Aesthetic Symbol Research Articles

“OUT THERE, BEYOND…”: THE IMAGE OF THE FUTURE AND THE POETIC IDEAL IN THE WORKS OF S. A. YESENIN IN THE 1910S

The article is devoted to the analysis of the artistic content and the evolution of the poetic ideal in the works of S. A. Yesenin of the 1910s: the subject of the study is both the poet’s lyrical works and his narrative and philosophical prose (the article “Native Word”), as well as biblical poems. The peculiarity of the literary and philosophical toponym “Rus” in Yesenin’s works as an ethical ideal and a symbol of a special national historical path, which is part of “God’s Providence,” is revealed. The polemical unity of toponym “Rus” with the idyllic image of the indefinitely beautiful “there,” which Yesenin drew from the literature of romanticism, along with the mythologeme of the poet’s fateful path, is demonstrated. A conclusion is made about the influence of Symbolist aesthetics on Yesenin’s understanding of art as a visionary experience that allows him to comprehend supersensual reality. By means of comparative analysis of A. A. Blok’s articles “Gogol’s Child” and Yesenin’s “Native Word,” the hypothesis that N. V. Gogol’s image of Russia was perceived by Yesenin in symbolist transcription is substantiated. The poem “Inonia” is considered as a transformation of Russia’s poetic ideal in the context of Yesenin’s religious and philosophical aspirations.

Sex, Sign, Subversion: Symbolist Art and Male Homosexuality in 19th-Century Europe

There is something queer about Symbolism. Art historians have long acknowledged the links between Symbolist aesthetics and contemporaneous ideas about human sexuality, and even a cursory examination of artworks by male Symbolist artists working across the continent reveals an eyebrow-raising number of muscled nudes, lithe ephebes, and intimate male couplings. The sensual male body could register the artist’s erotic desire, even as he put it forth as an idealized emblem of transcendental truth. But perhaps Symbolism’s queerness extended beyond subject matter. Scholars have argued that Symbolism was in part defined by a subversive approach to visual semiotics: a severing—we might say a queering—of the ties binding a sign to its established cultural meaning. Similarly, male homosexual subcultures were sustained by endowing established signs and pictures with a uniquely queer significance. This paper seeks to tease out the relationship between Symbolist aesthetics and male homosexuality in terms of a shared sensibility towards pictorial interpretation. Taking as a case study the work of the Swedish Symbolist artist Eugène Jansson, I argue that Symbolism held appeal for homosexual artists precisely because queer subcultures were primed to read subversive meaning into normative pictures. Offering a new reading of Symbolism’s sexual valences, I contextualize the movement’s attendant artworks within the broader cultural landscape of homosexual signs and symbols and articulate the parallels between Symbolist approaches to the image and queer modes of seeing in the late nineteenth century.

The Collapse of the Order of Rural Civilization, the Deconstruction and Reconstruction of Symbolic Intention

In the process of modernization transformation, the countryside began to die out, urbanization began to rise, a large number of young people poured into urban life, the original image and cultural symbols in rural life, facing the invasion of modernization, began to distort, alienate, and die out. There is a strong conflict and reconciliation between the traditional cultural aesthetic symbols and the current aesthetic symbols. This paper analyzes and compares the differences through the investigation of the author's hometown. Explain the attribution of cultural level. The changes of people's inner mechanism in the process of deconstruction and reconstruction of symbolic intention are discussed.

THE PHILOSOPHY OF BAUDLER'S POETRY

This paper explores the poetics of Charles Baudelaire, one of the key figures of French symbolism, through the analysis of his poetic actions, themes, and influences. Baudelaire, known for his vision of a modern world shrouded in dark melancholy and despair, creates a poetic universe that transcends traditional aesthetic norms and lays the foundations of symbolist aesthetics. Through the analysis of Baudelaire's verses, we discover the complex relationship between beauty and evil, as well as the deep melancholy that permeates his poetry. Baudelaire's relationship to man and his view of human nothingness and conflict with the world are also explored, and thus we mark the inseparable connection between poetry and philosophy. Through the use of symbolic language and metaphors, Baudelaire creates poetic images that express existential anxiety and the inner struggle of man with himself. In addition, we analyze the role of poets in the development of Marxist aesthetics and political thought. Through it all, his poetry is a complex, deeply introspective, and universally relevant body of art, as summarized in the book Flowers of Evil, which continues to inspire and provoke readers around the world.<p> </p><p><strong> Article visualizations:</strong></p><p><img src="/-counters-/soc/0758/a.php" alt="Hit counter" /></p>

