Basis Of Aesthetics Research Articles

The Concept of Music from Kafka’s The Metamorphosis: Author vs Translator

This article examines the problem of preserving the meaning of the translation of fiction texts. The author refers to the translation into Russian of “War er ein Tier, da ihn Musik so ergriff?”, a phrase from Kafka’s The Metamorphosis. It is argued that in the only translation of the novella into Russian by S. K. Apt, there is an inaccuracy in the translation of this phrase, which distorts the semantics of the source. The article reveals the grounds for the assumption of this inaccuracy in the translation of the outstanding Russian Germanist. They relate to the translator’s intuitive rejection of the concept of musical art, which is reflected in the phrase analysed. While reconstructing Kafka’s thought, the author of the article concludes that Kafka’s work expresses an understanding of music that completely disagrees with the one that distinguishes the classical works of European philosophy of music, forged on the basis of Romantic aesthetics. Kafka has a non-Romantic understanding of music: he refuses to venerate it as an ideal metaphysical essence, reflecting on the nature of the impact of music on the listener. The author puts forward a hypothesis that in Kafka’s work, there is a rethinking of the philosophy of musical art belonging to F. Nietzsche, who opposed music to the non-musical human world, subordinated to logic and language. Kafka radicalises this opposition: in his logic, music alienates people from the rational world, plunging them into an animal, primordially natural state. Gregor Samsa’s sensitivity to music, which he discovers after the metamorphosis, makes him recognise his animal essence, which requires that the analysed phrase be translated as a sentence with a clause of reason (“Was he an animal because music excited him so much?”) rather than a clause of condition (as in Apt: “Was he an animal if music excited him so much?”). The reference to other novellas about “animals responsive to music” (Investigations of a Dog, Josephine the Singer, or the Mouse Folk) reinforces the proposed reconstruction of Kafka’s understanding of music, which, in turn, opens significant semantic layers of the novella related to the interpretation of the images of other characters (Gregor’s family, three guests in Mr. Samsa’s apartment) and its deep tragic content.

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.

Enhancing Professional Competence of Future Vocal Teachers through Analyzing Current Music Culture: the Neuroaesthetic Outlook

The article attempts to comprehend the latest achievements in such a field of neuroscience as neuroaesthetics, which analyzes the nature of music and musical creativity through the prism of ontogenetic features of the human brain. Using numerous examples it is shown that the key ideas of neuroaesthetics in general correspond to the spirit of Kantian a prioriism, reinterpreted in current terms of cognitive neuroscience; an attempt is made to justify the necessity of increased attention to the urgency of updating the professional training of vocal teachers, revealed the ideal structure of the competence of a vocal coach on the basis of systematized by him views of different experts, as well as proposed to make individual principled emphasis on a comprehensive study of trends in current musical culture by students; as a conscious and purposeful familiarization with such, in his view, is an essential element in the system of today's professional competence. The personal and professional characteristics that every future vocal coach should possess are revealed in great detail; the special importance of each of these components of success in competing in the pedagogical labor market is emphasized. In addition, key features of the dissemination of musical information in today's society, the impact of network technologies on the specialized training of teachers and recipients, the formation of the technological basis of vocal and sound culture aesthetics of academic singing of the future teacher are highlighted. As a conclusion, further, more in-depth study of the raised problems is proposed, since it is not sufficiently developed at the scientific level.

British Formalist Aesthetics and Its Literary Writing Practice

British Formalist Aesthetics and Its Literary Writing Practice

Genre and Aesthetic Specificity of Modern Children's Musical

The purpose of the article is to reveal the specifics of children's musicals in the system of musical and theatre genres using the example of Ukrainian authors’ works; to establish a complete set of genre and aesthetic features of a modern children's musical. Research methodology. The method of systemic and genre-stylistic analysis was applied, thanks to which the children's musical was considered as an independent genre of musical and theatrical art, genre and stylistic features, as well as artistic and aesthetic specificity were revealed; the method of comparative analysis, which contributed to the identification of common and distinctive features of a classical musical and a children's musical. Scientific novelty. The genre and aesthetic specifics of children's musicals of the first decades of the 21st century have been studied. The phenomenon of the synthesis of arts as the aesthetic basis of a children's musical has been analysed. The aesthetic proximity of children's musicals and musicals for adults, their characteristic appeal to popular literary works, the equivalence of musical, dramaturgical, plastic, and stage means of expression have been considered. Conclusions. The development of musicals for children as a genre is a dynamic process that continues even at the present stage. Its genesis is combined with the dominant role of synthesising processes, at the level of the dramatic primary source, music-theatrical and cross-genre dialogues, symbiosis and interpenetration of various styles and stylistic elements, as well as the laws and trends of the entertainment industry. A modern musical for children is a unique complex music-theatre project, in which scenario dramaturgy and plastic-dance spectacle prevail, which are the basis of the formative regularities of its dance component. A children's musical, a unique holiday genre, unlike classical musicals, among which there are works with a very serious, lyrical, and sometimes sad content, is a musical for children at the level of content and form, namely the plot, presentation of the material, its degree, energy, dynamics, is on the wave of a festive show, which creates a joyful state of mind and an uplifted mood. Key words: children's musical, stylistic specificity, genre features, aesthetic features

