Aesthetic Concepts Research Articles

АРХИТЕКТУРНЫЙ ТЕКСТ КАК СРЕДСТВО РЕАЛИЗАЦИИ ЭСТЕТИЧЕСКОЙ НАПРАВЛЕННОСТИ ОБУЧЕНИЯ ИНОЯЗЫЧНОЙ КОММУНИКАТИВНОЙ ТЕКСТОВОЙ ДЕЯТЕЛЬНОСТИ (НА ПРИМЕРЕ АНГЛИЙСКОГО ЯЗЫКА)

The article considers text activity as a part of an architect’s professional communication for performing their job responsibilities which are determined by the aesthetic gist of architectural practice. As the major approaches to foreign language teaching have been reviewed, it is concluded that foreign-language communication competency is developed preferably in the course of studies which integrate the tasks of language training and subject educational textual activity in the target language. An architectural text is considered through its informative content including content-factual, content-conceptual and aesthetic types of information; and two types of text activity are defined depending on the text informativity and its communicative intention. By the example of several architectural text tasks, it is demonstrated that the focus on interpretation of factual information and comprehension of conceptual information generates communicative activity which can be aimed at individual comprehension of the architectural and aesthetic conception. Motivated subjective perception of the text subject enables to perceive aesthetic information and thus encourages development of aesthetic component of a student’s foreign-language communicative competence. The text activity addressed this way assures realization of aesthetic aspects of professional communication.

Issledovanie ob"edineniya ponyatiya i ob"ektivnosti v kitajskoj daosskoj muzykal'noj mysli na primere koncepcij Laoczy i Chzhuanczy

In the study of Chinese Taoism, it is customary to compare the ideas of Zhuangzi and Laozi, which are both similar and different in philosophical musical and aesthetic concepts. This article analyzes the general views of Zhuangzi and Laozi on the musical-aesthetic concept, explores the subjective understanding of the internal factors of music, its “self-existence” and “selfhood”. The study presents an analysis of musical aesthetics, outlined in Laozi’s book, reveals its new meaning and significance in traditional Chinese culture.

О толковании художественного произведения

Author of the article focuses her attention to the issue of interpretation of works of art, including musical compositions. In works devoted to issues of aesthetics, philosophy and literary studies this issue is frequently elucidated in an abstract, sublime vein insinuating at the impossibility of total comprehension: a “trick” which “must be impenetrable to complete explanation by words” (Leo Tolstoy), “an unconsciously carried out mystery” or “the soul of the work of art” (Ivan Ilyin), or “the artistic world” possessing “inner unity” defined by the overall of a work of art or of an author, the style of a literary direction or “the style of the epoch” (Dmitri Likhachev). To what degree are these conceptions applicable to a musical composition? The author is convinced that contemporary musical practice as the result of its diversity requires the search for a corresponding method of analysis. Depending on the type of the musical composition, it must be examined through the prism of such aesthetic conceptions as the beautiful (for example, Valery Kikta’s “The Return of St. Cecilia”), “the unity of oppositions” (Pavel Karmanov’s “Favorite Hated City,” Sofia Gubaidulina’s “The Seven Last Words,” etc.). Special approaches must be found for intertextual compositions (such as, for instance, Vladimir Martynov’s Vita nova and Valentin Silvestrov’s “Mozart’s Moments”) and compositions practically not possessing content to which such aesthetical terms as “ironic play” or “artistic deceit” (Georges Aperghis’ Simulacres) may be applied. The well-known music of the past also presumes a search for new methods of analysis. As the central term for studying a musical work of art the author proposes the term “music as a text,” initially suggested, presumably, by Alexander Mikhaylov. The article demonstrates that music is capable to tell about itself by itself. As an example, analysis is made of Franz Liszt’s Ave Maria, the numerous versions of which, having appeared at various stages of the composer’s artistic path, comprise a hyper-cycle, according to the author. In this hyper-cycle becomes an event for the listener, in which it could “read” the change of the musical morphology and syntax.

