Aesthetic Views Research Articles

Wass Albert – Vidnyánszky Attila: Tizenhárom almafa, 2020.

The study examines the theatrical adaptation of a defining event in Hungarian history from the point of view of theatre aesthetics and the politics of memory and identity. In the 2019/20 season a theatrical representation of the Treaty of Trianon was not only made necessary by the centenary, but also by the ideological and cultural-political position of the National Theatre under the directorship of Attila Vidnyánszky. A commitment to national heroes, symbols, and mythologies, a desire to build rather than deconstruct national consciousness has shaped the theatre’s repertoire in visible ways. The central figure of Thirteen Apple Trees, written by Albert Wass, is meant to represent a specific and defined mentality, the “Székely”, who does not ever change, even if the borders of the country are drawn across his own land. The focus of the performance on Trianon makes the question of identification somewhat confusing: in the first part, the Székely identity is offered as a model, and this viewpoint is in tension with the clearly Hungarian-centred interpretation of Trianon in the second part, which idealises the historical role of Hungarians.

Innovative Research on Denim Elements in Modern Fashion Clothing

Centering on the artistic characteristics analysis of denim elements in modern fashion clothing, this paper studies and interprets denim clothing through the popular characteristics and performance of denim elements in modern clothing, analyzes the design modes of denim clothing and the future trend of clothing style from the point of the view of clothing aesthetics, and integrates modern denim elements into modern fashion clothing, thus provides a new way of thinking for denim clothing design and its development direction.

Carlson’s Positive Aesthetics

We all know that the protection of the environment is a good thing. With global warming, these concerns are past the point of being trivial. Can there be an argument via the sciences to get more people involved? Can there be one based upon an instrumentalist view? This would be quite a feat. Canadian-born philosopher Allen Carlson tries to do just that with his view of positive aesthetics. This is the view that the environment is worth protecting because it is beautiful. More particularly, since it does have instrumental value, it is beautiful and we should protect it. In this paper, I shall endorse the idea that not all natural phenomena are beautiful. Also the argument commits the is/ought fallacy. Perhaps activists should seek more aid from the arts and sciences from philosophy itself, rather than from the cold deductive logical calculus.

Evaluating waterfront landscape aesthetics as a tourist attraction: Case study of the river Tisza, Hungary

This paper represents a methodological attempt to evaluate the natural and built riverside environment of the Tisza river, from the point of view of landscape-and environmental aesthetics and features, which might serve as background for river tourism. The research methodology was based on the theoretical division of the riverside into more or less homogeneous , easily observable sections (called visual units), and then they were evaluated one by one. Objectivity was one of the most important aims; researchers attempted to achieve it by applying the value-selection method. Following the evaluation of each sample section of the riverside area, all sections were then assigned to three different categories. Those sections which were capable of generating positive feelings were placed under the category 'Attractive', those which were capable of arousing less enthusiasm were assigned to the category of 'Neutral', and those which could be characterized by visually conflicting elements were categorized as 'Unattractive/Repulsive'. As a result of the findings of a tour of inspection and the compilation and survey of the photo documentation at the researchers' disposal, they were able to point out that the sample area was not characterized by visual conflicts of considerable significance, consequently , none of the chosen sample units fell into the category of 'Unattractive'.

ЭСТЕТИЧЕСКИЕ ВЗГЛЯДЫ ФЕРДИНАНДА ХОДЛЕРА: ОТ ТЕОРИИ ПАРАЛЛЕЛИЗМА К СИМВОЛИЧЕСКИМ ФОРМАМ И ОБРАЗАМ

This article examines the aesthetic views of the Swiss artist Ferdinand Hodler (1853–1918) in the context of the evolution of his creation. The outstanding European master was noted by his contemporaries in the first row of artists who significantly influenced on the development of painting at the turn of the 19th-20th centuries. The relevance of the presented work lies in the objective significance of Hodler's ideas in the view of the universe, on the issues of constructing space in painting. The theoretical heritage of the artist, including the basic provisions of his theory of parallelism, for the first time in Russian art history is analyzed in depth based on his notes and statements of different years. The main provisions of the Fribourg’s lecture “Mission of the Artist” (1897) are considered in connection with the creative practice of the artist and in the context of the ideas of European symbolism and Art Nouveau.

