Aesthetic Theory Research Articles

Становление авангардистки: Г. Стайн в диалоге в У. Джеймсом, Г. Флобером и П. Сезанном

Analyzing Gertrude Stein's early short story “The Good Anna”, included in the trilogy Three Lives (1909), the article examines the dialogical process of the formation of the author's poetics at the intersection of various discourses dealing with the concept of habituality. Written under the influence of the ideas of W. James and the aesthetic principles of G. Flaubert and P. Cézanne, the story can be read as a “space” within which scientific and aesthetic representation of ordinary interact. I argue that we can treat this juxtapositions of names (Stein, James, Flaubert and Cézanne), not as a result of individual circumstances and personal preferences, but as a manилиifestation of certain zeitgeist. Particular attention is paid to the comparative reading of “The Good Anna” as created under the powerful influence of Flaubert’s “A Simple Heart.” On the one hand, the recognition of Flaubert's influence on the writer is commonplace in Stein scholarship. On the other hand, it has not attracted close attention, paradoxically remaining a frequently mentioned but underexplored issue. The article proves that through her dialogue with Flaubert, Stein develops a special mode of defamiliarization, revealing the complex relationship between the extraliterary automatically emerging speech of everydayness and the literary experimental discourse. The discussion of Flaubert's influence on Stein's development as a modernist author implies, in principle, the need to look at this dialogue from a broader perspective, without reducing it to a special case of apprenticeship with the greats and without forgetting the two-way direction of this contact of texts.

SANAL SINIF ESTETİĞİ: GÖRSEL İLETİŞİM TEKNOLOJİSİ, KATILIM VE HETEROKRON ORTAK ZAMAN

This article explores how immediate communication of synchronous education via virtual classrooms poses questions on implementing visual communication technologies of social surveillance. The striking global transformation of education to synchronous and asynchronous forms of online and hybrid education during the COVID-19 pandemic has reformed the usual teaching and learning methods. Hence, the immediate experience of virtuality also affected the public sphere notion of classrooms, where students socialize and encounter political culture. Building on the content analysis of qualitative research on student experiences of remote education in Turkey, we conducted an online survey with 325 university students with the purpose of understanding their experiences and attitudes toward online education. We theoretically explore how virtual classroom participants construct their social world of education through the aesthetic affordances of digital platforms. Grounded in critical theories of aesthetics that have previously been elaborated on an abstract level, we investigate how time and space compression, enabled by immediate communication technologies, translates into students’ experiences of participation, use of visual communication, and their everyday resistance to surveillance. The research revealed that online education design as implemented today is far from encouraging a public space, and the university students generally underestimate their role in creating a public space through their active participation in discussions. This loss of social spaces should be elaborated and problematized in the future for a better transition to hybrid and online education modules.

“A player, a playwright, and the most famous poet in the world”: Highs and Lows in The Player Queen

Yeats published The Player Queen, a play he had struggled with for more than a decade, in 1922, just a year before he was awarded the Nobel Prize. This article argues despite its appearance of complete wackiness, The Player Queen constitutes a significant landmark in Yeats’s elaboration of his own theatrical aesthetics, as well as a meditation on artistic responsibility—or failure thereof. Why does the poet Septimus fail to communicate his beautiful vision of the Unicorn to anyone, and why does no-one in the play listen to him? On the one hand, the citizens in the play are figures of the incompetent spectators, reminiscent of the audience who rejected Synge at the Abbey. On the other hand, Septimus himself is an incompetent spectator, who is so engrossed in his poetic vision that he fails to pay attention to the momentous change that is really going on before his eyes, although this concerns his own wife Decima, the eponymous Player Queen who comes to replace the real queen. Septimus fails to make himself heard because he is not paying attention to what really matters, he is not fulfilling his duty, as a playwright and a poet, of translating the shapeless chaos of reality into intelligible forms.

