Aesthetic Meaning Research Articles

Sasolahan Sanghyang Oncesrawa At Penataran Sasih Temple, Desa Pakraman Pejeng Tampaksiring District, Gianyar Regency

<p>The Sanghyang Oncesrawa dance is not just a mere spectacle dance, this dance is in a state of unconsciousness, dancing on a burning fire and even though there are no signs of burning the body parts of the dancers. This dance is not a show or show off strength. The Sanghyang Oncesrawa dance is motivated by the loss of a beloved horse, the king of Bali, namely Sri Gajah Waktera with the title Sri Asta Sura Ratna Bumi Banten, a white hairy horse with a very powerful black tail named kuda oncesrawa. King Bedahulu's favorite horses disappeared and never came again. To commemorate the horse named Oncesrawa, the Sanghyang Oncesrawa Dance was performed in the Sasih Penataran Temple. This dance is classified as the art of sacred dance and when dancing mattress, moves agile (dangkrik-dingkrik = Balinese language) like horse movements. The research was conducted to multiply, raise, explore, socialize, religious dances, especially the Sanghyang Oncesrawa Dance, which so far still many people do not understand correctly. Qualitative research was carried out in the Sasih Penataran Temple through a cultural approach with data sources from figures, dance artists, <em>pemangku, serati</em>, library and photos. The results of the research analysis showed that the Sanghyang Oncersrawa dance is a sacred dance that is only danced on <em>piodalan</em> / large ceremonies (Ngusaba Nyatur), dances on coals in a trance state, bringing <em>pratima / arca / pralingga</em> of Sanghyang Oncesrawa, dances in a row while kicking a burning fire. The Sanghyang Oncesrawa dance has a function, namely; religious, sanctification, social and aesthetic. Sanghyang Oncesrawa dance has religious, sanctification, social, and aesthetic meaning.</p>

반복적인 리듬 특성을 지닌 영화음악의 고찰 - 필립 글래스(Philip Glass)의 영화음악에 관한 미학적, 기능적 의미를 중심으로 -

반복적인 리듬 특성을 지닌 영화음악의 고찰 - 필립 글래스(Philip Glass)의 영화음악에 관한 미학적, 기능적 의미를 중심으로 -

Cinema is a country: The transgressive power of images in The Sea is Behind by Hicham Lasri

Abstract Since 2013, the Moroccan filmmaker Hicham Lasri has released a film each year, each of which has met with success at international festivals. All of these films transgress narrative and aesthetic cinematic boundaries, and is no exception: in a fable about the relations between human beings in a society that is losing its ethical and moral orientations, it invites us to consider our perception of the Other. The first part of the article addresses the active construction of its narrative from narrative fragments; the second part focuses on the ways in which the film's fragmented/composite narrative structure is reinforced by aesthetic means, so that, as the complex theme of the position and perception of marginalized groups is developed, new perspectives open up at the interstices, creating an impression of the dehumanizing conditions of life in this society.

From Chanel to Halston: The Mythology of Fashion Costumes on Modernist Stages

When recognizable designer couture costumes the modernist stage, it adds layers of aesthetic, choreographic, and social meaning via extrascenic reference, a capacity to alter and reshape bodily movements, and the relationship to the pleasures and politics of women’s material culture. Onstage couture can confer a kind of contemporary mythological resonance upon performance — what I call the “mythic fashion unconscious.”

