Idea Of Beauty Research Articles

Beauty Standard Construction in Magazine Advertisements

This study focuses on the constructed idea of beauty in makeup and skincare advertisements that appears on Women’s Weekly Singapore’s magazine, and Femina, Indonesia’s magazine 2019 edition. The purpose of this study is to know how the idea of beauty are constructed by the makeup and advertisements from both countries throughout magazines advertisements. In order to know how the idea constructed idea of beauty from those advertisements, the writer uses a descriptive- analytical-interpretative method. Furthermore, in doing the analysis, some related theories are employed, namely there are Social Visual Semiotics theory by Gunther Kress and Van Leeuwen, and Systemic Functional Linguistics by M.A.K. Halliday. The result of this study found that Singapore advertisements, promoting the unrealistic beauty conception in terms of visual images, that attract the viewers to achieve the bright skin, as the female portrayed is the white Caucasian female model. While the makeup advertisement from Femina, Indonesia’s magazines portrayed the native female model that is having a light tanned skin, curly hair, black big eyes. She is manifested the Indonesian women figure in general. This idea of beauty also reflected in the written or verbal text which is taglines of this product. This product, however delivering the idea of beauty that is more realistic for most Indonesian women.

Intorno al brutto. Una categoria controversa

Paul Valéry, in his “Discourse on Aesthetics”, which he pronounced in 1936 in front of an audience of philosophers, reproached them, accusing aesthetics in particular of having pursued the abstract idea of beauty for too long, losing itself in the shadows of specialized terminology or in verbal games and thus forgetting the varied reality of works of art. Following an abstract idea of beauty means losing sight of the artistic object. It also means deluding oneself that the ugly is merely a counterbalance to a dominant category. But what does ugly mean? Its ambivalence lies precisely in a continuous oscillation between an evaluative and a descriptive use. There is a duplicity, so that on the one hand it expresses a negative judgment, and on the other hand - suspending its normal semantic destiny - it reclaims for itself some positivity. It is precisely from this positivity that the ugly begins its journey in the field of aesthetics.

Hässliche Musik. Parodie, Deformation, Entstellung und Negativ-Schönes in Richard Wagners Ring des Nibelungen

Aesthetics in the second half of the 19th century (Carl Rosenkranz, Christian Hermann Weisse) never defines the ugly as an independent category, but rather derives it from the idea of beauty. Ugliness is either understood in a dialectic way as the negation of beauty or as a decadent transformation of beauty becoming funny or even ridiculous. Rosenkranz even comprehends lies and madness as deformations of a former beauty. Taking deformation as a criterion for musical analysis, however, can hardly be successful as any variational development of a motif entails a kind of deformation. In Richard Wagner’s Ring des Nibelungen musical ugliness is rendered by a variety of features. The figure of Mime seems to be least complicated for musical analysis in this respect, since Wagner creates a kind of self-analytical distance by designing Mime as an old-fashioned and anachronistic character, making him a precise counterpart to the modern genius incorporated into the musical idiom of Siegfried. The difference between craftsmanship on the one side and creation on the other side is, therefore, no longer a matter of style, it becomes more and more aporetic to separate a “beautiful” from an “ugly” idiom by an analysis of the musical score alone. The musical idiom of Alberich, through which the idea of Evil is probably articulated in the most obvious manner, may be analyzed under the perspectives of deformation as symbolized by the diminished chord which is a key element of this idiom. This article gives a number of further examples of Wagner’s musical conceptualization of ugliness in the Ring. Music aesthetics and music theory merge in the idea of a deficient beauty (“Negativ-Schönes”) which takes a significant role within this process.

Brand inequity in access to COVID-19 vaccines

Brand inequity in access to COVID-19 vaccines

Women, Sexuality, Violence: #Me Too!

