Aesthetic Attitude Research Articles

Проблема гуманитаризации экологии и экологического образования в контексте решения экологических проблем

The article is devoted to the analysis of the current trend in environmental science and environmental education – humanitarization. A brief description of the stages and varieties of environmental education and upbringing is given and it is concluded that at all stages one of the main goals of environmental education is the development of a full–fledged, comprehensive environmental consciousness and environmental culture. A developed environmental awareness and ecological culture are powerful weapons in the fight against the environmental crisis. The most effective in this regard is humanitarian ecology, the task of which is to form in the minds of students a valuable, personal, ethical, aesthetic attitude to nature, awareness of the unity of humanity and nature. Environmental awareness cannot be formed only on the basis of a system of environmental prohibitions and information about environmental disasters. Culture, society, symbolic worlds (for example, digital) occupy an increasing place in the human mind, displacing the natural world from it. The task of humanitarian ecology is to return nature to man, albeit in an indirect, refracted form. It is possible to accomplish this task through the use of an environmental narrative, artistic and aesthetic means, and moral and environmental education. The humanitarization of environmental education is recognized as the main vector of its development until 2030.

Bulgarian choral music as a means of intercultural communication and the formation of musical and aesthetic attitudes

Music can be used as a means of intercultural communication, since the art of music is a manifestation of the ideas of a society, an expression of its experience and unites the cultures of other peoples, requiring knowledge of those characteristic cultural elements that can be used by the ability to be part of the musical interpretive and creative process. It is important to teach schoolchildren and students respect for other cultures in a multinational environment, which affects the aesthetic values of students. The article highlights the issues of the formation of musical and aesthetic relations through Bulgarian choral music. Today, at the school level, there is a process of introducing the ethnocultural component, which is crucial for the assimilation, preservation and development of the Bulgarian heritage and strengthening interethnic communication. The ethnocultural heritage of the people consists of the following structural components: material culture, symbols and holidays, traditions and customs, theatre, art, rituals, ceremonies, language and folklore, including musical culture and choreography. Ethnocultural education as an integral educational process of transferring traditions, social norms, and cultural values of the people to the youth is an integral part of the process of personality formation, affecting its social, moral, mental and physical development. Conclusions are drawn about its increasing role in the regulation of intercultural relations in the Republic of Moldova.

The category of Nothingness as a factor in the aesthetics and poetics of modernist literature

The article defines the specifics of the influence of ideas about Nothingness on the artistic philosophy and aesthetics of modernism. It is stated that the feeling of the "liminal" time created an ambiguous perception of the world: the mystical fear of "sinking into Nothingness" together with the "dying" world, the bitterness of the loss of the "former" world were combined with the expectation of an inevitable revival. Nothingness becomes a system-forming factor in the artistic philosophy and aesthetics of modernism. Modernism objects both to Nietzschean concept of the "death of God" and to the rational-pragmatic understanding of being. Modernist reflection on Nothingness means striving for a classical value attitude to the world, manifests the salvation of culture, the human and the divine in man, asserts the idea of the highest (in the ontological and value sense) being. Therefore, the defining position of modernist aesthetics is the assertion of the presence of the Supreme and the Sacred, one of the representatives of which in the text is Nothingness. Theoristsof modernism show interest in various traditions of understanding Nothingness in culture and master them in aesthetics and poetics. The heterogeneity of inherited traditions gives rise to a variety of poetic and philosophical concepts: the focus on cognition of the Unknowable through symbolic imagery, mytho-theurgic constructions as the basis of the “negative aesthetics” of the 20th century were combined with the ontologization of Nothingness in the chronotope of a work of art based on the convergence of archetypal oppositions and theaffirmation of the value of spiritual effort aimed at comprehending the highest meaning of existence. Thus, the category of Nothingness in the aesthetics of modernism acts as the embodiment of the ontological problematic nature of the incomprehensible world, a sign of its epistemological uncertainty, correlating the Absolute and the Incomprehensible with the Beautiful.

