Aesthetic Themes Research Articles

How did the Chinese Russianists interpretate the leading theme in “The Tale of Igor’s Campaign”

The reception of “The Tale of Igor’s Campaign” in China can be traced back to a hundred years ago. The most significant issue in this process was the discussion about the leading theme in this epic, initiated by the Chinese Russianists. This article mainly focuses on an important controversy about the patriotic idea in the “The Tale of Igor’s Campaign” that arose in China in the 1980s. Firstly, the author overviews the main works and their basic views in this discussion, including the “initiator” of this debate, Liu Wenxiao, who denied the presence of patriotic ideas in this epic, and his opponents Wei Huangnu, Bao Liangjun and Lu Jiayu, who firmly support the patriotic character of it. In addition, the Chinese researchers’ cogitation on the main idea of this epic and the debates themselves in the 21st century are also presented as comparative material. Subsequently, this article attempts to examine the aesthetic subjectivity reflected in this process from the perspective of receptive theory. The historical conditions that influenced the specific interest of Chinese readers in the “The Tale of Igor’s Campaign” are considered, and thus the personal experience that contributed to the formation of Liu Wenxiao’s views is recognized.

EVALUATION OF THE EFFICACY OF THE "BELEZAS DO AGRESTE" SKINCARE KIT IN THE SKIN CARE ROUTINE OF A GROUP OF UPE VOLUNTEERS

Highlighting the importance of the skin and its protective and thermoregulatory functions, skin conditions and their psychosocial effects, and the increase in the search for hygiene and beauty products, the following study seeks to evaluate the effectiveness of the skincare kit distributed to volunteers by the Belezas do Agreste 3.0 extension project. The interactions of Instagram® users with the extension project page, which publishes reliable information on skin care on a weekly basis, were analyzed, and a beauty kit consisting of moisturizing gel and neutral and exfoliating soaps was distributed to volunteers who freely agreed to participate in the research. The kit was produced by the members of the extension project under the best hygienic and sanitary conditions, and personalized instructions for use were distributed to the participants according to their skin type assessment. The research, approved by the Ethics and Experimentation Committee with Human Beings of UPE, was conducted based on the collection of participants' responses to a structured online questionnaire to evaluate the products, respecting the privacy and integrity of the data obtained. The results are presented in the form of graphs and report positive evaluations regarding the information published on the project's social network and the products present in the beauty kit; specifically in relation to Instagram®, an increase of just over 1000% was recorded in the reach of the extension project's page. Considering the distribution of the beauty kit and the evaluation of its products, the participants claimed an improvement in the appearance of their skin, in addition to the reduction of oiliness and promotion of softness. Thus, this work can be considered productive and satisfactory in terms of reaching the general population on the subject of aesthetics through the dissemination of quality information on a social network, in addition to distributing a beauty kit to participants who voluntarily joined the Belezas do Agreste extension project and evaluated the products in the kit as efficient in improving the general appearance of the skin.

Optimization of Neighborhood Public Space Design Based on Physical Environment Simulation and Crowd Simulation—A Case Study of Xiaomi’s Changping Campus

Digital technology has brought drastic changes to the design methods, values, and design tools of neighbourhood public spaces, thereby changing the behavioural patterns of people in neighbourhood public spaces. Therefore, people’s requirements for urban public space have changed and are characterised by high efficiency, high precision, humanization, and high aesthetics. Scholars at home and abroad have conducted many studies and practises on the application of digital technology to neighbourhood design, but there is a lack of systematic research practises on the use and analysis of multi-faceted data. This paper selects the Xiaomi Beijing Changping II design project, simulates and deduces the physical environment of its location, simulates the results of the natural environment by using the data of sunshine, wind, and water catchment in the physical environment, and then simulates the crowd’s action paths by combining kinetic algorithms and ant algorithms to optimise the design methods, processes, and results of the neighbourhood public space on the basis of this research. The research team designed five groups of programmes for the project based on different design methods and processes, and conducted a comparative study of the five groups of programmes through the hierarchical analysis method in conjunction with the fuzzy comprehensive evaluation method, as well as discussing them in conjunction with the actual bidding results of the project and the scoring conclusions of the industry experts. The results of the study show that the design scheme for neighbourhood public space based on physical environment simulation and crowd simulation is better able to take advantage of the analytical and predictive advantages of the technology and unite with the designer’s aesthetic interests, balancing the data objectivity and aesthetic subjectivity in the design process. The method is more likely to achieve a design solution that combines systematicity, foresight, rationality, and aesthetics, and provides an empirical case for the application of data simulation in public space, aiming to improve the rationality of public space design and solve the data-objective problems faced by the design of public space at this stage.

