Aesthetic Views Research Articles

SALTIV CULTURE CEREMONIAL BELT OF THE 9th century (based on materials from the catacomb burial ground near the Verkhniy Saltiv village)

The research is based on the materials of the study of the fourth section of Verkhniy Saltiv catacomb burial ground, obtained as a result of the work of the medieval expedition of the V. N. Sumtsov Kharkiv Historical Museum in 1998—2021, where 137 burial assemblages were discovered (115 catacombs, 10 burials in simple pits, 5 burials in the niche graves, 6 dromoses without burial chambers). Metal elements of the belt set were found in 75 burials, where 82 ceremonial belts of varying degrees of survival dating back since the beginning till the third quarter of the 9th century were discovered. For reconstruction of a «typical» ceremonial belt of this Saltiv population, the materials from burials where human skeletons retained their anatomical order or were only slightly destroyed were used, and the belt sets survived their original place (fig. 1—4). These burials show that the «typical» ceremonial belt of an adult male from the Verkhniy Saltiv community, in addition to the buckle and the tip, consisted of plaques of three types: frame-plaques or their stamped imitations, plaques with a ring or loop in the lower part of the shield, and heart-shaped plaques. At the same time, a «typical» ceremonial belt consisted of 3 frame-plaques or their imitations, plaques with a ring or a loop in an amount that is a multiple of 3 (3, 6, 9, 12, 15, etc.). The number of heart-shaped plaques, which were located directly before the tip of the belt, was not regulated and depended only on the property status of the belt owner and his aesthetic views. Among the representatives of the social elite of the Saltiv society, this system of ceremonial belt design did not change, only the number of plaques increased, and the belt was supplemented with such metal details as tubes-«vorvorky», dividers, pendants of so-called bind-reins blocks. The proposed system of a ceremonial belt design is also confirmed by the pit burials of the Saltiv culture. In general, the metal details of the belt and the material of manufacture indicate not the military rank of the owner but his social (property) position in Saltiv society.

NURBS-based form-finding algorithm for double-curvature cable domes

Cable domes are one of the most widely used types of cable structures due to their light weight, aesthetic view, and adaptable forms. However, feasibility and structural stability are key elements in designing new forms of cable domes. This paper uses, in a two-stage form-finding algorithm, two NURBS curves to develop a surface of translation (sweeping one curve over the other) or a surface of revolution (rotating one curve around z axis). The main aim of the algorithm is to control the curvature of the dome surface while searching for a feasible geometry, mainly in structures with unfeasible initial configurations, i.e., with zero self-stress states. Examples of these structures are the negative- and zero-Gaussian curvature cable domes of Geiger type. The algorithm starts with a global optimization technique that searches for an optimal feasible NURBS surface for the dome and followed by a local optimization technique that slightly calibrates the vertical locations of nodes to enhance the prestress equilibrium at free nodes. The NURBS surface, not only directs the form-finding process towards a smooth configuration by defining the appropriate degree of the surface, but also maintains the desired sag and rise of negative and positive curves, respectively, to the end of form-finding. The efficiency of the proposed algorithm is verified by applying it to a double-curvature cable dome from the literature. After that, a parametric study is carried out on the reference dome with multiple rise/sag ratios to investigate the effect of rise/sag on the feasibility and stability of such forms. To emphasize the significance of the algorithm in controlling the curvature of the surface, two new forms of cable domes are also developed; one is circular with zero-curvature and the other is elliptic with negative-curvature.