COLOR IN THE TECHNIQUES OF PRINTED GRAPHICS

The article is devoted to the analysis of the artistic possibilities of color on the example of various graphic techniques. The widespread use of printed graphics nevertheless preserves a unique aesthetic basis and does not lose its individual style, which is directly related to the printing technique.
 It is emphasized that color-printed graphics, thanks to the use of color, stand out from other types of visual arts with their new, original means of expression, artistic possibilities, and artistic value.
 The potential possibilities of color in such techniques of printed graphics as linocut, xylography, monotype, “dry needle”, “etched stroke”, aquatint, and engraving on cardboard are considered. All of these techniques use the possibilities of color in their own way as a means of expressing a creative idea. Color can be used as an accent that focuses attention on essential elements and storylines of works of printed graphics, as well as having the main semantic load in the work.
 It has been found that although the color is subordinate to the drawing in color-printed graphics, it gives the composition greater expressiveness and expression, and therefore helps to convey the creative idea of the artist to the viewer. It has been proven that in each of the considered techniques of printed graphics, the artist uses color for a specific purpose because it allows for achieving one or another effect.

Nietzsches ästhetischer Umgang mit dem Politischen. Ein Versuch zu JGB VIII

Abstract Nietzsche’s Aesthetic Approach to the Political. An Essay on BGE VIII. This article aims to present the aesthetic basis of Nietzsche’s dealings with politics in BGE VIII. In order to fulfill this task, the present text is divided into two parts: in the first part, I discuss how politics appears in BGE VIII as linked to a dispute over the concepts of “Völker” and “Vaterländer.” Understanding the meaning of these concepts requires an analysis of what I call the Nationenfrage. This question characterizes a theoretical effort in Europe to establish an authentic sense of personal and social identity. The contextualization of this theme is decisive for the second part of this article, in which I present Nietzsche’s strategies for carrying forth the debate concerning political phenomena, figures and events, based on purely aesthetic coordinates. The guiding theme will be the political phenomenon of democracy, which Nietzsche approaches both in BGE VIII and GS V. However, my goal is to make clear that Nietzsche’s interest in politics is conditioned by his interest in showing the aesthetic procedure of his philosophizing.

Considering three elements of aesthetics: Multi-task self-supervised feature learning for image style classification

Image style classification is the basis of computational aesthetics, and its role has become increasingly important with the rise of computational aesthetics. Most of the current image style classification methods use supervised learning for model training. These methods require a large number of expensive aesthetic style labels. Unlike existing methods, self-supervised learning can perform feature learning on many current unlabeled style images, thereby alleviating the constraint that current supervised learning methods require a large amount of labeled data. However, the self-supervised learning method also poses the problem that it is difficult to fully characterize the highly subjective aesthetic style characteristics. Therefore, this study proposes a multi-task self-supervised style feature learning algorithm considering the three elements of aesthetics. The three elements of aesthetics include compositional rules, luminance and color. The algorithm designs multiple self-supervised learning tasks from multiple perspectives and proposes a joint learning method for multiple self-supervised learning tasks, so that the model can learn the style features of images more comprehensively than ordinary self-supervised learning methods. The experimental results on three large image style datasets also show that the method proposed in this paper can effectively learn the style features of images and outperform most style feature learning algorithms based on supervised learning in terms of classification results.

