Aesthetic Symbol Research Articles

Шеллинг как предтеча эстетики символизма

The aesthetics of early Schelling constitutes the philosophical foundation of the po­etic consciousness of German Romantics and becomes one of the theoretical sources for symbolist aesthetics. The article accentuates proto-symbolist elements in Schelling’s aesthetics. It shows that the spiritual cosmos in Schelling – which is a world of ideas and gods that connects to the material world, in particular, through art – develops out of the Absolute. The universe itself is manifested in God as an absolute work of art. At the same time, art in its formation is based on mythol­ogy and realises itself as the unity of the “infinite and finite in the finite”, as an identity of the conscious and the unconscious, as a lack of distinction between the ideal and the real, as a depiction of the absolute in a particular. This accounts for a polysemantic understanding of a work of art. Schelling focuses attention on the aesthetic essence of art, which is founded on the principles of the beautiful and the sublime. He values beauty in art – as something that ascends from visible forms to prototypes – higher than natural beauty. He associates the sublime with size, “formlessness”, and chaos, and he classifies its expression in art (“the finite”) as symbolic. Schelling is interested in chaos as a potential for every kind of form, because the contemplation of the infinite – i.e., the Absolute as the highest “form in formlessness”, which can only be manifested to the world symbolically – is rooted in chaos. The notion of symbol occupies one of the central places in Schelling’s aesthetics, because it deals with the expression of the infinite in the finite, of the ideal in the real, and of the universal in the particular. The symbol marks and manifests an idea, and this is why the main point of artisticity lies within the symbol. Schelling understands language (speech) as a work of art, and for this reason he sees more symbolic potential in verbal than in pictorial arts. All these ideas in many ways form the foundation of symbolist aesthetics.

ПОЕЗІЯ ФЕДОРА СОЛОГУБА І ФРАНЦУЗЬКИЙ СИМВОЛІЗМ

The article is devoted to a comparative analysis of the lyrics of Fyodor Sologub and his predecessors, French symbolist poets Paul Verlaine and Charles Baudelaire. The poetry of Sologub is considered in the context of the main provisions of symbolist aesthetics, set forth in the theoretical works of Jean Moréas and lectures of Dmitry Merezhkovsky. Fyodor Sologub became interested in poetry of the French Symbolists at the end of the 1880s and did not stop thereafter. The first significant poet for the Russian symbolist was Paul Verlaine, whose poems were so consonant with Sologub’s worldview that the latter considered them as an organic part of his work. The picturesqueness and musicality of Verlaine's poems, his methods of suggestion, mystical irony, as well as the highest level of verification became for Sologub a starting point and one of the most important guidelines in his work. Sologub enters into a poetic dialogue with Charles Baudelaire. The undertaken comparative analysis of their poems showed that, having common aesthetic features, aims and values (the idea of correspondences, the opposition of the sacred and profane worlds, the aestheticization of the ugly and death, the desire for infinity, theomachism, etc.) and using similar poetic techniques (cyclization, associations, suggestion, grammatical constructions, sound writing, etc.), each poet, however, creates a unique artistic world. In our opinion, the main thing that is the fundamental difference between Baudelaire’s worldview platform and Sologub’s position is the possibility (for Baudelaire) or impossibility (for Sologub) of liberating a person from an illusory and deceitful material world, in which a person is doomed to suffering, and achieving the desired Ideal. In other words, Baudelaire asks the reader riddles, the answer to which is difficult to find, but possible, and Sologub puts the reader face to face with the mystery of the universe, where each new answer is not final and produces more and more new questions.

The Practices of Hope: Literary Criticism in Disenchanted Times, by Castiglia, Christopher

<i>The Practices of Hope: Literary Criticism in Disenchanted Times</i>, by Castiglia, Christopher

Topeng Patih Dance: A Manifestation of the Beginning of Human Life in the Malang Mask Puppet’s World

The focus of the study in this research was the Patih Mask dance in the Malang Masked Puppet performance as the opening dance. This dance has a close relationship with space, time, and content in the structure of the show. The purpose of this study is to examine the expression of aesthetic concepts through the structure of artistic symbols in the performance of Malang Masked Puppet. This research used ethnographic methods by emphasizing structural and hermeneutic theories. The aesthetic symbols that are reflected in the unity of the show consist of the ritual concept, characterization, communication, dance moves, make-up and fashion, accompaniment music, and elements of the stage which all lead to a noble behavior. The whole unity of the elements is a symbol of ”Sangkan Paran”.&#x0D; Keywords: Symbols, beginning, Sangkan Paran, Patih Mask, Malang Mask Puppet

