Beauty Of Words Research Articles

СТОРІТЕЛІНГ ЯК ЗАСІБ АКТИВІЗАЦІЇ ПІЗНАВАЛЬНОЇ АКТИВНОСТІ УЧНІВ У СУЧАСНОМУ ОСВІТНЬОМУ ПРОСТОРІ

This article investigated the use of storytelling in teaching technology and foreign literature in school. Storytelling is not just about literary stories, but rather about effectively transferring information and motivating action through storytelling. It is used in many fields such as interpersonal communication, media, business, advertising, politics, education, and art. The value of content, word beauty, and form refinement are still important in storytelling. Storytelling is a teaching tool for centuries, and it continues to be an effective method for engaging students in learning. In recent years, educators have begun to explore the use of storytelling specifically in teaching technology and foreign literature in schools. Today storytelling has become widespread educational method. Stories can be used in writings or orally, through different illustrations etc. It also helps to introduce foreign literature to students. By telling stories about the culture and history of the author or the setting of the story, students can gain a deeper understanding of the text. This approach can also help students connect with the material emotionally, which can enhance their engagement and retention. Storytelling in technology or vocational education classes helps launch creative projects for students, promotes motivational components of project-based learning, and activates exploratory and research activities in studying manufacturing technologies. In both cases, storytelling can be used in a variety of ways. Teachers might read stories aloud to the class, ask students to create their own stories, or incorporate storytelling into group projects. The key is to use storytelling as a tool to enhance learning, rather than as a distraction from it. Overall, storytelling can be an effective tool for teaching technology and foreign literature in schools, helping to engage students and deepen their understanding of these important subjects Key words: storytelling, foreign literature, teaching, technology, education

Stories and fairy tales - the importance and role in the instructional - educational activities in the kindergarten

"act: For many children, kindergarten is the place where they first come into contact with the wonderful world of stories. Through their richness and diversity of thought, they contribute to the development of thinking, memory, imagination, concentration, language, and to the moral and aesthetic education of children. The role and importance of stories and fairy tales in instructive-educational activities are obvious, as they enrich the vocabulary, develop the ability to communicate and relate, influence intellectual development and will. Stories play an essential role in the formation of the human being because of their ""discourse"" of order and meaning. They are those who, through the beauty of words, bring children into a world of values where good always triumphs over evil, constituting a wealth of meaning and educational value."

Language Heightened

Poets and calligraphers are united in their appreciation for the beauty of words. Yet whereas many poets compose according to principles of sound, the calligrapher is guided above all by the sense of sight. This essay seeks to elucidate the hermeneutical dynamics at play in contemporary calligraphic renderings of poetic texts composed for oral recitation, using the work and interpretive legacy of Victorian poet Gerard Manley Hopkins as a test-case. After briefly introducing my theme, I turn to consider Hopkins’s theory and practice of aural composition, drawing on specific poems to illuminate his mastery of acoustic depth. I go on to examine three transcriptions of his work by three contemporary calligraphic artists, focusing on key interpretive choices each scribe makes when translating Hopkins’s aural art into a visual form. At each stage of my investigation, I demonstrate how both the poet and his interpreters invite recipients of their artwork to a deeper appreciation for the wonder of language in ordinary circumstances.

The Literary Elegance of Kurunthokai

Literature focuses on human life. It is a feast for human thought, feeling, and imagination. It is related to human language. It has the power to stir the mind of the learner and blossom in the heart. Literature is an art form that reflects social sentiments. Literature expresses the spiritual feelings and worldly attachments, successes and failures, and likes and dislikes of mankind. Kurunthokai is one of the Ettutthokai texts in the Sangam love genre of songs. It is described as a "good kurunthokai". It is known as Kurunthokai because it is a collection of songs with fewer lines. This book is explained by the beauty of words, the beauty of meaning, the beauty of sentence construction, the beauty of explanation, and the beauty of literary style. There are so many parables that it is said to be a parable repository. They express the thoughts and memories of the people and the moods of the poets. The ideas on the life of the Tamils of the Sangam age, as well as the poets' skills on literary qualities, captivate the minds of the readers. Due to its poetry, Kurunthokai is a book that is quoted by all writers and has the power to confront the realities of life. The simile, the description, the imagination, the theme, the iraichi, the rhyme, and the alliteration draw the reader's heart and entertain the thoughts, revealing the beauty. This research paper also aims to explore the features of such subtle literary techniques in short songs.