The politics of aesthetics in German Idealism

The subject of the study is the aesthetic aspects of the German philosophy of the late XVIII - early XIX centuries. Modern culture, with its anti-traditionalist impulse for autonomy, freedom from external authority, the use of critical reason, universal principles, in terms of which is questioned religion, history, customs, by this time found its internal contradictions. Post-religious and postconventional Enlightenment values - secularism, humanism, the primacy of reason and science - poorly suited to maintaining the moral and social relations, in the course of everyday life, and led to their progressive deterioration. German idealists turned to the area of aesthetic in searh of means of reconciliation between science and morality, the nature and the subject. The article taken hermeneutical analysis of texts submitted in the tradition of German romanticism and idealism in order to identify the aesthetic basis of searches and solutions in the philosophy of this period. Project of aesthetics which emerged in the XVIII century is seen as key to European philosophy and culture "after the Enlightenment," and as having not only theoretical but also of political importance, because it is in aesthesis - subjective field of experiences, feelings, affects, modern man could seek reconciliation with the world after the loss of traditional meanings and authority

Front and Back Covers, Volume 38, Number 5. October 2022

Front and Back Covers, Volume 38, Number 5. October 2022

THEORETICAL PREREQUISITES OF THE FORMATION OF THE BASIS OF READING COMPETENCE OF YOUNGER SCHOOL STUDENTS

The article reveals the theoretical prerequisites for the formation of the foundations of reading competence of younger schoolchildren through involvement in reading activities. The logical sequence of concepts is singled out: reading ‒ reading activity ‒ reading competence. The essence of reading is proved; it consists of an attempt to connect reading with reading activity and its results ‒ readiness to read a book independently and the ability to use the acquired knowledge for one’s own purposes. It has been established that becoming a reader, interest in books is born through knowledge of books and actions with them, reluctance to read can be provoked by learning itself. The definition of “reading activity”, which has an indisputable value as a universal human value, as work and creativity, as an opportunity for the comprehensive development of the personality of a junior high school student, has been revealed. Considering reading activity as a system of purposeful and motivated actions, we believe that it should be motivated by adequate motives directly related to its content. It is assumed that the formed foundations of the reading competence of younger schoolchildren can be achieved by developing the specified reading skills and knowledge, but not at the expense of extensive methods, but as a result of pedagogical modeling, the development of special technologies for teaching reading, developing personal-value, information-communicative and educational-cognitive abilities of younger schoolchildren. The following components of reading activity are distinguished: the motivational sphere, the cognitive basis of the reading process, the content aspect of reading, the communicative sphere, the informational basis as the ability to use literary terms, the emotional and aesthetic basis of reading. The concept of “reading activity” and “reading competence” was compared. We connect the prospects of further research with solving the issues of formation of such reading competences of junior high school students, such as the competence of personal self-improvement, cultural and social competences, with the development of technology for training teachers for the formation of reading competence of junior high school students and the technology of continuity between the initial and basic stages of the educational process.
 Keywords: prerequisites; formation; reading competence; younger schoolchildren; reading activity; reading; primary education; reading skills; reader.

P. Hindemith’s Eight Pieces For Double Bass Solo: compositional and dramaturgical peculiarities

Statement of the problem. The heritage of German composer Paul Hindemith significantly influenced the development of double bass art of the XX century. Yet, from the 1920s, the author of one of the most renowned chamber works with double bass of his time, the Sonata for Double Bass and Piano (1949), a composer, multi-instrumentalist, P. Hindemith actively involved the double bass in other works, both chamber and solo ones. The Eight Pieces for Double Bass Solo (1927) for a long time have not been the focus of attention of contemporary researchers or double bass players. However, one should not underestimate the fact that P. Hindemith turned to the double bass as an instrument capable of performing a solo work. P. Hindemith’s double bass works still receive insufficient attention from both foreign and domestic musicologists, although many aspects of the composer’s work are highlighted in the studies of E. Hartmann (2013), J. Haney (2008), D. Trippett (2007) and others. The most complete information about the Eight Pieces for Solo Double Bass is given in the Introduction by G. Schubert (1997) before the publication of these pieces, however, their analytical interpretation has not yet been the subject of special research. The purpose of our study is to identify the compositional and dramaturgical peculiarities of Hindemith’s Eight Pieces for Double Bass Solo and to determine their role in the development of the double bass “branch” in the composer’s work. The following scientific methods were used: historiographic approach to study the scientific sources devoted to P. Hindemith; structural-functional and textological approaches in analytical descriptions. As a result of the analysis it was concluded that the Eight Pieces for Double Bass Solo by P. Hindemith are unique as they are a vivid example of the composer’s search for non-standard solutions connected with choosing the solo instrument timbre and the cycle-making factors. From the 1920s, the timbre of the double bass solo in Hindemith’s works in most cases correlates with the semantic spheres of joke, parody, sarcasm or grotesque. Created for home performance with friends, Eight Pieces for Double Bass Solo present the parody direction in the composer’s work. The cycle was undoubtedly influenced by Gertrude Hindemith’s preferences and talents. Gifted not only as a singer, cellist and double bassist, but also as an actress, she played these pieces not only at private parties for friends, but also performed them on stage following all the “acting” remarks written in Hindemith’s manuscript. The Eight Pieces built by the principle of “the cycle in cycle”, and their dramaturgy is subjected not only to musical logic, but also to numerous nonmusical factors (reflected in the remarks, graphics, etc.), which determined the theatrical nature of the work. After a real flourish of Hindemith’s chamber and instrumental work in the 1920s, the composer focused mainly on symphonic genres. However, his interest in double bass didn’t exhaust itself. After many years of active work in the symphony genre, P. Hindemith again turned to it as a solo instrument in the Sonata for Double Bass and Piano – the peak of the evolution of this instrument in his music. However, the formation of the sound image of the solo double bass in the composer’s was gradual since the 1920s. The Eight Pieces for Double Bass Solo, which were an important step on this path, despite being intended for home music, laid not only the foundations of a sound image of the double bass, but also the aesthetic basis of the instrumental theater.