SYMBOLISM AND SMIRNENSKI

The article examines the influence of symbolist aesthetics on the poetry of Hristo Smirnenski. The author combines the high stylistics of symbolism with the social theme – this is how the exquisite expression decorates the stories of social outsiders (urban tyrants, soldiers, prostitutes, street musicians). The poet calls them “children of the city” and portrays them in contrast with another type of social character – Homo Faber, the people of production (workers, blacksmiths, stonemasons, charcoal burners). These are the two types of city characters. The first one is called a swashbuckling hero and represents the victim – poor, sick, blind, and hungry, while the second one is the person of struggle – the person of rebellion who is ready to transform the “old world”. One of the greatest strengths of Smirnenski’s poetry is its expression of pathos, which is not only loaded with social density, but also adorned with striking and complex epithets. The fictional universe of this young author is replete with recurring elements of symbolism – nocturnal or mostly evening landscapes, strange topoi, glamorous shop windows, mournful music, fiery looks, etc. Additionally, the works are characterized by the typical of Smirnenski brilliant poetic parody. He parodies everything – politics and politicians, love, human vices, etc. The article also draws attention to the reciting energy of Smirnenski’s poems, which is not generated by the literary qualities of the text, but by the emotion and expectation of the listener – in this case the category of the reader is missing.

승무의 구성미(構成美)와 무용 미학적 의의

This study examines the aesthetic significance of Seungmu in terms of its artistic spirit, artistic function, artistic symbolism, and artistic philosophy. It has been identified. To this end, the aesthetic characteristics of Seungmu as the essence of traditional dance were revealed in terms of composition, such as dance moves, music, dance clothes, and weapons. The research results are as follows. First, ‘Seungmu is a living form, and its technique and artistry are so outstanding that it can be said to be the essence of Korean traditional dance. Second, Seungmu is a dance that harmonizes the beauty of Movement-in-Stillness and Excitement, and the emotional expression of tying and releasing based on human origins and resentment. Third, based on Susan Langer's symbolic theory, the aesthetic symbols, symbolic systems, and archetypal symbols of Seungmu were examined. It is believed that this study will be helpful in understanding the aesthetic significance of dance through the compositional beauty of Seungmu.

Defining Ideal Double Eyelids With a Morphometric Analysis in Asians.

Double eyelids are always considered crucial aesthetic symbols. Despite numerous studies conducted on the attractiveness of double eyelids, there remains a dearth of research on quantitative and morphological evaluation of ideal double eyelids. In this we study aimed to investigate the optimal height and morphological characteristics of ideal double eyelids. Participants were presented with a total of 9 images, consisting of 1 single eyelid image and 8 double eyelid images, featuring 2 distinct shapes and 4 varied pretarsal shows. Respondents were instructed to assign scores ranging from 1 (least attractive) to 5 (most attractive) for each image. Subsequently, the scores for each image were analyzed based on population demographics, followed by the calculation of aesthetic metrics. The whole cohort deemed images with a 2-mm fold to be more attractive than 1 mm (P < .001), followed by 3 mm and 0 mm (single eyelid), and finally, 4 mm. Morphologically, significant differences were found between images with the same pretarsal shows of 3 mm (P < .001) and 4 mm (P = .026). Most subgroup analysis results were aligned with those of the cohort, with gender being the most significant factor in distinguishing double eyelid aesthetics. Additionally, aesthetic characteristics of 2-mm folds were found to be comparable to appealing double eyelids in previous studies. In this study we validated the optimal heights and morphology of double eyelids, thereby addressing the existing gap in aesthetic studies on double eyelids. These findings hold significant implications for surgical planning, effect assessment, and other periocular procedures related to upper blepharoplasty.