The Aesthetic Views of E.T.A. Hoffmann

The essay is devoted to an analysis of aesthetic views of one of the most distinguished German Romantics, which came through with particular fullness in his fiction. Hoffmann’s aesthetic views focus around his understanding of art. He is convinced that art has an anagagogical nature. It elevates the human being from everyday life to the sphere of the divine and thereby ennobles everyday life itself. Art draws the artist away from the world and manifests to the world his prophetic gift, which is often perceived as “poetic madness.” The fantastic in art, as well as the terrible and the frightening, does not contradict artistic truth. The elements of the terrible give philosophical significance to the work of art and please the recipient. Art is cognitive to a high degree, because nature itself reveals its secrets to the artist and allows him to intuit the “truth of nature.” Hoffmann is convinced about the ontological status of art. It must “be something, and not mean it.” Artistic creativity takes place fully within the inner world of the artist as he aspires for his ideal. Hoffmann allows for a certain degree of vagueness in a concrete work of art, whose purpose is additional aesthetic effort on the part of the recipient, who must be internally ready for communication with art. Creative activity is based on imagination and reason. It is based on natural foundations and is inspired by the illuminating effect of divine energy. Hoffmann considers music as the highest form of art and the ideal for all the arts. According to Hoffmann, music is the truly Romantic form of art. He sees the meaning of music in its foundation in nature, its aspiration for the heavens, the fact that it includes the world of the spirits in its orbit, and that it incites a longing for the unattainable in the listener. Hoffmann paid much attention to irony as one of the features of Romantic art.

THE MANIFESTATION OF THE EDUCATIONAL IDEAS OF MUHAMMAD AMIN-KHOJA MUKIMI

The article dwells on the specific features of the creativity of Mukimi and the manifestation of educational ideas in his poetic works. Special attention is paid to his satirical poems, which directly and directly express not only his educational ideas, but also his moral and aesthetic views.

‘The Fall of Needwood’: Social Dimensions of Landscape Change in Eighteenth-Century Staffordshire

ABSTRACT The 1801 enclosure of Needwood Forest by the Duchy of Lancaster demonstrates the differences in environmental thought across different social classes in Staffordshire. By comparing correspondence and poems from belle-lettres society in Lichfield and Stafford with petitions and pamphlets produced by tenant farmers and cottagers of Needwood, two different motivations for anti-enclosure action become clear: one economic and utilitarian, the other lyrical and aesthetic. Both were rooted in the historical ecology and legal identity of the medieval forest. Analysis of the differing sets of fears and expectations of an enclosed Needwood reveals an emphasis, amongst the cottagers, on maintaining a pattern of local agriculture underpinned by medieval common rights. Despite their shared opposition, the local gentry perpetuated a hierarchical view of landscape aesthetics, in which certain areas could be enclosed to protect more ‘valuable’ ones, such as Needwood.

K. N. Leontiev’s early legal aesthetics and its problematic relation to the Russian conservatism

The following article is concerned with the aesthetical view on legal reality which was formed by K. N. Leontiev in his early philosophy. It is argued that especially in legal sphere there was a fundamental distinction between philosopher’s aesthetical and religious axiology and abstract axiology of the Russian conservativism. The research helped to articulate conclusively that due to his aesthetical problematization of themes, which are common to the philosophical discourse on conservatism in Russia, Leontiev could become hostile even to the proponents of conservation. The article was based upon historical-doctrinal method used in legal studies of political teachings. Its results can help to expand the possibilities of using new approaches to Leontiev’s legacy.

The Works of Charles Sorel in the Context of the Debate on “Vraisemblance” in the French Aesthetics of the 17th Century

The article analyzes the peculiarities of understanding the most important category of verisimilitude (vraisemblance) for the French aesthetics of the 17th century from the point of view of the French writer Charles Sorel, author of the “La vraye histoire comique de Francion” (1623–1633). Sorel attaches great importance to the category of verisimilitude, even to the point that he makes “vraisemblance” the main one for building the evolutionary system of the novel genre. In this case, in order to properly understand his creative and aesthetic views, it seems necessary to determine what exactly he understands by verisimilitude. Considering two fundamental aspects of the category of verisimilitude of the 17th century – rhetorical and mimetic – we analyze the particularities in the understanding of the category of verisimilitude by Sorel. Sorel rejects everything that concerns the rhetorical aspect of verisimilitude, that is, he denies everything that concerns the moralizing attitude of the work, focusing on the mimetic aspect, that is, on the proper embodiment of reality in a work of fiction. Nevertheless, despite the apparent similarity of Sorel’s position with the concept of mimesis, when analyzing his works, we see that his views are so different from the generally accepted model, allowing researchers to talk not about mimesis, but about Sorel’s counter-mimesis. This position anticipated the specifics of the literature of libertinage of the 18th century and the laws of realism in the literature of the 19th century.