MULTIMODALITY OF INCONGRUITY AS COGNITIVE MECHANISM OF CREATING HUMOUR: CASE STUDY OF POLITICAL STAND-UP COMEDY

The problem of humour is complex and transcends aesthetic boundaries. Laughter is a product of interactions between individuals, social groups, cultures and epochs, with a far-reaching significance that attracts the attention of various scientific fields. When discussing humour, it is essential to consider the modality, which reflects the speaker’s attitude and subjective expressions. Regardless of genre or style, humour offers an aesthetic representation of the world, created by the author to convey his or her communicative intent and perspective. The core mechanism of humour is incongruity, characterized by inconsistencies with established norms that produce a comic effect. This incongruity is present in all forms of humour, whether oral, written or multimodal, as in stand-up comedy. Stand-up comedy uses different modes of expression, including spoken words, body language, facial expressions, gestures and timing, to enhance the comedic experience. Therefore, when discussing stand-up comedy, it’s important to consider the multimodality of incongruity at different levels of expression. The aim of the current research is to describe the multimodality of incongruity as a cognitive mechanism of creating humour in stand-up comedy and to characterize the specifics of incongruity in works of this genre, taking into account its specifics in terms of forms of expression of humour. In order to achieve the research objective, the following research tasks will be carried out 1) to provide the definition of modality as a way of expressing one’s attitude towards the surrounding world; 2) to present the specifics of stand-up comedy as a multimodal genre; 3) to present the idea of multimodality of incongruity as a cognitive mechanism of creating humour using the example of the stand-up comedy genre. The research material of the presented research is the stand-up monologues of George Carlin (2010, 2011), Andy Haynes (2023) and Joe Kilgallon (2019) on political issues. In the presented stand-up monologues, a total of 100 cases of incongruity are distinguished, of which 52% are valorative, 36% are logical and notional, and 12% are ontological. The cognitive nature of comic in political stand-up comedy is examined as a complex phenomenon. Analyzing the multimodal means used to create comedy in this context requires a polyparadigmatic approach that encompasses four scientific paradigms – discursive, linguocognitive, linguopoetic, and nonverbal communication analysis. Such a comprehensive methodological approach enables a deeper understanding of this complex and multifaceted subject matter. The research indicates that humour creation via cognitive mechanisms like incongruity is a phenomenon spanning multiple modes within the stand-up comedy genre. Multimodality encompasses the evaluation of utterance content by the speaker, as well as the subject’s relationship to the action, with multiple semiotic modes coexisting in a context that shapes the essence and conveys the speaker’s attitudes. Standup comedy requires both verbal and non-verbal communication, making it a multimodal form of performance where a single performer engages directly with the audience. The core mechanism for creating humour in this genre is incongruity, which stems from contrast and deviation from norms, including ontological, logical, notional, and valorative incongruity. These types of incongruity are commonly used in political stand-up comedy, making it a unique and dynamic form of entertainment. Value incongruity, which is the primarily employed method (52%), exposes disparities between political realities and established social norms. Comedians utilise various linguistic techniques, including generalisation, rhetorical questions, metaphors, repetitions, and parallelism, alongside extralinguistic methods such as voice modulation and facial expressions, voice tone, pauses, different kinds of intonational contrast, body language to establish incongruity of this nature. Logical and notional incongruity (36%) highlights the irrationality of politics and voter’s reasoning, using rhetorical questions, citations, and certain tone of voice and facial expressions. Ontological incongruity refers to the introduction of imaginary elements which violate the rules of existence and are used to emphasize absurdities. Although less frequent in political stand-up comedy, it can still be used to highlight absurdities, such as the ritual of swearing on the Bible in a formal setting. It is shown that the scenic characteristics (positive or negative character, colours, decor), the way of dressing are also essential, because they all contribute to the creation of humour based on the image of the speaker. Comedians utilize intertextuality and their delivery style to create and emphasize this form of incongruity. In conclusion, political stand-up comedy utilises different forms of incongruity to deride social conventions, reveal political absurdities, and generate amusement. Both linguistic and extralinguistic elements are important tools for comedians in creating incongruity, making political stand-up comedy a multimodal phenomenon.