페르시아 영상문화의 미학적 정체성과 상징성 분석: 이란영화산업의 발전과정을 중심으로

이란 영화산업의 발전과정에 대한 분석을 통하여 이란 영화의 상품적 가치와 더불어 페르시아의 영상 미학을 조명한다. ①영화산업의 발전 과정 측면에서 영화제작 환경에 관련한 영상처리 기법을 시기별로 나누어 시대사적 조사를 실시하고, ②현대 이란영화를 장르별 발전과정과 정체성에 대하여 분석한다. ③한편, 페르시아의 영상 미학에 대한 평가와 상징성 분석 그리고 장기적인 관점에서 이란영화계의 잠재성과 과제를 제시한다. 이란 영화는 1900년 카자르(Qajar) 왕조의 기록영화를 시작으로, 지속적인 유럽과 교류를 통하여 촉진되었다. 1930년에는 최초의 극영화 ‘아비와 라비’(Abi and Rabi)가 무성영화로 제작됐다. 한편, 초기부터 실시된 검열이 서구영화의 진입장벽으로 작용하는 동시에, 독자적인 영상문화를 발전시키는 기회가 되었다. 1960-70년 대 석유경제 호황기에 영화산업도 동반 성장하였고, 기록 영화의 형식의 특성은 이슬람혁명시대에도 지속되었다. 이란영화의 정체성은 전통 미학의 상징화와 가치관에 체화된 대중미학의 극대화 측면에서 발현된다. 구미의 리얼리즘이 상업적 관점이나 영화의 사회적 기능에 초점을 맞춰있는 반면, 이란영화는 신사실주의와 미니멀리즘 요소가 대화체 영상기법으로 발전하면서 전통 문화와 대중의 삶을 예술적 상징성으로 영상에 표출하고 있다.

VISUAL PLASTIC EXPRESSIVENESS IN THE CONTEXT OF THE UKRAINIAN THEATRE ART DEVELOPMENT (the 1990s – early 2000s)

The purpose of the article is to identify the characteristic features of the use of visual plastic expressiveness by the Ukrainian stage directors in the 1990s and the early 2000s based on art review of theatrical productions of avant-garde, drama theatres and studio theatres. Research methodology. The typological method is applied to identify influence factors of the actualization of visual plastic expressiveness; due to the semiotic method the means of plastic expressiveness are considered according to the theory of signs and sign systems as artistic and aesthetic symbols that carry generalized sense information; art review method was used to identify the main features of using plastic expressive means by the Ukrainian theatre directors. Research Novelty. For the first time in domestic art studies, the problems of visual plastic expressiveness in the works of the Ukrainian directors of avant-garde, drama theatres and studio theatres in the 1990s and the early 2000s were studied; art review of theatrical stage production of V. Bilchenko, V. Troitskyi and A. Zholdak identified the individual features of the use of plastic expressive means by the Ukrainian theatre directors with the aim of revealing sense and meaning content of stage works. Conclusions. The study showed that in the Ukrainian theatre art of the late 20th – early 21st centuries directorial search in the field of visual plastic expressiveness was manifested primarily in the context of the active integration of various plastic elements as an addition to the verbal structure of the stage production and/or its replacement at certain moments of the stage action, in accordance with the author’s vision, in order to enhance the sense and meaning loading of the work. The correlation of expression and image in the modern Ukrainian theatre art generates innovative approaches to the understanding and mastering of plastic art.

Gamelan Sebagai Simbol Estetis Kebudayaan Masyarakat Jawa

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. That every gamelan has aesthetic symbols that are attached and contained in the laras, embat, gending, deferment, wasps and repeto technique. These 6 factors reflect Javanese culture such as beliefs, language, philosophy, livelihoods and social relations which are still faced and preserved. Research symbols are concentrated in each gamelan, intrinsic, extrinsic and instrumental symbols. The three are interrelated and elaborated on the message or meal that is presented about Javanese culture.Keywords: Gamelan, Aesthetic Symbols, Javanese Culture

Studying the Elements of African Esthetics by Makeup Artist for their Implementation in Theater and Cinema

Науковий рецензований журнал відкритого доступу, що публікує статті з актуальних питань загальнотеоретичних, мистецьких, історичних, практичних аспектів у галузі аудіовізуального мистецтва та виробництва.