The effect of politics on the formation of urban aesthetics, the case of Iran

Urban aesthetics is a complicated issue that needs further evaluation of its physical specifications in a city. This article examines urban aesthetics through the historical political patterns and urban planning and development process. The aim is to reveal the relationship between the formation of urban aesthetics, the urban planning process, and the political impact. Iran as the case of a developing country with a different socio-political context and national system is selected for this aim. Path-dependency analysis has been used as a methodology to provide a framework to understand urban aesthetics followed by different socio-political periods and planning processes. Three political periods have been selected for analysis in which the country gained most of its unprecedented changes in political, and social aspects. Analysis results demonstrated that urban aesthetics is more dependent on the political path dependency than the planning process while still the same planning approaches have been carried out in the country. • Performance systematically analyzing exogenous contingent events and trajectories in different historical/ political periods. • Performance systematically analyzing urban legal sources and regulations from the perspective of urban aesthetics. • Analyzing planning and legal sources in developing countries and in a different socio-spatial context. • Performance the involvement, development and continuity of different concepts of urban aesthetics. • Performance difference of developed and developing countries in the scope of urban aesthetics.

Cassirer und Husserl

This article inquires firstly into the descriptive and affective function of images as examples and exemplars in both Cassirer’s and Husserl’s conceptions of perception and aesthetics in order to disclose their respective relationship to reality, that is, mimesis. In view of the correlation between symbolic comportment and symbolic forms at Cassirer, it will secondly show that the ensuing hermeneutical circle can be overcome by taking recourse on Husserl’s genetic analyses on passive sense constitution. It will thus set the basis for a “hermeneutics of expression” that should, thirdly, shed light on the possibility of establishing an aesthetical knowledge. For this purpose, it will disclose an excess of sensuous expression that is determined by a pre-categorial limit-concept within the process of sense-formation. This inquiry shows that, while images as examples are characterized by their ideal arbitrariness, aesthetic images as singular and categorially determined exemplars can be understood as the affective expression of reality.

Китч, кэмп и кринж как агенты профанации

The article is dedicated to the definition of the term “cringe” placed in the modern ethical and aesthetics discourses. The author claims that camp aesthetic, generally described in Notes on Camp by Susan Sontag, is the closest to cringe. To reveal their similarities, there is a following separation in the actual understanding of cringe, namely, cringe1 as a direct reaction of shame on something external, the basic definition of cringe; cringe2 as a deactivated or sublated cringe, meaning by sublation the moment of cringe being turned onto itself, collapsing and allowing people to stay themselves. Cringe2 is what the author compares with camp as an aesthetic of vulnerability and “failed seriousness,” while cringe1 reveals similarities with kitsch. Critical analysis of camp indicates that camp as a style still exploits vulnerability, therefore it doesn’t complete the therapeutic work it has started. As an alternative or post-camp aesthetics, the author proposes to highlight the conception of hypo aesthetics (Michael Kurtov) by which one may accept reality as it is. Based on texts by Giorgio Agamben Profanations and The Coming Community, the author comprehends cringe as an agent of profanation and an actor of liberation from dispositives of power. Unlike the other actor — parody, which is based on a distance to its subject, there is a fact of disappearance of this distance at the core of cringe. According to the author, this specificity of cringe allows the radically profane revelation to happen. Thus, transgression by the means of cringe becomes possible. An example of such transgression can be found in works by Georges Bataille and contemporary psychedelic cinema (Everything Everywhere All at Once, 2022).

Laboratories for Organizing People: Selected Essays on Art and Byt

Laboratories for Organizing People: Selected Essays on Art and <i>Byt</i>

Prioritising and gender differences on aesthetics of mobile phone usage through users' perspectives

Aesthetics is an important trend in management research in recent years. Mobile phones are also necessary for everyday life. Mobile phones combined with the concept of aesthetics to emphasise whether users and their genders will have preference differences, is a good topic that is worth studying. The purpose of this research is to measure, prioritise and compare gender differences on aesthetics of mobile phone usage by users' perspectives. Analytical hierarchy process (AHP) methodology is adopted to analyse the data. According to the study, aesthetics of mobile phone usage is categorised into three types: visual sense, auditory sense and tactile sense. Gender differences on aesthetics of mobile phones are significant. The results show that visual sense is the most important one in mobile phone use. The findings suggested that mobile phone service companies to adopt the understanding of designing aesthetics of mobile phone users.