Фальсификация произведений искусства как феномен культуры

The article deals with the problem of falsifi cation of works of art (forgery) and attitudes towards falsifi ed works: falsifi cation as a cultural phenomenon; the meaning of falsifi cation in different types of art; falsifi cation through the eyes of an art connoisseur, philosopher, forger; falsifi cation as an aesthetic and ethical phenomenon; the signifi cance of falsifi cation for modern aesthetic theory and for the art market. The relevance of the topic is justifi ed by a large number of falsifi cations both in the modern art market and in the artistic fi eld. The article defi nes falsifi cation; reveals the problem of distinguishing a fake from legal ‘secondary works’. Particular attention is paid to the lack of clear criteria for identifying falsifi cation: as a rule, this is the intention to bring a secondary work to the market or to the artistic sphere. The different meaning of falsifi cation in different types of art is associated not only with different opportunities to be the subject of investment, but also with the specifi cs of the types of art. In accordance with the theory of N. Goodman, for ‘autographic’ (‘visual’) types of art, the history of creation of a single unique copy has exceptional value; for ‘allographic’ ones such as cinema and literature, each reproduction is original (but works of these arts are not the subject of investment). T. Kulka, a prominent representative of modern aesthetics, explains why the “correct” aesthetic perception of an original or a fake without a hint from the outside is impossible and always requires knowledge of the context. This is a very important point for understanding the attitude towards falsifi cation: it is not built into the history of art and therefore cannot claim the same reverent attitude towards itself that the originals deserve. The ethical problem of the existence of falsifi cation is shown on the example of E. Hebborn’s “The Art Forger’s Handbook”, which explains how to shift responsibility for establishing the status of a work to art critics, using the peculiarities of their professional psychology. In general, the article recognizes the important role of falsifi cation in the modern art market: the fi rst unsuccessful acquisition of a novice collector becomes a kind of act of initiation and strength testing.

Specificity of European Theatre Directing of the Flemish Wave: Metaphorical Images Luk Perceval

The purpose of the article is to reveal the peculiarities of the creative activity of one of the leading representatives of theatre directing of the "Flemish wave" Luk Perceval. Research methodology. The analytical method, the method of typological, art history, genre-stylistic, and figurative-stylistic analysis was used, thanks to which the author's approaches and the methodology of L. Perceval's direction were revealed and structured, as well as the method of theoretical generalisation. Scientific novelty. The creative activity of one of the leading directors of the European theatre at the end of the 20th century and the first two decades of the 21st century was studied. L. Perceval; the aesthetics of L. Perceval's theatrical direction are analysed through the prism of the concept of post-dramatic theatre; metaphorical images and their place in the visual text of the play are considered, using the example of the productions of "Othello" by W. Shakespeare and "Black-Yellow-Red Trilogy: Journey to the European Heart of Darkness" (alternative name "Belgium Sorrow") by S. Khin. Conclusions. Theatrical direction of L. Perceval, whose artistic thinking was formed in the atmosphere of Flemish theatre culture and reflects all its features, is characterised by an active search for exquisite symbolic forms of the embodiment of the highest unity of all living things. The director interprets modernity through the prism of the past, makes an attempt to highlight the deep contradictions of the modern socio-cultural space in the process of creating a system of creative reflections, the complex play of aesthetics of modern post-dramatic theatre and generalising various cultural layers and topics relevant to people of the 21st century in comprehensive metaphors. L. Perceval comprehends the problems of place and time, nature, life, freedom, independence, the complexities of life and natural contradictions, phenomena and tragedies that strike a person. The director expresses his own attitude, inner experiences and deep feelings with the help of metaphorical symbols that make up the essence of his creative manner. A feature of L. Perceval's directorial vocabulary is the search for metaphorical ways of stage expression of the complex psychological content of productions, in the process of researching the main contradictions of the human personality, which enhance the plasticity of the updated minimalist stage space of the performance. Keywords: Luk Perceval, European theatre direction, "Flemish wave", post-dramatic theatre, metaphorical images.

Beyond The “Joker” Movie: Cinema As A Politainment Agent

In the scope of this study; Joker (2019) film will be analyzed and examined as a political entertainment medium through cinematic narration. The film is assessed both in terms of scene analysis and in terms of the film's current discourse. Within the framework of this study, Joker film evaluated thematically as a political entertainment thus this article aims to enlighten the relationship between cinematic representation and political circumstances through the perspective of Douglas Kellner's Cinema Wars narrative. The goal of this study was to break down Joker film to examine its ideological and aesthetic representations within the social, political and cultural context in the timeframe when the film was released to build up a bridge between political reality through the employment of cinematographic machinery.