History in the Light of Spirituality

The paper deals with the historic novels written by Ukrainian writer Roman Ivanychuk in 1960s – 1980s. The emphasis is given to the peculiarities that distinguish his works among the similar novels on the Ukrainian history written at the same period. The researcher sees the main difference in the fact that R.Ivanychuk focused not so much on the heroic acts of his characters as on their characteristics of representatives of the epoch. He paid the most attention to the spiritual awakening of the nation being under pressure of the forced assimilation and in danger of extinction. These features of the historic novels by this writer were already noticeable in his first novel “Malvy” (“Mallows”, 1968). The work focused on the problem of “janissaries”, especially relevant at that time. It was interpreted as the loss of historical memory and national identity on the one hand, and the inevitable end of the empire that exploits enslaved neighbors on the other. The aesthetic symbolism is realized in the image of a luxuriant plane tree which is drained by mistletoe, with the fatal end of a tree. The symbolism of this image is related to the idea of the Arabic philosopher of the 16th cent. Ibn Khaldun who stated that decline of an empire is caused by the loss of its vital sources.&#x0D; The novels “Cherlene vyno” (“Red Wine”, 1977) and “The Manuscript from Ruska Street” (1979) contain the aesthetic models that sound in tune with the scholarly ideas of contemporary historians (O. Apanovych, Y. Isaievych, M. Braichesvkyi). In particular it was the interest to the development of the education system and research studies, emergence of Brotherhood schools and book printing. Historic novels by R.Ivanychuk emphasize the conflict between the Artist and the system of ruling power (“Shramy na Skali”/“Scars on Rock”, 1982), where one can see allusions to the movement of the Sixtiers. The writer raised the problem of the moral choice between strict loyalty to the principles and the compromise. Then he explored the limits of justifying the compromise.

중국 애니메이션에 나타난 전통 색채관의 심미적 특징과 상징성

중국 애니메이션에 나타난 전통 색채관의 심미적 특징과 상징성

The Myth of the City in the French and the Georgian Symbolist Aesthetics

“Modern Art is a genuine offspring of the city… the city created new images, here the foundation was laid for the literary school, known as Symbolism…The poet’s consciousness was burdened by the gray iron city and it poured out into a new unknown song” (Tabidze 2011: 121-122), - writes Georgian Symbolist Titsian Tabidze in his program article Tsisperi Qantsebit (With Blue Horns). Indeed, in the Symbolist aesthetics the city-megalopolis, as a micro model of the material world, is formed as one of the basic concepts.

Georgian Symbolism: Context and Influence

In the 1910s in the Georgian literary area the first Symbolist group TsisperiQantsebi (The Blue Horns) comes into being, with a clearly defined purpose and aesthetic position, which implied renewing the Georgian literature and including it into the Western context. Desiring to expand the thought area and to modernize Georgian literature, Georgian Symbolists rested on the philosophical and worldview principles of French Symbolism. Georgian Symbolism appears as an original invariant generated from the French Symbolist aesthetics, which is unequivocally national.

Culture, ethnicity and territoriality: a cultural history of imagined land in Manipur, 1950s–1990s

ABSTRACTCreative literature and audio-visuals provide alternative sources to archival documents for understanding the cultural history of land. This paper is a small beginning in using creative sources in different languages of Manipur. My analysis suggests that the association between land and ethnicity is a recent phenomenon. In the late 1950s and the 1960s, creative artists represented land as aesthetic symbol for universal emotions. In the 1970s, land was de-linked from political imagination and appeared in the form of leikai (residential address). The 1980s registered the emergence of complex social forces such as ethnic nationalism and a romanticised folk culture. The most remarkable development was the exclusive use of land as a symbol of discrete identities and ethnic homelands. Whereas the ethnic gulf widened between the meiteis of the valley and the tribals of the hill areas, the struggle between the hill tribes intensified in the 1990s.