Гуманитаризация экологии как метод борьбы с экологическим кризисом

The article is devoted to the analysis of the current modern trend in environmental science – the humanitarization of ecology, in which the author sees a new way to combat the environmental crisis. Practice shows that the existing measures to combat the crisis are not effective enough. It seems more appropriate to act through the formation of environmental consciousness and environmental culture, in the structure of which the emotional and personal component, empathy, and aesthetic attitude to nature play a crucial role. Modern man is catastrophically alienated from nature, his environment has long been irreducible to the natural one, it includes cultural, social and symbolic environments. The unifying methodological principle for a range of environmental disciplines, including the humanities (ecology of the visual and digital environment, ecology of language, ecology of culture) is the environmental approach. Not opposing culture, but refracting in cultural contexts, nature at a new, more meaningful level, should be included in the life world of modern man. Methods of the humanities are actively penetrating ecology. The author comes to the conclusion that the humanization of ecology helps to combat the ecological crisis through a new approach to nature (through understanding, experience, and not explanation).

Palatal groove associated with periodontal lesions: a systematic review illustrated by a decisional tree for management

BackgroundPalatal groove represents a relatively uncommon developmental root anomaly, usually found on the palatal aspect of maxillary incisors. While its origin is controversial, its presence predisposes to severe periodontal defects.AimThis study aimed to provide a systematic review of the literature focusing on the varied diagnostic techniques and treatment modalities for periodontal lesions arising from the presence of palatal groove. Based on the existing evidence and knowledge, the study also provides a comprehensive decisional tree, guiding clinicians in the challenging decision-making process face to a palatal groove.MethodsThe literature search was conducted on Medline and Cochrane databases by two independent reviewers, who also performed the screening and selection process, looking for English written articles reporting on diagnosis and management (all treatment approaches) of periodontal lesion(s) associated with a palatal groove. Based on this literature, a comprehensive decisional tree, including a standardized palatal groove evaluation and tailored treatment approaches, is proposed. Moreover, a clinical case is described to demonstrate the practical application of the developed decisional tree.ResultsOver a total of 451 articles initially identified, 34 were selected, describing 40 patients with 40 periodontal lesions associated with palatal grooves. The case report illustrates a deep, large, circumferential intra-bony defect on the palatal side of the tooth #22 associated with a shallow, moderately long palatal groove in an 18-year-old male patient. Following reevaluation, a single flap surgery was deemed necessary, combined with a regenerative procedure. At 2 years post-treatment, the tooth #22 is healthy, in a functional and esthetic position. The decision-making process, based on local and systemic patient’s conditions, should allow an early and precise diagnosis to prevent further complications and undertake an adequate treatment.ConclusionPalatal grooves are relatively rare; however, they are frequently associated with severe periodontal defects. The identification, diagnosis, prompt, and tailored management of the associated lesion is essential to mitigate potential periodontal and endodontic complications related to the presence of palatal groove.Systematic Review Registration[https://www.crd.york.ac.uk/prospero/], identifier [C CRD42022363194].

The urban aesthetics of graffiti murals: reproducing wall space in China’s urban renewal

In China, as in the West in recent decades to a lesser degree, the semantics of ‘graffiti’ have gradually become an alternative term for graffiti murals in urban renewal. Graffiti murals, through various renewal strategies, reproduce the wall spaces of old towns, factories and villages in Chinese urban areas, giving rise to diverse aesthetic attitudes. Taking Guangzhou, China, as a case study, this article utilizes graffiti mural images defined as ‘graffiti’ by people on social media as the basic material. Visual research methods such as photo evaluation and eye-tracking experiments are employed to analyse the aesthetic attitudes and mechanisms of mainstream street art, which in fact differ from traditional graffiti. The study reveals that people perceive different types of graffiti mural spaces in various ways, with a more positive aesthetic attitude towards urban mural landscapes that exhibit aesthetic coherence. Viewers with embodied practice experiences in ‘graffiti’ show stronger aesthetic emotions compared to those who have not visited the case study location. These differences are further influenced by the aesthetic atmosphere of the environment and the aesthetic practices of different subjects onsite, deviating slightly from the spatial aesthetic operational logic of traditional graffiti. From various perspectives on Chinese ‘graffiti’, the visual methodology constructed in this study provides new insights for the aesthetic management of urban renewal.

