Aesthetic Resources Research Articles

TRATAMENTO ESTÉTICO COM RADIOFREQUÊNCIA NO REJUVENESCIMENTO FACIAL: UMA REVISÃO INTEGRATIVA

Introduction: Aging is a natural, continuous, gradual phenomenon or process that manifests itself in a multifactorial and degenerative way in accordance with intrinsic and extrinsic factors, and these affect the entire human body, especially its largest organ, the skin. Aging in the facial region is due to the loss of elastin and collagen proteins, which support the physiological tissue and muscle functions of the skin. There are several aesthetic treatments for facial rejuvenation, among which Radiofrequency can be highlighted to treat sagging skin. Objective: To check the impacts of Radiofrequency as an aesthetic resource for the treatment of facial skin sagging with an emphasis on the rejuvenation process. Methods: it will be used based on the techniques and methods of bibliographic research, which consisted of collecting research sources using scientific platforms: Scientific Electronic Library Online (Scielo), National Library of Medicine (PubMed), Virtual Libraries (BVS). Results: After detecting scientific data using the inclusion and exclusion criteria, reading titles and abstracts, 14 articles were requested, then the pre-selected publications were read in full, paying attention to the proposed theme, 11 were counted. articles for analysis and construction of the review. Conclusion: The studies carried out show that radiofrequency is established as an effective and safe technique for facial rejuvenation, providing significant beneficial results and showed that radiofrequency is a viable and promising alternative for treating signs of facial aging, contributing to the good -being and self-esteem of individuals.

Against capture: notes on recording and the problem of extraction in education research

Against Capture offers a methodological intervention to the current popularization of videomaking in participatory visual research, a genre of arts-based method, with a particular emphasis on the regime of extraction that is ignored in one of its most significant steps: recording. Often rendered as a visual metaphorical substitute or a backdrop, the author discusses how colonial relations to the built and natural environments have set the conditions for extractive practices where audio-visual recording as a form of capture demands a reimagined relational ethics to place. Within this extractive relation, the author observes how built and natural environments are understood as readily available and unlimited aesthetic resources for artmaking. This intervention seeks not to be prescriptive but rather offers a descriptive account of the epistemological and ontological contradictions in the current celebration of innovative approaches to research in education.

Fire as an aesthetic resource in climate change communication: exploring the visual discourse of the California wildfires on Twitter/X

This article uses the case study of the California wildfires of 2020/2021 to examine the visual discourse on fires on social media and investigate how it was harnessed by environmental activists to shape narratives and meanings regarding climate change. The article draws on two datasets scraped from Twitter/X (350 images), i.e. the visual discourse of the California wildfires (250 images) and the visual data of environmental NGOs (100 images). Our findings show that the general visual discourse evokes the impact, risk, and devastation of wildfires. In contrast, in the second visual discourse, civil society deploys fire as an aesthetic resource to communicate danger but also makes an explicit connection between wildfires, climate change and fossil fuel reliance. Hence, our article highlights an urgent challenge in climate crisis communication: how to make an explicit causal link between wildfires and climate change through the use of visual images of fire. This challenge is exacerbated by dramatic and powerful images of fire which dominate social media, yet simultaneously undermine fire’s capacity to communicate blame and links to climate change. This tension is explored throughout the article with fire analysed as a unique site of contestation in the visual communication of climate change.

Visceral Economies, Queer Dialectics: Eisenstein Meets Bataille

Abstract Mapping the encounters between Sergei Eisenstein and Georges Bataille in Paris in 1930, this essay reveals a new dimension of their respective approaches to materialism and the body, as explored, for instance, through a shared cannibalistic and visceral model of mimesis, one that operates below the visual or phenomenological qualities previously addressed by the discourse on the formless carried out by Georges Didi-Huberman, Rosalind Krauss, Yve-Alain Bois, and Annette Michelson, among others. The present text argues for the existence of something it calls a visceral economy, pointing to a specific administration and distribution of affect as an aesthetic resource. It is precisely in granting the autonomous organological reactions of attraction and repulsion a function as collective operators of materialism that Bataille and Eisenstein would each formulate and experiment with elements of this visceral economy. While both authors considered sexuality to be a critical force of materialism, Bataille ultimately presumed an essentialized and binary understanding of gender difference that provided the ground for fantasies of excess and transgression. Against this heteronormative tendency, Eisenstein's research into the forces of materialism embraced a queer dialectics, or “bisexuality,” not as an opposition of genders but as a term for a gender-undifferentiated condition.