ХУДОЖНІЙ ПЕРЕКЛАД ЯК КРОС-КУЛЬТУРНА КОМУНІКАЦІЯ

The article carries out a cultural analysis of the importance of literary translation as cross-cultural communication in the process of intercultural interaction for the sake of theoretical understanding of the conditions and possibilities of maximum mutual understanding and transfer of experience between the cultures of different states. Like any kind of translation, artistic translation is a multifaceted and complex phenomenon. From an institutional point of view, it can be considered as a specific form of literary reception and cultural mediation, as a form of cultural production that takes place in a specific environment at the junction of two (often national) literatures and cultures. Literary translation is often motivated not only by the dynamics of local factors, but also by the dynamics of the global space of cultural exchange. The translator has the status of a mediator between cultures. The target text, like the original text, is a cultural semiotic product. translation is undoubtedly an act of intercultural communication; this should be the unquestionable starting point for any modern research in translation. It is obvious that the aim of the present article is not to challenge indisputable facts. Rather, the main point is that what presents itself as a unanimously accepted thesis is in fact open to multiple interpretations due to the polysemy of the term culture. The cultural aspects of translation are inevitably affected by the still unsettled debates about culture. The translator is a specialist in intercultural communication. He knows how to determine the most appropriate means of mediation for the desired meaning in a given socio-cultural context. Communication is a common and well-known part of our lives that we often do not pay attention to it's importance. Moreover, we often participate in the communication process only as senders and recipients of information without being aware that we are dealing with a complex process, which itself contains many interconnected steps with each other. Human society is built and exists precisely thanks to the human ability for communication. Cross-cultural communication is hard work that requires mediation, appropriation, and negotiation. The literary text is processed, consumed and interpreted by the target reader, the bearer of certain ideological and aesthetic views

Греция и Франция: к вопросу о национальной идентичности Жоржа Апергиса

This article examines the music of Greek-French composer Georges Aperghis through the prism of national identity. This kind of approach was used for engaging in conversations with the composer about various biographical facts from his life, the characteristic features of his aesthetic views, his musical and theatrical language. The historical context and the stylistic and structural features of various French composers compared with Aperghis’ musical output make it possible to characterize the specific features of the latter’s musical thinking. Greece characterizes the early phase of his work, the beginning of his art studies. After having left Athens, the composer has spent most of his life in France, engaged in close contact with the country’s culture. The concert, theatrical and cinematic life in Paris in the 1960s was seething with artistic discoveries and large-scale events, and he found himself in their epicenter. Many of the composer’s personal artistic patterns have been shaped not only by his impressions of the cultural abundance in France, but also by the French language itself. He perceives the latter as musical material, making use of phonetic and prosodic possibilities. The parameter of corporeality and gesture is also important for Aperghis, wherein the connection with the French tradition in the field of plasticity and sound are revealed. Aperghis’ artistic relationship with the works of theater director Antonin Artaud, as well as the concept of “body without organs” is examined in more detail; and the nature of the interconnection between sounds, gestures and phonemes, as well as the possibility of their combinations with each other are revealed. Fragmented, kaleidoscopic qualities, as well as a “framework” type of perception of reality in Aperghis’ music matches with the cinematographic approaches of the contemporary New Wave film directors, as well as the philosophy of post-structuralism, in particular, Gilles Deleuze and Felix Guattari and the concept of the rhizome. The perspective proposed in the article makes it possible for us to examine in greater detail the peculiar features of Aperghis’ life and work of. Based on information from various European scholarly works, as well as an interview with the composer, for the first time in Russian a set of facts from his life is presented, and parallels are drawn with various other composers, philosophers, theater and cinema directors in terms of their compositional methods.