СУЧАСНІ АФОРИСТИЧНІ ВИСЛОВЛЮВАННЯ В АРАБСЬКІЙ ОНЛАЙН -КОМУНІКАЦІЇ

The texts of aphoristic orientation in the Arabic cultural and entertaining content of the social media are analysed. The subject of the study involves linguistic, sociolinguistic and pragmatic features of Arabic aphoristic Internet sayings. The analysis of more than 500 text units reveals that aphoristic posts are published online in the form of memes in order to express cultural, moral and ethical values and orientations, philosophical and aesthetic views of users, as well as for their emotional support. It was found that the main functions of aphoristic memes are emotional, communicative and phatic with such sayings mainly including motivational and narrative messages, advices, greetings, and appeals, that are often accompanied by a chain element inherent in the social networks (such as a direct call to spread the message). On top of that the thematic classification of the studied memes was offered, with the following themes being involved: human behaviour and character, emotions and experiences, moral and ethical values, philosophical reflections on the attitudes to life, human relationships, everyday life, etc. The linguistic features of expression of the binary opposition "self – other" in the context of its influence on the emotional expressiveness of the aphoristic lexicon are outlined as well. On the other hand, it is noted that the important feature of aphoristic memes is the active use of emotionally expressive lexis, colloquial elements, figures of speech (metaphors, epithets, similes, etc.), verbs of the imperative mood. The language code in the aforementioned sayings is represented primarily with Modern Standard Arabic (with minor deviations). This reflects the identity of a wide circle of Arabic-speaking online users, regardless of their affiliation with a particular ethnic, social or gender group.

Art and culture: Aesthetic ideas of V.E. Sesemann

The article provides an analysis of the aesthetic views of one of an interesting and original, but still, unfortunately, little studied Russian philosopher, V.E. Sesemann (1884–1963). Aesthetics occupied a leading position in Seseman’s philosophical constructions, while remaining fully embedded in the philosophy of the Russian thinker. Continuing the traditions of transcendental philosophy, Sesemann considers aesthetics as a general theoretical discipline that combines all private and separate studies of the theme of beauty. As in his theory of knowledge, the fundamental element of his aesthetics is the phenomenon of experience, which is the general pre-subject basis of Sesemann’s entire philosophical system. At the same time, however, aesthetic experience, in contrast to experience as such, is experience of a special kind. When identifying the specifics of aesthetic experience, the Russian philosopher attaches special importance to the study of the problem of form, which explains his attention to the work of Russian formalists. Arguing with the formalists and the German art theorist Heinrich Wölfflin and defending the nature of the form as lively and rhythmic, he also sees the positive aspects of these teachings. Sesemann develops his aesthetic ideas in a discussion with contemporary aesthetic theories. It is emphasized that Sesemann addressed the problems of aesthetics throughout his life and expressed his views on a variety of aesthetic problems: from theoretical and methodological to concrete practical and even applied ones. In his aesthetic concept, the Russian philosopher Vasily Emilevich Seseman tries to productively synthesize neo-Kantian and phenomenological approaches.

Emotional component in the aesthetic experience of the sublime

This article is dedicated to the presentation and interpretation of the views that consider and testify to the complexity of the emotional component of the aesthetic experience of the sublime. Special attention is dedicated to the aesthetic views of Pseudo-Longinus, John Dennis and Immanuel Kant, authors who has a significant influence on the shaping of thoughts on the sublime, and especially on the parts of their aesthetic thought in which they articulate what constitutes a certain complexity of how sublime affects humans. Although there are certain distinctions in these thinkers regarding the analysis of the aesthetic experience of the sublime, there are also similarities, especially in terms of clarifying the emotional structure of the experience of the sublime.

The Traditional Peasant Dwelling as an Expression of the Idea of Nationality in Russian Philosophical and Aesthetic Views of Romanticism Era

The Traditional Peasant Dwelling as an Expression of the Idea of Nationality in Russian Philosophical and Aesthetic Views of Romanticism Era