Historically women’s achievements have been obscured, sexually, socially, culturally, and spiritually. However, with the rise of global and social media, women have been empowered, having a greater impact on society; women are more receptive to discussions related to ethical and social issues - such as racial, national, and sexual discrimination, elimination of violence, religious control, free movement, modern slavery, psychological submission, and poverty/ economic marginalization – and are at the forefront of international movements, such as #MeToo and #SheDecides, which promote freedom of speech, thought and belief, and how to speak out publicly. Issues related to ethnic, religious, and sexual persecution and violence are part of women’s history. A critical thinking approach to the struggle of women in modern society is essential; it is important to understand female leaders as part of a multi-ethnic, multi-faith, and multi-gendered society. Women in postcolonial movements construct their self-identity in real, concrete, and existential sociocultural contexts. This article discusses violence against women, women contributing to a diverse global society, and women’s ideas of beauty and sexuality. I employ the lens of autocoscienza (self-awareness) with a view to embracing diversity and vindicating contribution of women in religious and secular contexts, and its value for the future.

The picture of dorian: Will beauty save the world

In this article “Beauty will save the world”. How to understand this article? Because beauty is perceived and seen in all in different ways. The famous phrase beauty saves the world, symbolizes the role of moral and aesthetic beauty, and the idea of how strong the meaning in the idea of beauty is.

Painting as a Modern Art in Early Renaissance Italy by Robert Brennan

Reviewed by: Painting as a Modern Art in Early Renaissance Italy by Robert Brennan Esther Theiler Brennan, Robert, Painting as a Modern Art in Early Renaissance Italy (Renovatio Artium, 3), Turnhout, Brepols, 2019; hardback; pp. 366; 11 b/w, 115 colour illustrations, 1 b/w table; R.R.P. €125.00; ISBN 9781912554003. This is a fabulous read that, while not exhausting its overarching theme—what constitutes modernity in painting in the early Renaissance—certainly exhausts its chosen textual examples through minute, focused analysis and multiple tangential excursions. The book comprises an essay into a concept of modernity that acknowledges the relativity and complexity of the term, its evanescent nature. Robert Brennan structures his argument around statements from fourteenth-century writers Cennino Cennini and Franco Sacchetti, and Michele Savonarola of the fifteenth century. The approach is primarily textual and philological. Brennan retrieves the cultural context in which these views were current and examines their reception. Giorgio Vasari's description of Giotto in his Lives of the Artists provides the hinge—that 'the modern' was revived by Giotto, who 'banished completely that rude Greek manner' (p. 6). In Chapter 1, Cennini's comment from his Libro dell'arte that Giotto 'changed the art of painting from Greek into Latin, and made it modern, and had the art more complete that anyone since', is examined (p. 17). Brennan analyses each of these phrases—what comprises 'the art of painting', what this progress 'from Greek into Latin' entails, what was Cennini's concept of modernization, and what 'complete' means. The author draws on multiple sources to illuminate this change and concludes that it is the scientific basis on which Giotto placed his art that 'made it modern'. Chapter 2 draws on Sacchetti's Trecentonovelle of the 1390s. During a discussion among Florentine artists about the decay of painting, the question is asked 'Which master of painting was the greatest of all, aside from Giotto?' (p. 93). The sculptor Alberto contends that the greatest artists are the ladies of Florence, whose application of cosmetics 'could make white out of black' or make a pale figure resemble a rose (p. 9). The ambiguity in the chapter is that this 'retouching' of a God-given figure, here considered frivolous, is made to also comment on contemporary painting. After Giotto, who brought 'the art into conformity with nature' (p. 102), advancement was meant to be towards an art that enables the practitioner to 'restore things where nature is deficient'. This leads to a discussion of the emulation of nature, the concept of beauty, and the effects of fashion. Changes are driven by ideas of beauty, for instance replacing the 'yellow' skin of Byzantine figures with a more attractive pink and white, or incorporating contemporary modes of dress (p. 162). When the author moves into visual analysis there are some beautifully navigated passages, for instance on the representation of head coverings (pp. 133–47). Sacchetti's ironic and implicitly critical comment on how far fashion and cosmetics, both in people and paintings, takes art from its foundations is not entirely resolved, as reflected in the final [End Page 154] sentence of the chapter, suggesting that Sacchetti could only 'faintly recognize the power dynamics' driving change (p. 180). In the third chapter, the author jumps to the 1440s and the physician Michele Savonarola, who, writing about the 'ideal canon of human proportion', laments the failure of painters to adhere to this classical ideal, relying too much on their imaginative perceptions (p. 183). This included Giotto, who, nevertheless, 'first modernized ancient and mosaic figures' (p. 181). The rational application of proportion, light (perspective), and colour theory produces beauty. A relative version of modernity is tucked into the discourse—the modern apprehended as 'of the now', 'ephemeral', prone to decay and dissolution (p. 215). Visual analyses offer welcome demonstrations of changes in facial schemas, such as the leap from the stylized 'V' between eyebrows, and oblong eye pouches, to more realistic representations. This movement is attributed to classicizing and rationalizing impulses to correct defects in the prototype, remaking the icon in the guise of reality and producing a version of beauty that was more appealing to a contemporary audience. It is...

