Types Of Beauty Research Articles

Specter Mountain by Jesse Graves & William Wright

Reviewed by: Specter Mountain by Jesse Graves & William Wright James Owens (bio) Jesse Graves & William Wright. Specter Mountain. Macon, Ga.: Mercer University Press, 2018. 67 pages. Softcover. $16.00. In his poem, "How to be a Poet," Wendell Berry advises, "Stay away from anything / that obscures the place it is in." This is essential wisdom, certainly for a poet, but equally for any person or any group of people, no matter how large or seemingly powerful. A nation or a civilization is a lesser thing than the earth where it has sprung into being, and these make barely a flicker against the background of deep, geological time, though [End Page 114] lives lived firmly in place also share something of the eternal. Specter Mountain, by Jesse Graves and William Wright, speaks eloquently from inside this truth. Graves and Wright should be well-known to readers, and to readers of poetry in Appalachia, in particular. Both have already produced rich, necessary work as poets and editors, and now their collaboration is an occasion for gratitude. Specter Mountain offers many types of beauty and pleasure, including fine instances of what some of the more thoughtful recent writing on poetics means by "eco-poetry." The work of any writer associated with a particular place—whether Appalachia or the wider South or any other locale—has taken on a special urgency in recent times, when many places and the ways of life that people have invented to fit them feel the threat of change or extinction. Where resistance to these threats fail, eco-poetry must assume the unhappy work of acknowledgement and grief and warning. Many people in twenty-first century America live in the midst of things and attitudes and economic structures that, as Berry writes, "obscure" the places they are in, from the largest cities to rural areas left in pain by the disappearance of traditional ways of life with little to replace them except poverty or migration. Specter Mountain chooses not to dwell long on the already familiar consequences of living in these "desecrated places"—Berry's phrase—but when it does offer a portrait of contemporary anomie, the effect is chilling and indelible. In Specter Mountain, this can perhaps be best seen in "The Estranged," which shows us the truck-bed boys of a silent town,where violence buds in their heartslike pulsing nettles, brown calculi [End Page 115] of hard drugs knitted betweentheir teeth. They smile with a blade's exactness.Nights they piss in the gardens of strangers and light cats on fire,laugh at the pain and yowls. "This is not a fiction," the poem goes on to insist, "this is hidden / fact, the petrified senses of those / who look away for good"—that is, those who look away from the local facts of life on the mountain, in search of some illusion of "good" in a culture disconnected from the ancient and provident earth. "The Estranged" gives a reader a glimpse into a life, if we want to call it life, that is thankfully not universal in contemporary Appalachia or in other battered parts of the country, but is common enough to be recognizable for anyone who has spent much time in communities ravaged by drugs and unemployment and aimlessness. Specter Mountain is not to be found on a map, but it is still located solidly in the real world. Though Specter Mountain gathers an imposing variety of poetic forms and approaches—elegy and hymn and dream vision, ballad and confessional—its particular virtue as a book, rather than as an accumulation of individually satisfying poems, is in its understanding of scale, the meaning of the particular detail's relationship to its background. Here the experience of any poem's immediate speaker is nested inside a living, contemporary community, which is nested inside the historical process of immigration and ancestral experience of the land—and inside geological processes of formation and destruction, orogeny and the shifting of tectonic plates. The book's first poem, "Prologue," opens with a Genesis-like description of the separation of the Earth and the Moon, and [End Page 116] no poem that follows will forget its positioning on the...