AESTHETIC TRAINING IS AN IMPORTANT FACTOR OF A FUTURE DOCTORS' PROFESSIONAL FORMATION

Nowadays, a stream of various information, including hybrid information, is aimed at young people. That is why students are most focused on the virtual environment, and the sensuality of the individual goes back to the periphery of their spiritual life. Such a reality requires the use of complex efforts directed at returning a person to their essence.
 The relevance of our study is due to the young people's need to develop a sense of taste as an aesthetic category and the formation of criteria that would allow them to distinguish between the verity from distorted reality and the good from evil.
 The purpose: to confirm the need for aesthetic education in future doctors' training because it strengthens students' active national and civic positions. Aesthetic education lays down self-consciousness, self-determination, and individualization. It helps to find life landmarks and affects relations with the outside world. Aesthetic education is the essence of the humanization of the individual, their socialization. It is a necessary basis and prerequisite to realize the individual abilities in the process of real life.
 During lectures and practical classes at the departments of Ukrainian Studies and Linguistics, as well as during extra classes, teachers pay considerable attention to the aesthetic education of IFNMU students. The methods of aesthetic education, which are used in the classroom discussion of artworks are as follows: respect for the individual, appeal to feelings, conversations and debates, problem situations, individual and group creative work. In particular, respect for the individual is especially needed when discussing ethical issues.
 For the formation of the aesthetic culture of youth, the basic thing is the sincerity of the student, the appropriate attitude of the teacher and the team. It is the expression of one's impressions, experiences, and thoughts, rather than a blind repetition of the view imposed by the teacher. Thus it enables the teacher to direct the aesthetic development of the personality in the right direction. Every opinion should be heard and discussed because this is how the teacher will be able to see the real level of students' development. This approach enables correcting erroneous judgments on time.
 Addressing the feelings of future professionals (conscience, dignity, and empathy) involves a thoughtful contemplation of works of art, which is preceded by the disclosure of cultural and historical conditions of the work. This process should be accompanied by a discussion and teachers' explanation. Conversation and debate presuppose a free exchange of opinions, a collective discussion of aesthetic problems, as a result of which aesthetic views and judgments are formed. During the debate, students defend their position. The reasoned speech of the future doctors is based on their level of awareness, erudition, and culture. The exchange of ideas and facts develops logical thinking, the ability to analyze, generalize and make conclusions.
 There are various ways of humanization and enrichment of future specialists' potential, but aesthetic training is the main one. Society pays attention in the critical periods of its development on aesthetic training. It acts as a final element in the higher education system, giving completeness and saturating the whole structure with the main content. The process of studying in a higher education institution is the moment in a young person's life when they should understand and realize their life meaning following their moral and aesthetic ideals.

Проблемы «женской идентификации» в драме Гаяза Исхаки «В пучине» («Дулкын эчендә»)

The purpose of the research is to determine the peculiarities of artistic realisation of the “women’s identification” issue in the play «Дулкын эчендә» (“In the Abyss”, 1920) by the Tatar writer Gajaz Ishaki (1878-1954). The paper clarifies women’s role as a creative principle, determines how the question of “women’s freedom” is raised in the play. Scientific novelty of the research is accounted for by the fact that this topic has not been studied extensively and lies in conducting a comprehensive and receptive analysis of G. Ishaki’s philosophical and aesthetic views on the issues of “women’s autonomy”, “women’s culture”. As a result, the researchers have proved that Gajaz Ishaki artistically realises the idea that the heroine’s self-identification only as a mother and wife and her further understanding that life is unique give rise to her identifying her own uniqueness as a woman. However, this process is not straightforward and leads to changes in the heroine’s self-consciousness, which is based on the national worldview.

Sensing the Poetic Habitat – A Study of Middle School Chinese Teaching from the Perspectives of Life Aesthetics

The concept of life aesthetics reflects an individual’s cry for life and pursuit of beauty, inspiring individuals to discover their spiritual home, sense their poetic habitat, and enjoy the beauty of life flowing from their fingertips. Chinese education, viewed through the lens of life aesthetics, is founded on the natural characteristics of life, stimulating the aesthetic sense of individual life through the allure of language, and teaching students to view life through the aesthetic lens as well as from an understanding of life’s essence. Teachers and students are required to take an aesthetic view of life as theoretical guidance, based on core Chinese literacy, with textbook contents serving as carriers and classroom instruction as the position, closely connected to students’ actual lives, in order to help stimulate aesthetic experience among students, improve their aesthetic ability through aesthetic activities, and thus establish a correct view of life.

What Brecht experienced at the Plärrer in Augsburg.