Auf Nichts gebaut

Nishida Kitarō (1870–1945) is considered by many as the most important 20th century Japanese philosopher for his ability to employ modern concepts and terminologies, and use them to construct a unique system carrying a distinctly East Asian flavour. In this system, the notion of nothingness plays a fundamental part both in terms of epistemology and ontology. While this conceptual choice was also inspired by Buddhist sources, Nishida also drew on the theoretical philosophy of Hermann Cohen to elaborate, how nothingness could function as both the guarantor of unity and generator of plurality. Close analysis, however, shows that Nishida’s appropriation of Cohen’s concept of the me on as a necessary feature in the „logic of pure knowledge“ sheds the constraints carefully put in place by Cohen. As becomes evident in a comparison between both thinker’s analysis of sensation, Nishida’s unrestricted use of Cohen’s terms collapses precisely those distinctions that give sensation its meaning in the rational assessment of reality. This leaves Nishida’s concept of reality without the critical potential to distinguish between different kinds of normativity and their inter-subjective validity. Nothingness, as Nishida uses the term, is not a logical concept, but functions as an aesthetic symbol invoking sublime ideas of a perfect reality that is one and whole, and at the same time rich and diverse.

СИМВОЛІСТСЬКІ КОНТЕКСТИ НАЦІОНАЛЬНОЇ ІДЕНТИЧНОСТІ У ТВОРЧОСТІ ОЛЕКСАНДРА ОЛЕСЯ

The article examines the shaping of artistic and aesthetic symbolism concepts of Olexander Oles in the context of native traditions, the transformation of mythological images and stories in the artistic heritage of the artist (figurative, topical, genre). The influence of ancient and biblical images integration is defined, in a kind of symbolic space of the modernists’ poetry, showing a reflection of the myth and religion mutuality. Interpreting mythological material according to his philosophical foundations, the artist became the singer of the bonded region revival, of the man and his free native word. The shape of Prometheus has been analyzed. It is filled with symbolic nature, while gaining a national flavor in accordance with the mentality of the Ukrainian people, namely the willingness to sacrifice and a high level of humanism.

More than meets the eye: videography and production of desire in semiocapitalism

ABSTRACTIn the light of the recent proliferation of interest in videographic methods in marketing and consumer research, we wish to make a call for thinking critically about the medium. In this article, we challenge traditional means of semiotic analysis and consider contexts outside aesthetic symbolism that take into account wider agencements of videographic inquiry. We sensitise thinking about videographic production to include a broad scope of influence beyond production and spectatorship. By positing a mode of desiring relationalities in ‘semiocapitalist’ markets, and through the illustrative example of pop-music videos, we show how videography not only produces symbols, but also has the tendency to discipline the viewer into particular subjective positions. We hope to add to the conceptual toolkit of aspiring video scholars and encourage them to be increasingly critical and reflexive about their potential impact.

NOTAS SOBRE FIGURAS DA MEDIAÇÃO NA TERCEIRA CRÍTICA DE KANT

The present text aims to identify in Kant’s third Critique some main figures of mediation between morals and aesthetics. In the kantian system, not only nature and reason are separated by an unbridgeable gap, but also morals and aesthetics are different domains of the rationality, which are grounded on different principles. Nevertheless the third Critique explores the possibility of some mediation figures, that can overcome the mentioned gap. This is the task of the reflexive aesthetic judgment and its systematic work. In this process of the aesthetic judgment, the figures of a universal agreement among subjectivities and the moral value of the aesthetic symbol, seem to acquire a central systematic role.

Zhuangzi and Musical Apophasis

Whether music is a catalyst for virtuous or licentious behavior, decadent or sparse thoughts, there is no doubting its importance to human civilization; but what of the sounds of Nature? For the Daoist philosopher Zhuangzi 莊子, the sounds of Nature are the epitome of what humanity calls music. Neither contrived nor laden with predispositions, they reflect the unity of things in Dao 道. Focusing on the xianchi 咸池 story in Chapter 14 of the Zhuangzi, this article argues that the true value of music for Zhuangzi is not to be found in the moral or aesthetic symbolism of its notes but in its ability to return humanity to Dao. For this to happen, one must transcend the particularities of human music so as to recognize the oneness of sounds arising from Nature. Equipped with such awareness, one can then listen for the soundless music of Dao. However, music of this magnitude is so profound that conventional terminology will fail to encapsulate it, thus the xianchi story can be read as an instance of musical apophasis.