Josephine Baker and Katherine Dunham: Dances in Literature and Cinema by Hannah Durkin

Reviewed by: Josephine Baker and Katherine Dunham: Dances in Literature and Cinema by Hannah Durkin Joanna Dee Das Josephine Baker and Katherine Dunham: Dances in Literature and Cinema. By Hannah Durkin. Urbana: University of Illinois Press, 2019. pp. xiii + 256. $99.00 cloth, $27.95 paper, $14.95 e-book. Hannah Durkin's Josephine Baker and Katherine Dunham: Dances in Literature and Cinema pairs two of the twentieth century's most famous dancers to address [End Page 173] questions of Black women's authorship in a transatlantic context. Scholars have paid much more attention to Baker and Dunham's live stage performances than to their written or cinematic work, and this book aims to fill that gap. Though the two women had distinct career trajectories, Durkin compellingly argues for examining them together, given that "both women adopt self-reflexive narrative voices and explore dance to communicate radical narratives of Black female subjectivity" in a mid-century context (13). Durkin shows how both women intervened in racist structures to insist on the authority of their own voices. The first two chapters focus on literary works. Chapter 1, "The Dancer in Translation: Baker's Coauthored Narratives," takes Baker's memoirs seriously as sources of understanding Baker's negotiation of racism on multiple continents. Durkin asserts that despite the fact that these early memoirs were coauthored by white men, Baker's voice comes through and she still is able to challenge primitivist and exoticizing narrative tropes that framed her. Importantly, Durkin analyzes untranslated memoirs written in French, for the most part overlooked by scholars writing in English. Chapter 2, "The Dancer as Translator: Dunham's Ethnographic Memoirs," examines Katherine Dunham's Journey to Accompong (1946) and Island Possessed (1969) as literary works that have been overlooked because of how they blur genre categories. Dunham's memoirs offer a penetrating look at the subjective nature of anthropological research, as she constantly questions the ethnographer's "perceived position of authority" (57). They also, as Durkin writes, offer "an important literary account of Dunham's intellectual development and debt to Caribbean artistry" (69). Chapter 3, "Performing within Primitivism: Baker on the French Silent Screen" applies a well-rehearsed argument to new materials: that through dance, Black subjects carve out space for agency within oppressive structures. This argument has also been made with reference to Baker before by scholars such as Mae Henderson and Michael Borshuk, as "ambivalence" (93) and "ambiguity" (97) are terms frequently associated with Baker. While Durkin's argument is therefore not groundbreaking, her analysis of two silent French films, La Revue des revues (1927) and Sirène des tropiques (1929), adds important documentation of Baker's dancing to the existing literature. Refreshingly, Durkin specifies the African American vaudeville tradition from which Baker derived her material, describing specific dance steps (Pecking, the Itch, the Mess Around, etc.) as she analyzes the films. Contextualizing the reception of Sirène among Black cinema-goers in the United States was also helpful to read. Chapter 4, "Cinematic Stardom: Baker and the 1930s French Musical Film" continues in the same vein: Durkin reiterates the argument that Baker's films Zouzou (1934) and Princesse Tam-Tam (1935) "reinforce her image as an exotic [End Page 174] Other" but also "grant Baker some control over her dance scenes, enabling her to articulate a self-referential screen image that intervenes in and disrupts racial binaries" (106). Durkin emphasizes the difference between the French film industry, which framed Baker as a glamorous star, and Hollywood, which excluded Black women from ideas of glamor, beauty, or stardom. In particular, the French films featured Baker as a glamorous icon who could sing in the delicate chanson style; Durkin notes that when Baker replicated such a performance for the Ziegfeld Follies of 1936 on Broadway, white American theatre critics judged her harshly for straying outside of the bounds of acceptable Black performance. Unlike Baker, Dunham did have to take on Hollywood racial codes. Durkin's goal in chapter 5 echoes that of the previous four chapters: to "investigate the ambiguities resulting from Dunham's attempts to resist screen stereotypes" (136) and to conclude that "Dunham worked within such limitations to present an artistically and aesthetically...