THE TEACHING OF INDUCTIVE MODEL-BASED EXPERIENCE ACTIVITY IN LITERATURE TO DEVELOP HIGH SCHOOL STUDENTS’COMPETENCY AND QUALITY

In the renewals of methodology, students are considered as the main role to actively participate in learning activities to develop their quality and competency mentioned in the 2018 Literature program. By designing and organizing experiential activity teaching according to Kolb’s learning theory, students not only exploit the beauty of words and artistic images but also thanks to that beauty, have good language skills, and positive and humane lives. Therefore, determining the model of experiential activity teaching in Literature is believed to become urgent. In this paper, Kolb’s learning theory is flexibly applied to teach the topic “Understanding a work of art adapted from literature”. The results show that the creative application is a direction that is consistent with the modern teaching perspectives in Literature and it is a very feasible application in the current teaching context in high schools.

The Beauty of Words in Maher Zain’s Selected Song Lyrics: A Study of Connotative Meaning

There were so many connotative meaning could be found in Maher Zain’s song lyrics. This research gained the data through identifying the words or phrases on the lyrics in six Maher Zain’s songs and were analyzed based on Leech’s theory. The data were analyzed qualitatively, while the techniques of data collection are done by downloading the song and the lyrics, listening the song, reading the lyrics and watching the videos. Then, reducing the data, displaying the data, verifying the data and making the conclusion were done in analyzing the data. The result of the study described words/phrases containing types of connotative meaning. There were twenty-four data found in this research; sixteen data contained positive connotations, four data contained neutral connotations, and four data contained negative connotations. The researchers expected the next researchers to study the types of connotative meaning in other songs from Maher Zain in this album. The researchers also expected the next researchers to identify the types of connotations by using different relevant theory.

Investigat the Recognition in Qaneh’s Poetry

Poets in different periods of human history have entered the field of literature that patriotism and patriotism has been one of their poetic themes and have turned poetry into one of the prominent positions that can express the feelings and pains of their nation. Express with it. They endured the hardships of the nation and sought to portray the true face of the colonialists and oppressors. Patriotism and patriotism has been one of their poetic themes. One of these poets is convinced, he lived in a time full of oppression and tyranny and for this reason he has used the array of discernment in his poems. With the help of recognizing inanimate elements, he has used nature and with the utmost skill and mastery and beauty of words, has given them human characteristics and feelings, and has given them movement, life and feeling, he, anti-colonialism and justice , Freedom-seeking, etc. with the help of diagnoses of the type; He draws simple and complex in his poems. The research method is library study based on content analysis.

Aesthetic Medicine as Global Trend in Public Health: Concept of Legal Problems and Liability Issues from Latvian Perspective

Today, the concept of public health may be viewed much more broadly, considering both the meaning of the word “health,” which includes not only the physical state of a person, but also the emotional and psychological state. Public health is often understood only as health promotion, but it also includes occupational safety, occupational health, improvement of the health care system and other subfields. The public’s emotional health is also mentioned more often in the context of public health, which is based on considerations of aesthetics, i.e., aesthetic medicine manipulations changing person’s appearance. Advances in modern medicine are not only associated with disease prevention, diagnostics, treatment, rehabilitation, or patient care. That is, they are not solely related to human physical well-being and overcoming diseases. Medicine has gone beyond the boundaries of necessity and the opportunities that it provides are related to such categories as aesthetics, as the improvement of the body given by nature through medical procedures. Aesthetic medicine has brought to the forefront the subject that is relevant both at the national and international level and that is based on the question “What is beauty?” Considering the multifaceted nature of the word beauty, at the global level, there are certain obstacle to an agreement on a unified approach in the context of the legal framework for aesthetic medicine. The above can be explained by the diversity of relationships, opinions, and services.

Uncovering the Struggling Inner Voice of Green Beings Through The Novel “The Overstory” By Richard Powers

Nature and literature are interwoven. Without natural world, the beauty of words cannot be celebrated. So far in literature the exquisiteness of nature is being taken into deliberation. Trees play a crucial role in our planet but they are taken for granted by humans for their sophisticated life. It is easy to plant tree saplings but it is very difficult to protect a tree. Trees play an important role for human survival. Still people are not concerned to protect or conserve forest because they are connected with machines than with nature. Every individuals run behind the technical advancement that they will protest in virtual media to safeguard nature but not in reality. Trees do communicate but human fails to understand. This study unfurls the dark destroying side of nature through the Pulitzer Prize winning novel The Overstory by Robert Powers.

