Journal articles on the topic 'Art, aesthetics, enlightenment'
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1
Kent, Alexander J. "From a Dry Statement of Facts to a Thing of Beauty: Understanding Aesthetics in the Mapping and Counter-Mapping of Place." Cartographic Perspectives, no. 73 (September 1, 2012): 37–60. http://dx.doi.org/10.14714/cp73.592.
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Aesthetics plays a key role in cartographic design and is especially significant to the representation of place, whether by the state, the community, the crowd, or the artist. While state topographic mapping today demonstrates a rich diversity of national styles, its evolution (particularly since the Enlightenment) has led to the establishment of a particular aesthetic tradition, which has recently been challenged by counter-mapping initiatives and through map art. This paper explores the function of aesthetics in the cartographic representation of place. It offers an analysis of the aesthetic value of topographic maps and suggests how an appropriate wielding of the aesthetic language of cartography can communicate a sense of place more effectively.
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CARROLL, NOËL. "LES CULS-DE-SACOF ENLIGHTENMENT AESTHETICS: A METAPHILOSOPHY OF ART." Metaphilosophy 40, no. 2 (April 2009): 157–78. http://dx.doi.org/10.1111/j.1467-9973.2009.01586.x.
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Fritz, Martin. "Hallische Avantgarde. Die Erfindung der Ästhetik und die Ästhetisierung des Christentums." Journal for the History of Modern Theology / Zeitschrift für Neuere Theologiegeschichte 21, no. 1-2 (January 15, 2014): 1–27. http://dx.doi.org/10.1515/znth-2015-0001.
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AbstractAvantgarde in Halle: The Invention of Aesthetics and the Aestheticization of Christianity. The foundation of scholarly aesthetics by the Halle philosopher Alexander Gottlieb Baumgarten and Georg Friedrich Meier in the middle of the 18th century took place within a milieu that was shaped by both pietism and the Enlightenment. Martin Fritz demonstrates that aesthetics in Halle itself can be considered a synthesis of pietism and Enlightenment ideas. The sensualization of basic Christian concepts is of eminent relevance for these aesthetics, in order to reinvent the pietistic striving for intensive religious experiences through such „aestheticization.“ The romantic idea of „Kunstreligion“ (art religion), which continues to be significant in cultural life today, is also based on this programmatic notion of aestheticization. Building on this historical background, this article’s concluding systematic considerations argue for a theological revaluation of pertinent contemporary cultural phenomena.
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Dziamski, Grzegorz. "Przemiany estetyki." Przegląd Kulturoznawczy, no. 1 (51) (March 2022): 127–47. http://dx.doi.org/10.4467/20843860pk.22.009.15754.
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Metamorphosis of Aesthetics Many aesthetic lecturers feel that the subject of their lectures is not so much aesthetics as the history of aesthetics, the aesthetic views of Plato and Aristotle, Kant and Hegel, Hume and Burke, British philosophers of taste and German romantics. Does this mean that aesthetics is nourished by its own past, nourished by reinterpretations of its classics, defends concepts and categories that no longer inspire anyone? Don’t they open up new cognitive perspectives? Does this mean that aesthetics is dead today, like Latin or Sanskrit, and that its vision of art and beauty is outdated, out of date and completely useless? Stefan Morawski in the introduction to the anthology Twilight of Aesthetics – Alleged or Authentic? he wrote that he did not know the history of aesthetic thought that would begin in the eighteenth century with Baumgarten. Today we can meet with such an approach more and more often. Many authors assume that in the second half of the 18th century, modern aesthetics was born as a science of senses, how our higher (sight, hearing) and lower senses (taste, smell, touch) contribute to our knowledge of the world. In the introduction to the anthology cited here, Stefan Morawski divides the history of aesthetics into four periods of unequal length. The Morawski diagram seems to be a convenient starting point for defining the changing object of aesthetics. The first of the periods distinguished by Morawski is the longest one, lasting from Ancient Greece to Enlightenment, can be called the history of aesthetic thought, the second is philosophical aesthetics, the third is a time of emancipation and institutionalization of aesthetics as autonomous discipline, and the fourth period leads beyond the limits of classical aesthetics.
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Dabney Townsend. "Art and Enlightenment: Scottish Aesthetics in the Eighteenth Century (review)." Hume Studies 31, no. 1 (2005): 184–86. http://dx.doi.org/10.1353/hms.2011.0242.
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Hafertepe, Kenneth. "An Inquiry into Thomas Jefferson's Ideas of Beauty." Journal of the Society of Architectural Historians 59, no. 2 (June 1, 2000): 216–31. http://dx.doi.org/10.2307/991591.
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A careful reading of eighteenth-century aesthetics provides a view of Thomas Jefferson's thinking about art and architecture quite different from the existing scholarly paradigm. Jefferson owned, read, and quoted Enlightenment philosophy and criticism, most notably that of Henry Home, known as Lord Kames. Far from privileging reason over emotion, these philosophers held that all people are created with innate senses of beauty and morality, as well as a rational faculty. Because of the sense of beauty, certain qualities in objects can inspire the idea of beauty in the mind; other ideas of beauty are comparative, requiring use of the rational faculty. Jefferson's aesthetic theory was informed by his understanding of the human mind, which led to an architecture rooted in good proportion and to didactic paintings rooted in history ancient and modern. As with other Enlightenment thinkers, Jefferson endorsed the entire classical tradition, admiring not only the architecture of ancient Rome and modern Paris but also of Palladio and the French Baroque. Similarly, he admired the work of minor Baroque painters as well as the neoclassicism of Jacques-Louis David. Nor was Jeffersonian classicism nationalistic; rather, he endorsed the Enlightenment concept of a universal and uniform standard of taste.
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Watson, Stephen H. "ADORNO, GADAMER, THE WORK OF ART AND THE RETRIEVAL OF THE SACRED." Síntese: Revista de Filosofia 47, no. 149 (December 20, 2020): 693. http://dx.doi.org/10.20911/21769389v47n149p693/2020.
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This paper considers the significant role the sacred played in Hans-Georg Gadamer and Theodor Adorno’s theories of post Enlightenment rationality and experience. While these thinkers are typically thought to be at odds with one another, on this topic, as will become evident, their work remained proximate: both appealed at crucial points to theological models, somewhat controversially, to combat the limitations of strict methodological accounts of their rational. This paper first traces their mutual reliance in this endeavor upon Kantian and post- -Kantian accounts of aesthetics, which imported classical metaphysical notions of Truth, Beauty, and the Good into their accounts. Against this backdrop, I trace how Gadamer and Adorno employed theological models to articulate accounts of the poverty of contemporary experience and theory, affording possibilities for its reinterpretation. Thereby, both viewed the sacred as a still not exhausted critical reserve in our rational history, one that extends beyond the constraints of Enlightenment, precisely in posing the critical question of tradition itself: the question, as Adorno put it, of how “a thinking obliged to relinquish tradition might preserve and transform tradition.”
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Dziamski, Grzegorz. "ESTHETICS TOWARDS FEMINISM." DYSKURS. PISMO NAUKOWO-ARTYSTYCZNE ASP WE WROCŁAWIU 25, no. 25 (February 25, 2019): 40–66. http://dx.doi.org/10.5604/01.3001.0012.9829.