Semiotics of Mirror-tile Artwork Decoration in Iranian-Islamic Architecture

Mirror-tile geometric Artwork is considered the last innovation of Iranian artists in the group of the fine arts. That utilizes, for the interior architecture and decoration of buildings. The use of pieces of glass-mirrors and Mirror-tile artwork has economic origins and recycling roots. In the beginning, the Glass-mirrors, which had been brought to Iran from Europe, break during transportation. Iranian artists and Muslim Craftsmen found an innovative way to take advantage of these broken pieces and used them as Mirror-tiles. Being wasteful is an act that is abhorred in Islam. In traditional Iranian-Islamic art, the mirror element, besides that has been one subject of aesthetics for decorating the architectural built-space, includes deep cultural concepts that have not been considering for various reasons. This research looks at semiotic signs from an analytical point of view and explaining the use of the Mirror-tile art in Iranian-Islamic architecture by quoting information from the analysis to understand the quality of architectural built-space decorated with the Mirror-tile art. Aim to introduce the real and genuine aspects of mirror art as an influential architectural element through the thoughts of its creators as a result, in this research, first, the concepts related to semiotic ideas are dealt with descriptively, and, with an analytical approach, a connection established between various theories. Mirror-tile art also contains tremendous amounts of meaning - messages that words can never describe. For these craftsmen, that's at the core of their creation. Among the mystics, the inner language is the language of Spirit and Truth, and the tools of that language are the symbol and indication. With the aim of the influence of the Persian mystical thoughts about the mirror, this study cum the available historical and contemporary sources and analyzing them deals with the hidden meanings in Mirror-tile artwork. Reveal its connection with mystical thoughts through Persian literature.

ТРАДИЦИОННАЯ ЭСТЕТИКА И ФИЛОСОФИЯ «НОВОЙ МУЗЫКИ» КИТАЯ

The present study analyses the correlation between traditional aesthetics and the philosophy of China's "new music". The author provides a brief characterisation of national ideas of philosophy and aesthetics, special attention among which is paid to the concepts of "philosophy", "wisdom", "knowledge", "heaven", "earth", "man" and "unity". Their manifestation was found in the compositions, musical techniques, and performances of Tian Jianping, Zhou Wenzhong, and Qiu Xiaosong, who drew not only on philosophical and aesthetic national ideas but also on the contents of the Book of Changes. As a result, it is found that philosophical and aesthetic thinking has a broad influence on national composers, as many of them are now adhering to the principle of "returning to the roots". These outstanding composers have demonstrated the contemporary transformation of national philosophy and aesthetics through their unique musical language and creative methods. Their works are not only a tribute to tradition, but also a glimpse into the future, reflecting the ways of modernising and internationalising folk music by absorbing the essence of world music through the heart. In doing so, the manifestation of certain themes of Chinese aesthetics is presented in an organisational form based on their relationship with central philosophical concepts. We must realise that these themes are not only a means of artistic expression, but also a bridge between past and future, East and West. In today's multicultural world, Chinese "new music" not only carries the mission of inheriting the cultural heritage of the millennium, but also meets the challenge of innovation and development in the new era. By analysing the relationship between traditional aesthetics and philosophy of Chinese "new music", this study reveals an important fact: folk music innovation is not a rootless tree, but rooted in deep cultural soil, drawing on the nourishing environment of history and philosophy.