The article deals with important biographical aspects in the work of Bertolt Brecht.The main focus of the study is on the early period of the writer's life in Augsburg.The influence of folk street celebrations on the formation of aesthetic views of theyoung artist is considered. Bertolt Brecht's unknown or little-known publicationsin the Augsburg newspapers of 1914-1921 on the peculiarities of moderntheatrical art are analyzed. A detailed analysis of Bertolt Brecht's theatricalreviews gives an idea of the formation of the future playwright, as well asexpands the idea of the spheres of influence on his creative personality in hisyouth. The decisive importance for the author-beginner of folk street celebrationsas a platform for observation of the peculiarities of human behavior, for the studyof different types of people. The influence of sport as a popular and massspectacle on the formation of Bertolt Brecht's ideas about a new kind of theatricaland dramatic art that will be popular with modern audiences is also considered.The article offers the reader new, still unknown facts from the life and work of thefamous German playwright and poet.

Border Markers in the Structure of Paintings by the Artist Sergey Gavrilyachenko

The article examines the borders of the subject-spatial environment in the structure of paintings and identifies their functions. The object of the study is the elements of the compositional structure in the works of Sergey Aleksandrovich Gavrilyachenko, People’s Artist of the Russian Federation, and their border markers. The article aims to show how objects with stable connotations in cultural contexts allow the artist to transmit his idea. There is noted that the images of the window, the frame, the doorway have a meaningful symbolism. The author examines several painting cycles of the artist. The threshold world is understood as the limit beyond which the time border that determines the life cycle becomes visible. The artist’s metalanguage can be seen in the functioning features of the prodigal son motif in his works “The House Is Empty. The Last Bow” (2014), “Before Your Own Unfamiliar Windows. The Prodigal Son” (2015). The article notes that the threshold can be a meeting place and a place of farewell, for example in “The Last Departure” (2013). The author explores the dual space of the painting “Major’s Marriage Proposal” (2009) through the prism of the compositional frame, which, by isolating the parts of the narrative, makes it possible to view the images of the artistic whole as independent, included in their own storyline. The article reviews the characters’ connection with metatypes containing the memory of culture. A look at the works of the artist S.A Gavrilyachenko through the prism of the border enriches the idea of the border as a phenomenon of artistic language. The observations undertaken make it possible to see how the form allows the artist to actualize his aesthetic views.

A.N. Ostrovsky and F.M. Dostoevsky: to the History of the Relationship

The article reconstructs the relations between two contemporaries, two classics of Russian culture – Alexander Ostrovsky and Fyodor Dostoevsky. The relations are considered in the dynamics of their development. Despite the fact that contemporaries of Ostrovsky and Dostoevsky noted the playwright’s critical perception of Dostoevsky’s work, the emphasis is placed on the friendly nature of their relationship, the proximity of their aesthetic views, and the commonality of their creative framework. The article stresses that the proximity of their aesthetic views on artistic creativity will become the basis for Ostrovsky’s cooperation with the Dostoevsky brothers’ journal “Vremya” (Time). The research undertaken here analyzes the reasons for the termination of this cooperation and the nature of further relations between Ostrovsky and Dostoevsky, their mutual assessment of each other’s creativity. As a result, it is noted that although Dostoevsky did not enter Ostrovsky’s inner circle, in his plays the playwright addressed the issues that worried both of them.

„Pięć milionów dzieci czeka na nowe zabawki…”. O organizacji przemysłu zabawkarskiego i wzornictwie zabawek w Polsce lat 50. i 60. XX wieku

In the first years after World War II, the task of setting up a toy industry was undertaken in Poland. According to the declarations from the Polish People’s Republic authorities about providing all children with a carefree childhood, access to education and help in developing individual interests, a well-designed and carefully made toy was to reach the hands of 5 million children. It was also supposed to be aesthetic and accessible to the impoverished society after the war. Therefore, toys were mainly produced from waste materials, such as wood, leather, felt, fabrics, provided by state-owned industrial plants or production cooperatives. Toys made in artists’ studios and in the BNEP Toy Factory under the direction of Jan Kurzątkowski met these criteria. A turning point in the history of the organization of the post-war toy industry was the establishment of The Office for Toy Industry Studies and Projects, a facility included in the structures of Cepelia and unique not only on the national, but also on the Europe scale. The office was established on 5 December 1950 by order of the president of the Central Office of Fine Manufacturing. The specialists employed in this institution (artists, educators, psychologists and material scientists) ensured that children received a good educational toy – carefully made, appropriate for their age, safe and nice at the same time. The designs developed under their professional supervision were handed over to Cepelia’s cooperatives for implementation, while providing appropriate instructions on the material and decorations used. One of the Office’s first initiatives was to produce a specific type of wooden and fabric doll, which was exported to Western Europe and the USA and created what was termed the “Polish Doll”. The office only existed for 4 years. Pursuant to the resolution of the Presidium of the Government dated on 18 December 1954, it was transferred to the Board of the Toy Industry at the Central Union of Work Cooperatives. In practice, this meant its liquidation and the cessation of research and development of new toy designs. This decision resulted in a rapid constriction in the development of Poland’s toy industry. The idea of such a holistic, comprehensive approach to the issue of toys has never been returned to, not only from the point of view of aesthetics, but also toys’ role in children’s upbringing and education. This was changed neither by the Central Design Office of the Toy Industry established in 1956 at the Ministry of Education, nor “Plastuś”, a competition for the best toy for children available on the market, launched in 1961.