“Supertext” as a Form of a “Strong” Fiction Text Existence

The emergence and existence of a systemic-structural texts’ unity, defined as a center of translation attraction and formed by a “strong” text of fiction and its secondary versions of various semiotic nature, are considered in the article. The study is addressed to the hypothesis of formation of a “supertext” within the boundaries of the above mentioned center, which has polylingual, polycode, multimodal and polyauthory parameters. Being a multidimensional information object, a “supertext” unites the variations of the original information in translation, which increases the limits of its translatability and degree of its translatedness. The formation and functioning of a center and the corresponding “supertext” are defined as a prolonged, continuous and limitless semiosis, described primarily through the interpretation and adaptation. As a complex semiotic object, a “supertext” is formed as interpretations continuum of a “strong” original information potential, which makes it possible to reveal its aesthetic resources and contribute to its preservation in spatio-temporal coordinates of culture. The hypothesis of “supertext” is considered on the material of a “strong” text of W. Shakespeare’s tragedy “Hamlet, Prince of Denmark”, which is world culture heritage, and its numerous secondary versions generated for more than 400 years. In accordance with the Jakobsonian types of translation, main attention is paid to the interlingual and intersemiotic versions of the original. A brief history of play’s Russian translations covering the period of the 18th-21st centuries is given. As one of the most filmed literary texts, “Hamlet” has numerous screen adaptations, revealing their close connection with the world cinema history. There are cases of the Shakespeare’s text retranslation (In the broad sense of the process of original information reinterpretation by means of one foreign language or one semiotic system), as well as shifts in the ontological categories of primacy and secondarity related to verbal, nonverbal and not only verbal secondary texts belonging to the center of translation attraction. The analysis of “Hamlet” as a “supertext” presupposes its consideration in the trajectories of description and prescription and can contribute to the emergence of the history and theory of “supertext” as an object of translation semiotics.

Beauty and Dao: The Transcendental Expressions of Nature from Emerson’s Prose and the Zhuangzi

As an aesthetic resource in ancient China, the Zhuangzi’s description of Dao is similar to the American philosopher Emerson’s experience of beauty, and both reveal that the essence of beauty lies in its inherent vitality, spiritual transcendence, and the unity of multidimensional connotations. Emerson defines beauty as the constitution of all things in the world and believes it to be an expression of the universe. The Zhuangzi proposes the thought of tiandi damei 天地大美 (lit. Great Beauty of heaven and earth) as a manifestation of the function of the wordless Dao. Nature, intact from any human interference, becomes the common intermediary for Emerson and the Zhuangzi to elaborate on the connotations of beauty. The Emersonian definition of beauty originates from the philosophical implication of the world in ancient Greek, whereas the meaning of Great Beauty in the Zhuangzi, which embodies the worship of heaven in primitive religion, is very close to Emerson’s definition of beauty. The pattern of mei 美 consisting of da 大 (lit. great, equivalent to Dao) and yang 羊 (lit. auspice) signifies the natural celestial phenomena predicting good or bad luck and can be seen as synonymous with Dao illuminated by Daoism. By describing such natural imagery as forest, time sequence, dawn, and wilderness, Emerson reveals the vastness, harmony, brightness, and tranquility of beauty, which not only delights the spirit but also brings the human soul back to its natural state and improves personality. Emerson’s illumination of beauty conforms to those of Dao unraveled by the Zhuangzi. Despite the difference between the former’s poetic linguistic feature and the latter’s application of allegorical fables, both resort to visualized language to express internal aesthetic perceptions of the physical nature. Using the approaches of word tracing, textual comparison, and logical analysis, this article identifies the consistency in the original meanings of beauty in both Emerson’s essays and the Zhuangzi first and then goes on to analyze the similarities between their descriptions of natural imagery, so as to hint at the commonality in their understanding of natural beauty and verify the significance of literary language in cross-cultural comparative research.