Literary Aesthetics in Nabil Yassin’s Poetry

The research revolves around the subject of literary aesthetics in the poetry of the Iraqi poet, journalist, writer and political activist Nabil Yassin, born on March 18, 1950 in Baghdad. He graduated from the Faculty of Arts from the University of Baghdad. He left Iraq in 1980 and settled in Britain. He obtained his doctorate in 1986. The research included three topics: the first: the concept of poetic aesthetics in literature. The second research: formations of the aesthetic image. The third: The aesthetics of the poetic image according to the poet Nabil Yassin. The researcher also used the descriptive analytical method.

Энергия эстетического переживания

<p>The article is devoted to the comparison of classical and modern understanding of the subject of aesthetics. During the theoretical self-definition of aesthetics in the system of philosophy (Baumgarten, Kant) it was understood as a bridge uniting empiricism of individual sensuality with universality of rational knowledge, as an experience of unity of sensual and supersensual activity of aesthetic consciousness of the subject. Such an interpretation corresponded to the ideal of a whole person in the unity of reason, feeling, spirit, will, and imagination. Contemporary aesthetics defines its subject matter as individual sensual experience, removing from it the basis of the cultural subject's self-consciousness of value. The central problem of the article is a characteristic of aesthetic experience as a procedural form of living through the value and meaningful depth of the experienced aesthetic feeling. Experiencing is treated as an emotional and intellectual process, producing inner work of comprehension of the feeling of staying in the self-relation of the cultural-historical subject with the world. The inner energy of aesthetic experience is born through the creative work of intuition and imagination, creating the likeness of a work of art, but not materialised in the language of art, but staying in the continuing state of internal residence of the imaginary image. The aesthetic experience expands the threshold of human sensibility and reveals the dimension of each phenomenon of reality in such a way that the aesthetic object is more than the object, and the subject more than the empirical individual. This is the essence of the aesthetic, indicating the difference between the aesthetic sense and the mere sensual response of individual consciousness to contact with an object. The subject of aesthetic experience is the subject of a world-relationship, experiencing the world differently in images of chaos or harmony, eternity or the mutability of time of being. Space and time in the axiosphere of culture become subjectivized and are experienced as sensual and semantic phenomena included in the aesthetic thesaurus of culture. In his analysis of the sublime, Kant spoke of the special creative energy of the aesthetic feeling, giving it the depth and duration of the subject's state of mind. Due to the inner tension of the interaction of feelings and meanings, aesthetic experience evokes a vivid sensual and supersensual response of man to his belonging to being. It extends the range of emotional and intellectual faculties of consciousness, which remains as the memory of aesthetic experience, multiplying the possibilities of future experiences. Aesthetic experience expresses the process of synergy between sensuality and the existential meanings of the historical subject's existential world. The final conclusion of the article is that in aesthetic experience based on a complex set of sensual and supersensual transformations of aesthetic existence of man in the world, sensual experience is only one of the components, which convinces the need for modern research to address the totality of the contents of aesthetics, especially its axiological aspects.</p>

Theater arts as the subject of comparative aesthetics

In this paper we will show how the new theoretical thought about theater, since the beginning of the last century and the establishment of theatrology as the academic discipline and field of research, is being based on the comparative aesthetic perspective - on the distinction between different arts on the one hand and the identification of the transcultural foundation of theater arts on the other. Following the analyses of examples of contemporary theatre and the insights that emerge from them, we will demonstrate how the questions that rise out of theatrical practice and theory resonate with the issues addressed in the field aesthetics, not only the ones about artistic creation, art or its reception.