Language Ecosystem

Language Ecosystem Jen Coleman (bio) Entangled Bank James Sherry Chax Press www.chax.org/shop 85 Pages; Print, $17.00 "It is interesting to contemplate an entangled bank…"—so asserts Charles Darwin in his conclusion to Origin of the Species, and so begins James Sherry's 2016 book, Entangled Bank—a conceptual memoir of language ecosystems. What a canny gift the poet gives us: an invitation to contemplate each poem as a community of living language bits, co-evolving and interdependent, shaped by the environment—an environment in which the reader participates. As a memoir, Sherry acknowledges that each page recalls a language ecosystem as it was, now fixed on the page as a portrait. But when a reader takes up the invitation to contemplate how these pages are entangled ecosystems, the reader revivifies the poems with new sense, perception, and culture. We are vulnerable to, participating in, and culpable for this entangled bank. Calling it a conceptual work directs attention to the way systems work rather than the charismatic critters (e.g., poets) within those systems. Yet it is irresistible to read the book as a memoir of the poet himself. The works contemplate what it is to be a poet among poets, interdependent and in community, co-adapting the practice of language within a violent and destructive culture. Sherry suggests that change and adaptation in language ecosystems are ways to survive—yet the poet also places himself, mortal and vulnerable, as a critter among critters. Entangled. When the oar of your boat is tangled in a kelp forest, your physical presence becomes environment to sea urchins, otters, kelp, wolf eels, and myriad other creatures that provide food, shelter, competition, and more to one another. And in turn, as you free your oar, the kelp forest changes you. Your adrenaline sends inter-kingdom signals to the millions of critters in your personal microbiome, profoundly changing their environment. You are not simply ensnared by the forest, you are intricately interlaced with it. You set particles in motion. They in turn affect the position, spin, and momentum of other particles—even at a distance. That's the working of an ecosystem. And those are the relationships that Sherry encourages the reader to contemplate, as one style of writing tangles with another, each in turn affecting the way the other appears, read, and is written. The first nine pieces in the book include six "Beautiful Poems for My Friends" separated by poems with beautifully divergent language ecosystems. In the first two poems it is hard not to hear Joseph Kaplan's Kill List (2013) as part of the environment of the poems, as Rae Armantrout noted in her comment on the book (even though Sherry has said that the first of the "Beautiful Poems" were written in 2002). Like Kaplan's list, the poems categorize and sort poet-friends into a taxonomy. It's not passive; the taxonomy is charmingly conscious of the taxonomist. For Kim RosenfeldYou are beautifulI caught you lookingPitiless and forgivingFor thinking you beautiful These contemporary poets are part of the living ecosystem of the author. Their names, captured on the page, also become part of a taxonomical language ecosystem. Where Kaplan categorized by a concept of socioeconomic class, Sherry sorts by types of beauty. Present in the environment of these poems is the current culture: Beauty has been shirked by poets like Sherry for a generation. Yet these poems revive the value of the concept of beauty in nature and beauty in death—and even the critique of beauty—all concepts that postmodernism buried. And what of beauty in contemporary culture? By the third and fourth versions of "Beautiful Poems for My Friends," the phylum of friend extends beauty beyond romantic dominant culture expectations to include public figures (Barack Obama), civic figures (My Boss Frank), and corporate persons (Toyota Motors). A community of poets—immersed in contemporary culture—is classified by a poet dwelling in the same culture, according to a taxonomy reviving a romantic concept that, when read against Kaplan's poem, could be an antithesis to a socioeconomic concept. Entangled, indeed. How do these discrete poems tangle with other poems...

Beauty for All

These four short essays contemplate different types of beauty. The first essay emphasizes the importance of creating a harmonizing, bright, and comfortable domestic interior, with the emphasis on craftsmanship as well as functionalism. The second highlights the importance of feeding the senses: of appreciating the beauty of art, literature, and music. Even the poorest members of society may not have access to original works of art, but can draw inspiration from the sights and sounds of nature. The third recommends the observation of traditional customs, especially around Christmas, New Year, Easter, and birthdays. The final essay celebrates the beauty of the hearth and the memories associated with gathering around the fireplace.