The Impact of Tourism on Culture and Challenges for the Host Country

In Georgia, as in other developing countries tourism has positive and negative importance and influence. It may affect the national cultural values, and in order to get economic benefits, the host may temporarily forget the so-called "disguised arrogance", which is typical for a local, Georgian resident based on the perception of the uniqueness of his own culture and give priority to the cultural values characteristic of a tourist. Today, the tourism sphere in Georgia is quite highly paid one. Besides, it allows culture to be not only an aesthetic resource, but also beneficial. Interaction between these two spheres and proper management promotes the direct and indirect influence of culture on the economic potential of Georgian regions. Under direct impact we mean cultural institutions (such as cinemas, museums, theaters, concert halls, galleries, etc.) which bring the economic income, and under indirect, those events, which may have a greater influence because it contributes to social stability, population employment growth, the reduction of unemployment, and an increase in the well-being of the local population through the development of "associated professions" like transportation, catering, and more. Communication in the field of tourism increases relations between people of different backgrounds, reduces conflicts between cultures, instilling a sense of pride in local people in the need to preserve their cultural heritage and identity.

Concealment of the face and new physiognomies

Abstract Facial recognition technology has enabled governments and private companies to have control of millions of faces in different countries around the world. This becomes dangerous since it threatens the privacy of citizens, which is why different activists demonstrate against this form of control and surveillance using different technological and aesthetic resources to prevent said recognition. This work aims at showing how face concealment can be a powerful semiotic device that can slow down or divert facial recognition technology, configuring new physiognomies. We begin by characterizing the forms of concealment of the face in the contemporary digital age, and then we analyze, from a semiotic perspective, a particular case: the different types of makeup that Adam Harvey proposes so that faces cannot be recognized. The results of the investigation show how this form of face concealment that generates new physiognomies builds political senses of resistance against advanced technology that aims to identify, monitor, and control human faces.

Study on the Artistic Expression of Aesthetic Education on Urban Development based on the Background of Urban Civilization Construction

The artistic expression of urban development contains a large number of elements of aesthetic education, and has an irreplaceable role in enhancing aesthetic education. Specifically, in the context of urban civilization construction, the basic content of the artistic expression of urban development can reflect the designer's aesthetic cognition, while the emotional tone of the artistic expression of urban development can cultivate people's aesthetic emotion, and the value concepts contained therein can help people establish a scientific aesthetic standard. In order to better create art for urban development, it is necessary to organically combine Chinese aesthetic resources with the characteristics of the times, and utilize the platform of the Internet to improve the artistic expression of urban development, and at the same time, it is also necessary to let the designers of urban architecture continuously improve their aesthetic quality in a large number of social practices, so as to make them integrate with the past and the present, and combine the real with the imaginary and unite with the action of knowledge.

The Influence of Picture Book Teaching on Children’s Aesthetic Ability: The Mediating Role of Teachers’ Aesthetic Imagination Cognition

Picture book teaching is one of the important ways to improve children's aesthetic ability. Teachers' aesthetic cognition of picture book teaching is the prerequisite for developing children's aesthetic ability. This study aims to explore the current situation of teachers' cognition of children's aesthetic ability in picture book teaching and further examine the relationship between teachers' cognition of children's aesthetic ability in various dimensions. The results found that teachers' overall cognition of children's aesthetic ability in picture book teaching is at a moderately low level; teachers' cognition of children's aesthetic ability and its various dimensions are significantly positively correlated; teachers' cognition of aesthetic creation can directly predict aesthetic ability cognition; teachers' aesthetic imagination in picture book teaching has a mediating effect on aesthetic creation and aesthetic ability. Teachers should improve their aesthetic quality, fully explore the aesthetic resources of picture books, and promote the development of children's aesthetic abilities.