Zombie Art

It is easy to ridicule the pretense and silliness of many works coming from the “art world.” The story of the arts, for at least the past century and a half, has been one of attempts to keep alive something that is long past dead. For example, without a substantial understanding of quality, aesthetics has been held up as a substitute for life. But the aesthetic, long touted as fundamental to the goals of art, begs other questions: which aesthetic responses? What if one does not have the same, or any, aesthetic response? This essay explores an alternative, one that refutes the modernist conception of substituting mere pleasure and emotion, that is, preferences, for the idea of Beauty as the manifestation of what is known to be True and Good. Instead of seeking living art that is Beautiful, and can bring life, postmodern culture is surrounded by dead, zombie art. Strategies for stopping the flood of long-dead zombie works include reason, ridicule, and pointing the way back to Beauty.

Racial Trauma and Microaggression in Toni Morrison’s The Bluest Eye

Racial trauma is associated with the detrimental psychological impact of race-based discrimination having symptoms like those of Post-Traumatic Stress Disorder (PTSD). With accounts of systemic racism across the globe, it is quite pertinent to discuss the distressing impact of living within a society of structural racism. Racial trauma involves exposure and re-exposure to race-based stress, which can be of different forms, microaggression being one of them. Microaggression shows how instances at a micro-level like insults and slights against black people, can have a detrimental effect on the mental health of those who experience it. The Bluest Eye (1970), the debut novel of Nobel prize-winning author Toni Morrison, is a tragic story of Pecola Breedlove, an African- American girl, longing for the socially constructed idea of beauty. A study of her character will highlight the effects of internalised racism based on the tragic events of discrimination and marginalisation in Pecola’s life and her psychological response to it. This paper will focus on racial trauma and Chester E. Pierce’s concept of microaggression to foreground the psychological distress that Pecola is grappling with, in the narrative and how apart from acts of violence, offensive and derogatory statements against the people of colour damages their psyche.

STRATEGI MENINGKATKAN KESULITAN BELAJAR BAGI ANAK USIA DINI MELALUI BERMAIN

This article describes strategies for increasing learning difficulties for early childhood through play. This article is also to find out how to treat early childhood with learning difficulties. The purpose of this article is also to determine learning difficulties for early childhood through play. Through play activities, children can organize various experiences and cognitive abilities in an effort to reconstruct their beautiful ideas. In other words, play is the initial stage of the learning process in children experienced by all humans.