Will to the Original: Platonism in Henry James’ Roderick Hudson

Will to the Original: Platonism in Henry James’ <i>Roderick Hudson</i>

SOS &amp;amp; POW: A Postmodernist View of Cognition, Theosophy and Aesthetics in the New Age

SOS &amp;amp; POW: A Postmodernist View of Cognition, Theosophy and Aesthetics in the New Age

A balanced view of impossible aesthetics: An empirical investigation of how impossibility relates to our enjoyment of magic tricks.

The performance art of magic allows us to experience the impossible, and this study used a balancing magic trick to investigate the relationship between participants' enjoyment and perceived impossibility. Participants watched a live performance of a magic trick in which the magician balanced objects in progressively more impossible configurations. At seven different time points observers rated their enjoyment, and the extent to which they believed what they saw was impossible. Regression analysis revealed that participants' enjoyment of the magical effect relates to their perceived impossibility of the magic trick, and this relationship was independent of how much they enjoyed magic in general. Moreover, a one-way within-subjects analysis of variance showed that participants enjoyed the performance More as the trick became more impossible. However, once the magical effect was anticipated, enjoyment began to plateau while perceived impossibility continued to increase. These results are discussed in the context of people's aesthetic appreciation of magic and current arts appreciation models.

Is the beautiful moral? Lars von Trier, Schiller and Kant on morality of the work of art

The point of departure is a film by Lars von Trier,The House That Jack Built(2018). The most striking aspect of this film is that Jack has grounds for his actions. By committing a serial murder he is creating a work of art. He has his own primitive philosophy and affirms two theses: firstly,that art is the highest type of human activity and, secondly, that to be moral means to belong to the human herd. In spite of the primitiveness of these theses it is hard to disprove them. The common thesis in the Enlightenment was formulated by Diderot, Shaftesbury, and Winckelmann who claimed that aesthetic education favours morality. Schiller in his work,On the Aesthetic Education of Man(1795), espouses the same view but tries to ground the position in philosophy, showing that beauty is a balance between reality and form. We can explain modern art. If a painter is only interested in the formal aspects, he is producing abstract art and not engaged in the moral aspects at all. Then I turn to Kant’sCritique of the Power of Judgmentand reformulate his categorical imperative from the point of view of aesthetics:Create only according to the principle that the result of your creation will have universal acceptance!We can agree that it will not be achievable because the most important element for every artist is the freedom of creation. I insist that the most appropriate way is to analysegenius as the unifying form of human creative action.

The Peculiarity of N.A. Berdyaev’s Philosophical Discourse

To refute the opinion about the chaotic presentation of problems in Berdyaev’s texts, the dominant of the unconscious, means to fall into ontological dependence on them. In the literal sense, these are not conclusions drawn on the basis of an analysis of N.A. Berdyaev’s work, but quoting the philosopher’s self-assessment, to which he resorted more than once. They have no analytical and heuristic value. N.A. Berdyaev’s way of thinking simultaneously contains Christian intuitions and an oppositional structure characteristic of philosophical creativity in general. The peculiarities of the Russian philosopher’s thinking are reflected in the fact that such types of philosophical creativity as personalism, existentialism, as well as intuitive components of the Eastern Christian worldview are organically combined. In the philosophy of N.A. Berdyaev there are also cosmological components, which contain the statement that the world is entering the era of the third period, which is expressed in its structure contains the statement that the time for freedom and creativity is coming. The peculiarities of N.A. Berdyaev’s thinking can be evaluated from the point of view of aesthetics and uniqueness, which significantly distinguish his way of thinking from the typical development of philosophical thinking of Modern times. According to the Russian philosopher, analysis and splitting cannot serve as a starting point for the thought process. Without creativity and freedom, the philosophy of the non-classical period has no significance and significance, because the potential of formal and dialectical logic has already clearly and fundamentally affected the best examples of classical philosophy. The third level is binarism, which formally has generic signs of the organization of problematic thinking of logocentric sciences, but the specific differences are too striking to pass by them without specifying anything.