The Effect of Kebyar Duduk Peliatan’s Performance During the Covid-19 Pandemic in Bali

The purpose of this research was to reveal the phenomenon of the kebyar dudukpeliatan dance during the COVID-19 pandemic. In general, Balinese performing arts activities are very rare because of the red zone and demands for adaptation to health protocols. However, the kebyar duduk dance in the peliatan style was seen being performed. The performance of the kebyar duduk dance in the peliatan style during the COVID-19 pandemic looked different from usual. The questions are: 1) What is the form of the kebyar dudukpeliatan performance during the COVID-19 pandemic?; 2) What was the impact of staging the kebyar duduk peliatanperformance during the COVID-19 pandemic?. This research was completed based on qualitative methods. Secondary data was obtained through literature studies on COVID-19 and the kebyar duduk dance. While the primary data was obtained by means of observation and interviews with informants in Ubud. All data were analyzed qualitatively with aesthetic theory and practice theory. The results of the research show : (1) the people of Ubud present the kebyar duduk peliatan dance through digital technology; (2) the presentation of the kebyar dudukpeliatan dance through digital media has a positive impact on flexibility in learning the kebyar duduk peliatan dance and has a negative impact on the enculturation of the kebyar duduk peliatanperformance in the culture of the Ubud people.

Towards Designing Choreography Curriculum Template for African Contemporary Dance Using Dayo Liadi’s Olori-Oko Dance Performance

Modern dance techniques such as choreography gives the genre a unique language that can be used to expand the dance technique and dance composition as used by choreographers. Dayo Liadi as a choreographer and study in this article has used contemporary dance genre of body gestures to communicate his message through signs and cultural symbols, towards the appreciation from the audience. However, there are many thematic areas including space, shapes, images, body movement, and other paraphernalia employed in the style called contemporary dance type of choreography. Thus, all of these must be preserved and replicated as unique dance techniques. Therefore, the need to study and propose an indigenous choreography curriculum that emanates from Dayo Liadi’s creative work i.e. Olori Oko performance. The study is anchored on Michael Forkine’s Perspective of Adorno Theodor’s Philosophical Aesthetic theory. This is with the view to incorporate home-grown curriculum contents into dance studies in theatre schools in Nigeria and in Africa. The study adopted quantitative research method, involving participants’ observation, transcription and content analysis of lyrics and video using a checklist to conduct thorough video pre-view and review of the choreographic work. Major findings revealed a need for collaboration and performances to sharpen and widen the horizon of the artistic and creativity appreciation, with the view to incorporate new dance techniques into the Nigerian and African dance techniques such as incorporated in Dayo Liadi’s creative work. The study recommend direct implementation or adoption of the proposed curriculum template as part of choreography dance studies in theatre curriculum among departments in higher institutions Nigeria and Africa.

OBSERVATION OF AI TEXT TO IMAGE USAGE ON THE CREDIBILITY OF VISUAL ARTWORKS

Artificial Intelligence (AI) has advanced the technology of AI Text-to-Image, such as the Midjourney platform, which is an application that creates images based on text prompts. However, this raises the question of whether AI works from Midjourney do not violate copyright. This study uses Roland Barthes' semiotics theory and The Liang Gie's aesthetic theory to analyze the artwork produced by Midjourney. The results of the study show that Midjourney is able to create new images by combining elements from various photos to create new images that have unity, harmony, and balance based on the given text prompts. In other words, AI works do not directly copy or imitate existing artwork on the internet. This study provides a deeper understanding of the working principles of AI Text-to-Image platforms and confirms that the results produced by AI such as Midjourney have unique artistic value and do not violate copyright. Although there is debate surrounding the use of AI in art, the results of this study support the view that AI can be a creative and innovative tool in creating unique and new visual artworks.

Egy Adorno-összeállítás elé

By this compilation we celebrate Adorno’s 120th birthday. Adorno’s lecture points to the importance of criticism for a future theory of aesthetics, while Gorsen questions the narrowing of the object of aesthetics to the analysis of canonized works, stressing that art thereby loses the subversive potential to which it was attributed for the student movements. In their interpretations, the authors reconstruct Adorno’s concept of “late work” and his analysis of the culture industry, and carry out a comparative analysis of Adorno and Deleuze.

Sparsity in an artificial neural network predicts beauty: Towards a model of processing-based aesthetics.