ДЕКОРАТИВНЕ МИСТЕЦТВО ЯК ЗАСІБ ХУДОЖНЬО-ЕСТЕТИЧНОГО ВИХОВАННЯ УЧНІВ

The article emphasizes the importance of the use of decorative arts in the formation of artistic and aesthetic culture of student youth; the emphasis is on the expediency of using different types of folk crafts (wood processing and decoration, ceramics, carpet weaving, lace, embroidery, easel painting, beading, etc.), which is connected with regional peculiarities of Ukrainians, by nature, by labor.We consider artistic and aesthetic education as an integral part of aesthetic education, since it is about the formation of aesthetic culture through art. Artistic education in this context concerns the influence of means of art on the personality, the cultivation of artistic feelings, tastes, love of art, the ability to understand it, enjoy it, the ability to create. Aesthetic education is a deeper concept, because it touches on all human life, behavior, work, creativity, and relationships. Therefore, the purpose of artistic and aesthetic education is that, through perception, interpretation of works of art and practical artistic and creative activities, to form the students’ personal and value attitude towards reality, to develop aesthetic consciousness, general cultural and artistic competence, the ability to self-fulfillment.Artistic and aesthetic education by means of decorative art involves the direct involvement of schoolchildren into work. By performing labor activities on a particular fishery, students experience the aesthetic bases of the subject of activity, perceive beauty, respond to it, try to create their own. Therefore, it is important to select the objects of labor. In addition, folk crafts are closely linked with nature, which is the raw material, the world of artistic patterns, a source of aesthetic education.Aesthetic environmental factors have a significant influence on the formation and development of aesthetic flavors and creativity: the design of an institution building, the area, the arrangement of a school class, museum, chamber, etc. Their appearance, harmony of lines and forms, color, variety of content, they contribute to the formation of artistic perception and aesthetic assessments. Therefore, perspective, we consider the involvement of children into the design of educational facilities in folk style, a combination of modern and traditional aesthetic means of scenery of the student environment, which will be: products made by the children and works of art of skilled craftsmen.

Modern Dictatorships and Their Art Worlds

Modern Dictatorships and Their Art Worlds

Transnational Memory Spaces in the Making: World War II and Holocaust Remembrance in Vienna

The authors examine three recent large-scale mnemonic projects and transformation processes in Austrias’ capital, Vienna: The staging of celebrations of May 8 as a “day of joy” at Heldenplatz in the city center, the subsequent reshaping of Heldenplatz, and the placing of pavement memorials dedicated to victims of the Shoah throughout the cityscape. The article is based on the sociological concepts of “synthesizing” and “spacing” as well as a recently conducted survey of all signs of remembrance referring to political violence during National Socialism in Vienna. In order to identify differences and similarities, the authors examine mnemonic actors that drive transnationalization, specific practices of producing spaces of remembrance that reach beyond national and municipal borders, as well as the effects of transnationality, normative frameworks, and esthetic means developed and used by agents of transnationalization. One of the key findings is that “transnationality” is rarely an explicitly intended objective of actors. Rather, it emerges through specific practices applied by actors located at diverse political scales in an attempt to achieve their objectives in a particular local political and spatial setting.

Poetic and Pictorial: The Correlation of Categories in the Work of N.V. Gogol

The article examines the problematics of representativeness as a characteristic feature of Gogol's creativity. It is noted that the picturesque style of Gogol's style is associated with various manifestations of the sublime category such as pathos, the desire to portray some colossal and stunning objects. At the same time, Gogol's verbal painting cannot be regarded as an ecphrasis. Categories of pictorial and poetic in the aesthetics of Gogol expand their own meanings, absorbing and simultaneously overcoming both hypotyposis and coloristics as characteristics of style. The picturesque of Gogol does not compete with the poetic, but radically changes its direction, appealing not to external but to inner feelings. Gogol's description of the picture of Bryullov and the interpretation of Ivanov's painting are related, because the depicted historical events acquire a universal sacred meaning in Gogol's description. The sublime modus of Gogol's creativity sets the direction for the embodiment in the word the ideas, with are unseen and invisible. In this way, both poetical and pictorial show insufficiency of their aesthetic means.‌

The Sound of the Unsayable: Jewish Secular Culture in Arnold Schönberg and Aharon Appelfeld

This article examines the use of central elements of the Jewish religious repertoire and transcendental realm, such as prophecy or revelation, within the aesthetic secular realm of musical avant-garde and modern Hebrew literature. By focusing on two case studies, I attempt to shed new light on the question of Jewish secular culture. Arnold Schoenberg (1874–1951), an Austrian Jewish composer, was born into an assimilated Viennese family and converted to Protestantism before returning to Judaism in the 1930s while escaping to the United States. Aharon Appelfeld (1932–2018), an Israeli Jewish writer, was born in Czernowitz to assimilated German-speaking parents, survived the Holocaust and emigrated to Israel in 1946. My claim is that in their works both composer and author testify to traumatic experiences that avoid verbal representation by: (1) subverting and transgressing conventional aesthetic means and (2) alluding to sacred tropes and theological concepts. In exploring Schoenberg’s opera Moses und Aron and Appelfeld’s Journey into Winter among others, this article shows how the transcendent sphere returns within the musical and poetic avant-garde (musical prose, 12-tone composition, prose poem, non-semantic or semiotic fiction) as a “sound” of old traditions that can only be heard through the voices of a new Jewish culture.