The Atemporal Silence of Aesthetics: Transfeminine Crossplay as Resources for Genderqueer Experimentation in Singapore

Abstract This study investigates how transfeminine crossplay—imagined or enacted crossdressing as feminine characters from anime and manga—offers aesthetic resources for genderqueer experimentation. We situate this investigation in Singapore, an Asian sociopolitical context which privileges social harmony and penalizes vocal dissent. Through interviews with six crossplay fans (some identifying as transgender but not others), we unpack how they harness aesthetics in crossplay to negotiate genderqueer trajectories. Crossplay aesthetics clarified gendered feelings and prospective gendered futures. It created gendered-aesthetic styles, forming new trajectories. But for some, it counterproductively constricted gender experimentation's inventiveness. We argue that aesthetic play constitutes a holding space to silently cultivate gender nonconformity, sidestepping Singapore society's demonization of dissent. By momentarily suspending ties to futural demands of gender identities, crossplay installs a sense of atemporality within gendered aesthetics, encouraging fans to engage gender as aesthetic considerations dissociated from personal and social histories of shame, suffering, and discrimination.

“His Is a Reverent Vandalism”: Alain Locke’s Aesthetics and Fugitive Democracy

Several contemporary scholars have embraced the aesthetic resources in the Black Radical Tradition for the purpose of revitalizing the democratic project. Ironically, however, many drawn to the radical potential of fugitive escape are concerned about flight or exodus from the democratic project itself resulting in a defense of politics that constricts the possible benefits of fugitive aesthetics for democratic life. This article draws on the work of Alain Locke, a key figure of the Harlem Renaissance, to suggest another way in which we might follow Black fugitive aesthetics. Through an engagement with Locke, I theorize the notion of a fugitive bearing associated with a set of sensibilities that we might cultivate in order to approach the task of democratic transformation as a “reverent vandalism.” This article also challenges dismissive readings of Locke’s aestheticism by closely reexamining his commitment to expressive autonomy in connection with his theory of democracy. His “New Negro” avant-garde, like the fugitive, remains tethered to political life even while seeking a freedom that is unavailable within the strictures of the standing normative order.

The narratives and aesthetics of the civilizational state in the ‘new’ India

Abstract The term ‘civilizational state’ is used by emerging powers, including India, to mark themselves as distinct from the Westphalian states. This article addresses the following questions: why does India invoke this term despite its association with illiberal states? What ideological foundations and resources inform this narrative? And how does the ‘new’ India envision its role in international politics? Using an interpretive analysis of select texts and imagery, the article delineates the intellectual roots and aesthetic resources deployed by ‘new’ India to bring forth a civilizational state narrative which has become an important tool of power projection at both domestic and international levels. It argues that the recent shift from ‘civilization’ to ‘civilizational state’ draws its intellectual roots from early Hindutva idealogues. It is based on a conflict-ridden/homogenous understanding of civilization, making it ambivalent towards an inclusive/plural civilizational narrative articulated and nurtured by the nationalists. Internationally, the civilizational state narrative is geared towards reinforcing ‘new’ India's claim to be in the league of great powers; projecting itself as a power with a difference. Being the world's largest democracy helps in reinforcing this narrative, but signs of a shift towards a homogenous civilizational narrative will have wider implications for India's role in international politics.

Формула личностного топонимического пространства в романе Д. Данилова «Саша, привет!»

The aim of the study is to derive the formula of personal toponymic space in D. Danilov’s novel “Sasha, Hello!” based on the theory of field nuclear-peripheral relations of constituents and the expressive potential of toponymic vocabulary. The article deals with topical integrated issues of linguistics (onomastics), literature and psychology; unified terminology is concretized, the text-forming function of identifiers of geographical objects, their aesthetic resource, implemented in dystopia, is emphasized. For the first time, the definition of the synthetic notion of “personal toponymic space” is given; a large illustrative corpus is structured; statistically representative toponymic categories (classes and subclasses), cause-and-effect relations between language and behavioural manifestations of a personality are indicated. The scientific novelty of the work lies in the primary interpretation of the unstudied, from the point of view of toponym functioning, postmodern text, the concretization of the thesaurus, taking into account the precedency of projecting person-centred linguistic representations onto other paradigms. As a result, the relativity of the theory of nuclear-peripheral relations of constituents within the framework of local artistic discourse is proved.