Experimental investigation on mechanical properties and characterization of steel fibre concrete with Bacillus subtilis

Building cracks spoil the aesthetic view of the structure along with degrading the strength of the structure. It leads to the failure of the structure as a whole. Propagation of cracks in the concrete surface increases the chance of permeability due to moisture content in the atmosphere which might corrode the internal reinforcements. To overcome this situation, a solution in the form of fibre-reinforced self-healing concrete was suggested in this research work. Steel fibre was added by varying 0%,1%,2%,3%,4% and 5% interms of volume of concrete to prolong fatigue life and decrease the crack width under fatigue loading. Bacteria (Bacillus subtilis) are used to heal the cracks by producing calcium carbonate (CaCO3) as a result. Bacterial concrete with fibre (BCF) was cast by M30 mix as per Indian Standard Code. Studied concrete's mechanical and microstructural properties like compression strength test, flexural strength test, split tensile strength test, SEM images, EDS, XRD and FTIR methods. From microstructural studies, it is clear that there is sufficient self-healing material in broken concrete, hence the efficiency of BCF's self-healing property is commendable and the ability of the generated BCF concrete to regain strength.

Сибирский археолог Борис Александрович Коников (к 75-летию со дня рождения)

Boris A. Konikov is an archaeologist who devoted his activity to studying the culture of the medieval peoples of the Middle Irtysh region, uniting the archaeological sites left by them in the Ust-Ishim archaeological culture. The analysis of such materials requires extensive knowledge in the archaeology of the taiga Irtysh and Ob, Upper Irtysh, and Altai. Having found and then excavated several dozen sites of this culture, B.A. Konikov put forward an interesting and debatable concept of the development of the Middle Irtysh region by local and alien ethnic groups. Ceramic vessels, tools and figgeres made of bronze, silver, iron, and bones found during excavations have become a “golden fund”, allowing any scientist to get acquainted with these interesting materials with their own eyes. It should be noted in particular that the researcher obtained a solid, probably the largest in Western Siberia, a collection of cast bronze images of a person, animals, birds, on the basis of which it is possible to study religious ideas and beliefs, aesthetic views of people of the past. Field and desk work B.A. Konikov combined with teaching, giving general courses of lectures on archaeology, the history of the Ancient East, leading special courses and seminars for specialized students of the Omsk State Pedagogical Institute / University and its Tara branch. Another area of work by B.A. Konikov was the head of the Laboratory of Archaeological Research of the Omsk State Pedagogical Institute, whose employees prepared the Code of historical and cultural monuments of the Omsk region. Going to work as director of the Omsk Regional Museum of Fine Arts named after M.A. Vrubel, B.A. Konikov did not break off his ties with his alma mater. But, of course, he gave the main attention to the museum, whose employees still remember him with warmth. We note his activity in organizing and holding the “December Dialogues” scientific conference, in which archaeologists, museum workers, art critics, and culturologists consider it an honor to take part. In recent years, B.A. Konikov holds the position of Advisor to the General Director of the Omsk Popov Production Association (RELERO), manages the project for the study of the complex of archaeological monuments “Omsk parking lot”, writes monographs. He is a member of several public organizations, and has been rewarded for his work.