Sensory Landscapes in Harold Pinter: A Study in Ecocriticism and Symbolist Aesthetics

The apparatus is vigorous. The scope broad. The argument provocative. Readers will find here a solid review of Pinter criticism blended with an insistent nudge to look at Pinter in new ways. That insistent nudge leads to an “in-depth study that relates Pinter's dramatic images and sensory landscapes to Symbolist theatre and theory” (11). Interdisciplinary in approach, Corrêa's work blends such concepts as micropolitics, synthesia, and sensory scapes.In addition to a very helpful introduction and conclusion, the book divides into five substantial chapters: “Landscape Theory,” “Pinter's Dramatic Landscapes,” “Space Becomes Air,” “Apocalyptic Landscapes,” and “Unsustainable Homescapes.” In each chapter, the author closely analyzes several Pinter dramas. Further, she relies on a wide body of scholarship as she joins the conversation. Ample and discursive footnotes carry her arguments beyond her already dense prose. She includes a list of Pinter's dramas to include the year of first performance, a handy reference. The wide-ranging, thorough bibliography is subdivided into useful categories.Dispensing with Martin Esslin's frequently misapplied categorizations, the author moves Pinter's plays from Absurdist to Symbolist. She argues that our decades-old insistence on viewing plays as scripts rather than texts has led us astray. By focusing on performance rather than drama, Corrêa asserts, scholars have missed Pinter's rich imagery and evocative space. For example, when Corrêa applies landscape theory to Pinter's written works, rather than to a given production, she's attempting to activate “new areas for the critical imagination” (329). She views nature as text, not context. Characters are environmental and therefore able to be read ecologically. Current criticism that stresses performance, almost to the exclusion of all else, ignores the function of environment within a playtext. In a perhaps unintentional echo of Chaplin's Modern Times, Corrêa highlights deadening external environments that thwart and harm internal ones. Pinter's plays, in this view, warn of the lethal effects of losing our connection with the natural world.When she turns to the Symbolist legacy, Corrêa's approach is far from monolithic. With The Room, A Slight Ache, The Caretaker, The Basement, No Man's Land, and A Kind of Alaska as a backdrop, she explores, among other topics, the monodramatic space of the stage; stasis; the double; ghostscapes and deathscapes. She builds layer upon layer of analysis into her examination of the texts. Since the “Symbolist aesthetic view is also a theoretical perspective,” Corrêa argues for an interactive process of image production between the beholder and the object” (326).Of particular interest is the idea that space, expressive and prominent, lives in and around us. We co-create our environments. Our energies emanate in our space and that same space produces a material effect on our bodies and spirits.Throughout, the author insists that we've missed key features of Pinter's plays. More than once she suggests our focus on performance, on script, can mislead. She argues, as a case in point, that Pinter's plays have always been political. He did not turn to the body politic only in the last third of his career, as others suggest. She “reveals the presence of political concerns throughout his oeuvre, thereby indicating a previously undetected consistency of his approach.” (15)This book offers some starting points for a new look at Pinter's drama. An idea here, a concept there, when parsed and held up to the light, offer an intriguing opening into the plays.

Arte plumaria en el siglo XIX: el Emblema Nacional, un nuevo motivo iconográfico para el México republicano

El arte plumaria, manifestación artística de origen prehispánico, continúa maravillando tanto por la delicadeza de su materia prima como por el altísimo grado de perfección alcanzado por los amantecas, artífices de la pluma. Las plumas eran consideradas en el México prehispánico un material precioso revestido de simbolismo estético y religioso, íntimamente ligado a la vida espiritual y ritual. El amantecayotl, la fina técnica de mosaico plumario que llegó a la cúspide de su perfección en el siglo XVI, continuó floreciendo tras la caída de Tenochtitlan y durante la dominación española, aunque para el siglo XIX únicamente sobrevivió en pequeños núcleos de producción circunscritos al occidente mexicano. El propósito de este artículo es llamar la atención sobre la supervivencia de esta manifestación artistica en el siglo XIX a través de un primer acercamiento tecnológico e iconográfico a una pieza producida en dicha centuria. Asimismo, se propone la revaloración de los objetos plumarios decimonónicos, cuyo estudio se encuentra aún pendiente en la Historia del Arte en México.