Розвиток творчого самовираження дітей дошкільного віку засобами альтернативних прийомів малювання

The article reveals the pedagogical potential of visual arts as a means of creative self-expression of preschool children. The directions of the formation of aesthetic culture in the education of preschoolers, which is important in the modern educational environment, are considered; «concepts of self-expression», «creative self-expression», «personal self-expression»; the connection between the desire for recognition, self-realization of the individual and self-expression. The use of non-traditional drawing methods for the development of creative abilities of preschoolers and its impact on the general development of preschool children, which is an important part of the educational process, is substantiated; the use of art, in particular fine art, plays an important role, reflects and summarizes the emotional attitude to life in a figurative and colorful form, reveals the psychological and pedagogical foundations of the formation of the aesthetic attitude of children to art during creative activity. Methodological recommendations for the organization of the process of aesthetic education and artistic space in the preschool education institution are presented; the mechanism of using the experience of artistic and creative activities of preschool children in the process of using non-traditional techniques and alternative methods of drawing is revealed. A study of the use of non-traditional drawing techniques as a means of activating the creative self-expression of older preschool children was conducted. Peculiarities of preschool children – the first stage of real personality formation, culture formation, the ability to verbalize their life experiences and express valuable attitudes towards others, as well as the development of the ability to creatively perceive the surrounding world, as well as the tendency to self-expression that manifests itself at an early age due to the desire to freedom of movement and creative efforts. The results of the positive dynamics of the use of non-traditional drawing methods for the development of creative abilities of preschoolers are considered; artistic activity aimed at forming moral and aesthetic qualities and the foundations of artistic culture in children; owning certain artistic means of expression and using them to express one's feelings, outlook and creative ideas; providing education and learning through art. The organization of creative and developmental work with children for the purpose of forming self-expression, which consists in activating participation in various types and forms of artistic and creative activities, such as musical, artistic and speech, visual, pictorial, decorative and applied, and theatrical, is highlighted.

Реализация идей К.Д. Ушинского в формировании эстетического отношения к миру у младших школьников

The article substantiates the idea of K.D. Ushinsky about the relationship between the sensual and the rational in cognitive activity from an epistemological position. The relationship between the real object (original) and the image (model) in the formation of an aesthetic attitude to the world among younger schoolchildren at different stages of cognition is shown; the empirical material of the research activity of children is summarized, modern information methods for the formation of an aesthetic attitude to the world at different stages of cognition of the world are proposed. The article is intended for teachers and students of higher education, educators.

Prelude Op.3No.2 by S.V. Rachmaninoff and prelude Op.11No.10 by A.N. Scriabin : two facets of drama

The two considered dramatic preludes were written by the young S.V. Rachmaninov and A.N. Scriabin almost at the same time, with a difference of two years. The article examines the interrelationships and features of these two plays. The basis for the joint study of these miniatures is the same tonality (C-sharp minor), one genre definition, as well as a number of similar features in imagery (drama) and in the dramatic idea (the juxtaposition of the "fatal" beginning and the pleading voice). The interrelations are manifested in form, texture, harmony, and specific compositional techniques. On the other hand, distinctive features are also studied in the form, texture, harmony, concert scale, and features of the melodic relief of these compositions. An attempt is made to substantiate the specificity of the figurative and semantic content of the plays by the peculiarities of the musical language. S.V. Rachmaninov's prelude Op.3No.2 and A.N. Scriabin's prelude Op.11 No.10 are studied by comparison. The method of sequential comparison makes it possible to study in detail the interrelationships, as well as to clearly identify the features, individuality of the figurative and semantic content and musical language of each of the miniatures. For the first time, these two famous preludes are considered in comparison with each other in detail, sequentially in the context of each part. It can be argued that preludes have a number of similar features (dramatic, compositional, textural) that have not been discussed before. As a result of the comparison, both the peculiarities of imagery and the peculiarities of musical language are highlighted in a new way. A number of these features will later, in the course of the evolution of creativity, become distinctive features of the compositional styles of each of the authors. Due to these individual characteristics, one dramatic idea is embodied in each of these preludes in its own way: the idea of contrasting and further interaction of two contrasting images - "rock" and "supplication" is embodied in each prelude in its own way. These features emphasize the difference in the nature of the drama of each of the plays. This difference is related to the individuality of the emotional, figurative, semantic content of creativity and the specifics of the aesthetic positions of the two Russian contemporary composers.