Prilozi Đorđa Maletića estetici glume

The paper examines the contribution of Đorđe Maletić to the aesthetics of acting. Maletić was a prominent figure in Serbian theater life in the second half of the 19th century, but recently he has been unjustifiably relegated to the margins of domestic theater historiography and theatrology. First, his general aesthetic views are presented, in which he relied eclectically on various sources, mainly on Lessing, Schiller, and Hegel. Subsequently, his thoughts on acting and acting creativity, present in various writings published in the period from 1847 to 1884, are presented and interpreted. Considering these findings, it emerges that Maletić was not only a transmitter of European theatrical achievements into the cultural environment of Serbia but also that he showed a high level of independence in thinking about theater and dramatic art, especially in thinking about the phenomenon of acting. His characterization of the actor as "incarnated beauty, the idea of the beautiful, assumed physicality", who manifests the idea of beauty "on himself, so that he is both a thought and a material for the expression of thoughts, he both acts and is acted upon" - represents the most complete aesthetic interpretation of acting and acting creativity that we can find in the history of Serbian theater thought of the 19th century.

Эстетика эволюции: Дарвин против Венеры Медичи

The article addresses the aesthetic views of Charles Darwin, which are considered within the framework of wider Victorian discussions on the nature of beauty as well as influential earlier thought on the topic. Particular emphasis is placed on 1860s–1880s fashion satire, since these visual and textual sources can yield useful insights into the cross-pollination between scientific knowledge and the popular culture of the era. The juxtaposition of a statue of Venus and a fashionable lady of the day, ubiquitous in mid-Victorian journalism and caricature, lurks across the pages of several of Darwin’s works, where it takes on a completely different meaning. While fashion satire presented Venus as a timeless ideal, which at the same time was seen as an epitome of “natural” beauty, Darwin questioned the very possibility of such an ideal. Rather than concentrated in a fixed set of bodily forms and proportions, he saw beauty in nature and in human societies as perpetually fluid and infinitely variable, as if following the logic of fashion, which many of his contemporaries blamed for corrupting classical aesthetics. Indeed, in The Descent of Man Darwin directly attacks Venus de’Medici, pointing to the limitations of this image of perfection and proposing a radical non-human aesthetics instead.

Natural materials (biomaterials) and biomimicry principles, as tools for envisioning the sustainable cities of the future

It is widely acknowledged that the impact of human activities on the Earth’s atmosphere following the first industrial revolution was so significant that it was designated as a new geological epoch with the term “Anthropocene.” The search for a new design strategy that integrates the nature of urban landscapes with their architecture is critical in the Anthropocene age. Modern instances of green cities and smart cities are the direct result of the emergence of a value system with a highly aesthetic view of global ecosystems, prompting us to seek a non-anthropocentric method of reasoning and, as a result, planning. In this study, we present innovative city design that controls environmental factors and is based on urban planning of cities approached by the principles of biomimicry. The research question is whether natural materials with modern construction methods and biomimicry principles can lead to the design of cities that face the numerous challenges of climate change. Three examples of cities that have adopted the model of biomimicry design principles will be presented, in parallel with a literature review of natural materials. Conclusions will be drawn which will be followed by the formulation of proposals for the optimal planning of cities in terms of sustainability. The goal is to develop a design process targeted at the efficient design of cities in response to climate change.

Exploration of Space Art in Modern Landscape Architecture Design

In modern landscape architecture design, various types of landscape space art constitute the overall effect of landscape architecture. Effective design and utilization of landscape space and reasonable organization of the relationship between plants, water bodies and activity places can greatly improve people’s aesthetic view of the environment. In modern landscape architecture design, the application of space art is a key content, and space exists objectively relative to time. In the actual process of urban construction, it is necessary to consider the basic character of landscape architecture and the hierarchy of mass demand development, add artistic content to modern landscape space, and give full play to the practical effect of landscape space. Space art is widely used in modern landscape architecture design, and more and more attention is paid to it with its own characteristics. Therefore, this paper will explore the space art in modern landscape architecture design, which is of great significance to improve the use and quality of space environment.