Cities and Culture:

Research HighlightsIn the quest to develop cities for the long run, the debate is whether to retain elements of culture or to reinvent such spaces for new uses. Cultural heritage preservation thus becomes an issue in urban planning, particularly in developing countries including Malaysia (Mohd Shakir Tamjes et al, 2017). Scholars mention that Kuala Lumpur needs to create a distinctive city identity and image if it is to achieve its bigger goal of becoming a World-Class City by 2020 (Mohamad Asri Ibrahim et al, 2017). A question raised by researchers is whether the policies to safeguard heritage buildings in Kuala Lumpur is comparable to the practices in UNESCO heritage sites such as Malacca and Georgetown (Mohd Shakir Tamjes et al, 2017). Through participant observation, combining focus group discussions, content analysis, photography, and videography, I outline how the preservation of one particular historical building, a Chinese clan association, increases the cultural value of the city’s surroundings in Kuala Lumpur, as well as being a major tourist attraction. This makes the case for the continued retention of historical buildings and practices, despite overarching social changes such as super-diversity (Vertovec, 2007). 
 Research Objectives
 This paper makes the case for preserving a particular heritage building, namely the Chan See Shu Yuen Clan Association Kuala Lumpur & Selangor (CSSYKL), a clan association, pre-war historical site, and tourist attraction. 
 Methodology
 How does the preservation of CSSYKL increase the cultural value of the city’s surroundings in Kuala Lumpur? This research question is answered through fieldwork by the project leader through participant observation which included photography, videography, content analysis of secondary documents, and focus group discussions with clan leaders and members. Photographic evidence is provided to argue for the case of enriching place attachment through the retention of meaning for inhabitants of Kuala Lumpur, due to the special nature it possesses. For example, Monnet (2014) conducted a photoethnography of urban space in the form of a multimedia essay, referring to the “production of data” rather than the “collection of data”. Monnet (2014) explained that images and sounds allow for attentive observation of the smallest details of daily life, and that the ethnographer experientially chooses to interpret and define what should be recorded in their photography - hence the “production of data”. This renders photographic evidence the best form of data for the case of cultural heritage preservation within the urban. Photographs were also harvested from stills captured in Google Maps under the Street View, where the journey was screen captured using Game DVR, a software which comes enclosed with Microsoft Windows 10.
 Results 
 The photographic evidence shows how the preservation of cultural heritage buildings add character to the presence of Kuala Lumpur Chinatown, or Petaling Street. In the case of CSSYKL, it provides the historical elements as well as familiarity given its longstanding association with Kuala Lumpur’s history, and thus evokes the symbolic aesthetic. It provides symbolic aesthetic meaning to the future of Kuala Lumpur’s development and enriches the local cultural expression in league with the Malaysian National Cultural Policy. Ultimately, it guarantees that no matter how developed or industrialised Kuala Lumpur is, what with the move into the Fourth Industrial Revolution and the Internet of Things, there will still be cultural meaning and place attachment resonant within the heart and soul of Kuala Lumpur. Even in the face of super-diversity, the clan association building will still reinvent itself as a place of attachment not only to those of Chinese descent but to all who are interested to appreciate its value.
 Findings
 Chan See Shu Yuen Clan Association Kuala Lumpur & Selangor (CSSYKL) is one example of a historical building which functioned not only in the past as a community centre for the Chinese who migrated to Malaya in search of economic opportunity, but still retains its functions today as a gateway to maintaining links with Mainland China, especially in the economic dimension. Simultaneously, the heritage building also attracts tourists from all around the world, including those from China and local tourists themselves.
 Acknowledgement
 This research work is supported by the Ministry of Education of Malaysia under Grant Number FRGS/1/2018/WAB12/UKM/02/1 (Superdiversity Networks: Cantonese Clan Associations in Malaysia as Transnational Social Support System).
 

Creative visions: Presenting aesthetic trajectories in artistic careers

How do creative producers present aesthetic consistencies and variations within their bodies of work over their careers? I address this question by drawing on over 100 interviews and over two years of fieldwork in the New York City contemporary art market. I examine how contemporary visual artists’ recognition and access to visual and narrative resources for presenting their works shape how artists draw formal and conceptual connections among their works. I show that uninitiated artists work to present strong statements of their creative visions, emerging artists strive to produce connected candidates for iconicity that signal the breadth and core elements of their creative visions, and established artists try to create associations with the iconic that link new work to recognized elements of their creative visions. The article extends sociological understandings of artistic content and careers by revealing the relational process by which producers, intermediaries, and consumers construct aesthetic meaning.