Reconstruction of capital construction objects on the example of the Penza region

Consider the concepts of reconstruction and renovation on the example of the Penza region. Solving problems in the example of reconstruction and renovation. Improvement of capital construction projects not only from the point of view of aesthetics, but also from the point of view of the safety of residents and protection from the destruction of buildings and structures. Development of territories, their enrichment and gradual improvement of the quality of housing in the city of Penza.

Nelson Goodman’s Aesthetics—A Critique

Nelson Goodman (1906–1998) is one of the leading American philosophers of the twentieth century. His well-known book Languages of Art is considered a major contribution to analytical aesthetics. While his views on particular issues have often been criticized, on the whole, he is considered to be a leading figure in twentieth-century aesthetics. Contrary to such a stance, I intend to argue that Goodman’s overall contribution to aesthetics is not as outstanding and valuable as is often maintained. Rather, I will try to show that his aesthetic views are grounded on a distorted representation of the earlier aesthetic tradition, without which they lose the novelty and originality ascribed to them. Once that representation is corrected, some of Goodman’s proposals turn out to be derivative and redundant. Additionally, where they do actually diverge from the earlier tradition and might stake a claim to originality, they turn out to be simply erroneous and misconceived, and sometimes even logically flawed. To conclude, Goodman’s lofty reputation as an aesthetician certainly requires major revision.

Մարտիրոս Սարյանի «Գիսաստղը»

Martiros Saryan’s "Fairy Tales and Dreams" series, in terms of the subject matter, pictorial language and aesthetic views, fully corresponds to the art of the younger generation of Russian Symbolism. The artist’s work of that period is characterized by mysterious plots, “wandering” images and recurring themes, giving rise to various interpretations. Such is "Comet", created in 1907. The key to the symbolism of this work is semantic analysis of the one-eyed figure and that of the gazelle, which are central to the composition. Some of Saryan’s notes and the parallels with the symbolistic thinking of the time, allow us to conclude that the gazelle symbolizes Nature as the Creator, while the one-eyed figure embodies Poet with universal knowledge. Martiros Saryan’s "Comet" asserts the unbreakable bond between Nature and Man, the artist's love and respect for nature and faith in man.

POETICS OF V. F. ODOEVSKY'S NOVEL "RUSSIAN NIGHTS": THE INTERMEDIAL ASPECT

The article presents an intermedial analysis of V. F. Odoevsky’s novel Russian Nights. The analysis aims to identify the methods of including visual and audial media in the verbal printed text medium. A deliberately created experimental work served as material for the research. V. F. Odoevsky’s philosophical universalism extended to his aesthetic views, as evidenced by his articles and treatises. He believed in the emergence of a new art, which would be a synthesis of all arts, and tried to bring it to life on his own. In terms used by Western intermediality theorists, the novel Russian Nights did not combine different kinds of art, but adapted visual and audial channels of information transmission to create vivid mental images and a sense of acoustic presence. Odoyevsky rendered visual images through ekphrasis, i.e. verbal representation of visual representation, and through the use of literary pictorialism, in which the very reality of the artistic world presented itself to the reader in the form of a painting. The transmission of audial information occurs on three levels. Firstly, it is the level of verbal description — when the author wanted to present the readers with reflections about music, rather than music itself. Secondly, it is the level of references to real musical works — the partial reproduction mechanism switched on, and the reader could get an insight into the acoustic component from the name of a composition alone. Thirdly, it is the level of direct integration of an alien semiotic system — musical notation, when the author needed to represent a small fragment of a musical work as accurately as possible. Thus, Odoevsky tried to realize the romantic idea of an integrated art and create an intermedial novel.