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When we talk today about women’s art, we think about three phemonena, quite loosely related. We think about feminist art, about the way that the feminist’s statements and demands were expressed in the creativity of Judy Chicago and Nancy Spero, Carolee Scheemann and Valie Export, Miriam Schapiro and Mary Kelly, and in Poland in the creativity of Maria Pinińska-Bereś, Natalia LL or Ewa Partum. We think about female art, the forgotten, abandoned, neglected artists brought back to memory by the feminists with thousands of exhibitions and reinterpretations. Lastly, we think about the art created by women – women’s art. However, we do not know and will never know, whether the latter two phenomena would develop without the feminist movement. What is more, it is about the first wave of feminism called “the equality feminism”, as well as the dominating in the second wave – “the difference feminism”. The feminist art was in the beginning a critique of the patriarchal world of art. In a sense it remains as such (see: the Guerilla Girls), yet today we are more interested in the feminist deconstruction of thinking about art, and thus the question arises: should feminism create its own aesthetics – the feminist aesthetics, or should it develop the gender aesthetics, and as a result introduce the gender point of view to thinking about art? In this moment the androgynous feminism regains its importance, one represented by Virginia Woolf, and referring – in the theoretical layer – to Freud as read by Lucy Irigaray. Freudism, which the feminists became aware of in the 1970s, is the only philosophical movement, which assumes a dual subject, that is, in the starting point assumes the existence of two subjects – man and woman, even if the woman is defined in a purely negative way, by the deficit, as a “not a man”. Freudism replaces the Cartesian thinking subject (consciousness) by the corporeal and sexual being, and forces us to re-think the Enlightenment beginnings of the European aesthetics.
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Dziamski, Grzegorz. "Estetyka wobec feminizmu." DYSKURS. PISMO NAUKOWO-ARTYSTYCZNE ASP WE WROCŁAWIU 25, no. 25 (February 25, 2019): 40–66. http://dx.doi.org/10.5604/01.3001.0012.9850.
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When we talk today about women’s art, we think about three phemonena, quite loosely related. We think about feminist art, about the way that the feminist’s statements and demands were expressed in the creativity of Judy Chicago and Nancy Spero, Carolee Scheemann and Valie Export, Miriam Schapiro and Mary Kelly, and in Poland in the creativity of Maria Pinińska-Bereś, Natalia LL or Ewa Partum. We think about female art, the forgotten, abandoned, neglected artists brought back to memory by the feminists with thousands of exhibitions and reinterpretations. Lastly, we think about the art created by women – women’s art. However, we do not know and will never know, whether the latter two phenomena would develop without the feminist movement. What is more, it is about the first wave of feminism called “the equality feminism”, as well as the dominating in the second wave – “the difference feminism”. The feminist art was in the beginning a critique of the patriarchal world of art. In a sense it remains as such (see: the Guerilla Girls), yet today we are more interested in the feminist deconstruction of thinking about art, and thus the question arises: should feminism create its own aesthetics – the feminist aesthetics, or should it develop the gender aesthetics, and as a result introduce the gender point of view to thinking about art? In this moment the androgynous feminism regains its importance, one represented by Virginia Woolf, and referring – in the theoretical layer – to Freud as read by Lucy Irigaray. Freudism, which the feminists became aware of in the 1970s, is the only philosophical movement, which assumes a dual subject, that is, in the starting point assumes the existence of two subjects – man and woman, even if the woman is defined in a purely negative way, by the deficit, as a “not a man”. Freudism replaces the Cartesian thinking subject (consciousness) by the corporeal and sexual being, and forces us to re-think the Enlightenment beginnings of the European aesthetics.
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Chernik, Aria F. "The “Peculiar Light” of Blakean Vision: Reorganizing Enlightenment Discourse and Opening the Exemptive Sublime." Articles, no. 50 (June 5, 2008): 0. http://dx.doi.org/10.7202/018148ar.
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Abstract This article argues that there is a direct connection between Blake’s rejection of conventional Enlightenment aesthetics—namely, of tropes pertaining to light and darkness and void and chaos—and a space of liberty that is opened for the reader. This space, which I term the “exemptive sublime,” is free from interpretive mandates and even orthodox assumptions. To illustrate the affiliation between Blake’s radical aesthetics and the radical space of liberty that is created for the reader, I first briefly consider how even in some of his earliest works, such as “The Little Black Boy” and The Marriage of Heaven and Hell, Blake is already complicating notions of light, darkness, and void. I then turn my analysis to the verbal and visual designs of the opening plates in The [First] Book ofUrizen to demonstrate how Blake boldly reorganizes Enlightenment epistemological and ontological discourse so that places of void and darkness become places of productive insight. In its characteristic emphasis on the importance of inspired Vision over empirical sight, Blake’s composite art opens not just a space of liberty in which to question hegemonic doctrine, but also a space for ethical reflection.
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Vincent, Robert Hudson. "Baroco: The Logic of English Baroque Poetics." Modern Language Quarterly 80, no. 3 (September 1, 2019): 233–59. http://dx.doi.org/10.1215/00267929-7569598.
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Abstract As many scholars, including the editors of the Oxford English Dictionary, continue to cite false etymologies of the baroque, this article returns to a Scholastic syllogism called baroco to demonstrate the relevance of medieval logic to the history of aesthetics. The syllogism is connected to early modern art forms that Enlightenment critics considered excessively complicated or absurdly confusing. Focusing on the emergence of baroque logic in Neo-Latin rhetoric and English poetics, this article traces the development of increasingly outlandish rhetorical practices of copia during the sixteenth century that led to similarly far-fetched poetic practices during the seventeenth century. John Stockwood’s Progymnasma scholasticum (1597) is read alongside Richard Crashaw’s Epigrammatum sacrorum liber (1634) and Steps to the Temple (1646) to reveal the effects of Erasmian rhetorical exercises on English educational practices and the production of English baroque poetry. In the end, the article demonstrates the conceptual unity of the baroque by showing the consistency between critiques of baroco, critiques of English metaphysical poetry, and critiques of baroque art during the Enlightenment.
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Costelloe, Timothy M. "The Founding of Aesthetics in the German Enlightenment: The Art of Invention and the Invention of Art by Stefanie Buchenau." Journal of the History of Philosophy 52, no. 3 (2014): 615–16. http://dx.doi.org/10.1353/hph.2014.0060.
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Gudimova, Svetlana. "MUSICAL AND AESTHETIC VIEWS OF V.F. ODOEVSKY." Filosofiya Referativnyi Zhurnal, no. 4 (2021): 166–85. http://dx.doi.org/10.31249/rphil/2021.04.10.
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Vladimir Fedorovich Odoevsky (1804-1869) was a man of truly encyclopedic knowledge and interests: writer (author of the first philosophical story in Russia and SF), philosopher, scientist, educator, popularizer of science, inventor, music theorist, researcher of Old Russian song art, founder of professional musicology in Russia, pianist, composer. This article deals only with his musical and aesthetic activities. Odoevsky was a Schellingian philosopher and fully shared the concept of art of the early German romanticists, in unison with whom he opposed the dogmas of rationalist classicist aesthetics. He is characterized by the romantic affirmation of music as the highest science and highest art. Odoevsky made a huge contribution to the formation of the Russian musical school. Paying special attention to specific forms of nationality in a musical composition, he constantly emphasizes that the composer's borrowing of folklore material without vivid melodic images only leads to a handicraft «cobble together» the rented material. The music critic does not miss a single attack by semi-literate scribblers directed against Glinka, Dargomyzhsky and other representatives of the Russian music school; he is engaged in musical enlightenment of the public. At the end of his life, Odoevsky wrote with hope: «The thought that I have sown today will rise tomorrow, in a year, in a thousand years…».