The Aesthetic Influences of War: A Phenomenology of Tim Hetherington’s ‘Feedback Loop’

One of the artistic motivations and main contributions of the late war photographer Tim Hetherington was to visually explain how young men fighting in war are influenced by representations of war—a process he referred to as a ‘feedback loop’. This article accompanies Hetherington’s ‘visual explanations’ with a theoretical one. Drawing on Gadamer’s hermeneutics and Merleau-Ponty’s phenomenology, I develop a framework for understanding how representations influence realities of war. In particular, I theorize how aesthetic forms are understood, embodied, and enacted, and how they thereby become historically continuous. To illustrate this framework, I conduct a brief genealogy of three aesthetic themes of war captured by Hetherington—of militarized masculinity, of the ideal of the professional soldier, and of the paradoxical absurdity of war. This article will be of interest to scholars seeking to better understand the culture of modern war and the intimate relationship between war and broader society.

‘Thousand Years of Charm’: Exploring the Aesthetic Characteristics of the Mount Tai Landscape from the Cross-Textual Perspective

With accelerating urbanization, Mount Tai is increasingly at risk of homogenization with other scenic spots, losing its landscape aesthetic characteristics as ‘the Most Revered of the Five Sacred Mountains’, which poses a growing threat to the long-term sustainable development of Mount Tai. Accordingly, this study takes texts written by different social groups as the research material and analyses the aesthetic themes and spatial distribution of the elements in the texts to determine the aesthetic characteristics of the Mount Tai landscape from multiple perspectives and long time series. This study complements the research on the Mount Tai landscape, which focuses on specific research material and time. The results of the study can help to raise awareness of the complexity and multiple values of Mount Tai landscapes and have implications for research and practice of other heritage landscapes.

The Reacher on the Functions of Chinese Ink Elements in Movie Posters of The Golden Era

Chinese components have distilled the ancient cultural soul of the Chinese nation, whose culture has a lengthy history. The Golden Eras movie poster makes extensive use of Chinese design themes. The movie poster skillfully mixes traditional Chinese aesthetic themes with poster design to create poster works with national cultural meanings. Movie posters often contain ink-based elements. One of Chinese cultures most significant artistic genres, ink painting has a lengthy history and numerous symbolic meanings. The ink component gives the poster design a distinctively oriental aesthetic and an artistic foundation rooted in the Confucian tradition. Through the analysis of The Golden Era as a case study, this study investigates the use of Chinese ink elements in movie posters. This article will talk about the special function of the Chinese ink elements depicted by the movie poster for The Golden Era from the viewpoint of the audiences movie poster. It also offers a fresh perspective on how to display the soft power of a countrys culture by interpreting the energizing impact of movie posters using Chinese themes on the cultural identity and national pride of Chinese spectators. Designers that utilize ink components to create cross-cultural movie posters must also be aware of cross-cultural design methods and respect the diversity of cultures.

The semantic pattern in the work of the artist Sherine Neshat

The research which is entitled (the semantic pattern in the works of the artist Sherine Neshat) came in four chapters, the first of which contained the research problem, its importance, its aim, its limits, and the definition of terms in it. It contained a number of results, including: 1. The semantic pattern was a clear representation in the works of the artist Sherine Neshat, which made it a dominant aesthetic theme in the artistic achievement, as the artist used clear semantic patterns in order to convey the message of love and beauty at the same time to the recipient. As well as a set of conclusions, the most important of which are: 2. The works of the artist Sherine Neshat are based on the continuous transformations of the semantic patterns derived from the artistic vision, the nature of the material, and the formal output of the artistic achievement, then the recommendations and finally the references.