Forced Esthetic Position: A Diagnostic Strategy for Anteroposterior Repositioning in Orthognathic Surgeries.

Considering the esthetic goals involved in orthognathic surgeries, one of the challenges is to define the horizontal projection of the jaws. Most of the cephalometric analyses are focused on the position of the upper incisor and upper lip. Planning the correction of a mandibular retrognathism can be simplified by clinical simulation asking the patient to project their mandible. A forced esthetic position protocol is presented as a starting point for the planning in orthognathic cases.

Some Aspects of the Development of Anthroponyms in the Kyrgyz Language

This study examines proper names, which contain cultural information and reflect national and aesthetic attitudes. This fact is associated with various periods of the social and cultural life of any nation and is characterized by stereotypes about the functioning of society, reflecting events in the political or spiritual life of the country. The authors of this work made an attempt to show the principles of anthropocentrism in the Kyrgyz linguistic picture of the world. The reasons for the “longevity” of anthroponymy and its close connection with ancient national traditions, which are characterized by stability, resilience and the traditional patriarchal consciousness of the Kyrgyz, manifested in respect for their ancestors and their names, are analyzed. It has been proven that anthroponymy provides rich and unique materials for the study of historical patterns of Kyrgyz word formation and Kyrgyz ethnic history. The study of proper names from the point of view of synchronization and diachrony allows us to move from the description of certain patterns to a broad study of anthropological issues.

Come perenne metamorfosi. Orazio Costa e la mimesi


 
 
 Orazio Costa, theater director and teacher for over thirty years at the National Academy of Dramatic Arts in Rome, is the author of a pedagogical system called mimic method. It consisted of a theory and a practice aimed at revitalizing the concept of mimesis. The practice included exercises on identification with natural phenomena, necessary for staging dramas respectful of human nature and poetic inspiration. While Avant-gardes rejected art as imitation of an object, and the new theatrical forms refused the value of the dramaturgical text within the performance, Costa defended the role of literature and the representation of human events in the theatrical ritual. Despite the accusations of traditionalism, his idea of mimesis is absolutely in line with the twentieth- century reception of the notion. Like authors such as Benjamin, Adorno, Ricoeur, the director has analyzed mimesis as an innate behavior, and he based his aesthetic positions on this conception. For Costa, art is the wonderful metaphor of the encounter between the individual and nature, which pushes towards forms of expressions comprehensible to the community.
 
 

The Aesthetic Dimension of Reading: An Embodied-Ecological Approach

This paper aims at integrating insights from ecological psychology, pragmatism, and embodied cognitive science to shed light on the aesthetic dimension underlying daily activities. For this purpose, we discuss conceptions of the aesthetic developed by authors from diverse traditions, including Dewey’s pragmatism, Carroll’s cognitivism, and Saito’s everyday aesthetics. We focus on the activity of reading, which has traditionally been conceived as involving the establishment of letter-sound correspondences and the rule-based deduction of information. However, an embodied framework opens up a more ecological understanding of this activity encompassing dynamic, multimodal perceptual engagement which is dependent on: (i) who the reader is (ii) the task or purpose, and (iii) what the person-environment-system affords. This form of engagement, even in mundane everyday-reading, we argue, brings forth an aesthetic dimension to it. Specifically, we explore how bodily engagement such as olfactory, tactile, and prosodic processes, saturate even logical judgements and reasoning. This integration of embodied and aesthetic processes in a particular context, we claim, can effectively emphasise and cultivate an aesthetic attitude. This, in turn, will provide insight into how the aesthetic dimension of reading can be cultivated intelligently, enriching the overall experience and will also illuminate why we read at all.