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Presto, Jenifer. "The Aesthetics of Disaster: Blok, Messina, and the Decadent Sublime." Slavic Review 70, no. 3 (2011): 569–90. http://dx.doi.org/10.5612/slavicreview.70.3.0569.
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In this article, Jenifer Presto argues that the 1908 Messina-Reggio Calabria earthquake had an impact on Aleksandr Blok no less significant than that which the 1755 Lisbon earthquake had on writers of the Enlightenment and proceeds to demonstrate how it shaped Blok's aesthetics of catastrophe. This aesthetics can best be termed the “decadent sublime, ” an inversion of the Kantian dynamic sublime with its emphasis on bourgeois optimism. Following Immanuel Kant, Blok acknowledges the fear and attraction that nature's forces can inspire; however, unlike Kant, he insists that modern man remains powerless in the face of nature, owing to his decadence—a decadence endemic to European civilization. The decadent sublime is manifested in a host of Blok's writings, ranging from “The Elements and Culture” to Lightning Flashes of Art and The Scythians; it is intensely visual and is indebted to images of ruin by artists such as Giovanni Battista Piranesi and Luca Signorelli.
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Zorach, Rebecca. "An Astonishing Visibility: The Invisible Hand and the Visible Fist; Or, Enlightenment, Aesthetics, and Police." Visual Arts Research 48, no. 1 (June 1, 2022): 17–28. http://dx.doi.org/10.5406/21518009.48.1.02.
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Abstract This essay takes as a starting point the modern influence of Scottish philosopher Adam Smith's notion of the “invisible hand” in economics, and its relationship to police and policing, to trace the power relationships and aesthetic theories embedded in both in their 18th-century origins. Smith repeatedly frames the concept of the invisible hand in aesthetic terms, as does (in a different way) his devotee, neoliberal evangelist Milton Friedman. He also connects it at the outset with the then-current definition of the word “police” as both political order and refinement (etymologically connected to “polish”). An archaeology of both concepts leads to a final question: To what extent does our current understanding of “art” require a kind of order that can only come from “police”?
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Królikowski, Janusz. "Przemiany symboliczno-teologicznego znaczenia materii i ich odzwierciedlanie się w estetyce i sztuce chrześcijańskiej." Sacrum et Decorum 13 (2020): 7–27. http://dx.doi.org/10.15584/setde.2020.13.2.
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Almost from its very beginning, the faith of the Church incorporated art in its various forms of expression into the process of interpreting its doctrine. Quite quickly the Church included in this process the dogma of creation, i.e. the calling of the world into existence by God. At first, in polemic against ancient Manichaean tendencies, this dogma contributed to a positive view of matter, and thus to the possibility of using it in the realm of religion: since it comes from God, it cannot be an obstacle to worshipping him. Over time, the theme of creation itself was also incorporated into art, above all because it shaped Christian aesthetics, which always in some way reflected the essential elements of the Christian vision of the world and matter: radiance, proportion, harmony. Scholastic theologians in the Middle Ages drew attention to the fact that aesthetics, referring to the creative work of God, can play a supportive role in man’s return to God, thanks to the fact that it lifts his spirit towards the Creator. In the Middle Ages the motif of God the Creator, especially as the Creator of all things, also appeared in art. Under the influence of Enlightenment and positivist tendencies, matter lost its symbolic and theological bearing, becoming only a material made available to man, and thus the motif of creation disappeared from art. This means that there is a need to search for the possibility of including the truth about creation in art.
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Strashnov, Sergey L. "The mass nature of art in the understanding and implementation of V. Mayakovsky." Philological Sciences. Scientific Essays of Higher Education 1, no. 6 (November 2021): 113–20. http://dx.doi.org/10.20339/phs.6-21.113.
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V. Mayakovsky has decisively and constantly implemented the program of art massiveness in his work. The author of this article examines the formation and development of these guidance based on the analysis of works of art and poet’s aesthetics. Special attention is paid to newspapers and advertising texts. Various aspects of Mayakovsky’s interpretation of massiveness are investigated, including the forms of his own poetic agitation and literary enlightenment. At the same time, it is noted that the movement towards simplification and popularization was not particularly straightforward. This is shown using the example of foreign cycles, poems about poetry and love lyrics. The dynamics of the internal creative contradictions of the mass and the individual is most extensively established by the analysis of two introductions to the poem “In a loud voice", which became a kind of quintessence of the multidirectional previous trends.
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Cvejić, Žarko. "From "Bach" to "Bach's son": The work of aesthetic ideology in the historical reception of Carl Philipp Emanuel Bach." New Sound, no. 54-2 (2019): 90–108. http://dx.doi.org/10.5937/newso1954090c.
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The paper explores the historical correlation between the marginalization of C. P. E. Bach in his posthumous critical reception in the early and mid 19th century and the paradigm shift that occurred in the philosophical, aesthetic, and ideological conception of music in Europe around 1800, whereby music was reconceived as a radically abstract and disembodied art of expression, as opposed to the Enlightenment idea of music as an irreducibly sensuous, sonic art of representation. More precisely, the paper argues that the cause of C. P. E. Bach's marginalization in his posthumous critical reception should not be sought only in the shadow cast by his father, J. S. Bach, and the focus of 19th and 20th-century music historiography on periodization, itself centred around "great men", but also in the fundamental incompatibility between this new aesthetic and philosophical ideology of music from around 1800 and C. P. E. Bach's oeuvre, predicated as it was on an older aesthetic paradigm of music, with its reliance on musical performance, especially improvisation, itself undervalued in early and mid 19th-century music criticism for the same reasons. Other factors might also include C.P. E. Bach's use of the genre of fantasia, as well as the sheer stylistic idiosyncrasy of much of his music, especially the fantasias and other works he wrote für Kenner ("for connoisseurs"). This might also explain why his music was so quickly sidelined despite its pursuit of "free" expression, a defining ideal of early to mid 19th-century music aesthetics.
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Zhou, Heqiang, and Lei Que. "The Causes and Enlightenment of Post-Modern Film Culture in the 5G Era." Journal of Electronic Research and Application 5, no. 5 (September 30, 2021): 25–30. http://dx.doi.org/10.26689/jera.v5i5.2596.
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With the increasing influence of 5G technology on film art, the postmodern culture contained therein is also gradually becoming obvious. Understanding the context of the 5G era and clarifying the origin of postmodern film culture can help us analyze the cause of the rise of postmodern film culture, especially the important influence of the expansion of film application scenes, the innovation of the whole industry chain and the evolution of film aesthetics on the rise of postmodern film culture. In addition, we should also consider the film culture under the postmodernism of 5G era, and explore the way to stick to the benign development of film creation and film industry in order to enhance our cognition and appreciation of postmodern film culture, to maximize the positive factors of postmodern film culture, and to promote the healthy and prosperous development of Chinese film production, creation and industry.
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Zacharow, Sebastian. "Le rôle créateur de la memoria rhétorique dans la théorie des arts à l’époque des Lumières." Przegląd Humanistyczny 63, no. 4 (January 15, 2020): 7–14. http://dx.doi.org/10.5604/01.3001.0013.7280.