Generations of scientists have pursued the goal of defining beauty. While early scientists initially focused on objective criteria of beauty ('feature-based aesthetics'), philosophers and artists alike have since proposed that beauty arises from the interaction between the object and the individual who perceives it. The aesthetic theory of fluency formalizes this idea of interaction by proposing that beauty is determined by the efficiency of information processing in the perceiver's brain ('processing-based aesthetics'), and that efficient processing induces a positive aesthetic experience. The theory is supported by numerous psychological results, however, to date there is no quantitative predictive model to test it on a large scale. In this work, we propose to leverage the capacity of deep convolutional neural networks (DCNN) to model the processing of information in the brain by studying the link between beauty and neuronal sparsity, a measure of information processing efficiency. Whether analyzing pictures of faces, figurative or abstract art paintings, neuronal sparsity explains up to 28% of variance in beauty scores, and up to 47% when combined with a feature-based metric. However, we also found that sparsity is either positively or negatively correlated with beauty across the multiple layers of the DCNN. Our quantitative model stresses the importance of considering how information is processed, in addition to the content of that information, when predicting beauty, but also suggests an unexpectedly complex relationship between fluency and beauty.

Tactile Perception in Aesthetic Evaluation: A Systematic Review

Abstract The haptic sense is an essential component of aesthetic evaluation that is often overlooked in today's mobile internet age. Unlike hearing and vision, the sense of touch is less widely transmitted. Unfortunately, most aesthetic theories and explanations have focused solely on the visual and auditory senses, with minimal attention given to tactile evaluation. To address this gap in knowledge, we have collected studies on tactile aesthetics within the framework of experimental aesthetics from 2000 to 2022. After statistical generalization, our findings suggest the following: The criteria for evaluating tactile aesthetics were mostly dichotomous, that is, positive (like/appreciation/pleasure) and negative (dislike/disgust/unpleasant). Tactile aesthetics predominantly involved the toucher dimension (synesthesia/need for touch/touch pattern) and the touch sample dimension (shape/type/texture), with the commonly overlooked factors of “need for touch” and “touch pattern.” Some studies did not restrict the shape and material of the touch samples. Based on our findings, we have systematically summarized and concluded what tactile factors influence aesthetic evaluation and have analyzed future research trends.

Image Aesthetics Assessment With Attribute-Assisted Multimodal Memory Network

Image aesthetics assessment (IAA) has attracted growing interest in recent years but is still challenging due to its highly abstract nature. Nowadays, more and more people tend to comment images shared on the social networks, which can provide rich aesthetics-aware semantic information from different aspects. Therefore, user comments of an image can be exploited as supplementary information for enhancing aesthetic representation learning. Previous researches have demonstrated that aesthetic attributes make significant effect on image aesthetic quality and humans’ aesthetic perception. Typically, people are used to give comments on an image from the perspective of aesthetic attributes, based on which the aesthetic quality of images can be inferred. Motivated by this, this paper presents an Attribute-assisted Multimodal Memory Network (AMM-Net) for image aesthetics assessment, which utilizes aesthetic attributes to model the interactions between visual and textual modalities. Specifically, we design two memory networks to capture the attribute-aware information most related to the image and associated comments respectively. Further, with multiple memory hops, attribute semantics shared by the two modalities are refined and cross-modal interactions are enhanced progressively. Finally, more discriminative aesthetic representations can be obtained for IAA. The experimental results and comparisons on two public multimodal IAA datasets demonstrate the superiority of the proposed model over the state-of-the-art methods. The source code is available at https://github.com/zhutong0219/AMM-Net.

Review of Art in the After-Culture: Capitalist Crisis ' Cultural Strategy by Ben Davis (Haymarket Books)

The eight essays in Ben Davis’ Art in the After-Culture are centered on the interchanges between cultural production and economic development in contemporary society. Largely told through the lens of leftist aesthetic theory, the book pushes against exploitative notions of capitalist systems and ambitions towards decentralization. Davis likens art to a “survival kit” and advocates for creative practitioners to strategically influence the direction of society.