STUDY OF DECORATIVE VARIETY IN GORONTALO KARAWO FABRIC IN AESTHETIC AND SYMBOLIC ELEMENTS

This study aims to examine the decorative types of Gorontalo karawo fabrics in aesthetic and symbolic elements. Researchers want to know as made in the research design, aspects that are present in the decoration of fabrics in aesthetic and symbolic elements. This study uses a number of related theories to get results, and as a determinant, the authors use aesthetic theory, as well as historical approaches. With this theoretical basis, the author seeks to describe the aesthetic aspects and symbolic meanings that exist in Gorontalo karawo fabric. Through the data collection of the chosen motif and provide a classification of motives, the part is used as a reference for research material. The results showed that Gorontalo filigree had an aesthetic value consisting of unity formed from the overall decorative motifs displayed, complexity formed by complexity in the manufacturing process, and intensity of seriousness in the manufacturing process or the impression displayed on the filigree motif. The aesthetic form also reflects the diversity of meanings for communication, such as the symbol of a leader with his noble instincts, a symbol of cultural cooperation, which is worth maintaining, and ideas about nature conservation. This research proves that the decoration in Gorontalo filigree cloth (karawo) does not only act as a visual value, but also as a communication of cultural meanings and social status. Of all these distinctive motifs show a relationship between humans and humans and humans with nature. The influence of culture from the Philippines is also known to have a strong influence on the emergence of the Gorontalo filigree namely manila filigree.

STUDY OF DECORATIVE VARIETY IN GORONTALO KARAWO FABRIC IN AESTHETIC AND SYMBOLIC ELEMENTS

This study aims to examine the decorative types of Gorontalo karawo fabrics in aesthetic and symbolic elements. Researchers want to know as made in the research design, aspects that are present in the decoration of fabrics in aesthetic and symbolic elements. This study uses a number of related theories to get results, and as a determinant, the authors use aesthetic theory, as well as historical approaches. With this theoretical basis, the author seeks to describe the aesthetic aspects and symbolic meanings that exist in Gorontalo karawo fabric. Through the data collection of the chosen motif and provide a classification of motives, the part is used as a reference for research material. The results showed that Gorontalo filigree had an aesthetic value consisting of unity formed from the overall decorative motifs displayed, complexity formed by complexity in the manufacturing process, and intensity of seriousness in the manufacturing process or the impression displayed on the filigree motif. The aesthetic form also reflects the diversity of meanings for communication, such as the symbol of a leader with his noble instincts, a symbol of cultural cooperation, which is worth maintaining, and ideas about nature conservation. This research proves that the decoration in Gorontalo filigree cloth (karawo) does not only act as a visual value, but also as a communication of cultural meanings and social status. Of all these distinctive motifs show a relationship between humans and humans and humans with nature. The influence of culture from the Philippines is also known to have a strong influence on the emergence of the Gorontalo filigree namely manila filigree.

Spanish Composers within and without Borders: On National Belonging in the Work of Ramon Lazkano and Carlos de Castellarnau

This article looks at two Spanish composers active in France—Carlos de Castellarnau and Ramon Lazkano—to develop a reflection about how national belonging is used in contemporary art music, specifically for its evaluation and the discourses that are created around it. We see that despite both composers rejecting any essentialist definition of themselves as ‘Spanish’, ‘Basque’, or ‘Catalan’ composers, these labels are continually used to describe them and their music, even though these labels have no specific aesthetic meaning. We reflect on why national origin is used to categorise composers, even in light of their typically transnational career paths. The conclusion addresses the tension between universalism and authenticity that is present when evaluating the work of composers who have followed migratory paths.

The Making of Prints: Forms and Techniques of Printmaking in Nigeria

Printmaking is a novel medium of artistic expression whose invention transcends the necessity to pragmatically disseminate information; it also cuts across the ecstasy of creative experimentation. The print is the ingenious creation of an artist, who instead of the paintbrush and canvas has chosen printmaking tools to express himself. This medium enjoys a considerable influence among the contemporary Nigerian artists who engage in its production as an aesthetic means of expression. How are these prints produced? What form does the prints take, and what techniques are employed? Relying on field investigation, this paper reveals how printmaking artists in Nigeria have explored the possibilities of the medium to create prints in a unique style and form. Keywords: Printmaking, Nigerian art, printmaking technique, woodcut, intaglio, Bruce Onobrakpeya DOI : 10.7176/ADS/71-06 Publication date :March 31 st 2019