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The article addresses the issue of one of the parts of rhetoric – memory (memoria) in relation to fine arts (beaux-arts), a term invented by Charles Batteux. In the classical understanding of the rhetorical discourse, memoria is a set of rules allowing the speaker to remember his speech and then to deliver it in the best possible way. In terms of aesthetics and art, the mentioned term takes on many new meanings, to the extent that Diderot’s Encyclopedia does not use it at all. In order to explain the role of memory as a creative process, the French theoreticians of the Age of Enlightenment (Batteux, Dubos, Voltaire) use many other terms, which only shows the complexity of the term memoria. The aim of the article is to show the adaptation of the rhetorical term to the area of poetics and theory of art, and to present how this rhetorical concept becomes one of the foundations of the fine arts.
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Zaуtseva, Nataliya Vladimirovna. "“Natural” in the philosophical and moralistic literature of the XVII century." Философия и культура, no. 11 (November 2021): 33–45. http://dx.doi.org/10.7256/2454-0757.2021.11.36779.
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In philosophy, “natural” is viewed as an ontological characteristic of the objects of internal and external reality along with the concept of “artificial”. However, in the XVII century, the philosophical and moralistic literature undergoes aestheticization. Numerous appeals of the writers, moralists and philosopher, as well as dialogues and arguments on the topic of “natural” indicate that this was of crucial importance for the aesthetic thought of the XVII century. The answer to the question ‘what natural is’ has become the cornerstone of the new gallant aesthetics, and in behavior was associated with fluency and aristocratic inattention, which are opposed to pomposity and affectation. In art, “natural” was perceived as a desire to purge from the Baroque ostentation. In literature, it is the result of hard work on the language that allows achieving lightness and fluency. Ultimately, in the philosophical thought, “natural” is perceived as the correspondence with truth. Until the present, the question of aestheticization of the “natural” did not draw the attention of Russian researchers. This is partly explained by the historical tradition. Russia enters the European philosophical thought only in the Era of Enlightenment in the XVIII century; thus, the XVII century seems somewhat archaic on the background of the topical issues. However, the XVII century is the advent of the history of modern philosophical and aesthetic thought, and creates the foundation of modern European mentality. This period marks the formation of the new aesthetic ideal, new aesthetic norms, and the system for assessing the work of art, which assign an important role to the “natural”.
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Dorofeev, Daniil. "Ancient Philosophers in Saint Petersburg: Visual-Plastic Forming of City and Person." ΣΧΟΛΗ. Ancient Philosophy and the Classical Tradition 15, no. 2 (2021): 868–93. http://dx.doi.org/10.25205/1995-4328-2021-15-2-868-893.
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The article is devoted to the study of philosophical significance of visual and plastic iconography of ancient philosophers as a special way of education and formation of human image, landscape of the city and culture as a whole. The author seeks to identify and analyze as much as possible the presence of such images in St. Petersburg, primarily in the form of sculptural statues and busts in palaces and parks. For this purpose the article examines what role antique plastic art played in the systems of education and aesthetics of everyday life of in the 18th and 19th centuries men, how and by whom it was perceived, disseminated and propagandized. Particular attention is paid to the history and philosophy of garden art from Ancient Greece to the Enlightenment, since this is where the educational function of the iconography of ancient philosophers (for example, in the Summer Garden and Pavlovsky Park) is expressively revealed. The article uses extensive material to illustrate the peculiarities of ancient art collections and the originality of images of ancient philosophers in European and Russian culture of the 18th–19th centuries.
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Tao, Shilong. "Being Towards Death: Tragic Aesthetics and Stoicism in W. B. Yeats’s Men Improve With The Years." Advances in Language and Literary Studies 11, no. 4 (August 29, 2020): 1. http://dx.doi.org/10.7575/aiac.alls.v.11n.4p.1.
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Men Improve With The Years was written by W. B. Yeats in 1916 by the time he had turned 50 years old. This paper argues that in this poem, Yeats presents his philosophical thoughts of the tragic life among human beings, highlighting that the joy in tragedy is “the way to survive” while the sorrow in tragedy is “being towards death”. Influenced by Nietzsche’s aesthetic notions of the Apollonian and Dionysian art, Yeats holds a kind of tragic aesthetic view towards death—“the unity of being” of individual life and nature, and aims to seek the joy of growing old and the freedom to create life out of life. As Apollonian dream covers the tragedy of life and Dionysian intoxication discloses it, the nameless old protagonist in the poem or Yeats himself attempts to bear the plight with stoicism and fortitude like a marble Triton so as to conquer and welcome all the sorrows in the process of aging and dying. Since men improve with the years, “being towards death” is the nature of living. Yeats hopes to achieve the aesthetic redemption from the tragic life in his early fifties, thus giving enlightenment to the predicament of human existence.
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Istomina, Nadezhda A. "ILLUSION AND REALITY IN THE PORTRAITS BY GEORG PENCZ." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 6 (2021): 127–38. http://dx.doi.org/10.28995/2686-7249-2021-6-127-138.
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Georg Pencz’s picturesque portraits represent one of the brightest stages of development in the master’s work. In the 1540s, after his second Italian trip, the artist became the leading portrait painter of the Nuremberg nobility and turned to the type of monumental large-format portrait that included elements of genre painting. Pencz depicted the rich entourage surrounding a patron with the attention to nature inherent in German Renaissance art. It was a demonstration not only of the social status and affluence of his patron, but also of the artist’s skill. At the same time, the image was endowed with an inherent aesthetics of mannerism, in which notional and optical allusions, among other things, indicated the enlightenment and subtle taste of the portrayed individual. Illusion and reality combined to create a symbolic field, within which a picture should be interpreted. This trend continued into XVII century painting.
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Eagleton, Terry. "A Homage to William Hazlitt." Theory Now. Journal of Literature, Critique, and Thought 5, no. 2 (July 28, 2022): 9–17. http://dx.doi.org/10.30827/tn.v5i2.24498.
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Hazlitt was a man of letters who developed his career in the late eighteenth and early nineteenth century when the public sphere was still strong. Men of letters were a sort of moral guides in times of profound cultural change and political turbulence; they formed public opinion through speaking and writing to a large non-specialized audience about a wide range of issues of public interest including aesthetics, ethics, politics, religion, and science. The stage was divided between conservatives and radicals and, due to the political relevance of the debate and the intense rivalry between the contending parties, there was a violent exchange of ideas. One of the greatest stylists of the English language, Hazlitt was no detached observer but got involved in the defence of his position no matter the cost at a time when not only ideas but matters of style mattered politically. A radical all his life, he combined the ideas of the Enlightenment and Romanticism to defend equality, freedom, autonomy in art and life, and imaginative empathy.
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Wicks, Robert. "Understanding Gadamer." Dialogue 38, no. 4 (1999): 827–33. http://dx.doi.org/10.1017/s0012217300006739.