LEXEME КРАСОТА (BEAUTY) IN F.M. DOSTOYEVSKY’S NOVEL «IDIOT»

The purpose of this work is related to the statement of F.M. Dostoevsky that the salvation of the world is possible only through love for the human soul and, as a consequence of this love, through inner beauty. Based on this, the purpose of the article is to analyze the various meanings of the word beauty in lexicographic sources and in the novel “Idiot” by F.M. Dostoevsky. Vocabulary and textual representations of the lexeme красота ( beauty) are correlated. The author concludes that the polysemantic word beauty is not used in the text of the novel at the nomination of objects, at the description of nature, as well as at the expression of admiration. The analysis of the lexeme красота (beauty) outlined the moral nature of the word, thereby confirming the issues outlined above.

A Study on Translation Methods in Yu Bufan’s Version of Sherlock Holmes Series From the Perspective of Skopos Theory: A Case Study of A Study in Scarlet

Sherlock Holmes Series as a prominent detective novel has many Chinese translation editions. Among the numerous versions, Yu Bufan’s version is the first single-translator-finished translation of complete works of Sherlock Holmes Series in the history of the Chinese Sherlock Holmes Series ’ translation. He states that this version pursues the beauty of words. By studying the first volume A Study in Scarlet , this paper analyzes the four translation methods applied in this translation version including imitation, free translation, literal translation and idiomatic translation. And this paper is focused on deducing the intention and the effect of using these translation methods under the guidance of three rules of skopos theory. The conclusion is drawn that skopos theory can guide translators’ translation activities. By choosing different translation methods, the translation is full of language beauty and can be well-accepted by its target readers.

Review of Event

24th Congress of the European Association for Cranio-Maxillo-Facial Surgery (EACMFS2018) 18-21 September 2018 ─ Munich ─ Germany “Facing the future together”... what an amazing beauty of words and its meaning. The social media (Figs 1, 2) continues to give us so many advantages, they can help us to communicate, to catch and share the incredible moments of success, to be and watch simultaneously at the hottest events in different corners of the world. But feelings,… emotions,… personal connection… and building trust can be achieved in the best way only being at the Congress… at 24th Congress of the European Association for Cranio-Maxillo-Facial Surgery (www.eacmfs2018.com). 18-21 of September was the hottest and the most anticipated days among OMF and H&N surgeons, residents, and trainees. In that days all roads come to Munich. The city brought so much new connections, inspiration and so needed motivation. Wolff, Rodriguez (Fig 2), Fernandes, Rana, D`Cruz, Turvey, Gilbert, Parmar et al, those names continue to sound in our minds, being the guiding stars in our surgical life. And we start dreaming again… dreaming about 25th Congress in Paris (September 15-18, 2020).

EDUCATION OF CULTURE OF HONORS OF STUDENTS-AGRARIES

The ultimate goal of the agrarian specialist is solving organizational and management problems. This effect is due to emotional relationships with others, subordinates, colleagues and partners.The problem of education culture feeling has always been the focus of scientists — philosophers, psychologists, teachers, ethics, and its development has a profound and multifaceted spectrum (J. A. Comensky, John Locke, J. J. Rousseau, A. S. Makarenko, K.D. Ushinsky, V. A. Sukhomlinsky, B. I. Dodonov, K. D. Izard, P. M. Jacobson, I. D. Bech, O. V. Kirichuk, O. L. Kononko etc.).Preserving mental and physical health depends on the ability to manage future agrarian emotiogenic situations in the life.Therefore, to successfully creating a culture of feelings in students a teacher must constantly improve their spiritual potential, in particular at the level of art neutralize negative emotions and cultivating positive high; creating positive emotions of the audience because of the beauty of thought, word beauty, artistic and aesthetic value, because they bear the potential joy of intellectual, moral, aesthetic beauty and pleasure, making a particular impact on education cultural feelings of students.

APRESIASI KARYA SASTRA SEBAGAI MEDIA PENANAMAN MORALITAS DALAM DAKWAH

Literary work is a subtle medium in conveying the values ​​of morality in da'wah. The beauty of words in literature can provide entertainment and imply the values ​​of personality that can teach goodness.
 So many moral values ​​that can be presented by literary works as a means of someone to convey the message of da'wah with beautiful sentences. So in addition to the works of literature can provide entertainment, the readers can also reap the wisdom of the message of da'wah presented the author with a beautiful and interesting language. The moral value can also be derived from the character of the story in the novel as well as from the beauty of the poetic sentence presented by a poet.
 The theme of love in literature such as the simple novel "Garis Waktu" from Fiersa Besari and the anthology of "Asal Muasal Pelukan" from Chandra Malik is an alternative to reading that is not only entertaining but implies moral values. although the main theme in this literary work is not including religious themes, but this work contains many good moral values ​​and can be applied in the behavior of community life. da'wah method through literary works is expected to be an alternative in the planting of morality without a sense of patronizing.

