Modernist Aesthetics Research Articles

Chinese Art’s Influence on Roger Fry’s Aesthetics Formalism

Roger Fry was one of the greatest art critics of the 20th century, who promoted the rise and development of the Western modern art movement and constructed a set of modern aesthetics formalism and art criticism theories, exerting a huge influence on modern art. Despite the formation of Fry’s aesthetics formalism cannot be separated from the background of the transformation of Western cultural traditions, the influx of Chinese art into the West at that time also had an impact on Fry’s aesthetics formalism. Fry extracted and reinterpreted from Chinese art, forming a distinctive formalist aesthetic theory. In Fry’s various works, the influence of Chinese classical aesthetics can be seen, such as blank space, rhythm, and emotional expression. The research will explore the correlation between Roger Fry’s aesthetic formalism theory and Chinese art. The study will analyze how Chinese art was introduced into the West and how Roger Fry was influenced by Chinese art. It will focus some particular elements like rhythm and blank space, explore how Fry reinterpreted them and applied to modern art criticism theory, using his work “Cézanne: A Study of His Development” as an example.

The category of Nothingness as a factor in the aesthetics and poetics of modernist literature

The article defines the specifics of the influence of ideas about Nothingness on the artistic philosophy and aesthetics of modernism. It is stated that the feeling of the "liminal" time created an ambiguous perception of the world: the mystical fear of "sinking into Nothingness" together with the "dying" world, the bitterness of the loss of the "former" world were combined with the expectation of an inevitable revival. Nothingness becomes a system-forming factor in the artistic philosophy and aesthetics of modernism. Modernism objects both to Nietzschean concept of the "death of God" and to the rational-pragmatic understanding of being. Modernist reflection on Nothingness means striving for a classical value attitude to the world, manifests the salvation of culture, the human and the divine in man, asserts the idea of the highest (in the ontological and value sense) being. Therefore, the defining position of modernist aesthetics is the assertion of the presence of the Supreme and the Sacred, one of the representatives of which in the text is Nothingness. Theoristsof modernism show interest in various traditions of understanding Nothingness in culture and master them in aesthetics and poetics. The heterogeneity of inherited traditions gives rise to a variety of poetic and philosophical concepts: the focus on cognition of the Unknowable through symbolic imagery, mytho-theurgic constructions as the basis of the “negative aesthetics” of the 20th century were combined with the ontologization of Nothingness in the chronotope of a work of art based on the convergence of archetypal oppositions and theaffirmation of the value of spiritual effort aimed at comprehending the highest meaning of existence. Thus, the category of Nothingness in the aesthetics of modernism acts as the embodiment of the ontological problematic nature of the incomprehensible world, a sign of its epistemological uncertainty, correlating the Absolute and the Incomprehensible with the Beautiful.

For the “Briefly Gorgeous” Moment: Imagism and Queer Aesthetics in Ocean Vuong’s On Earth We’re Briefly Gorgeous

ABSTRACT Ocean Vuong’s epistolary novel On Earth We’re Briefly Gorgeous is distinguished by its highly sensory, descriptive, and fragmented linguistic style, coupled with an anachronic, multi-line narrative strategy. These stylistic elements exemplify salient modernist aesthetics, particularly resonating with the tenets of the Imagist movement. Through the presentation of fleeting images and juxtaposed scenes across temporal and spatial boundaries, Vuong’s fiction delineates the narrator’s transient, synesthetic recollections which merge into a dynamic flow of conscious duration, constituting a notable queer racial formalist work. Moreover, Vuong’s richly sensory and affective portrayal facilitates an embodied engagement with external spaces, unraveling the complex layers of the protagonist’s Asian American queer identity. By integrating a corporeal perspective into the aesthetic process of receiving and composing, Vuong reconfigures the traditionally passive bottom role toward a more dynamic and inclusive queer performance, thus challenging the entrenched heteronormative constructions that comply with Western imperialist and masculinist discourses. Beyond empowering the “abject” bottom, Vuong’s novel also posits a shared vulnerability inherent in queer bodies, envisioning a side path for the minoritarian groups.