More-than-Human Wellbeing

More-than-Human Wellbeing

Art History as a New Discipline at the Estonian University in Tartu after the Long 19th Century

The article is the first attempt to present the beginnings of Estonian professional art history in the 1920s in a regional and global context. The author strives to situate the University of Tartu (Dorpat) in the pan-European network of universities, where art history had gradually become regarded as a new discipline during and after the long 19th century. Art history is rooted in the Age of Enlightenment, with Johann Joachim Winckelmann retrospectively named the father of art history. But it was about a half century after his death that art history was incorporated into a general subject of aesthetics taught at universities. It took another fifty years for art history to become a separate discipline in the modern universities of Germany and Austria-Hungary, and another half century to receive a separate chair at the Estonian national university in Tartu. The development of art history as a discipline at the University of Tartu is analysed on a very granular level, based on primary sources from Estonian and Swedish archives. During the 19th century art and its history were used to the ends of national politics and in search of national identities. In Estonia, this was hindered by the activities of another ethnic group, the Baltic-Germans, who had been the ruling class in the Baltic provinces of the Russian Empire. The first professor of art history at the Estonian University of Tartu, Helge Kjellin, wanted to bridge the gap between Estonian and Baltic art history. He attempted to merge these two concepts and define the territorial concept of Estonian art from the Middle Ages to the beginning of the 20th century. He also defined this as a proper field of study for Estonian art historians. However, after his departure from Estonia, art history was neglected and irrelevant for the Estonian University and the Estonian Republic. Science and academic professions were regarded as a masculine field of activity until after the Second World War. Only the lack of men, who had died in the war, enabled women to start seeking a more equal place in the academic world worthy of their intellectual ability. Despite there being many capable female students among those who studied art history with Kjellin, the first female professor of art history in Estonia, Krista Kodres, was elected to the Estonian Academy of Arts only in 2003.

Lisette Model: Another Frankfurt School Photographer in New York

Abstract This essay examines the portrait work of the Austrian-American photographer Lisette Model, with a special focus on her representation of the American lumpenproletariat in the Reflections series, Model's first after coming to New York in 1938 as an Austrian-French Jewish émigré, and in her Bowery portrait series. Within the history of American postwar photography, Model stands as a salient figure, a pioneer who located and defined the issues, options, and contradictions of photography as an artistic practice in the “New York School of photography.” Model's rendering of her subjects as eccentric, fantastic, and spectacular in their expressions and emotions propelled the émigré photographer with meager experience into a central position in the making of mid-century American photography, both social-documentary and commercial. Moving beyond the localized context of postwar American photography in which Model's work has been largely investigated, this essay argues for an understanding of Model's New York portraits as being shaped and informed by the photographer's consideration of the crisis of history and the violence enacted by fascism in Europe, as well as the historical condition of exile. One of the essay's claims is that Model revitalized a kind of pleasurable violence, one that enacts a sense of excessive bodily dynamism, often to the point of self-destruction, on the bodies of the American lumpenproletariat at leisure, in order both to come to terms with the role of the lumpenproletariat as the central subject of fascist politics and aesthetics in the Old World and to put pressure on the conditions of the mass subject and mass politics in the New World.

The Hellenic landscape and the renewable energy sources. a social survey (2022) and some considerations

The aim of this paper is to underline the urgent need for the application of R.E.S. in Greece, the related problems regarding the natural environment, the archaeological sites, the traditional architecture, and the existing contemporary urban environment. Some references to the theoretical approaches of the subject of environmental Aesthetics are also mentioned. The method to achieve conclusions has been a social survey of the opinions of Greek people, regarding their surrounding environment and the application of R.E.S.. Concluding the economic factor proves to be very important, primarily at the individual level and then at the social or national level, and the aesthetic factor seems to follow the economic one, but is also very important.