ЕМОЦІЙНО-ХУДОЖНЄ СЕРЕДОВИЩЕ УНІВЕРСИТЕТСЬКОЇ ОСВІТИ – РЕСУРС ЯКОСТІ ПІДГОТОВКИ МАЙБУТНІХ ПЕДАГОГІВ

This study was conducted to define and outline the main theoretical characteristics of the concepts of "quality of education", "emotional and artistic environment", "professional training of future teachers for successful professional activities in higher education institutions." The authors defined the emotional and artistic environment as: a system of conditions that determine the purpose and objectives, planning, functioning and development of learning, the mechanism of subject-subject interaction, emotional and aesthetic relations in the system "teacher - students", which has a positive impact on the quality of training of future teachers for professional activities. Emotional and artistic environment of the educational process provides the development of personality of the future teacher, his abilities and abilities, individual style and professional position, means, ways of mastering cultural values and interaction to enter the world of spirituality, music, art, creative experience in teaching. activities. The emotional and artistic environment operates with a set of tools by which students evaluate the mechanism of organization and construction of educational activities on the basis of aesthetics, art and science; provide "transfer" of objectively existing values in the field of significant phenomena for future teachers, deepening and expanding existing professional values, intensification of thought processes and reflective position of students. Identified and justified conditions: updating the content of the humanities; emotional and artistic orientation of their content; modeling of event-role situations when the results of the student's activity coincide with his expectations; creating an emotionally favorable climate in the educational process; inclusion of participants in the educational process in various types of artistic and creative activities ensure the productivity of the educational environment in the formation of emotional and artistic image of the future teacher, his readiness for artistic and creative activities through a system of educational and cognitive tasks. cinema, music, which serve as the basis for the visualization of information and the experience of artistic creativity gained by students.

Философская основа эстетики А.С. Пушкина и И.С. Тургенева

This article discusses the issue of the philosophical and creative aesthetic basis of Pushkin and Turgenev. The study pays special attention to the features of artistic and aesthetic similarities and differences between both writers. The results of a comparative analysis are presented, based on the history of aesthetics of the corresponding periods. The novelty of the work lies in the revision of previous studies on this topic and the introduction of important touches to the topic under study. The relevance of the research is due to the tasks of examining classical works using modern tools through the prism of new research. In the course of the research, a review of the work of writers and works of researchers in the context of this topic was carried out, which allows us to draw the following conclusions: the philosophical and aesthetic basis of the work of both writers most reflects the ideas of Kant, Schiller and Hegel; the beautiful and the good in their worldview are inseparable; both writers are united by nationality and the whole spectrum of socio-political issues; the creativity of the writers is excellent to the same extent that the Slavophil is different from the Westernizer; Turgenev’s aesthetics is less mobile and rosy, but represents a greater synthesis of philosophical and aesthetic attitudes of different types of art.