Between Artistry and Obscenity. James Joyce’s Reception in Poland in 1924–1939

The article presents the Polish reception of James Joyce in the years 1924–1939. The assimilationof his writing helps trace the Polish perception of the aesthetics of English modernism, which wasstrongly associated with breaking moral and linguistic taboos and addressing the issues of thebody and sexuality. Critical discussions of Joyce from that period have a lot to do with the discursifyingof modernist obscenities. The interpretative framework derives from Loren Glass’s discussionof obscenity in Anglo-American modernism.

Research on Regional Culture-enabled Ceramic-based Cultural and Creative Product Design

Regional culture is of great significance to the design of cultural and creative products. Regional cultural elements empower product design, on the one hand, they can promote the inheritance and innovative development of regional culture; on the other hand, they can design cultural and creative products with both historical and cultural traditions and in line with modern aesthetics. Currently, cultural and creative products are hot, but not many ceramic cultural and creative products are practical, artistic and cultural at the same time. Therefore, this paper explores the combination of regional culture and ceramic cultural and creative product design, and explores how regional culture can empower ceramic cultural and creative product design through the literature research method and case analysis method. What is more, it also puts forward the current problems including design homogenisation and lack of cultural connotation and practicality in the design of ceramic cultural and creative products, and puts forward coping strategies to further improve the regional cultural characteristics of ceramic cultural and creative product design, like the introduction of design talent, according to the group demand for design optimization.

"The Neon Dress Drags a Wide Belt, Fluttering to Heaven"

This paper deeply analyzes the artistic characteristics of the dance "Flying Sky". By exploring its unique historical origin, movement vocabulary, dance design and the inheritance and development of skills, it shows how the work skillfully integrates classical beauty and modern aesthetics, vividly interprets the elegance and dexterity of the flying sky myth, and conveys profound cultural connotation and artistic charm.

Ports of Call: A Maritime Study of Korean Modernist Poetry

Abstract: This essay undertakes a survey of Korean modernist poetry in miniature by means of a singular motif—the seaport (hanggu)—in whose tidal vortex the politics and poetics of the Korean Peninsula were recalibrated at the outset of the modern age, specifically the years submerged in the depths of Japanese colonial rule (1910–45). While the essay's comparison between Kim Ch'ang-sul's (1903–50) and Chŏng Chi-yong's (1902–50) 1920s-era modernist aesthetics of dockside labor and harbor construction foregrounds an oscillation between proletarian collectivity and depoliticized solipsism, the pairing of Im Hwa (1908–53) and O Chang-hwan (1918–51) elucidates the divergent vectors of utopian deferral and fatalistic anomie constituting two incommensurable critical standpoints from which to confront the objective upsurge in seaport modernization and industrialization in the late 1930s.

The Interwoven Aesthetics and Identification: On Aesthetic Modernity in Frankenstein

Frankenstein is famous for its exploration of humanity in its bizarre plots, but the importance of this work also lies in its aesthetic modernity, which is revealed under the veil of the complementarity of aesthetics and identification. Based on the relevant theories of aesthetics and modernity, this thesis attempts to analyze the aesthetic connotation and literary expression of Frankenstein from both aspects of content and form and to reveal the aesthetic modernity in this novel. The novel exquisitely depicts the desire and reflection of the created “monster” on beauty and identity, exposes the social ills and humanity defects resulting from Enlightenment modernity in the contradiction between the construction of subjectivity and the modern aesthetic shackles, expands the scope and boundary of sympathy in the switch of multiple narrative perspectives, thus constructing a community of compassion in literary creation. As a result, Frankenstein and its research from the perspective of aesthetic modernity have great literary value and significance.