La Peinture selon Proust: les détournements du visuel by Sophie Bertho

Reviewed by: La Peinture selon Proust: les détournements du visuel by Sophie Bertho Thomas Baldwin La Peinture selon Proust: les détournements du visuel. By Sophie Bertho. Paris: Classiques Garnier. 2021. viii+170 pp. €26. ISBN 978–2–406–10757–6. This book brings together work published by Sophie Bertho over the last twenty years on the subject of Proust's aesthetics and on the 'fonctionnement interne de la peinture' (p. 15) in A la recherche du temps perdu. The first part focuses on the ways in which the pictorialist poetics of A la recherche represent both an assimilation and a transformation of 'les idées ou la "manière" de ses maîtres' (p. 29). The works of Montesquiou, the Goncourts, and Ruskin, Bertho argues, are 'retenus et retravaillés' (p. 29) by Proust, suggesting a form of influence and rewriting, a 'critique en action' (an expression that Proust himself uses to describe pastiche) that cannot be reduced either to repudiation or to a more transactional, unambiguous intertextual process involving debt and uncreative borrowing (p. 29). The second and third parts of the book focus on the ways in which the treatment of painting in A la recherche represents a shift away from a more 'traditional' mode of ekphrasis (involving set-piece, relatively autonomous descriptions of visual art that invite us to 'quitter un instant le roman pour nous tourner vers un tableau, l'admirer' (p. 104)) towards a 'détournement du pictural', a 'dissolution' (p. 17) of well-known paintings in writing. It is here that the argument of the book is at its most interesting and also its most problematic. Bertho demonstrates quite convincingly—and with ample reference to manuscript material—that Proust stands at a distance from a straightforwardly mimetic, referential ekphrastic mode or 'transposition d'art' in A la recherche (one that he had dabbled with on several occasions before 1899), and that he experiments in that work, through processes of metaphorization (for example), with a reappropriation and reworking of the visual by the textual—an internalization of painting in or by narrative (Bertho calls this approach radically 'modern', but readers of Diderot's Salons, for example, would probably disagree). However, her suggestion that the less conventional form of ekphrasis developed by Proust in A la recherche involves the 'effacement' (p. 17) of painting is underpinned by a superannuated take on the ekphrastic relation as a paragonal battle for dominance between word and image, the limitations of which have been clear for some time. There is a critical cack-handedness here that is compounded by the absence of any meaningful reference in Bertho's work to recent critical writing on Proust and/or ekphrasis in English. The idea of an 'effacement' of the visual in or by the textual does not, furthermore, do justice to the title of Bertho's book. A 'détournement' might be a diversion, a misappropriation, a hijack, or a rerouting (it is also, famously, the name of a technique developed in the 1950s by the Internationale lettriste and later adapted by the Internationale situationiste), but to say it is an erasure leaves the impression of an overexcited drama that does not reflect the subtle intricacies of the rest of Bertho's argument, in which terms such as 'traces', 'contamination', 'profanation', and 'allusion' feature prominently. [End Page 245] Thomas Baldwin University of Sheffield Copyright © 2023 Modern Humanities Research Association

The aesthetics of hybridization in contemporary art and its reflection on the output of fine arts education students

The intersection of contemporary art's hybridization aesthetics and its impact on the output of fine arts education students is a crucial topic in both theoretical and practical academic research. Drawing, as a form of art in Iraq, has a rich history and cultural significance, making it one of the most prominent genres in both contemporary and ancient Iraqi art. Due to its historical roots and unique status, drawing has been continuously refined and developed through the incorporation of various contemporary aesthetics. The research framework encompasses the research problem, the rationale for conducting the study, and the significance of investigating the aesthetics of hybridization in contemporary art and its impact on the work produced by fine arts education students, as well as the benefits that could be derived from this inquiry. The objective of this study is to examine the current aesthetics of hybridization, the mechanisms that underlie them, and their influence on the artistic output of students enrolled in fine arts education programs, while defining and clarifying key concepts.The theoretical framework of the study comprises two main areas of inquiry: first, a historical overview of contemporary Iraqi drawing, its origins, and early development; second, the aesthetics of hybridization in contemporary art. The research procedures employed included selecting a research community and sample, which consisted of three official drawing works. The findings and conclusions of the study are as follows:1. The aesthetics appeared strongly in all outputs of fine arts education students in all samples.2. The student relied on their imagination and produced new drawing compositions.3. There is a lack of textbooks on the subject of drawing aesthetics for teaching fine arts education students.