Ostap Makarushka’s (1867–1931) Contribution to the Development of the Theory of Education

The article describes the conceptual principles of education in the creative heritage of the Ukrainian educator, scholar, public and cultural figure Ostap Makarushka (1867–1931). His pedagogical legacy is a valuable source of knowledge for teachers and parents, where one can find answers to a wide range of questions on the problems of education of Ukrainian youth. The scholar wrote the first Ukrainian-language textbook on pedagogy ‘Science of Education’ (1922), which substantiated the theoretical foundations of education. The focus was on the purpose and tasks of pedagogy, its theoretical and practical sources, the content of the concept of ‘education’ as a natural necessity of preparing young people for future life. Valuable for the theory and practice of education is the age-based periodization of the child’s upbringing, which covers three periods of physical and spiritual development from birth to reaching civic maturity; the idea of nationality (the education in each country acquires a national character; education at school should be national, based on the traditions and culture of the people); taking into account gender differences in the upbringing of girls and boys; the basic principles of education (natural inclinations of the child, temperament, physical abilities that determine the direction and means of education; place of birth (the country / town), nature, environment, life circumstances, etc.) and educational institutions (family, school and church) ), which should harmoniously influence the upbringing of young people, complement each other, form respect and esteem in young people. The ideas of truth, goodness and beauty are pervasive in the education of Ukrainian youth. War has a negative effect on the upbringing of young people, it is an inhumane way of solving problems. The means of patriotic education are games, subjects, folk festivals, walks, and others.

Conceptual Art and Aesthetic Ideas

AbstractThis paper considers whether Kant’s aesthetics withstands the challenge of conceptual art. I begin by looking at two competing views of conceptual art by recent philosophers, before settling on an ‘inclusive’ view of the form: conceptual art includes both ‘strong’ and ‘weak’ non-perceptual art (NPA). I then set out two kinds of conceptual complexity that I argue are implicated by all aesthetic judgements of art (as art) on Kant’s view: the concept of art itself, and the idea the work is meant to express (dependent beauty and aesthetic ideas, respectively). I go on to demonstrate the applicability of Kant’s aesthetics to conceptual art by considering two works by Lawrence Weiner, which I take to be a work of work of weak and strong NPA respectively.

Information leak and incompatibility of physical context: A modified approach

A beautiful idea about the incompatibility of physical context (IPC) was introduced in Phys. Rev. A 102, 050201(R) (2020). Here, a context is defined as a set of a quantum state and two sharp rank-one measurements, and the incompatibility of physical context is defined as the leakage of information while implementing those two measurements successively in that quantum state. In this work, we show the limitations in their approach. The three primary limitations are that (i) their approach is not generalized for positive operator-valued measurements; (ii) they restrict information theoretic agents Alice, Eve, and Bob to specific quantum operations and do not consider most general quantum operations, i.e., quantum instruments; and (iii) their measure of IPC can take negative values in specific cases in a more general scenario, which implies the limitation of their information measure. Thereby, we have introduced a generalization and modification to their approach in a more general and convenient way, such that this idea is well defined for generic measurements, without these limitations. We also present a comparison of the measure of the IPC through their and our methods. Lastly, we show, how the IPC reduces in the presence of memory using our modification, which further validates our approach.

Saints or Sinners? Sexuality, Reputation and Representation of Queens from Contemporary Sources to Modern Media

This article explores allegations of sexual scandal connected with premodern royal women in Europe and China. It begins by assessing expectations of queenly ideals, particularly the emphasis given to female chastity in European and Chinese culture. This forms a foundation for an extended discussion of tales of sexual impropriety of both real and legendary queens from China in the third century BCE to eighteenth century Europe. This survey highlights three key themes: the idea of dangerous and destructive beauty, the topos of the wanton and promiscuous queen and perceptions of transgressive affairs. Finally, the article assesses the connection between the portrayal of the sexual scandal of royal women in contemporary sources with the way in which these women’s lives are represented in modern media, particularly films and television series. Ultimately, it demonstrates that allegations of sexual scandal could both be a means to attack these women (and their royal husbands) in their lifetimes and could have long lasting negative impact on the memory of their lives, resulting in their political power, agency and activity being obscured by an emphasis on their love lives and supposed affairs.