The aesthetic expression of Suona in the movie "A Hundred Birds and a Phoenix"

One art, two generations of perseverance, director Wu Tianming took materials from local folk art, combined with the inheritance and memory of Suona art, to create a musical art fi lm work - "A Hundred Birds and Phoenixes". Taking Suona, a traditional folk art, as the main line, the director carefully carved out every detail when making the fi lm, so that the overall style and detail treatment of the fi lm have intriguing meaning. At the same time, focusing on the musical characteristics of Suona, the director starts from a unique aesthetic perspective, organically integrates traditional aesthetics with local culture, and enhances the aesthetic value of the fi lm. Based on this, this paper analyzes the evolution and development of Suona Qu "A Hundred Birds to the Phoenix", studies the aesthetic symbols of Suona in the movie "A Hundred Birds to the Phoenix", and discusses the aesthetic expression of Suona in the movie from the three-dimensional dimensions of space, life and emotion.

Grechaninov's Sister Beatrice and the Consecration of the Stage in Orthodox Russia

AbstractWhen Alexander Grechaninov's opera Sister Beatrice on a text by Maurice Maeterlinck premiered in Moscow in 1912, it promised to bring together two conceptual worlds, those of symbolist aesthetics and the Russian Orthodox liturgy. Critics who hoped that Grechaninov's experience as a composer of sacred music would help bring alive the ‘unheard music’ of Maeterlinck's symbolist ‘Miracle Play’, however, were sorely disappointed. The opera drew scorn from critics for its overly concrete musical rhetoric, while conservative commentators levelled claims of blasphemy. In this article, I consider the two scenes depicting miracles in Sister Beatrice to demonstrate how it negotiated these competing perspectives, employing insights from religious philosophy as well as symbolist aesthetics. Drawing on new archival evidence, I also demonstrate how church and state censors co-participated with composers and critics debating whether and how the sacred might be displayed on stage and in sound.

Artistic expression of national identity with aesthetic symbols”

Artistic expression of national identity with aesthetic symbols”

The Phenomenon of Beauty in Fairy-Tales within the context of Ethical-Aesthetical Conceptions

Tales are formed orally by their nature and continue their existence for generations by maintaining their anonymous structure. Inspired by the power of the parole, story telling creates a visual memory through words, and it is thought to contribute to the formation of the individual's first aesthetic understanding. Aesthetic symbols designed for the child subject also serve the educational function and convey the first ethical information. It can be predicted that the individual, who has started to collect data on aesthetics in infancy, will acquire this as a skill in the continuation of his life. Aestheticized symbols used in fairy-tales are usually simple objects, colors, or concepts that children are familiar with and relatively easy to understand. In this study, ethical-aesthetic teachings related to child education in fairy-tales have been examined within the context of the phenomenon of beauty on the basis of Arthur Schopenhauer's views in Metaphysics of Beauty: Secrets of Art and Beauty. While the universe of the study are tales, the sample is composed of the tales in Pertev Naili Boratav's collection titled Az Gittik Uz Gittik (We went less, We went Far). According to the findings of the study, Arthur Schopenhauer’s philosophy of beauty and the conceptions of beauty in Boratav’s fariy-tales are in line with each other. Both of them associate beauty with metaphysics. Additionally in Boratav’s fairy-tales the values that signify family ties such as mother, father, sibling, and the importance of being good and virtuous are at the forefront of ethical teachings and ethical values were determined to be transferred with aestheticized items. From this point of view it is aimed to emphasize that the new approaches and methods related to education can benefit from aesthetic-ethical expression opportunities of fairy-tales.

The Strategic Task of the Church in Creating Spaces for Spirituality

The self-revelation of God through His Manifested Presence occurred in a variety of natural, cultural and historical spaces. This manifested in the liturgical communion of His people during public worship events, which in the Old Testament took place in the Tabernacle and the Temple. In the New Testament the role of the Temple changed, and the Church as God’s community became the space where believers experienced spirituality. The historical development of the Church was supported by spaces that were created for spiritual experience and liturgy. In these spaces, spirituality was aided by liturgical activities, music, art, education and other aesthetic symbols. With the dawning of the 21st century the world has changed drastically. The Pentecostal experience after Azusa street gave emphasis to the spreading of the gospel into a variety of missionary and apostolic spaces. Therefore, the Church must think strategically regarding the spaces created to experience spirituality.