КИТАЙСКАЯ РЕВОЛЮЦИЯ В ИСКУССТВЕ: ИНТЕРМЕДИАЛЬНЫЕ СВЯЗИ ХУДОЖЕСТВЕННОГО ЯЗЫКА КИНО И КЛАССИЧЕСКОГО БАЛЕТА В ХУДОЖЕСТВЕННОМ ФИЛЬМЕ «КРАСНЫЙ ЖЕНСКИЙ ОТРЯД»

The article aims to analyze the intermediary relationship between cinema and dance in the feature film The Red Detachment of Women (1961, Xie Jin) and in the filmed ballet of the same title (1971, Pan Wenzhan and Fu Jie). The films belong, respectively, to the so-called Period of 17 Years (1949–1966) and to the Cultural Revolution (1966–1976), years that comprise the government of Mao Zedong. The analysis takes into account the peculiar development of Chinese cinema since its beginnings, and its aesthetic originality based on the different types of arts in the country. During the Maoist period, initially under Soviet influence, China’s film industry turned to socialist themes with the intention of internationalizing national arts that sought to make the revolution worldwide. Through the slogan gu wei jin yong yang wei zhong yong (古为今用，洋为中用), which means using the ancient for the present, and foreign things for China, the cultural guidelines of the Communist Party relied on the popular appeal of diverse Chinese and foreign arts to build the heroic narratives of a people forged under socialism. They were easily absorbed not only by the local population, but also by people from other countries. The films in question are examples of the aforementioned motto and combine western aesthetic resources, such as classical ballet, with eastern elements such as Chinese operatic theater, resulting in an original aesthetic for cinema

Representations of Moroccan Teachers about the Value of Aesthetic Resources in Philosophy Lessons; A Field Reasearch in the Sociology of Education

Representations of Moroccan Teachers about the Value of Aesthetic Resources in Philosophy Lessons; A Field Reasearch in the Sociology of Education

Representations of Moroccan Teachers about the Value of Aesthetic Resources in Philosophy Lessons; A Field Reasearch in the Sociology of Education

Representations of Moroccan Teachers about the Value of Aesthetic Resources in Philosophy Lessons; A Field Reasearch in the Sociology of Education

The Democratic Sublime: On Aesthetics and Popular Assembly

The Democratic Sublime: On Aesthetics and Popular Assembly

POLITICAL CONCEPTS IN THE POETRY OF SAMUEL TAYLOR COLERIDGE

The presented article is aimed at disclosing the features of poetic conceptualization of political concepts in the poetry of famous English Romantic – Samuel Taylor Coleridge. The research is based on the cognitivediscursive approach and involves the application of research tools of cognitive poetics, cognitive stylistics, cultural and literary studies, which builds a vector of analysis from the concept as a social phenomenon to its embodiment, explicit and implicit, by the diversity of textual aesthetic resources at diff erent levels of textual matter. Artistic actualization of political notions in Coleridge’s poetic discourse is based on the textual system of poetic concepts “state/native land”, “society”, “war”, “enemy” positioned by the author in the center of artistic refl ection and synthesizing the appropriate social pragmatics. Key words: Samuel Taylor Coleridge, literary/artistic concept, English Romanticism, artistic conceptualization, English poetry

Regimes of comprehensibility

This brief conceptual essay addresses the fundamental antinomy between, on the one hand, promoting a multilingual approach to reading and, on the other, deconstructing linguistic boundaries and identifications as such. While the concept of multilingualism pragmatically challenges monolingual habits of thinking, it fails to take account of the porousness of linguistic boundaries. Multilingualism, in this respect, is still beholden to the monolingual paradigm. Conversely, however, the deconstruction of the unity of a language risks playing fast and loose with sedimented institutional and textual histories that not only give “a” language tremendous authority but also add continuously to its qualities as a conceptual and aesthetic resource. Drawing on two examples from Kiran Desai’s novel The Inheritance of Loss (2006), the article discusses author-, text- and reader-oriented approaches to literary multilingualism, in order to arrive at a more contextualising and socially oriented notion that draws on current world literature scholarship. With “English” as its central case, a key claim here is that a regimes-approach makes it possible to speak of the multilingualism of “one” language.