On the spontaneous beauty of cities: neither design nor chaos

A clear bridge connecting the theory of spontaneous order and the issue of beauty in and for cities has not yet been developed. After a general exploration of the concept of beauty, this article builds an alternative idea of beauty, namely, beauty as spontaneity. In particular, it argues that beauty in the urban realm greatly depends on forms and orders that can hardly be comprehensively designed but rather emerge as the result of the freedom granted to multiple urban agents to express themselves in space. In this article the works of Jacobs and Romano are analysed and explored. Starting from some of their main ideas, the paper suggests certain planning and design tactics to nurture this kind of beauty and provides some essential ethical principles.

Review: Shaker Vision: Seeing Beauty in Early America

Review: <i>Shaker Vision: Seeing Beauty in Early America</i>

Realizing the Kilogram from the Planck Constant: The Kibble Balance and the Electrical Units

The international System of Units (SI) was redefined in 2018 [1]. This historical event implemented a beautiful idea—a system of units defined entirely by constants of nature. The most notable modification to the SI involved abandoning the artifact definition of the kilogram in favor of fixing the numerical value of the Planck constant. Apart from its physical and mathematical elegance, the new SI solves the problem of providing an absolute reference for the kilogram. But, how do we understand the link between the kilogram and the Planck constant? And, how can we realize the kilogram now, using the new definition? This paper attempts to give a simple answer to these complicated questions.

“Nothing should jiggle while you’re moving”: Preparing the fat body for an American “plus-size” pageant

ABSTRACT There is limited scholarly information about beauty pageants for fat women. Based on a larger study about how pageant participants define beauty and health, this paper examines the presentation of fat bodies in a plus-size beauty pageant, and how the pageant constructs, rewards, and reinforces specific types of fat performativity. Although the plus-size pageant is challenging traditional ideas of beauty in terms of body size, pageant participants are expected to be “good fatties”. The pageant teaches competitors the socially acceptable ways to eat and to dress for one’s body. Pageant competitors are taught that looking beautiful means to “discipline their corpulence”, while the pageant simultaneously delivers the messages of “big is beautiful” and that beauty comes from within. The paper concludes with implications of these findings on gender and femininity, and fat studies, and fashion studies scholarship.

Application of Bioinformatics in the Internet of Things-Construction of Mushroom Cloud Digital Learning Platform

In recent three years, the practical spirit of “DIY(Do-It-Yourself)”advocated in European and American education to combine the value of creativity and innovation is developed to a word “Maker” after integrating into the education system, which comes from the idea of “Hacker” and “Self-creator”. The Maker transforms one-way learning model of “listening” and “writing” in the past to school curriculum of “image” and “practice”, causing a reversal of traditional educational concepts. Educational policy in Taiwan naturally moves with the tide of the world. What characteristics of DIY, trouble-shooting, creativity sharing and community link emphasized by the Maker is in consistent with the transformation of technical and vocational education and the innovation of higher education that focus on the spirit of exploration and practice as well as innovation? The school used to participate in High Scope Program Phase II, including the development of “eco-art” course module for the first three years focused on plant observation along with the use of photography, presenting the idea of truth, goodness and beauty with the practice of “scientific drawing” in Fine Art Department; and, elaboration and promotion stage for the following two years focused on the reinforcement of introduction to biological course and the function of “online plants learning platform”, expanding to university and senior high schools, including of the Affiliated Chongli Senior High School of National Central University, Taishan and Sanming Senior High School for the development of more functions. As the theme of mushroom nutrition & health care, the school continues the spirit of exploration and practice by integrating Dept. of Home Economics’ food safety issues, Dept. of Chemistry’s extraction analysis, Dept. of Physics’ spectrograph analysis and Dept. of Computer Science’s internet of things(IoT) into curriculum framework to develop courses module for additional learning platform of mushroom classification based on “online learning platform” within application of bioinformatics in the IoT. The content for logic concept of plant retrieval classification and feature concept of fungi classification is processed in our Mushroom Digital Learning Platform by combining tablet PC and interactive web pages of “Online plants and herbs(mushroom) learning platform” for multiple assessment, in order for teachers to understand the learning effect of each student and analyze the data through the cloud platform.