The formation of an image of future teachers on aesthetic basis

The formation of an image of future teachers on aesthetic basis

Комическое в критической рефлексии «молодой редакции» «Москвитянина» (1850-1856)

The paper aims to reveal the understanding of the comical among “young editorial board” members of “Moskvityanin” (“The Muscovite”) magazine (1850-1856). This understanding was based on their aspiration to create a basis of national aesthetics. Scientific originality of the study lies in the fact that the researcher introduces into scientific circulation previously unpublished materials - literary critical articles of the “young editorial board” members providing deeper understanding of aesthetic and ideological struggle of the 1850s - a poorly investigated period in the history of Russian literature and aesthetic thought. The research findings are as follows: the author reveals Slavophilic understanding of satire and humour, which allows identifying specificity of the comical functioning in fiction. Considered in the context of national spirit and national character, satire and humour help to reveal moral ideal.

Semiological Interpretation of the Electroacoustic Music Phenomenon

As evolving technologies become more massive and more easily accessible to virtually every user, as the speed of the global Internet grows faster and more, the composer’s relationship with these capabilities takes on new meanings. It was not so much the issues of accessibility and quantity that became relevant, but rather the issues of quality, artistic value, and the uniqueness of creation. This article attempts to review the principles of composing electroacoustic music based on semiological theory. Music, as a message, passes through the various stages of creation, transforming the consciousness of both its sender and receiver. It is important to capture, highlight and define these processes. The identification of oneself as a creator and a clear, unambiguous perception of one’s work provides a clear ideological and esthetic basis for new means of composition. Electroacoustic music opens the way to hear any possible sounds, infinity of sounds — from realistic to surreal. The listener’s traditional connection to physical sound is often severed: electroacoustic sound forms and qualities usually do not reveal the original sound source and cause. Composers face the dilemma of how to ground a new esthetic field in the wide-open world of sounds, how to develop more clearly defined methods of sound creation, how to understand and explain electroacoustic music.

Research on Interior Design Strategy Based on Optimization of Computer Renderings Production Process

Interior design is the use of visual language to disseminate information, which is often expressed on the basis of aesthetics and visual psychology. Aiming at the problems of weak modeling accuracy and low versatility, this paper uses computer technology to optimize the rendering process, that is, by optimizing the computer modeling process, changing the production steps, comprehensively considering lighting, materials, etc. for rendering, from actual needs To set out, make renderings more suitable for interior design, effectively improve the speed and quality of interior design renderings, enable students to master more practical production methods, and improve the effect of teaching.

UKRAINIAN ELECTRONIC MUSIC IN GLOBALISATION AND NATIONAL REVIVAL

The article considers the impact of globalisation and national revival processes on the development of electronic music in Ukraine. It is shown that in the early stages of development (the late 1990s – early 2000s) Ukrainian electronic music is dominated by the focus on Western European music culture, and early festivals of dance electronic music (“The Republic of Kazantip”, “Ultrasonic”) also borrow Russian traditions, which indicates the predominance of globalization and peripheral tendencies in this area. At the same time, the first creative searches related to the combination of electronic sounds with the sounds of Ukrainian folklore are intensified. In particular, the article considers the works of the 2000s-2010s by O. Nesterov and A. Zahaikevych, representing folk electronics in the academic sphere, and works by Katya Chilly, Stelsi, Kind of Zero representing folk electronics in non-academic music. The aesthetic basis of such combinations was the musical neo-folklore of the last third of the XX century and the achievements of folk rock in the late 1990s. Intensification of these searches in the late 2010s, in particular the popularity of such artists as Ruslana, Onuka, Go_A allow us to talk about intensifying the national revival processes in the musical culture of Ukraine and involving Ukrainian music in the world culture preserving its national identity.

Complete-Denture Aesthetics Revisited in the Digital Age

Background: The objective of this review is to elucidate the principles of complete denture aesthetics and establish a rationale for a digital workflow for chairside arrangement of artificial teeth.Types of studies reviewed: Articles were culled on the topic of complete denture aesthetics and the digital fabrication of complete dentures. These included systematic and literature review articles as well as clinical, descriptive and in vitro studies that range from 1958 to 2020 using PubMed and Web of Science databases.Results: Biometric measurements have been illuminated over the last 60 years, serving as a basis for analogue and digital denture aesthetics. However, a number of studies have shown that individual arrangement of the anterior teeth is essential to capture asymmetry and balance in the setup. This review highlights that customization of the smile is optimally done chairside with patient feedback. A proof of concept was identified from the literature to incorporate a wax try-in in the digital workflow.Practical implications: Given the heightened value placed on aesthetics in dentistry, a review of complete denture aesthetics will enhance the clinician’s skillset, and incorporating a chairside try-in in the digital workflow will lead to more authentic prostheses.