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The Philosophy of Hans-Georg Gadamer, edited by Lewis Edwin Hahn, the twenty-fourth volume in the “Library of Living Philosophers”—a series founded in 1938 by Paul Arthur Schlipp, the aim of which has been to represent some of the world's greatest living philosphers. In keeping with this tradition, the 600-page Gadamer volume contains an invaluable and lengthy autobiographical sketch by Gadamer himself, long with wide-ranging critical and interpretive essays by twenty-nine scholars. The essays address the foundations of philosophical hermeneutics, the significance of beauty, art, and aesthetics to hermeneutic theory, theSocratic-Platonic sources of Gadamer's outlook, the relationship between Gadamer's hermeneutics and the characteristic perspectives of the Renaissance and the Enlightenment, questions concerning Gadamer'sconnection to political affairs in twentieth-century Germany, and the nuances of Martin Heidegger's profound influence on Gadamer's thought. The essays divide evenly into those which take issue with Gadamer and those which interpretively and sympathetically elaborate on Gadamerian themes. Of the twenty-nine authors, twenty-six were teaching at North American colleges and universities at the time of writing.
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BOOHER, C. RICHARD. "BUCHENAU, STEFANIE. The Founding of Aesthetics in the German Enlightenment: The Art of Invention and the Invention of Art. Cambridge University Press, 2013, viii + 272 pp., $84.00 cloth, $32.99 paper." Journal of Aesthetics and Art Criticism 74, no. 3 (July 2016): 311–14. http://dx.doi.org/10.1111/jaac.12282.
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Sechin, Alexander G. "The Sources and Meaning of the Term Decency in the Writings of Prince Dmitry Golitsyn on Fine Arts." Vestnik of Saint Petersburg University. Arts 12, no. 4 (2022): 682–707. http://dx.doi.org/10.21638/spbu15.2022.407.
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The author focuses on one of the most important terms of normative aesthetics and art, decency, which occupies a prominent place in the writings of Prince Dmitry Golitsyn (1734–1803), devoted to the issues of architecture and fine arts. A detailed study of the origins of decency and the meaning of this concept leads to the identification of three stages in its development, consistently considered with the involvement of both source texts and the works of modern scholars. The first stage was the flourishing of classical ancient Greek art, which corresponds to the concept of τὸ πρέπον, formed in the consciousness and rhetorical culture of Athens. In relation to the fine arts, its importance cannot be overestimated, since decency was not conceived without an adequate and eye-catching external expression of typical images, including their social status and ethical content. Under its influence, a system of canons of European art was born in ancient Greece. The second stage is associated with the Renaissance, when the idea of convenevolezza arises. It was focused on the Classical Antiquity and the appropriate iconographic tradition and therefore had a pronounced retrospective character. Finally, the classicism of the Enlightenment era, or neoclassicism, the time of Golitsyn’s life and work, picks up the baton of the norm in art and the deviations from it made by nature itself. Golitsyn’s interpretation of decency in his treatises and its correct understanding by art historians are important, since these works formed the basis of the Russian doctrine of normative, primarily academic art. Decency in the understanding of the ancient Greeks, Italians of the Renaissance and enlighteners of the 18th century did not completely dissolve in the works of the great and ordinary masters of those distant times. It is invariably revived when it comes to the visualization of traditions, proprieties and various norms within artistic culture, about the artist’s service to the model, the canon.
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Lotter, Konrad. "Ästhetik des Südens. Ästhetik des Nordens. Anmerkungen zur Klimatheorie der Kunst." Zeitschrift für Ästhetik und Allgemeine Kunstwissenschaft 58, no. 2 (2013): 129–48. http://dx.doi.org/10.28937/1000106220.
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Die eigentümliche Verbindung geographischer Begriffe wie »Süden« und »Norden« mit dem philosophischen Begriff der Ästhetik verweist auf die sog. Klimatheorie, die die Autonomie der Kunst bestreitet und ihre Eigenart und Entwicklung durch das Wetter und andere Naturbedingungen erklärt. Zum einen werden die verschiedenen Ansätze dieser Theorie z.Zt. der europäischen Aufklärung dargestellt, die das Klima durch den Körper, die Lebensweise oder die Arbeit des Menschen vermittelt, auf seine geistige Produktion bezieht. Das Hauptanliegen des Aufsatzes ist es, die Entwicklungen der Klimatheorie und ihre Aufhebung in die physiologische Ästhetik Nietzsches, die Stilpsychologie Worringers oder die Ästhetik von Marx, die den ideologischen Überbau als Refl ex der sozialökonomischen Basis begreift, aufzuzeigen. Zum anderen wird die Verdrängung der (klassizistischen) Ästhetik des Südens durch die (romantische) Ästhetik des Nordens analysiert, die sich zunehmend von ihrem Ausgangspunkt entfernt und den Begriff des Klimas durch den der Nation und der Rasse ersetzt.<br><br>The peculiar association of geographical terms like »south« and »north« with the philosophical term of aesthetics refers to the so called climatology, which denies the autonomy of art and explains its characteristics and its development by weather and other natural phenomena. On the one hand, various concepts of the European enlightenment are described, relating climate, mediated through the body, the life style or the work of men, to spiritual production. The main objective of the article is to demonstrate the development of climatology, its integration (Aufhebung) into Nietzsche’s physiological aestetics, into Worringer’s Stilpsychologie (psychology of style) as well as into the aestetics of Marx, who interprets the ideological superstructure as a reflex action of the social and economical basis. On the other hand, the repression of the (classical) aesthetics of the »south« by the (romantic) aestetics of the »north« is analysed. Thus removing itself more and more from its starting point, the »northern aesthetics« substitutes the notion of climate with that of nation and race.
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Berlova, Maria. "The Transnationalism of Swedish and Russian National Theatres in the Second Half of the Eighteenth Century: How Foreign Performative Art Sharpened the Aesthetics of National Identity." Nordic Theatre Studies 27, no. 1 (May 12, 2015): 104. http://dx.doi.org/10.7146/nts.v27i1.24243.
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In this article, I consider the formation of national theatres in Sweden and Russia under the guidance of King Gustav III and Empress Catherine II. Both Swedish and Russian theatres in the second half of the eighteenth century consolidated their nationalism by appealing to various national cultures and absorbing them. One of the achievements of the Enlightenment was the rise in popularity of theatre and its transnationalism. Several European countries, like Russia, Sweden, Po- land, Hungary and others, decided to follow France and Italy’s example with their older traditions, and participate in the revival of the theatrical arts, while aiming at the same time to preserve their national identities. The general tendency in all European countries of “second theatre culture” was toward transnationalism, i.e. the acceptance of the inter-penetration between the various European cultures with the unavoidable impact of French and Italian theatres. The historical plays of the two royal dramatists – Gustav III and Catherine II – were based on nation- al history and formulated following models of mainly French and English drama. The monarchs resorted to the help of French, Italian and German composers, stage designers, architects, choreographers and actors to produce their plays. However, such cooperation only emphasized Swedish as well as Russian national- ism. Despite many similarities, Gustav III and Catherine II differed somewhat in how each positioned their own brand of nationalism. By delving deeper into the details of the formation of the national theatres by these monarchs, I will explore similarities and differences between their two theatres.
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Kirillova, Natalia B. "Metamorphoses of Russian Mass Culture." Observatory of Culture 16, no. 5 (December 4, 2019): 536–41. http://dx.doi.org/10.25281/2072-3156-2019-16-5-536-541.