«Поэма экстаза» А. Н. Скрябина: феномен героя на вершине экзальтации культуры

This article attempts to trace the evolution of the image of Scriabin’s hero. An important stage in this process is "Poem of Ecstasy" for a large symphony orchestra, the first single-movement symphony-poem by Alexander Scriabin. The article highlights the trend of increasing emotional elements in the musical culture of Western Europe, starting from the turn of the 16th — 17th centuries, up to the beginning of the 20th century, culminating in a type of exaltation, i. e. highest emotional saturation. In this research perspective, the thesis is revealed: culture "exalts", and Scriabin’s hero rejoices in ecstasy. The scientific narrative touches upon the genre of the poem itself, and examines the origins of the formation of the image of Scriabin’s symbolist hero — the human creator. The special features of the metaphorical world of Scriabin’s creativity are revealed, their connection with traditional romantic motifs of Western European musical art is emphasized, as well as their further significant divergence from romantic musical and aesthetic attitudes.

Contemporary Music and the Methods of its Analysis

The article raises the question of what is considered to be contemporary music today. The author notes the variability of the interpretation of this concept, due to the change of the philosophical and aesthetic attitudes in recent art, emphasizing that the concept of “contemporaneity,” which has been developed in European culture, is now unable to reflect adequately the essence of what is happening. The article is devoted to the approaches of analysis of contemporary music that can be found in the Proceedings of the European Music Analysis Conferences (EuroMAC). Three conferences that took place in 2014, 2017 and 2021 were used as sources of information on analysis of contemporary music. A study of this body of texts shows that contemporary music analysis at the present moment has not demonstrated any fundamentally new means of study, but the present-day methods are numerous in their quantity, and the main process of their application is concentrated on the expansion of musical material.

Two-faced Janus of early French romanticism: Pierre Simon Ballanche as an esthetician and writer

The subject of the study is the fundamental philosophical and aesthetic problems in the aesthetics of Pierre Simon Ballanche, who stood at the origins of French romanticism. Two layers of his creativity - explicit and implicit - have been identified and analyzed. It is shown that his ideas about the art of romanticism are verbalized in a strict academic style. The implicit layer, is associated with Ballanche’s artistic prose. It includes philosophical and aesthetic poems, testifying the originality of his aesthetic position. Unlike most French romantics, who distance themselves from ancient culture as pagan in favor of Christianity and medieval art, Ballanche, in his talented paraphrases of mythological stories, romanticizes Antiquity, finding in it the beginnings of future Christian ideas of sublime love, mercy, sacrifice, beauty and goodness. The main conclusion of the study is the conclusion that art, according to Ballanche, plays a leading civilizational role in the cosmogonic-historical process. The core of Ballanche's implicit philosophical aesthetics is revealed - the original concept of palingenesis, interpreted by the author as a radical degeneration of the world for the sake of its future revival; it is precisely this stage of cultural and historical development that, in his opinion, marks romanticism. The author's special contribution lies in introducing into domestic scientific circulation, translated into Russian for the first time and analyzed the philosophical and aesthetic poems “Antigone”, “The Man with No Name”, “The Experience of Social Palingenesis. Orpheus".

ЭСТЕТИЧЕСКАЯ КОНЦЕПЦИЯ В. В. СТАСОВА: НАЦИОНАЛЬНОЕ И ИСТОРИЧЕСКОЕ В ИСКУССТВЕ (к 200-летию со дня рождения)