Quantifying the Beauty of Words: A Neurocognitive Poetics Perspective.

In this paper I would like to pave the ground for future studies in Computational Stylistics and (Neuro-)Cognitive Poetics by describing procedures for predicting the subjective beauty of words. A set of eight tentative word features is computed via Quantitative Narrative Analysis (QNA) and a novel metric for quantifying word beauty, the aesthetic potential is proposed. Application of machine learning algorithms fed with this QNA data shows that a classifier of the decision tree family excellently learns to split words into beautiful vs. ugly ones. The results shed light on surface and semantic features theoretically relevant for affective-aesthetic processes in literary reading and generate quantitative predictions for neuroaesthetic studies of verbal materials.

Genres of ‘Ilm al-Badī’ in Sūra al-Najm

Arabic rhetorical sciences are: ‘Ilma al-Maani’ “the study of mening” ‘Ilma al-bayyan’ “the study of elucidation” and ‘Ilam al-Badi’ “the study of wondrous. This article describes two important phenomenon of Ilmi al-Badi known as ‘arravai al-lafzia’ “beauty of words” and ‘arravai al-manaviya’ “beauty of meaning” in Surah al Najam of the Holy Quran. Both these phenomenon are effectives rhetoric devices used in literature to eloquently convey the indent of words and meaning in this chapter. It is important to pondor more carefully about these phenomenon ، in order to uncover even more of the fascinating secret and beauties contained in God’s words and to enable man to imbibe from the limitless oceans of God’s knowledge to the extent of his own capacity.

A Wreath of Down and Drops of Blood (review)

Reviewed by: A Wreath of Down and Drops of Blood Nick Ripatrazone (bio) Allen Braden. A Wreath of Down and Drops of Blood. University of Georgia Press. Allen Braden’s new collection, A Wreath of Down and Drops of Blood, contains troubadourian lyrics and Pacific Northwestern elegies. Braden may flaunt his poetic tricks, yet he is equally comfortable within the narrative moment’s realism. Reading him is akin to knowing a magician’s method while still being pleasantly surprised by the beauty of his results. The emotional weight of this book stems from Braden’s representation of sharp moments of violence within the pastoral. While poets such as Harry Humes focus on atmosphere rather than tension, Braden’s presentation of the pastoral is more tightly wound. Braden’s earlier pastoral poetry contained the occasional sentimental moment. Sentimentality in contemporary poetry is often disparaged, though as Joy Katz has noted, such was not always the case: “Modernism [End Page 185] . . . cooled the heart of poetry; confessionalism warmed it up; and post-structuralism threw a bucket of ice water on it.” The contemporary result, Sarah Vap explains, is the “monitoring of sentimentality in poems, the naming of sentimentality in poems, the connection between this censorship and the belittling of certain life experiences and wisdoms.” Braden’s earlier sentimentality might be better thought of, then, as a willingness to allow nostalgia to frame a poetic presentation. “Sweet, Sweet Light,” published a decade before A Wreath of Down and Drops of Blood, sketches a scene ripe for sentimentality: Early one Saturday of my childhood the sun prismed through our kitchen, touching my mother’s body here or there as she bustled around, casting her for one delicious moment in pure light. This is a sweet scene: earlier there is talk of a “comb harvested from wooden hives” and “a jar of honey which was set in our window.” The ingredients for sentimentality are present—mother, kitchen, honey, childhood—but Braden undercuts an easy reading by following that “only memory operates in such a way.” His final lines further refine this moment: Do not ask, therefore, why time crystallizes all we have into composite forms of sugar or why so many hives are split wide simply for a taste of this brief sweetness. In this poem, Braden interrogates the act of pacification through memory, and the result is less a critique of the sentimental than an acknowledgment of its origin. Pastoral settings have always been especially prone to sentimentality. Gerard Manley Hopkins’s mythic representations of the pastoral male form in “Harry Ploughman,” though linguistically hypnotizing, can be read with a critical skeptical eye: “In him, all quail to the wallowing o’ the plough: ’s cheek crimsons; curls / Wag or crossbridle, in a wind lifted, windlaced— / See his wind-lilylocks-laced.” Would it be possible to represent an urban body with such verve? While Braden’s earlier poetry stopped short of man dissolving into nature, the seeds are sown there for his later concern with the violent pastoral. “Lilacs and Desires,” another work predating his new collection, begins softly; “A few branches have been broken / and laid gently in the wicker basket.” The bees “come”: a passive arrival, but complimented by their subsequent action of “whirring from sprig to sprig.” The later violence is presented as a paradox, “nothing / like a dose of venom to mother beauty.” The swarm “takes shape / right before your disbelieving eyes,” and yet Braden leaves the reader frozen in the moment. Violence is near but yet not truly encountered. In A Wreath of Down and Drops of Blood, Braden fully embraces the violent pastoral, but not before first dabbling in poetic play. Although the book is populated with distinct narrators, they share a certain milieu, and [End Page 186] therefore coalesce into an almost collective voice. Braden’s narrators deliver lines both sharp and swift. One narrator uses “words rare as blue-hoofed mare or black- / mouthed whelp,” and he knows that sometimes “salt burns sweet, / bruise preludes bliss.” Internal rhymes abound, mixing equal parts of wit and skill, while the occasional end rhyme also catches the reader, as in the final lines of “Taboo against the Word Beauty”: “Whatever...