Avatar Creation: The Social Construction of “Beauty” in Second Life

Rooted in the theory of Social Construction of Reality and informed by media portrayal of female beauty and virtual community research, this study examined how beauty is socially constructed by gatekeepers in Second Life. A content analysis of 360 still images of female avatars was conducted to understand the extent to the beauty types that appear in the virtual world. Findings suggest trendy and sex kitten/sensual beauty types were the most-portrayed beauty types. Most female avatars had the ideal body size and light colored skin. In addition, this study found a significant difference in beauty type among different types of products.

IDENTIFYING AESTHETIC PREFERENCES FOR BEAUTY TYPES IN WOMENS APPEARANCE AMONG EAST ASIAN CULTURES

This study investigated aesthetic preferences for beauty types in women’s appearance among the East Asian cultures of Korea, China, and Japan through two-mode semantic network analysis with a cross-cultural viewpoint. Based on the results, this study proposed practical implications for appearance management industries and global consumer goods companies.

The experience of beauty derived from sorrow.

We studied the neural mechanisms that are engaged during the experience of beauty derived from sorrow and from joy, two experiences that share a common denominator (beauty) but are linked to opposite emotional valences. Twenty subjects viewed and rerated, in a functional magnetic resonance imaging scanner, 120 images which each had classified into the following four categories: beautiful and sad; beautiful and joyful; neutral; ugly. The medial orbito‐frontal cortex (mOFC) was active during the experience of both types of beauty. Otherwise, the two experiences engaged different parts of the brain: joyful beauty engaged areas linked to positive emotions while sorrowful beauty engaged areas linked to negative experiences. Separate regions of the cerebellum were engaged during experience of the two conditions. A functional connectivity analysis indicated that the activity within the mOFC was modulated by the supplementary motor area/middle cingulate cortex, known to be engaged during empathetic experiences provoked by other peoples' sadness. Hum Brain Mapp 38:4185–4200, 2017. © 2017 Wiley Periodicals, Inc.

“Big eye” surgery: the ethics of medicalizing Asian features

The popularity of surgical modifications of race-typical features among Asian women has generated debates on the ethical implications of the practice. Focusing on blepharoplasty as a representative racial surgery, this article frames the ethical discussion by viewing Asian cosmetic surgery as an example of medicalization, which can be interpreted in two forms: treatment versus enhancement. In the treatment form, medicalization occurs by considering cosmetic surgery as remedy for pathologized Asian features; the pathologization usually occurs in reference to western features as the norm. In the enhancement form, medicalization occurs by using medical means to improve physical features to achieve a certain type of beauty or physical appearance. Each type of medicalization raises slightly different ethical concerns. The problem with treatment medicalization lies in the pathologization of Asian features, which is oppressive as it continues to reinforce racial norms of appearance and negative stereotypes. Enhancement medicalization is ethically problematic because cosmetic surgery tends to conflate beauty and health as medical goals of surgery, overemphasizing the value of appearance that can further displace women's control over their own bodies. I conclude that in both forms of medicalization, cosmetic surgery seems to narrowly frame a complex psychosocial issue involving physical appearance as a matter that can be simply solved through surgical means.

Beauty in Creation: John Wesley's Natural Philosophy

Abstract John Wesley's compendium on natural philosophy is comparable to a second book of revelation about God; the first book is scripture. In light of this, scripture can only function as a hermeneutic for creation; it is not a textbook for the discovery of creation. Wesley used the language of Thomas Aquinas to explain that there is a revealed cause and effect, which leads to a First Cause. With this understanding, creation reveals a beauty that is derivative from God and this type of beauty is an interconnected relationship within all of creation. Because of humanity's limitation of knowledge, empiricism cannot assume a primary source of knowledge for natural philosophy since it can become a misleading source. Natural philosophy, as a result, remains its own objective source of knowledge.

Are There Different Types of Beauty?

Are There Different Types of Beauty?