PREDLOG ODREĐENjA POJMA MUZIČKA KRITIKA I TIPOLOGIJE KRITIČKIH TEKSTOVA MEĐURATNOG DOBA U SRBIJI

The paper presents a proposal for defining the concept of music criticism and types of critical texts. The historical development of music criticism, its problems, methods, goals and main representatives are presented. The history of music criticism is ideologically connected with music, and primarily appeared in occasional publications. Criticism of musicians began continuously in the middle of the 18th century, when the first open discussions on various issues of music appeared. Jean-Jacques Rousseau, Johann Mattheson and Charles Burney stand out among the first music critics. The last years of the 18th and the beginning of the 19th century were marked by change, and now the main patron of music, and therefore of criticism, became the middle class and not the previous aristocracy. It is important to apostrophize the fact that criticism of the 18th century was predominantly focused on vocal music, while instrumental music had a subordinate place. Vocal music, according to the aesthetic concepts of the time, represented the pinnacle of musical expression, and criticism had the task of continuously and tirelessly promoting it. In the 19th and 20th centuries, the situation changed, and instrumental music gained a prominent place in criticism.

The Contrast between Japanese and Chinese Gardens – Taking Humble Administrator’s Garden in Suzhou and Katsura Imperial Villa in Kyoto as Examples

Garden culture has evolved through thousands of years to create its own distinctive features in both China and Japan. Chinese culture also had a major influence on Japanese culture, which is seen in garden culture. Both the Humble Administrator’s Garden and the Katsura Imperial Villa were built during the same eras, the Ming Dynasty and the Edo era, and they are considered to be the greatest examples of Japanese and Chinese garden architecture. The garden design, water features, and rock elements of the Humble Administrator’s Garden and the Katsura Imperial Villa are thoroughly compared in this study to highlight their commonalities and differences. It explores the factors behind these distinctions, encompassing the design and aesthetic concepts of the two countries, while considering the influence of cultural, economic, and natural factors. Additionally, the research uncovers key findings, shedding light on the distinctions between these two gardens and the influential factors, including cultural, economic, and natural influences, shaping their unique characteristics. The study delves into historical, geographical, and cultural influences, unveiling the distinct preferences and philosophies of Chinese and Japanese garden aesthetics. Ultimately, this research extends readers’ comprehension of Chinese and Japanese garden art and culture, fostering positive cross-cultural understanding and communication between the two nations. Through comparison and analysis, readers gain a deeper understanding of the underlying ideologies and aesthetics of these two cultures, promoting greater exchange and mutual enrichment in the realm of Sino-Japanese garden art.

The Similarities and Differences between Chinese and Western Art on the Expression of Aesthetic Concept of "Characteristics"—Read Philosophy of Art

The Similarities and Differences between Chinese and Western Art on the Expression of Aesthetic Concept of "Characteristics"—Read Philosophy of Art

The Subversion and Reconstruction of Visual Design Concepts by Contemporary Artistic Trends

Throughout its development, design has been influenced by artistic trends of the time. This article explores how the contemporary art movement challenges and redefines the ideas, methods, visual expression, and language of visual design by discussing the subversion of aesthetic concepts, visual language, and new media in contemporary art.

A study of narrative traits and insight of Chinese animation films: From the Irish ethnic animation “wolf walkers”

Ethnic culture, with its high plurality and openness, offers an invaluable and heterogeneous resource for the animation creation. Irish animation transforms Celtic stories into artistic texts and exports animated films with cultural core to young people around the world. The animated film Wolf Walker created by Tom Moore takes the Celtic legend as its creation source, which strongly shows the aesthetic characteristics of nationalization and historization. This paper studies ethnic animation films based on the film Wolf Walkers, analyzes the visual elements and narrative material. Based on these, it summarizes the develop strategies and ways out of Chinese animation films: The rational use of traditional cultural resources combined with modern aesthetic concepts shows the rich forms of traditional stories after being retold in modern society and the modern identification of national culture.