Contemporary techniques of graphic art and its representations

The research tagged (Representations of Contemporary Technologies in Graphic Art) deals with the dialectical relationship between the diversifications of technologies within their temporal developments and the structure of graphic work, especially in our current era and the huge openness of digital technologies and their cultural influences in thought and their functional deliberations in life and their aesthetic representations in art. This faces a cognitive tangle and questions represented in: 1. What is the cognitive space of graphic techniques between the primitive and contemporary edges? 2. How did reproduction replace the original in contemporary circulation? The importance of the research is represented in the following points: 1. The research deals with one of the forms of arts whose historical presence has indicated through time and space. 2. The research seeks to seriously explore the roots of an artistic phenomenon seeking to innovate manifestations of the beautiful always. 3. The research monitors and analyzes the phenomenon of archaeological transition from immanent to transcendental. The boundaries of the research receded between the early days of the spread of digital technologies in the visual arts, including graphics, and the researcher chose the year 1970 to the year 2023 to contain the research problem from its beginnings to its conclusions. Therefore, to the basic indicators reported in the third chapter, which dealt with three distinct models as a research sample, and concluded from its analysis to the results of the research that were discussed in the fourth chapter, and the researcher drew conclusions from them and identified recommendations and proposals.

Reflections on Music in Fiction: Rose Tremain’s Music and Silence (1999), Julian Barnes’s The Noise of Time (2016) and Roger Scruton’s Perictione in Colophon (2000)

Abstract Music and literature are sister arts whose affinities and intertwinement over time have been explored from musicological and literary studies perspectives. Music holds great fascination with both scholars and lay persons because it manages to move us deeply even if we do not know much about it in a technical or theoretical sense. Aesthetic theories of music have time and again assigned this art form a special, sometimes even a divine, status. This article explores some ways in which contemporary novels reflect on music as an art form and cultural practice, its personal as well as political significance. It investigates how such reflection about music is embedded in the narrative texts, either as narratorial comments which momentarily suspend the action or as thoughts and opinions expressed by characters. In each case, readers are invited to follow the often deeply philosophical lines of reasoning presented in the text and to form their own ideas. Musical ekphrasis is used to convey at least a fleeting impression of the ephemeral ‘texture’ of the respective music and its lasting effects on the novels’ characters.

Sensing Medieval Violence: Two Literary Case Studies

ABSTRACT Modern discourses surrounding the aesthetic representation of violence and the ethics of witnessing have often focused on visual perception. Yet, the intrusive and percussive nature of sound’s transmission has linked it intimately with the perception of violence in both medieval and modern representations. This article presents two case studies from medieval literature in which issues of sensation consistently mediate aesthetic and ethical dimensions of the violence that the texts contain. This emphasis on sensation foregrounds the role of the body in observing and witnessing representations of violence.

Translation of Children's Literature from the Perspective of Reception Aesthetics

Children's literature, as the name suggests, is a literary work created for children and teenagers, and it plays an important role in their growth process, accompanied by the functions of education, entertainment and cognitive formation. In recent years, China's translation research has been greatly improved, but the research on children's literature translation is still lacking. The translators of children's literature are mostly adults, but the audience is children. Under the guidance of aesthetic theory, the author, from the perspective of children's readers, puts children at the center, aiming to meet their reading needs. so, this paper explores the translation of children's literature on the basis of acceptance aesthetics from the original text-centered to reader-centered, and take the Su Nong's translation of Harry Potter and the Philosopher's Stone and the original version as an example to explore the vocabulary, rhetoric and translation of magic spells. In terms of rhetoric, the author skillfully uses metaphors, rhymes, and parallelism techniques to make the translation reflect the stylistic style of the original text as much as possible, simultaneously increasing literary talent and bringing pleasant artistic enjoyment to children. This paper aims to popularize different perspectives and interpretations of children's literature translation for the general public, and better enable children to appreciate the aesthetics and charm of Chinese and English texts so that they can grow up healthily and develop comprehensively.

Literature Review on the Study of Modernity in Tragic Aesthetics

Tragic aesthetics, a field of study encompassing profound explorations of human suffering and volition, has played a crucial role in the development of human artistic and cultural expressions from ancient Greek times to the present day. With the continuous evolution and advancement of modern society, the concept of modernity has gradually intertwined with the ideal and aesthetics of tragedy. Modernity introduces new ideas, values, and aesthetic perspectives that have progressively influenced the realm of tragic art and aesthetics. This paper focuses on the manifestations of modernity in the evolution of Tragic Aesthetics theory. Employing a literature research approach, it microscopically summarizes the research related to the modernity of Tragic Aesthetics and macroscopically traces the historical development of modern Tragic theory. After summarizing and analyzing relevant works and literature, the paper concludes that research on the modernity of Tragic Aesthetics is relatively scarce, and the understanding of the relationship between modernity and Tragic Aesthetics in the available literature often remains superficial and preliminary. Therefore, there is still significant research space in this area.