Antoni Miralda y la transfiguración artística del Kitsch

En el arte la búsqueda de la belleza ha sido el objetivo que tanto artistas como espectadores han perseguido durante siglos. Está claro que el arte se ha transformado según las conciencias y las necesidades artísticas pero sobre todo según las sociales y políticas del hombre. El artista se hace hombre y el espectador coautor de proyectos que aluden a lo público. La belleza se desdobla en muchos tipos de belleza. El Kitsch como categoría estética era relegado y degradado al puro efecto. Hoy el Kitsch se acerca a las masas, las emociona y las representa. El arte-vida y la transfiguración del Kitsch que Antoni Miralda propone en sus objetos e instalaciones nos enfrentan con ironía lúdica a los estamentos de poder y sus recovecos más vulgares.

Beauty and critical art: is beauty at odds with critical–political engagement?

Traditionally, beauty is understood as an ability of some objects (artworks included) to occasion in viewers a distinctive type of unmediated/pure pleasure—aesthetic pleasure. According to this common understanding of beauty, political–critical art does not seem to raise in viewers the feeling of aesthetic pleasure. Many contemporary critical artists and politically engaged artists deliberately produce an art as unappealing to the senses as possible (their attitude could be called, following Arthur Danto, kalliphobia—“beauty phobia”). Critical art is a type of art which usually does not strike us with beauty at first sight because this “political art” usually deals with issues of social injustice and political struggles, rendering contemplation and aesthetic pure pleasure unachievable. Yet, even if beauty, in critical art's case, seems to be a difficult, demanding, and not an immediately recognisable one (mostly because of its unappealing, unsettling look), this does not mean that it lacks or is at odds with critical engagement (as some critical artists and theorists have argued). The argument of this paper is that not every beautiful thing looks good at first sight. By the same token, not everything that looks beautiful is in fact beautiful. Drawing on Immanuel Kant's neglected pulchritude adhaerens (dependent beauty), I argue that political–critical art is characterised by a dependent type of beauty (beauty a thing has as a thing of a certain kind and with a certain function) as opposed to free beauty (as something we like it freely on its own account, independent of what it is and what it does). Political–critical art can claim a dependent beauty (an impure, “difficult” and not straightforward pleasurable type of beauty) without being compelled to submit itself, at the same time, to the free beauty.

Fostering in the People the Purest Types of Beauty: Ford Madox Brown and Democratic Art Education

This article explores Ford Madox Brown’s contribution to art education in Britain. Brown adapted his own student experience of continental academies (Bruges, Ghent and Antwerp) to inform his practical tuition of artists in his studio at home and at independent artisanal schools, while responding to contemporary intellectual fashions to draft his Cambridge Slade Professorship application and public lectures. His misgivings about both the Royal Academy Schools and Government Schools of Design manifested itself in his desire to cultivate taste in all classes of Britons, and balance the commercial requirements of manufacturing industry with the learning needs of individuals in society.

En

There is a wide range of things that are classified by humans in terms of their level of beauty. The word ‘beautiful’ is used to define some of the natural entities living and nonliving, unnatural objects or ideas produced by humans, and the works of art, which are unique products of human hand and brain. Beauty, as a concept awakening a common feeling of pleasure, may mean something deeper than we are aware of. This meaning is perhaps hidden in its deeper aspects, which we have to give effort to analyze. Hence, within context of this paper, common and specific properties of the beauty of nature, paintings and music will be discussed. In addition, the stages of the perception of the beauty of all kinds will be called into question, and an account about the process of the judgment of beauty will be suggested. The specific types of beauty analyzed through the paper are limited with the beauty of nature, paintings and absolute music (music without words), following an opening remark about the beauty in general.

Model Looks, Motives, and Affective Outcomes

Highly attractive models are intended to impact psychologically on message receivers and improve awareness, expectations, attitudes, beliefs, and advertising effectiveness; however, benefits accrue in only particular situations. This study examines how advertising triggers affect when comparison motive is paired with a particular model beauty type. Qualitative work preceded empirical study, which involved use of three types of model beauty (classic, sexual, and cute), two comparison motives (self-evaluation headline and self-improvement headline), and two product contexts (problem-solving and enhancement). Female university students ( N = 1,170) were surveyed with findings indicating that viewers do react differently depending on the beauty type, with evidence of an interaction between beauty type and comparison motive.

