itself, and it is less dangerous to exist within the framework of some generally accepted moral codes than in situation of self-limiting by ethics rules. It turns out that, on the one hand, the rights of individuality are expanding in the modern world, on the other, the behavior of an individual is strictly regulated by the rules that are put forward by representatives of certain social groups. In the realm of aesthetic experimentation, the author seems to have more rights than responsibilities; in the sphere of ethics author is limited by the dominated norms of social institutions.
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Parent, Bea. "Moral, ethical, and legal aspects of infection control." American Journal of Infection Control 13, no. 6 (December 1985): 278–80. http://dx.doi.org/10.1016/0196-6553(85)90030-6.
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Hughes, Tara, Timothy Bracewell-Milnes, Srdjan Saso, Benjamin P. Jones, Paula A. Almeida, Katherine Maclaren, Julian Norman-Taylor, Mark Johnson, and Dimitrios Nikolaou. "A review on the motivations, decision-making factors, attitudes and experiences of couples using pre-implantation genetic testing for inherited conditions." Human Reproduction Update 27, no. 5 (May 10, 2021): 944–66. http://dx.doi.org/10.1093/humupd/dmab013.
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Abstract BACKGROUND In pre-implantation genetic testing (PGT), fertile couples undergo IVF with genetic testing of embryos to avoid conceptions with a genetic condition. There is an exponentially increasing uptake with over 600 applications listed by the Human Fertilisation and Embryology Authority in the UK. The psychological aspects of the decision-making process and the experience of PGT, however, are relatively underevaluated, with the potential to leave patients unsupported in their journeys. OBJECTIVE AND RATIONALE In this review, we aim to comprehensively report on every aspect of couples’ experiences of PGT. We consider what motivates users, the practical and ethical decisions involved and how couples navigate the decision-making process. Additionally, we report on the social and psychological impact on couples who are actively undergoing or have completed the PGT process. SEARCH METHODS A systematic search of English peer-reviewed journals of three computerized databases was undertaken following PRISMA guidelines. Studies that examined the motivations, attitudes, decision-making factors and experiences of patients who have been actively engaged in the PGT process were included. No restrictions were placed on study design or date of publication. Studies examining patients using PGT in a hypothetical context or solely using PGT for aneuploidy were excluded. Qualitative data were extracted using thematic analysis. OUTCOMES The main outcomes were patient motivations, deciding factors and attitudes, as well as the patient experience of coming to a decision and going through PGT. Patients were primarily motivated by the desire to have a healthy child and to avoid termination of pregnancy. Those with a sick child or previous experience of termination were more likely to use PGT. Patients also felt compelled to make use of the technology available, either from a moral responsibility to do so or to avoid feelings of guilt if not. The main factors considered when deciding to use PGT were the need for IVF and the acceptability of the technology, the financial cost of the procedure and one’s ethical standpoint on the creation and manipulation of embryos. There was a general consensus that PGT should be applied to lethal or severe childhood disease but less agreement on use for adult onset or variable expression conditions. There was an agreement that it should not be used to select for aesthetic traits and a frustration with the views of PGT in society. We report that couples find it difficult to consider all of the benefits and costs of PGT, resulting in ambivalence and prolonged indecision. After deciding on PGT use, we found that patients find the process extremely impractical and psychologically demanding. WIDER IMPLICATIONS This review aimed to summarize the current knowledge on how patients decide to use and experience PGT and to make suggestions to incorporate the findings into clinical practice. We cannot stress enough the importance of holistic evaluation of patients and thorough counselling prior to and during PGT use from a multidisciplinary team that includes geneticists, IVF clinicians, psychologists and also patient support groups. Large prospective studies using a validated psychological tool at various stages of the PGT process would provide an invaluable database for professionals to better aid patients in their decision-making and to improve the patient experience.
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Rostotskaya, Marianna Albertovna. "Moral Aspects of Russian PreRevolutionary Cinema." Journal of Flm Arts and Film Studies 3, no. 4 (December 15, 2011): 8–17. http://dx.doi.org/10.17816/vgik348-17.
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Yevgeniy Bauer was an outstanding exponent of the refined mass culture that began to penetrate into spiritual life at the beginning of the 20th century. The article investigates the moral conflicts and patterns that lay behind Bauer’s films and reflected the ethical guidelines of the mass audience in Pre-Revolutionary Russia