The article attempts to present in a holistic form the aesthetic views of one of the central figures of Russian culture and aesthetics of the mid and second half of the 19th century – Vladimir Vasilyevich Stasov, whose views on the fundamentals of the development of art and artistic culture in general are relevant at the present time. In connection with the task, the concepts of nationality, historicism and nationality in art, which form the core and main line of development of Stasov’s aesthetic thought, come to the fore. At the same time, the unity of the theoretical attitudes of Stasov, who has enormous erudition in the field of both ancient and modern art, with his extensive practical activities as a music and art critic, responding to all significant events of cultural life, is emphasized. Based on the analysis of Stasov’s colossal critical and epistolary heritage, a general description of his aesthetic position is given, combining a democratic approach to understanding nationality, historicism as a support for the visual brightness of the national character, along with the elaboration of those shortcomings that are associated with the embodiment of these principles in art (“official” , “artificial” pseudo-nationality, stylizations - rough and refined, direct transfer of old outdated forms into modernity). The comparative historical method used in the study is represented mainly by analogies, as well as a statement of the existing differences in the cultural and aesthetic concepts of Stasov and the writer and philosopher, author of the famous «Russian Nights» V.F. Odoevsky. In this vein, the problem of Stasov’s influence on the aesthetics of the Balakirev circle in the field of music and the principles of social service, realism and nationality in the art of the «Itinerants» in painting are touched upon. The peculiarity of the article is that it is based to a large extent on rare sources – lifetime journal publications and the publication of Stasov’s collected works of the late 19th century.

Актуализация одаренности: деятельность и созерцание

Background. The article is devoted to the interaction of different yet inseparable “poles” — activ-ity and contemplation — in the process of actualization of a person’s creative potential. It has been shown that both recent psychological studies of giftedness and pedagogical practice demonstrate a disbalance of the two poles in favor of activity, although activity obtains creative qualities precise-ly because it takes a source in the experience of contemplation. Objective. The study had its purpose to substantiate the significance of the contemplation phe-nomenon and outline possible ways of developing this ability. Results. The author briefly deals with the history of the very problem of contemplation in the con-text of culture, in religious practices, and in psychology. The analysis revealed the difficulty of studying the contemplation by means of traditional scientific methods since a meaningful descrip-tion of this phenomenon by an observer becomes understandable and convincing for another per-son only if they have a similar personal experience. Contemplation is associated with liberation from the limitations of the everyday “ego” and with the experience of unity with the world, due to which the birth of creative ideas becomes possible. Special attention is paid to the contemplative aesthetic attitude towards the world, which underlies artistic creativity and the development of human artistic talent. It is due to this kind of attitude that ideas are born demanding their embodi-ment in the activity, which acquires a creative character exactly for this reason. Conclusion. Pedagogy, entirely focused on the translation of methods for mastering a particular activity, does not naturally lead to the development of a person’s creative talent and can even hin-der this by swapping the goals and means of work in art, as in any other field of creative activity.

In Defense of Interiority: Melvin Edwards’ Early Work

Melvin Edwards made his first abstract sculptures at the beginning of the contemporary period in the early 1960s, but the ways he held on formally to a modern notion of “interiority” in his Lynch Fragments series provide us with an underexamined aesthetic position in contemporary art. Edwards offered nuanced relationships between interior and exterior at a moment when concepts of “interiority” and “self” were under the most strain in contemporary art practice. If we consider this turn away from interiority—and toward surface, emptiness, system, and dematerialization—to be, in part, a symptom of the pressure exerted by the commodity form on art viewers’ sensibilities after 1955, then the stakes of Edwards’ choice not only to use found metal objects, but to compose them around an active rather than empty center, feel higher. By comparing the sculpture Mojo for 1404 (1964) with the Bichos (1960–1965) of Lygia Clark, the distinctiveness of Edwards’ project emerges even more strongly. Clark responded to the crisis of interiority with shiny metal sculptures whose interiors were constantly being flipped inside-out. By contrast, Edwards’ art was motivated by the struggle for racial justice, and it persistently spoke its desire for grounded, scarred personhood in an aesthetic language that required viewers to recall their own interiority.

Clinical solutions for natural abutments with preexisting defected crown margin in the aesthetic area.

Crown replacement has remained one of the difficult methods for installing fixed prosthesis but is often performed because of aesthetic factors and invasion of biological width. This article focuses on the clinical scenario in which preexisting crown margin has defects. Given that clinical decisions regarding restoration management and perio-dontal tissues have to be made with caution, a decision tree of the decision making process for natural abutments in aesthetic area with preexisting defected crown margin is presented. The re-establishment of a new crown margin is the key to the success of a new restoration, and the new margin should be located at the proper esthetic position and right biological position. It should have fine, smooth, and continuous morphology.