Are musicians particularly sensitive to beauty and goodness?

The main purpose of this research was to further validate the characteristic responsiveness to the good and beautiful by investigating its links with different degrees of involvement in musical practice, and with three art-relevant personality constructs. Participants (125 professional musicians working in various fields, 125 amateur musicians, and 125 nonmusicians) filled in the Values in Action Inventory of Strengths (Peterson, Park, & Seligman, 2005), the Engagement with Beauty Scale (Diessner, Parsons, Solom, Frost, & Davidson, 2008), the Appreciation of Beauty and Excellence Test (Gusewell & Ruch, 2012a), the Sensation Seeking Scale Form V (Zuckerman, 1994), the Tellegen Absorption Scale (Tellegen & Atkinson, 1974), and the Dispositional Positive Emotion Scale (Shiota, Keltner, & John, 2006). Overall, responsiveness proved to be related to the degree of involvement in musical practice. However, professional musicians displayed distinct profiles depending on their main occupational activity: Whereas music teachers and orchestra musicians showed a specific sensitivity to artistic beauty, soloists evidenced an overall high sensitivity to all types of beauty and goodness. Furthermore, results showed that the responsiveness dimensions correlated in a theoretically meaningful manner with dispositional awe, absorption, and experience seeking.

The Idea of Beauty in the Piano Cycle “Childhood Birds” by Konstantin Iliev

There is beauty everywhere in nature. Sometimes even creatures, that we are used to consider unsightly, burst with it. Looking more closely, ignoring the traditional view, we find colour combinations, proportions, movements that get surprisingly beautiful as soon as we realize it. In art the depiction of beauty could take different forms as well as it could take most unexpected characters for its prototypes. Such kind of beauty reveals to us the small gallery of characters – the piano cycle “Childhood Birds” by the Bulgarian composer Konstantin Iliev. It is comprised of six plays. In this piano cycle I analyze the beauty of the characters – for example the little sweet-voiced nightingale, where the beauty lies in its skilful singing, i.e. in what it can do; unlike the rose, on which the bird is perched, where the beauty lies in its symmetry, proportionality and grace – in being what it is. The swallows are beautiful with the audacity to struggle with the fierce mighty wind. An example of the beauty of the construction is the classical regularity of the built-up musical forms; the slight diversions from which are prompted by the specific representational tasks in each play. The beauty of depiction lies in the outspoken and compelling description of all the images by means of ingeniously found and utmost concise means. The cycle as a whole is an example of yet another type of beauty – the beauty of invention, of creativeness, of discovering a wonderful in its clarity and brevity way of recreating a character so that it can be perfectly recognized, to breath life into it, to give it emotions and meaning, the beauty of an artist to “dare” to materialize through sound the elusive immateriality of a dream, the beauty to challenge the imagination of the performer and make the listener soar, the beauty of the mind.

현대 패션에 나타난 중첩 기법의 유형과 사례분석

Compared to traditional fashion design, modern fashion design is used as a means that creates original and multiple types of beauty beyond fixed and standardized concept and form. Overlapping technique is the most suitable means to shed classical, authoritative and conservative form and it enables d...

Highly Attractive Models in Advertising: What Causes Negative Affect?

Highly attractive models (HAMs) have been popularly used in advertising to impact psychologically on the message receiver in the hopes of increasing the advertisement’s effectiveness. The marketing literature is replete with evidence of the positive effects of using HAMs. However, support for their effectiveness is somewhat conflicted. The research attempts to add to the body of knowledge, specifically through exploring individual difference variables (model characteristics, product types, comparison motives, and culture) impact on negative affect. This study also investigates whether advertising skepticism determined by culture has an impact on negative affect as a result of a HAM comparison. The methodology uses a 3 (beauty types) x 2 (product types) x 2 (comparison motives) between-subjects experimental design. Respondents for the main study are female students across cultures from international programs and universities in Vietnam. The results supported all hypotheses; except product types shown having no impact on negative affect. The research also confirmed there are interrelationships between culture and skepticism. These findings have implications regarding the potentially negative influence of advertising including HAMs for practitioners, academics and public policy makers.