Study on the Application of Traditional Elements in Modern Paint in Chinese New Year Wood-block Paint

The paper discusses the application of traditional elements in woodblock prints in contemporary painting as well as the difficulties and optimization strategies. Firstly, the probability and current situation of the combination of traditional elements and modern aesthetics are described, and then many problems such as the block of traditional culture, the test of contemporary conversion, and its theoretical and practical derailment appear in the practical activities of contemporary painting are elaborated. In response to the above problems, enhancement strategies are given such as upgrading traditional culture and education, promoting innovation and integration, and strengthening the integration of theory and practice. The paper hopes to promote the effective use and inheritance of traditional elements of woodblock prints in contemporary painting and development through in-depth research and practical exploration, providing new ideas and design inspiration for artistic creation in China.

Building Roof Covering Materials for Residential and Commercial: Comparison and Best Choices

Choosing the right roofing material is an important aspect of building design and construction. Both residential and commercial buildings have roof-related needs. But basically, the selection of roofing materials is not only for protection from but also based on energy efficiency, aesthetics, and longevity of the building. In addition, the design of roof shape selection must be done carefully because the wrong selection can cause rainwater seepage or leakage on the roof and high repair costs. This research aims to explore by comparing the characteristics of roof covering materials and provide the best choice based on needs. The research method used is a qualitative research method with the stages carried out, namely data collection techniques, sample determination, data analysis and research conclusions. Based on the analysis, it is concluded that for residential houses, tile roofs and concrete deck roofs are the best choice because they offer an optimal combination of aesthetics, durability, energy efficiency, and cost that is suitable for the Indonesian climate. While for commercial buildings, metal tile roof is an excellent choice due to its durability, energy efficiency, and modern aesthetics that suit the needs of commercial buildings.

Dionysus and His Discontents

Abstract The essay presents a comparative analysis of three modernist novellas—Heart of Darkness, Death in Venice, and The Turn of the Screw—focusing on their use of Dionysian motifs, whereby “Dionysian” is intended in its Nietzschean context. Alongside the thematic literary connections it draws, the essay also reflects on the motives and implications of Nietzsche’s Dionysism for modernist aesthetics: Nietzsche’s eventual subsumption of the Apollonian under the Dionysian ushers in modernity’s espousal of irrationality, disease, darkness, and concealment as its privileged moments of expression. However, this new Dionysism is also symptomatic of the anxiety experienced in the aftermath of the death of God (and the concomitant death of the soul), and the essay demonstrates that the figure of the irrational in all three novellas is conveyed in terms of the struggle of a soul.

The Analysis of Square Kufic Calligraphy at Some Historical Buildings of Istanbul After the Classical Period of Mimar Sinan Until the Republic Era

Since the dissemination of Islamic art in Central Asia, square kufic calligraphy has held a significant place in the identity of Islamic architecture. Despite its earlier usage in Anatolia, it was rarely employed in Ottoman structures. Consequently, the square kufic script failed to become a prominent feature in mainstream calligraphy education or certification culture. Due to the lack of an education tradition and the abstract nature of the script, square kufic calligraphy poses challenges to readability. Nonetheless, there has been a growing interest in square kufic calligraphy in contemporary times, owing to its compatibility with modern aesthetics. The absence of a formalized education system has resulted in erroneous works during restoration or new designs. Consequently, there is a pressing need for scholarly research, documentation of historical examples, and detailed analysis of readings and compositions in this field. This article examines historical square kufic script examples in Istanbul’s historical buildings from the post-Mimar Sinan period to the beginning of the republic era. It provides detailed readings of the compositions, identifies any spelling errors, including missing or superfluous parts, and aims to offer corrective suggestions to prevent the recurrence of erroneous compositions in the future.

Innovative Application of Traditional Chinese Opera Elements in Modern Dramatic Costume Design

In the field of drama, especially in clothing design, designers are actively exploring how to combine traditional opera elements with modern drama to create clothing images that are both rich in traditional charm and in line with contemporary audience aesthetics. This innovation not only inherits traditional culture, but also challenges and extends modern aesthetics. Traditional Chinese opera elements, as an important component of Chinese culture, provide rich inspiration and materials for modern drama costume design with their unique symbolic meanings and aesthetic characteristics. The article conducts research on the innovative application of traditional Chinese opera elements in modern theatrical costume design, in order to enrich theatrical images and provide new paths and possibilities for the dissemination and inheritance of traditional culture in contemporary society.