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The article is a review of the monograph “Russian Mass Culture: From Baroque to Post-Modernism” by Doctor of Philosophy, Professor of the Russian State University for the Humanities, Academician of the Russian Academy of Natural Sciences I.V. Kondakov. The book, which consists of seven chapters, is devoted to the history of the emergence and development of mass culture in Russia from ancient times to the beginning of the 20th century. Studying its origins dating back to antiquity, the author proves that Russian mass culture received an “impulse of independence” in the 17th century, as the culture was becoming personified, which means a personal principle was coming forward in it. It was during that period, associated with the emergence of Russian Baroque, that two paradigms appeared — Pre-Renaissance and Pre-Enlightenment, which led to the subsequent juxtaposition of “mass” and “elite” cultures in Russia first before Peter the Great and then after his period. The author gives an interesting assessment to the period of the Russian Enlightenment of the 18th century, when there happened a demarcation of the noble culture into liberal-democratic and conservative directions. Moreover, the former contributes to “massification”, and the latter – to “individualization” of Russian culture. The crisis of the classical paradigm in the 19th century, including the “literature-centrism” and “critical-centrism” of Russian culture, ultimately led to the formation of new artistic movements, new genres and styles, that is, to the modernization of Russian culture at the turn of the 19th—20th centuries. In this regard, the Silver Age turned out to be an “exquisite and ephemeral construction of the Russian Renaissance” in paradoxical forms of symbolism and modernism.The review reflected the structural and substantive aspects of I.V. Kondakov’s monograph, the features of his theoretical analysis, the specifics of style and language. The article evaluates the publication, reveals its uniqueness and scientific significance for modern humanitarian science, including history and cultural studies, literary criticism and philosophy, art criticism and aesthetics.
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Maiste, Juhan. "Miks kõneleb Laokoon kirjasõnas ja ei kõnele marmoris?" Baltic Journal of Art History 11 (November 30, 2016): 9. http://dx.doi.org/10.12697/bjah.2016.11.02.
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In this article, the author focuses on the work called Laocoön, which was one of the most popular subjects for 18th century art writers. The first description of the work was provided by Pliny the Elder who, in the 36th volume of his Naturalis historia, calls it the best work of the art in the world – be it painting or sculpture. Pliny identifies three artists from Rhodes – Hagesandros, Polydoros and Athenedorus – as the authors of the Laocoön Group. After the sculpture was found in the vicinity of the Basilica of Santa Maria Maggiore, the Laocoön has repeatedly aroused the interest of art historians. Johann Joachim Winckelmann raised the sculptural group into focus during the Age of Enlightenment. And his positions, and sometimes opposition to them, form the basis of Gotthold Ephraim Lessing’s, Johann Gottfried Herder’s and Johann Wolfgang Goethe’s writings on the Laocoön. I am sure that their thoughts deserve also attention today, when we speak about the fundamental change in philosophy, philology, and partially also in art history. In seeking an answer to Lessing’s question, “Why does Laocoön not cry in marble but in poetry?” Can art speak? And if it can, how? The first stage of the article explores the contradictory nature of word and picture, in which regard both Lessing and Herder preferred the former. The second question that arises in the article is: What are the framework and boundaries of art writing as a method of art history for ascertaining and describing the internal nature of a work of art? And further, do words enable one to arrive at the deeper layers of a work and the reason for the act of creation? And if so, to what extent? The third and most important issue examined in the article is the two possible approaches to a work of art, and visual images more generally – the analytical and phenomenological. By relying on history, and the broadly accepted methods of the narrative, sociological, biographical, and other sciences contingent on it, the epistemological nature of art has remained outside the conceivable limits of scientific language. And as such, it has reduced the possibility of understanding pictures and finding them a place in today’s scale of assessments; of speaking not only about the external and measurable parameters, but also about works of art as unique phenomena, in which an invisible and metaphysical content exists in addition to that which is inherent to the visible and the describable. Just as much as our rudiments of rationality and logical analysis help us to understand works of art, their impact relies on a subjective readiness to receive artistic experiences, which according to Goethe, transform the Laocoön into something affectively animated in the torchlight. Art is usually revealed by in-depth sources via the contemplative reflection that follows sensory experiences. Since Longinus’s time, this has been described as sublimity, and it garnered supporters in the form of the Neo-Platonic authors of the Renaissance, whose role in 18th century aesthetics is just as significant as the art history tradition based on classical archaeological research. In the writings of Winckelmann, and those who followed him, the two poles of this approach to art are tightly merged. The author’s goal is to draw attention to ways of understanding and writing about art, besides the descriptive methods and those related to history; to those that focus on the processes related to the gnoseological side and to subconscious creation, and provide a place for words and their power to create ever newer and more expressive metaphors. One possibility for translating visual images into verbal form is to adopt the breadth of poetry and its language, which truthfully, being just as ambiguous and inexplicable as art, enables us to make the indescribable describable; via a work of art as the initial idea, and the work that informs us of this idea as a series of formed images that can be assessed as pictures that describe the spiritual image (or eidolon in Greek).
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Oliva Mendoza, Carlos. "La permanencia del pasado: lo clásico en el tiempo." Theoría. Revista del Colegio de Filosofía, no. 7 (December 1, 1998): 79–98. http://dx.doi.org/10.22201/ffyl.16656415p.1998.7.211.
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The idea behind this text is to exhibit some of the characteristics of a form of actualization of the past; more precisely, the movement of the Classic in history. Following Gadamer on the role of tradition as an element of understanding and the configuration of the present, as well as Hegel's model of the Classic in the development of art and aesthetics, the paper claims that there is a movement in the constitution of the classic, through which the past remains by itself summoning the present. Thus, the past remains through its own beliefs and forms of representation. This thesis postulates a criticism of the omnipotence of Enlightenment and some of its immediate discourses: the configuration of the truth as objective knowledge; the unidimensional method; the constitution of determined historical subjects as the only authorities over the configuration of the world. The abovementioned thesis is sustained by a study of the characteristics of the culmination of the Classic. The central point is an attempt to demonstrate that while modern philosophical discourse historizes certain categories as simple descriptive elements of the past, a second argument, based on a proposal which always attempts to find the interpretive aperture, should discover the normative validity in esthetic categories of the present reality. In this view, the past interprets and transmits itself as Classic in the present and future perspectives. Hence, tradition —in its classic form— brings configurations into the present which constitute themselves in real life, while theoretical and methodological criticism on many occasions do not take them into account, but rather avoid or belittle them.
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Sun, Shan, and Yan Huang. "ON THE CHARACTERISTICS OF METICULOUS FLOWER AND BIRD PAINTING TEACHING FROM THE PERSPECTIVE OF EMOTIONAL BEHAVIOR CHANGE -- TAKING THE INFLUENCE OF ZHOU YANSHENG'S FLOWER AND BIRD PAINTING TEACHING ON STUDENTS' EMOTION AS AN EXAMPLE." International Journal of Neuropsychopharmacology 25, Supplement_1 (July 1, 2022): A69. http://dx.doi.org/10.1093/ijnp/pyac032.095.