Foreword. Aesthetics and ontology in Etienne Souriau

Étienne Souriau was a refined and demanding thinker, with an aristocratic demeanour, far removed from the currents of ideas dominant in his time. A difficult and erudite author, out of tune with the times he lived in, he would seem the least likely candidate to appeal to a hurried and globalised public like that of the twenty-first century. A sophisticated representative of a rationalist positivism, no stranger to the Husserlian canon and not even insensitive to the motivations dear to the gnoseological debate of Cartesian and Kantian matrix (as well as to the major themes of classical metaphysics), Souriau pursues the ideal of a constructive philosophy, capable of understanding – and at the same time favouring – the advancement of the creative process conceived as a set of poetic acts and progressive dynamic operations. In his texts, Souriau is attentive to grasping the correspondences, exchanges and reciprocal transitions between one mode of existence and another, as well as the resonances between the various art forms in the different fields of knowledge, testing an original method that is epistemologically very fruitful.
 The aim of this monographic issue of Aisthesis dedicated to Étienne Souriau is to explore his thought in its multiple aspects, in order to measure its topicality in relation to the themes and problems that characterise contemporary philosophical debate, with particular reference to aesthetics and ontology as well as to the dense network of connections between the two fields. One of the most interesting characteristics of Souriau’s thought that has stood the test of time would appear to be its multifacetedness: the quality of lending itself to being applied even to spheres that are apparently very distant from reflection on art, such as cultural anthropology, political philosophy or morality. It seemed to us that it largely owes its relevance precisely to the intersections between one field of knowledge and another.
 The issue contains twelve contributions on Souriau that explore his main aspects in depth. They range from analyses devoted to the architecture of Souriau’s thought (his general philosophy) in the essays by Dominique Chateau and Filippo Domenicali, which can furnish a useful overall picture of the man, to essays that attempt to focus on the more properly ontological core of this thought, such as those devoted to the arabesque motif (Luigi Azzariti-Fumaroli), the theory of the soul (Sjoerd Van Tuinen) or the multiplicity of worlds (Noëlie Plé). Interspersed between these are contributions that focus more on the comparison between Étienne Souriau’s thought and the philosophers of his time, such as Dufrenne (Maryvonne Saison), or with well-known later philosophers who explicitly referred to him, prolonging his creative impetus, such as Gilles Deleuze (Casey Boyle) and Bruno Latour (Aline Wiame), the true architect of the current Souriau “comeback”. Finally, in addition to essays of a more theoretical nature, there are contributions that attempt to re-evaluate certain aspects of Souriau’s aesthetics, such as the fruitfulness of the cues that can come from his thought for the debate on animal aesthetics (Maddalena Mazzocut-Mis and Andrea Scanziani), or the possible topicality of his theory of forms (Isabelle Rieusset-Lemarie).
 In the “Miscellaneous” section, this issue hosts a number of studies that aim to explore the aesthetic implications of new technologies, the themes of ecological aesthetics, as well as to offer an unusual profile of Baumgarten.

Beginning to Dismantle New Stereotypes: Female Body Image Anxiety Formation and Change in Social Media, Using Red Book As an Example

With the advent of the Internet society, gender stereotypes have gradually become more binding for women, and there are gender stereotypes or feminist theories spreading in both the real society and online media. This article is beneficial to the study of current feminism and the discussion of women’s discourse on the Internet. By applying the theory of gender stereotypes and taking bloggers’ postings on Red Book as the research object, this article analyzes the reasons for the emergence of white, thin and young as the main aesthetic theme, as well as the reasons for the gradual dissipation of this stereotype and its effects. The results of the study show that with the large number of current social media users and their rapid dissemination, the mainstream aesthetic finds changes from the gender stereotype of white, thin and young to its dissolution, reflecting the contemporary mainstream view that women are no longer objects to be gazed at and objectified. This study further demonstrates that social media has an important role in promoting the development of feminism in China and that the influence and changes produced by women’s opposition to stereotypes have promoted more women to embrace a pluralistic aesthetic.