Психология искусства в транзитивном мире: эстетика перемен

Background. The modern changeable and uncertain situation actualizes the problem of art, which is able to reflect the emotional experiences of people, harmonize their ideas about themselves and the world, and also play the role of a certain coping strategy that helps to overcome uncertainty and variability. Objective. The study aims to work out the theoretical and methodological analysis of trends that have existed in the art of the XX–XXI centuries. Methods. Comparative analysis of the concepts of the psychology of art in the XX–XXI centuries and the new aesthetic concepts of the last decades of the XXI century is carried out. Results. The results obtained showed that contemporary art combines the aesthetics of everyday life and the “torn” aesthetics of abrupt changes. Crystallization of artists and viewers’ experiences connects them with a commonality of emotions and attitudes to the situation. The mechanism of both creativity and catharsis is the mutual “spots of time”, leading from disharmony to harmony between the human and the world. Conclusion. The changed situation throughout the world leads to change in the “language” of art, which obtains new mechanisms of emotional impact. Aesthetics of transitivity connects aesthetic transformations with everyday life, making new images familiar. This leads to the fact that these images become a new type of aesthetics and help to get used to the transformations.

Cross-cultural Study of Aesthetic Concepts and Philosophical Depth—Taking Makeup as an Example of Eastern and Western Aesthetics

Cross-cultural Study of Aesthetic Concepts and Philosophical Depth—Taking Makeup as an Example of Eastern and Western Aesthetics

Пролептический символ «бабочка» в «Коллекционере» Джона Фаулза: семантико-семиотический аспект

The aim of the study is to present the semiotic mechanisms of the artistic and plot realisation of a proleptic symbol in the metatext of a postmodern novel. The symbol of “a butterfly” was considered using the material of the metatext of the novel “The Collector” by John Fowles in various semantic and semiotic aspects. The analysis of the plot, language and characters of the novel showed that the symbol of “a butterfly” is realised in the semiotic space of the novel as a symbol of “beauty”, “art”, “collecting” and “death” and also functions in the metatext as a proleptic (preliminary) symbol. Another proleptic symbol (“a collector”) was analysed as the paratext of the novel. The complementary symbols of “a butterfly” and “a collector” make it possible to expand the semantics of the metatext of the novel to the general philosophical and aesthetic concept of the author. The study is original in that it is the first to carry out a comprehensive analysis of the proleptic symbol of “a butterfly” and identify variants of contextual “reading” of this sign-symbol at different levels of the metatext of the novel. As a result of analysing the text of the novel, the researcher has managed to identify the mechanism of semiotic reading of the metatext: the dominant role in structuring the metatext is assigned to the sign-symbol of “a butterfly” and the accompanying sign-symbol of “a collector”, which perform a proleptic function and are realised in a variety of symbolic meanings in the context of the novel.

Trauma Therapy: Literary Concept of Overcoming Collective Pain (considering the works of modern Ukrainian prose)

The article studies the literary concept of tragedy in contemporary Ukrainian prose about Soviet past. The problem is relevant, because the trauma is important in the consolidation of Ukrainian society, affected by new trials. The subject of literary analysis is the comprehension of the Kurenivka man-made disaster of 1961, the history of which was declassified only in the era of independence. The novels “Life in Pink” by Halyna Horytska and “The Thaw Book. 1954–1964” by Tymur and Olena Lytovchenko. The author of the studio is guided by the theories of “collective trauma”, “culture of wound”, “trauma therapy”, “place of memory”. Accordingly, the literary model of collective tragedy is analysed. It is determined that the depiction of trauma in the context of memory of the Soviet past in both novels has many common features, namely: showing a characteristic of victims and perpetrators (a specific perpetrator — a representative of the authorities; a generalised perpetrator — the Soviet system; a perpetrator — relative); giving the places of remembrance the signs of grief by tracing the immediate destruction of objects in space; describing the death as understanding the transition of the soul to the afterlife; demonstrating memory erasure (forced silence of trauma, deliberate refusal of memory); identifying categories of remorse and punishment (suicide).The similarity of the author’s means of artistic speech is revealed: the combination of fiction and nonfiction, the introduction of journalistic comments and emotional judgment, giving semantic weight to details-symbols. The novelty of the study is the expansion of theoretical views on the problem of trauma in literary work, modeling the image of tragedy in the context of memory of the Soviet past. Further study of the problem is promising in the analysis of the aesthetic concept of the traumatic past, which is comprehended in modern prose.