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Abstract Background Meticulous flower and bird painting is a basic course for art and technology majors in the Department of Chinese painting and art colleges. However, at present, the teaching of meticulous flower and bird painting is almost carried out in the order of copying, sketching and creation, and each teaching unit is often isolated. Through the study of Zhou Yansheng's painting characteristics and artistic style, it is found that the previous art research on Zhou Yansheng basically focused on his painting artistic style and brush art aesthetics, and there are few articles to deeply study and summarize the teaching characteristics of Zhou Yansheng's brush painting from the perspective of educational psychology. There is no adjustment of emotion in the process of painting. Topics and Methods This paper analyzes Zhou Yansheng's teaching style and teaching characteristics of flower and bird painting from the perspective of inheriting classics and pioneering innovation, and briefly expounds Zhou Yansheng's artistic view from the perspective of teaching psychology, so as to more objectively and comprehensively analyze the artistic characteristics of Zhou Yansheng's ink painting and its influence on the new development of ink painting teaching in modern colleges and universities. At the same time, in the process of painting, we studied the regulating effect of this painting style on group emotion. Using cluster sampling method, 522 freshmen to seniors (256 boys and 266 girls) from four colleges and universities in a province were selected as the research objects. There were 497 valid questionnaires, and the recovery rate was 95.2%. Among them, 138 freshmen (27.7%), 128 sophomores (25.7%), 137 Junior (27.6%) and 94 senior (18.9%). The mean age was 21.3 ± 0.87. Pearson correlation, standard deviation and statistical significance were used to illustrate the correlation. Independent sample t-test was used to verify the difference between high anxiety group and low anxiety group. According to the statistical value of anxiety, participants were divided into three groups: low, medium and high anxiety groups. The questionnaire includes two kinds of anxiety, namely debilitating anxiety and promoting anxiety. The relationship between anxiety and self-efficacy of students of different majors and genders was investigated by t-test, univariate, multivariate analysis of variance and regression analysis. Results Zhou Yansheng is not only a modern flower and bird painting painter with personal artistic characteristics, but also a highly respected practical educator of flower and bird painting. He has accumulated a lot of valuable experience in 40 years of teaching. The author summarizes his teaching system of meticulous flower and bird painting. Characteristic innovation lies in the combination of teaching composition, modeling and color innovation, and runs through copying, sketching and creation. This systematic teaching mode breaks the gap between reproduction, sketch and independent creation, and finally does not cut off the innovative curriculum mode of all links, so that the works finally show the modern Chinese painting aesthetics of plane composition, color science and material science, and the picture is full of contemporary flavor. Conclusion In practical sense, Zhou Yansheng's meticulous flower and bird painting has further developed and innovated on the basis of traditional teaching, enriched and developed the teaching of meticulous flower and bird painting to a certain extent, and has certain enlightenment significance and function for the innovation of diversified teaching styles of Contemporary Meticulous flower and bird painting.
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Miles, Stephen, David Roberts, and Hans-Klaus Jungheinrich. "Art and Enlightenment: Aesthetic Theory after Adorno." Notes 48, no. 4 (June 1992): 1225. http://dx.doi.org/10.2307/942109.
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Mathas, Alexander, and David Roberts. "Art and Enlightenment: Aesthetic Theory after Adorno." German Studies Review 16, no. 2 (May 1993): 392. http://dx.doi.org/10.2307/1431696.
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Zuidervaart, Lambert, and David Roberts. "Art and Enlightenment: Aesthetic Theory after Adorno." Journal of Aesthetics and Art Criticism 50, no. 3 (1992): 262. http://dx.doi.org/10.2307/431241.
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Muller-Sievers, Helmut, and David Roberts. "Art and Enlightenment: Aesthetic Theory after Adorno." German Quarterly 65, no. 3/4 (1992): 494. http://dx.doi.org/10.2307/407642.
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Zelechow, Bernard. "Art and enlightenment: Aesthetic theory after Adorno." History of European Ideas 14, no. 3 (May 1992): 459–60. http://dx.doi.org/10.1016/0191-6599(92)90240-d.
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Donets, Oleksandr. "Spiritual practices of zen buddhism in the conditions of globalization challenges of modern times." Skhid 3, no. 4 (December 25, 2022): 57–62. http://dx.doi.org/10.21847/1728-9343.2022.3(4).269723.
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The article studies the specifics of Zen Buddhism spiritual practices that influence the spread of their popularity in the contemporary Western globalised world. Zen Buddhism insists on the need for inner spiritual experience, which is directly opposed to authority and external revelation. Zen Buddhism primarily emphasises individual effort in overcoming the separation of the world into opposites, which is the result of the thinking activity. The difference between the religious system of Zen Buddhism is that Zen Buddhism, with its enlightenment, does not depend on sacred books and texts (as, for example, in Christianity, which formed the Western world system); Zen is also primarily non-verbal. The experience of enlightenment cannot be shared with others. Zen practice is a cultivated path, which at the same time has no ultimate goal or meaning; here the path (life in the inevitable) is already a "satori" here and now, which constantly flows through human existence. The relevance and novelty of the study are due to the highlighting of the features of spiritual practices of Zen Buddhism as a way of self-knowledge of a person, "returning to oneself", which ensures its active spread in modern Western society. It is determined that the essence of Zen Buddhism mysticism is that the most real is the abstract, and vice versa. The whole system of spiritual practices is the product of this essential inner spiritual experience. This mysticism often prevents us from measuring the depth of the Eastern mind in terms of Western rationalism because it denies logical analysis by its very nature. The Eastern mind is synthetic. It does not attach too much importance to insignificant trivialities. Still, it strives for an intuitive understanding of the whole, which reaches the spiritual philosophy of Zen in the daily practical challenges of the globalised world. The features of the influence of the spiritual system of Zen Buddhism on Japanese art are also analysed. The conclusions underline that Zen Buddhism has had a significant impact both directly on the religious and cultural life of the Japanese and world culture in general. The popularity of the spiritual practices of Zen Buddhism in Western society is due to their idea of breaking a person out of the subject-object dichotomy, which leads to the separation of the spiritual essence of man, and causes social conflicts. Zen has unique aesthetics, which include a high appreciation of moderation, asymmetry, imperfection, simplicity, and naturalness. In simple beauty and simplicity (transformation of "poverty" into a kind of minimalism), the Japanese find a unique charm and a source of true beauty.
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Boymirzayeva, Oykaram Sh, and Ogiloy Sh Khudaynazarova. "USE OF MINIATURE MATERIALS IN THE FORMATION OF STUDENTS' ARTISTIC AND AESTHETIC COMPETENCIES." CURRENT RESEARCH JOURNAL OF HISTORY 03, no. 02 (February 1, 2022): 31–34. http://dx.doi.org/10.37547/history-crjh-03-02-06.
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The content and essence of the educational work carried out today is one of the main factors determining the level of strength, prosperity and culture, enlightenment and spirituality that our country will achieve in that century. In this sense, miniature art is not only the architecture, literature, philosophy of Eastern culture. not only as a unique art form that has taken its rightful place in the history of world culture and art, but also as a symbol of high-level romance and Eastern reality, an art form whose educational potential is fully used in modern conditions. has been captivating the minds of the world for centuries.
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ZUIDERVAART, LAMBERT. "Roberts, David. Art and Enlightenment: Aesthetic Theory After Adorno." Journal of Aesthetics and Art Criticism 50, no. 3 (June 1, 1992): 262. http://dx.doi.org/10.1111/1540_6245.jaac50.3.0262.
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Novakovic, Marko. "Art and the critique of the enlightenment." Filozofija i drustvo 21, no. 3 (2010): 119–44. http://dx.doi.org/10.2298/fid1003119n.