Simbolismo e Hibridismo Estéticos em Jean-Luc Godard Adeus à Linguagem

This work discusses aesthetic symbolism and hybridism in Jean-Luc Godard’s film Goodbye to Language (Adieu Au Langage 2014), regarding the relationship between cinema and painting. Two central questions guide the focus of this article: how does the symbolic construction of Godard’s pictorial way take place?, and Do the pictorial elements present in the film narrative construct meanings and transmit real sensations such as those of the impressionist movement in paintings? The relationship between cinema and painting in Godard’s work is worked here in the context of promoting a dialogue between pictorial art and cinema. Starting from the assumption that films are artistic objects that communicate through symbolic elements, this work discusses the symbolic and hybrid forms in Godard through the analysis of elements such as color and light.

Pelatihan Gamelan Sanggar Budaya Hamong Rasa Guna Meneruskan Generasi di Kabupaten Wonosobo

&lt;p&gt;&lt;em&gt;Supporting music has the power to represent the culture of a person or group at a particular time. He understood to have a basis for understanding, determining the ways and actions in each note produced. The color of the voice, the pitch and the musical work in each region have many differences. Because in essence, music is a work of art that is here is an aesthetic symbol of every different cultural community.Gamelan is a musical instrument that represents or depicts Javanese culture. Some Javanese gamelan in Surakarta, Yogyakarta and Cirebon, among others are Kyai Guntur Madu, Kyai Guntur Sari, Kyai Naga Wilaga and Gong Sekati. This orchestra has a pentatonic scale in the slendro scale system and the pelog scale system. Each gamelan has an honorary name as it deserves a sacred heirloom. slendro on the gamelan used as the research sample. While the independent variables are the frequency and color of the sound of each chord.&lt;/em&gt;&lt;em&gt;&lt;/em&gt;&lt;/p&gt;

The Universe as an Aesthetic Symbolism of Postmodernity

The article reveals the philosophical, worldview, aesthetically-axiological aspects of considering the universe as a symbolic phenomenon of the postmodern era. It is emphasized that the analysis of beauty, as the basic category of aesthetics, needs to find out its aggregate nature, depending on the individual and social semantic characteristics of reality. One of the key points of such an analysis is its metaphysical problematic – the direct emergence of constructive emotion into the realm of the transcendental, namely, the view of Man from the Universe from the standpoint of eternity. The timeliness and necessity of considering the problem of the symbolic context of the universe is obvious in the context of the third millennium, the realities of which call into question the very fact of conservation of wildlife on Earth. In the minds of assimilating the finality of the earthly boot, its primarity of progressive stochasticity, in the midst of the amplification of the eschatological context, the people of the era of postmodernity are demonstrating the development of the fastflowing, hardened nonsense. In the philosophical tradition, the symbol is the role of a pure "selfness", not tied to the powerful moment of the object: the symbolic picture does not reflect reality, as it is - the symbol of knowing the "refair" in the sphere of the virtual. It is proved that for the modern man the Universe is the object of not only scientific, technological, but also philosophical, cultural studies, it synthesizes for the unity of the object of scientific interest, a symbol of aesthetic pleasure and a source of formation of appropriate images and archetypes.