The World as a Hospitable Space

In this study I intend to prove that there is a close connection between ethical purposes of Environmental Philosophy as World Philosophy and the idea of sacred nature as part of the “world” in a phenomenological sense, which includes sacred space as defined in the philosophy of religion. The main points that intersect here are: the idea of sacred space; the perception of virtue in a sacred world; the beauty of creation: nature, life, human sensibility. The theoretical background of this study contains points of view that express phenomenological, hermeneutic, theological, and aesthetic conceptions belonging to authors and exegetes such as Mircea Eliade, William E. Paden, David Cave, Ion Ianoși, Douglas Allen, Arnold Berleant, and Vincent Blok. I believe that the neglect of the environment-as-a-condition-of-life (the consequences of which can already be seen in ecological imbalances) is caused by, among other factors, the desacralization of human attitudes towards nature and the world of life. Few people still have a feeling of sacred nature or the aesthetic emotion of perceiving beauty in natural forms. The relationship with the environment and nature is reduced to its exploitation as a source of economic profit or as a way for spending free time, a source of personal comfort devoid of any spiritual significance. Surely we cannot go back to archaic religions or medieval Christianity, but we can reintegrate into our moral values something of those cultures’ admiration and respect for the beauty/sublimity of nature and the world as expressions of divine creation, as something sacred. Philosophical debates related to this retrieval and their dissemination could be part of solving the ecological problems of the contemporary world.

Entering aesthetic concept into the field of patient education: A protocol for an interdisciplinary study to develop a conceptual model.

According to the significance of patient education, new conceptual models are constantly required to promote pedagogical competences of health educators. In the field of educational sciences, aesthetic-based education is known as one of the effective types of curriculum planning which has shown many positive pedagogical outcomes. Thus, the researcher's assumption is that, the concept of "aesthetic education" could be transposed from educational sciences to health sciences in order to develop a new formula in the patient education process. The purpose of this study is to explain methods in detail, to develop an aesthetic-based patient education conceptual model through the concept derivation strategy. 1. Scoping review and inductive data analysis using Walker and Avant's approach to achieve conceptual categories of the concept "aesthetic education." 2. Semi-structured qualitative interviews and directed content analysis to extract the main categories of the concept "aesthetics in the patient education process." 3. Drawing an aesthetic-based patient education conceptual model by allocating new conceptual components to each general step of the patient education process, including needs assessment, goal setting, implementation, and evaluation. 4. Modified Delphi technique to validate the final conceptual model. The first phase will represent the main categories and subcategories of attributes, antecedents, and consequences of "aesthetic education." The second phase will show the main categories and subcategories of attributes, antecedents, and consequences of the new concept named "aesthetic-based patient education." In the third phase, it is expected to achieve a new conceptual model representing the components of aesthetics in the general steps of the patient education process. The fourth phase will propose the final validated conceptual model. The provided study protocol can be a road map to developing derivative models through concept derivation strategy in health sciences.

Vechnyj duh sozidaniya: ob ekologo-esteticheskom vzglyade na kartiny drevnekitajskih pisatelej

Ancient Chinese literati paintings artistically interpret the relationship between man and nature by introducing a sense of human morality into the consideration and treatment of the relationship between man and nature, the ecological aesthetic aspirations of individuals are expressed. The ecological aesthetic concept in ancient Chinese literati paintings still has modern significance.