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Summary The aim of this paper is to provide an examination of the concept of aesthetic rationality in the philosophy of art of Theodor W. Adorno, related to his celebrated critique of the enlightenment in The Dialectic of the Enlightenment written with Max Horkheimer. Our main purpose is to show how Adorno?s conception of art responds to a problem posed in the former study, namely that of a dialectical self-enchantment and alienation of subjective reason. In the first two sections is shown how self-preservation of subjective reason leads to its fall into the realm of myth. This turn was dialectically exposed in Adorno?s interpretation of Odysseus? voyage as prahistory of subjectivity. The next four chapters expose a necessity and mode of critical approach and possibility of a transcendence of this mythical reality of reification in the structure of works of art, especially their form, with its ultimate goal to free individuals from social injustice and unconscious enslavement. Adorno?s account of the dialectics of aesthetic semblance, artistic truth content and immanent law of its form which embodies the consciousness of non-identity provides an ex?planation how modern art mimetically manages to transcend conditions of empirical reality and at the same time offers a plausible model of a ?transitive? rationality, which serves to discover its better possibilities.
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McCreless, Patrick. "Aesthetics and the Art of Musical Composition in the German Enlightenment: Selected Writings of Johann Georg Sulzer and Heinrich Christoph Koch . Johann Georg Sulzer , Heinrich Christoph Koch , Nancy Kovaleff Baker , Thomas Christensen . Music Theory in the Age of Romanticism . Ian Bent ." Journal of the American Musicological Society 51, no. 1 (April 1998): 169–82. http://dx.doi.org/10.1525/jams.1998.51.1.03a00080.
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Adler, Hans, and Robert E. Norton. "Herder's Aesthetics and the European Enlightenment." Eighteenth-Century Studies 28, no. 2 (1994): 277. http://dx.doi.org/10.2307/2739213.
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Koeller, David W., and Robert E. Norton. "Herder's Aesthetics and the European Enlightenment." German Studies Review 16, no. 1 (February 1993): 111. http://dx.doi.org/10.2307/1430239.
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Schoolman, Morton. "The next enlightenment: aesthetic reason in modern art and mass culture." Journal for Cultural Research 9, no. 1 (January 2005): 43–67. http://dx.doi.org/10.1080/1479758042000331934.
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Kim, Dong-hyeop. "A Study on the Utility Theory of Unpil Introduced on the ｢Yùnbǐ｣ Chapter of 『Guǎngyìzhōushuāngjí』." Daedong Hanmun Association 72 (September 30, 2022): 213–41. http://dx.doi.org/10.21794/ddhm.2022.72.213.
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This article is based on the study on the utility theory of Unpil (運筆, a brush use based writing method) introduced on the Chapter 21 ｢Yùnbǐ (綴法)｣ of 『Guǎngyìzhōushuāngjí (廣藝舟雙楫)』 that Kāng Yǒuwéi (1858~ 1927) wrote logically about the calligraphic methods in the era of Qing dynasty.
Calligraphy is an art that expresses letters through Pilbeop (筆法, writing rules) based on Unpil, which is the way how to use the brush when you express the dots and lines of the letters. In such utility theory of Unpil, however, he did not simply comment how to apply the ink to the brush and how to deal with the brush. In such theory, he theoretically systemized how the calligraphers could reveal their spirits and dignities pursuing the changes that would not subtly cut off in the letters. When you discuss calligraphy, therefore, you must look into Unpil that deals with the brush use. The rule of Unpil, one of the theories of Pilbeop, is based on various kinds of theories depending on the correlation among zhǐ (指, finger), wàn (腕, hand) and bì (臂, wrist), which, however, show a variety of utilities based on such various kinds of theories. Their ultimate purpose lies, therefore in the expression of the letters correctly and beautifully.
The theory of Pilbeop systematically theorizes the ways of showing the spirits and dignities of the calligraphers who must pursue endless changes in the letters. This theory should be, therefore, based on the rule of Unpil. The dynamics and Euitae (意態, the attitude of mind) that the letters show are not only depending on the instruments but it is only brushes that can reveal the changes and dynamics of the dots and lines the best. That is why the use of brushes is crucial in calligraphy. You must, therefore, look into the utilities of the rule of Unpil when you look for the aesthetics of calligraphy.
Thus, Kāng Yǒuwéi emphasized that Bangpil (方筆, making squares by brush) must not only draw the shapes but also reveal the aesthetic sense of Ungjeongchimchak (凝整沈着) that looks righteous, well-organized, not too much excited and well-positioned. In order to reveal the aesthetic sense of Wonpil (圓筆, making circles by brush), he emphasized that the Unpil must realize ultimately Sosanchoil (蕭散超逸) that looks natural and bold in terms of form and disinterested and not flesh in terms of Pileui (筆意, intension of brushing). Eventually, he claimed the theory of full-scale utility in the relation between Bangpil and Wonpil. “Bangpil is good for Haeseo calligraphic style while Wonpil for Haengseo and Choseo calligraphic styles”, he said, “Haeseo calligraphic style would lose its freewheeling mood without Wonpil while Haengseo and Choseo calligraphic styles lose their powerful changes without Bangpil. Therefore, Bangpil and Wonpil must be used further in combination”. That is, he emphasized that Bangpil and Wonpil must be used in combination.
Pilbeop is superficially a form of expressing beauty, which, however, has the theoretical enlightenment. It is the realization of beauty to be aware that there is the reason in the form and reflect such reason into the reality by looking for such reason. The class of calligraphic theories largely influences the values of calligraphic works in the undergraduate courses. It is, therefore, expected that the utility theory of Unpil would enhance the humanistic values in the education of calligraphy and appreciation of calligraphy as well.
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McCreless, Patrick. "Review: Aesthetics and the Art of Musical Composition in the German Enlightenment: Selected Writings of Johann Georg Sulzer and Heinrich Christoph Koch by Johann Georg Sulzer, Heinrich Christoph Koch, Nancy Kovaleff Baker, Thomas Christensen; Music Theory in the Age of Romanticism by Ian Bent." Journal of the American Musicological Society 51, no. 1 (1998): 169–82. http://dx.doi.org/10.2307/831903.
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Pelowski, Matthew. "Satori, koan and aesthetic experience: Exploring the “realization of emptiness” in Buddhist enlightenment via an empirical study of modern art." Psyke & Logos 33, no. 2 (December 31, 2012): 33. http://dx.doi.org/10.7146/pl.v33i2.8738.
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We compare the cognitive basis of satori, or the “realization of emptiness” at the heart of Zen Buddhist enlightenment, and with the mechanism whereby satori is most often evoked – a pedagogical relationship between master and student called “koan” – to modern artworks and the conception of aesthetic experience, noting structural and psychological similarity. Based on our previous work on this topic in art-perception (Pelowski & Akiba, 2011), we offer a cognitive model for satori’s consideration. We then discuss empirical evidence for art-induced satori, noting a correlation with a progression of cognitive and emotional factors suggesting a movement through all posited model stages and a major distinction from non-satori outcomes. We also note a positive correlation between satori and hedonic evaluations of beauty, art potency and importance, understanding of art and artist’s intention, change in subject self image and a fundamental shift in meaning analysis from a mimetic to an experience-based interpretation. This study, through the exploration of the underlying satori mechanism made explicit in the Zen koan and duplicated in modern art, suggests a universal nature to and means of exploring the insight underlying the satori phenomenon and opens a new avenue for cross-disciplinary/cross-cultural study of enlightenment.