Ambivalence of kawaii as a phenomenon of modern aesthetics in Japan

The author analyzes various aspects of the modern popular culture of kawaii. The connection between sweetness and the terrible in kawaii aesthetics is clarified. It is emphasized that the roots of kawaii go back to the Japanese culture of the past and today's total spread of the cute in Japanese everyday life is reflected in politics, government, business, the military complex, art, influencing all spheres of society and manifesting itself as a key component of the national identity of the Japanese. Attention is focused on the aesthetic category of yami-kawaii. Creepy kawaii understands the works of Japanese artists and the youth subculture. The connection of kawaii and yami-kawaii is shown. The subject of the study is the images of Japanese artists of the XX – XXI centuries. A characteristic feature of the art of which is the excessive depiction of the cute, indicating a connection with modernity. Comparative historical and iconographic research methods based on cultural, philosophical, and art historical scientific materials were used. The relevance of the topic is due to the need to explore new trends in art, with the need to rethink classical, aesthetic categories, in connection with the catastrophes of the XX – XXI centuries, which changed European culture and left an indelible mark on Japanese culture. The novelty of the research lies in an attempt to analyze the phenomenon of kawaii in a dual aspect: kawaii of the sweet and kawaii of the terrible in the art of Japanese artists, based on the phenomenon of fear as the driving force of yami-kawaii, as well as using the aesthetic category of "kawaii" as an all-pervading characteristic of mass culture. The yami-kawaii style is an independent aesthetic category, widespread by the youth subculture. The popularity of the "sick" kawaii as a crude grim reality is applied in the marketing of the industrial industry. Infantilism manifests itself as a defense, a psychological barrier in search of support and sympathy. The aesthetics of kawaii mildness acts as one side of the coin, the other is the internal conflict of society – fear, helplessness, depression. The yami-kawaii subculture is an expression of the aesthetic phenomenon of suffering and fear.

Deciphering the Effects of Different Types of Sunlight Radiation on Skin Function: A Review

Sunlight radiation is a fundamental component of our daily lives. Specifically, blue light as well as UV light appear to play a role in the development of oxidative stress, DNA damage, photoaging, and pigmentation through the chromophores in skin tissues. However, several skin problems like psoriasis, eczema, and atopic dermatitis can be avoided with short-duration exposures to low-energy blue light radiation or UV radiation. In addition, exploring the effects of blue light as well as UV radiation on skin is quite essential for the development of minimally invasive antiaging strategies and for the design of innovative cosmetic formulations in modern aesthetics and cosmetology. Thus, in this review, we present the advantages as well as the disadvantages of light radiation, with a special focus on blue light and UV radiation activity on the human skin. We also discuss the molecular action of blue light and UV radiation on human skin. Other types of light radiation are included to holistically approach the effect of light on human skin.

Solid Passion - A Brief Analysis of Neoclassical Art Style

Neoclassical art style is an important genre in the history of European art. It combines the solemnity of classical art with the passion of modern aesthetics to form a unique artistic style. This article aims to explore its status and influence in the history of art through in-depth analysis of the origin, development and artistic characteristics of neoclassical art style. The article first introduces the formation background of neoclassical style, then analyzes its artistic characteristics from the aspects of form, color, composition, etc., and shows the artistic charm of neoclassical style through the analysis of specific works. Finally, the article evaluates and looks forward to the contribution of neoclassical style and its impact on modern art.

Slow World Cinemas' Rhizomatic Flux in Carlos Reygadas's Japón

Adopting Gilles Deleuze and Felix Guattari's formulations of the rhizome, this article will examine a dynamic that lies between the film Japón's (Carlos Reygadas, 2002) vernacular specificities, European modernist aesthetics and cosmopolitan spectatorship. The article aims to reveal that Japón, along with other contemporary slow films from around the world, has the potential to reify a deterritorialising and reterritorialising encounter that rethinks a Eurocentric genealogical reading of world cinema and challenges a capitalist code of filmmaking.