ЭСТЕТИЧЕСКОЕ ЗНАЧЕНИЕ СЛОВА «ЛЕС» В «ЛЕСНОЙ КАПЕЛИ» М. ПРИШВИНА КАК ОТРАЖЕНИЕ ЭТИЧЕСКИХ ВОЗЗРЕНИЙ АВТОРА НА ПРИРОДУ

The article discusses the process of the formation of the aesthetic meaning of the word “forest” in M. Prishvin’s poetics and its difference from the meaning of everyday use. Basing on the contextual analysis, the author distinguishes the thematic groups of vocabulary, the semantics of which, along with the writer’s tropes, forms the features of the literary meaning of the word. It expands and complements the basic features of the dictionary meaning and puts forward a new dominant feature - “a part of the natural world in which a person is involved” - reflecting M. Prishvin’s ethical views. The results of the work can be used to create a dictionary of the writer’s language.

THE LANGUAGE AND AESTHETIC PARAMETERS OF A NEW STYLE IN UKRAINIAN FEMALE WRITERS’ PROSE TEXTS

The article deals with the features of the use of language aesthetic means of novostyl’ in the prose texts of the Ukrainian writers, representatives of postmodernism in fiction. In the creative work of the authors (I. Rozdobudko, I. Karpa, Tanya Maliarchuk) the typological features of the renewed idiolect were reflected, a number of changed norms in the system of text creation and image creation were recorded, and innovational processes in modern literary speech were reproduced. The following features are characteristic for their artistic discourse: the updating of the lexicon, the use of non-normative and slang language practices, and the destruction in the organization of the language use.
 The writers' texts are in close connections, in the language-stylistic sense, while denoting the individual-authorial differences of the idiostyle, the search for peculiar language-literary manners of writing.

Moving Meditation: Paik Nam June’s TV Buddha and Its Zen Buddhist Aesthetic Meaning

The aesthetic spirit in Paik Nam June’s video art, TV Buddha, originated in the aesthetics of Zen Buddhism, and the parameters that established Paik’s aesthetic comprised the indigenous Eastern aesthetic idea of dongjing 動靜 (movement and stillness). Yi 逸 (unconventional naturalness) is the paramount aesthetic in Zen Buddhism, suggesting the transcendence of preexisting tracks and conventions. Paik’s behavioral music, to which he was dedicated before pioneering video art in earnest, was related to yi in terms of the complete aspects of forms, themes, and so on, evidently under the influence of avant-garde musical composer John Cage. The Zen Buddhist aesthetic—and Paik’s artistic motto—is to capture the essence of the self and the world through the destruction of stereotypes. Paik’s artistic uniqueness lies in his attempts to combine his traditional culture and spirit—the culture and ideas of Korea and Eastern Asia—with cutting-edge technology. The hallmark of Paik’s video art can be understood as a suggestion of philosophical subjects guided by the interrelation between a graphical presentation on a TV screen and the whole installation setup. The philosophical subject in TV Buddha is Zen Buddhist meditation symbolized in the structure of dongjing.

Сутнісні характеристики феномену "естетична компетентність особистості"

In the article it is revealed the essence of interpretation of the phenomenon of «aesthetic competence» from the point of view of philosophy, psychology, pedagogy, sociology, and cultural studies. Emphasis is placed on the interconnection of synonymous terms «readiness» and «preparedness»: «readiness» is a concept broader than competence and preparedness, which may be single, fragmented, that is, not to provide the full capacity to perform the functions of an activity. The essence of the outlined phenomenon is analyzed through its separate concepts, taking into account their relation: «aesthetic competence» with the concepts «competence», aesthetics «. Artistic and aesthetic competence is defined as a system of internal means of regulation of artistic and aesthetic actions, which includes artistic and aesthetic knowledge, social guidelines, skills and experience, aesthetic orientation, based on knowledge and sensory experience, free possession of artistic and aesthetic means and perception of artistic and aesthetic situation. The essence and features of aesthetic competence are revealed. The modern approaches to defining the concept of «aesthetic competence» are highlighted. The components of aesthetic competence are revealed. Specific features and factors influencing the development of aesthetic competence are highlighted. In conclusion, it is noted that the concept under study, aesthetic competence, should be differentiated into such varieties as aesthetic and artistic competence, while each of them, for a particular artistic profession, will at the same time have a general and specific meaning.

Реконструкция эстетических и поэтических значений при переводе на основе интерактивного взаимодействия двух языков

Реконструкция эстетических и поэтических значений при переводе на основе интерактивного взаимодействия двух языков