How to Overcome the Crisis of Symbolism with the Help of ‘Populist Ideas’? V.F. Chodasevič’s Critical Essays of the Early 1910s and the Article Nadson

This paper analyses V.F. Chodasevič’s early 1910s critical essays and his article Nadson, read in 1912 in the Literary and Artistic Club. Although the article did not play an important role in the critic’s work, because it was only during the exile period that Chodasevič criticized Nadson’s poetry, yet it represents the first example of Chodasevič’s appeal to the aesthetic model proposed by the utilitarian critics and the ideas of patriotism and civic virtues (graždanstvennost’), which were important in his poetry and later critic works. Chodasevič delivered a speech at the Club’s anniversary meeting which conveys his views on how to possibly overcome the crisis of symbolism. According to the poet, literature should restore and fully embody the ideals of the early Aesthetic Movement. The aim of the present research is to analyse the concepts, aesthetic ideas, and quotations used by Chodasevič in Nadson, and ascertain which sources influenced the author and how they relate to the literary context of the time (early 1910s). I argue that Chodasevič’s text echoes, to some extent, symbolist aesthetics while also reflecting elements of radical critique of early Aestheticism. Chodasevič only reproduces politically radical intentions that were present in the texts written by symbolists after 1907. Chodasevič’s article and his social views correspond to the evolution of Blok’s thought during the so-called ‘synthesis’ period; he, in fact, employs Blok’s ideas and introduces indirect quotations from his essays. Chodasevič’s speech at the Literary and Artistic Club was received as advancing principles which were seen too eclectic and old-fashioned, and which, most importantly, did not fit into the established literary context. Notwithstanding Chodasevič’s strategy of turning to Belinskij’s and Pisarev’s literary views was unsuccessful, since his intentions were misunderstood by the audience, he followed a similar pattern in several essays from the early 1910s. Chodasevič used symbolist aesthetic ideas in a number of texts written at the end of the exile period, where it can be seen that his approach and social and political views changed.

NTER-SYMBOL IN HO ANH THAI'S NOVELS

Intersymbol is one of the terms related to literary semiotics. At present, the theory of semiotics/cultural semiotics has become popular and is used as a knowledge framework for reference, decoding artistic text. Ho Anh Thai is considered a great writer with dozens of novels. Each of Ho Anh Thai's works has impact and repetition of aesthetic symbols. Ho Anh Thai's novels are rich in generalization, thanks to the system of intersymbols. The voice inside the texts are expressed in the interactions and collisions between legends, archetypes, and symbols. The association of aesthetic symbol series is in the narrative strategy of the writer.

The Symbolist Conception of Illustration and Tyra Kleen’s Nevermore

The Symbolist Conception of Illustration and Tyra Kleen’s <i>Nevermore</i>

Application of Container Building in Community Ecological Environment Renewal——Taking Gejiaying Community in Wuhan as an Example

Community micro renewal should conform to the urban texture and respect the conservation of ecological environment. As an important military industrial area in history, Gejiaying community, located in the ancient city of Wuchang and close to the riverside area, is not only rich in human resources and has a long history and culture, but also its spiritual temperament is in line with the rich industrial heritage groups nearby. Therefore, while reshaping its own historical and cultural characteristics, Gejiaying community should also focus on the continuity and transmission of the city’s history and culture. The terminal product, assembling flexible and environment-friendly containers, should be put into the community micro renewal. The machine aesthetics of container building is skillfully used to continue and repair its cultural context in the renewal of the ecological environment of the community, so as to create the ecological and aesthetic symbol belonging to Gejiaying.

ПОЭТИЧЕСКИЙ СБОРНИК МАРИЭТТЫ ШАГИНЯН «ПЕРВЫЕ ВСТРЕЧИ»

The article is devoted to the initial period of creativity of the poet of the Silver Age Marietta Shaginyan in 1906-1909, when the poetry collection “First Meetings” (1909) was created, her acquaintance and friendship with V. Khodasevich, A. Bely, Z. Gippius. The structure and poetics of the debut collection, the originality of the creative manner and the principles of symbolist aesthetics are analyzed. Reminiscences from V. Bryusov’s poetry are revealed. The title of the collection and the epigraph “The Great Feast of the First Meetings”, preceding the cycle, is a line from the poem “At Noon” from the cycle “From Hell Expelled” “Wreath”, the intertextual correspondent of structure and composition is the poetry collection “Urbi et Orbi”. Here we can talk about the creative interpretation of symbolism, and the last cycles of the collection Ynterieurs and The Enchanted Castle, written after they met in 1908, bear the direct influence of the poetry of Z. Gippius.