Definicja piękna w XII wieku a architektoniczna ekspozycja ołtarza w epoce gotyckiej

This article, while taking into account the mystical reality of a relic, defines gothic initiated by the abbot Surger with the construction of the first gothic basilica in Saint-Denis near Paris in the XII century, as a reality required to know the difference between individual invisible beauty and corporeal visible beauty. When the differentiation of these types of beauty shows itself, not only thanks to the unknown in Romanism mystical structure of architecture in a gothic temple, but also through the construction of the gothic altar and hiding it in a choir enclosed by a lectorium in accordance to the zone of aisles, there is a necessity for a scientific definition of beauty connected with the then contemporary stylistic changes.This is why this article presents the main schools of aesthetic thought from the XII century, which include: the aesthetic school of Hugon of St. Victor in Paris, Cistercian school with their representative St. Bernard from Clairvaux and the aesthetic school in Chartres. With the definition of artistic types of beauty, a lot of attention is applied to the separation and coexistence of spiritual and corporeal beauty. This decides about moral beauty and the beauty of clear existence, without which there is no right knowing of the ascetic Cistercian architecture and the reality of the gothic curtain altar. Finally it is emphasized, that the importance of twelfth century aesthetics is everlasting and had introduced order to gothic architectural space, which is still found in it now, as it had been in the time of abbot Surger of Saint-Denis.

Why the Eschscholtzia?

Doubtless our sunny plains, shady canons and mountain forests yield types of floral beauty more delicate than the Eschscholtzia and some of them equally characteristic of California; why then should this poppy-like flower have been selected as the State's floral emblem?1 The snow plant of the Sierra stem, leaves, flowers and all of the richest crimson is peculiar to California and the subject of universal and unbounded admiration. The lily family, an alliance of plants abounding in flowers of signal beauty and elegance, has plenty of distinctly Calif ornian types not excelled by their relatives of other parts of the world. The lilies themselves, as they adorn our mountain woods and stream banks, might have furnished a State flower; or, even more appropriately, their near ally, the Calochortus, or butterfly tulip, or Mariposa lily, as it is popularly called. These, with our Brodiaeas and other lily-like flowers, are coveted throughout the world by flower growers as among the most surpassingly beautiful of all the plants indigenous to California. Even the blue and white and purple-flecked Nemophilas, or their kindred, the Phacelias, whose masses of bloom impart to our wheat fields in March the hues of the sky overhead, might have furnished a good floral emblem. But the State flower must be that of a plant more generally disseminated throughout our commonwealth, more conspicuous in a word, more popular than any of these. The Sarcodes, or snow plant, gorgeously beautiful though it be, is limited to the woods of the upper Sierras, where in its native vigor and freshness, perhaps not more than one in a thousand among us will ever behold it. And it steadily refuses to be cultivated; moreover, it is after all only a splendid parasite, and California is not a parasite State. The delicate yet brilliant Mariposas put forth their white, or red or yellow pendants in the shade of thickets, or among the more inaccessible places of the mountains. They are matchless among our wild flowers, in both form and coloring, but they are too select and retiring for popularity. The grain field flowers of spring, painting whole landscapes, are both short lived and local. They are of the great interior valleys but not of the whole State. All the prerequisites of an acceptable floral emblem for California meet in the Eschscholtzia. It is a plant of singular beauty. The delicately-cut foliage, the graceful stem, the satin-like luster of the golden petals all these combine to make such a plant as flower lovers in all parts of the world have prized highly ever since the