The Application of Traditional Hmong Patterns in Contemporary Ceramic Designs

China's ethnic minority cultures, with thousands of years of historical past, have exceptionally rich and profound cultural values and material creations. However, given modern society's rapid industrialisation process, these indigenous cultures are frequently marginalization and fail to be widely absorbed into the global mainstream culture. Many traditional designs, decorations, and costumes are currently just emulating the ancient manner. Meanwhile, modern porcelain design emphasizes utilitarian use and the minimalist aesthetics of modernity. What novel sparks could be generated by merging China's distinct traditional cultural aspects with modern design concepts? Exploring how to inherit and innovate these traditions, as well as how to make the perfect integration of modern life and porcelain design, can not only play a unique role in our daily work and living environment, but also promote a deeper "dialogue" between porcelain and its users.

“Damn the Empire!”: Imperial Excess, National Nostalgia, and Metaphysical Modernism in the Poetics of Parade’s End

Ford Madox Ford famously intended his First World War tetralogy Parade’s End to have “for its purpose the obviating of all future wars”. But why do we engage in war to begin with? Modernist literature provides some provocative explanations. Ford’s Sylvia Tietjens, for example, proclaims that “You went to war when you desired to rape innumerable women. It was what war was for”. And in the very same year, Virginia Woolf’s shell-shocked Septimus Smith “went to France to save an England which consisted almost entirely of Shakespeare…” I argue that Ford’s understanding of the causality of war involves a strange combination of these two explanations in Parade’s End’s triangulation of seventeenth-century English literary tradition along with sexual and imperial conquest. While countless modernist novels exhibit a sensibility to the power of early modern poetry amidst battle, Parade’s End displays a particularly emphatic and extended focus on the relationship between poetic tradition and war. Soldiers of various ranks “talk…in intimate undertones about the resemblances between the Petrarchan and the Shakespearean sonnet form”, host timed sonnet competitions in the trenches, recurringly quote the seduction poetry of Marvell, and fantasize about George Herbert’s lifespan being “the only satisfactory age in England…yet what chance had it today? Or, still more, to-morrow?”. To answer this question, my own transtemporal study will use early modern scholarship to investigate seventeenth-century metaphysical poetry’s dual power to inspire and potentially obviate war. Much has been written on this tetralogy’s anti-linear plot but less on the broader temporality of its politico-literary vision. I contend that the metaphysical allusions of this text help Ford to show us the complexities of nationalism in the imperial conquest and imperial damnation that (early) modern aesthetics can catalyse.

Stylistic peculiarities of Edgar Poe’s and Howard Phillips Lovecraft’s gothic novellas

The article deals with the comparative analysis of stylistic features of selected short stories (novellas) by the American writers Edgar Poe and Howard Phillips Lovecraft. Using a set of methods (theoretical analysis, holistic text analysis, stylistic analysis), relying on the creative manifestos of the two authors, as well as on the results of stylistic analysis of the corpus of short stories, the authors of the article trace the continuity and distinctive features in the work of the two writers. The obtained results allow to state the presence of similar features in the short stories of Edgar Poe and Howard Lovecraft, such as gothic chronotope, mystical and fantastic elements, common type of narrator, characterised by a borderline state, and deliberate fear-mongering. At the same time, however, the texts of both authors demonstrate specific features. Poe’s Gothic novellas are characterised by increased psychologism, which manifests itself in the prevalence of such stylistic devices as repetition, gradation, aposiopeisis, rhetorical question and exclamation, which eloquently testify to the “inner horrorˮ of the characters. The high allusiveness of Poe’s short stories testifies to the close connection of the described events with reality. The prevailing stylistic devices of Lovecraft’s novellas (epithets, personifications) testify to the author’s attempt to breathe life into inanimate objects, to extract them from non-existence, and to make the reader experience a “cosmicˮ horror of the unknown and external. The author’s complicated syntax combined with irrational enumerative rows suggests that Lovecraft’s work might be influenced by modernist aesthetics.