Taboo against the Word Beauty , Epistolary Version Riding the Chicago Loop, and: Taboo against the Word Beauty , Invocation, and: Taboo against the Word Beauty, Troubadourian Version

Taboo against the Word Beauty, Epistolary Version Riding the Chicago Loop, and: Taboo against the Word Beauty, Invocation, and: Taboo against the Word Beauty, Troubadourian Version Allen Braden (bio) Taboo against the Word Beauty, Epistolary Version Riding the Chicago Loop Dear Kevin: The elevated train's not called "El" but "L"As in Lucky, Lonely, or Love. In a posh barBeauty kept reaching across her husbandTo stroke my arm. They'd been married [End Page 70] Long enough, he didn't mind or notice.No kidding about love on Dearborn either."Give with your heart, not your wallet."Seems everyone on the street has needs:Spare change, sponsor a child, hold me.One man shows me the scar on his face.A knife fight in prison. He knows I haveMercy. Anymore, he's that pane of glassDetached from Walgreens' windowsill.I look through it. Then step around. Take Good Care, Allen Taboo against the Word Beauty, Invocation Hear me O Muse! Dictate tricks of the trade: words rare as blue-hoofed mare or black-mouthed whelp. Prove that salt burns sweet, bruise preludes bliss, nettles the blistering kiss I'm mad for. Bite my tongue, nurse its wound with pine pitch. Psych!Dirty kneed and flirty, lick yourself clean, more or less a slutty possum dozing in my crawlspace. The Union Beautific nightly clobbering your possum lovers dumb.Take my hand and walk these tracks: no sublime marsupial heaven of endless pantries, no beauty sings. Slake this godforsaken thirst. Hold your breath. Your turn to play dead. [End Page 71] Taboo against the Word Beauty, Troubadourian Version Love is so short, forgetting is so long. —Pablo Neruda There ought to be a law against Henry. —Mr. Bones: there is. —John Berryman My life without your love: everywherethe chalk goes, something's left behind.On the other hand, antlers dropped by deerare loved down to nothing by porcupine.In spring, they say, a young man's fancy turnsto this. Meanwhile the swollen Green Riveruncovers record snow pack in the mountainsplus the latest fancy of a serial killer.Why test your notion of romance by limitationsto skin and bone? A lace of fascia warmas gentle love when flesh is splayed open.Disrobe and clothes forget their human form.I'd cinch a cord around your throat and takeyou from behind. I'd do it for beauty's sake. [End Page 72] Allen Braden Allen Braden has received fellowships from the nea and Artist Trust of Washington State. His book, A Wreath of Down and Drops of Blood, is forthcomingin the VQR poetry series from the University of Georgia Press. Copyright © 2008 University of Nebraska Press

Disastrous Aesthetics: Irony, Ethics, and Gender in Barthelme’s Snow White

The observer ought to be an amorist. --Kierkegaard (47) From the opening of Donald Barthelme's Snow White, the reader is confronted with the question of the aesthetic and its seemingly ironic relation to gender. The text begins: SHE is a tall dark containing a great many spots: one above the breast, one above the belly, one above the knee, one above the ankle, one above the buttock, one on the back of the neck. All of these are on the left side, more or less in a row, as you go up and down: [dot] [dot] [dot] [dot] [dot] [dot] (3) Certainly it makes all the sense in the fairy-tale world that a like Snow White should have beauty spots, but within this seemingly self-evident opening passage are confronted with a series of difficult aesthetic, linguistic, and ideological questions. First, note a grammatical slippage in the word beauty--initially used as a noun, then as an adjective. However, this slippage, easy enough to deal with and explain linguistically, leads directly to higher-order questions. Is Snow White beautiful because of the spots--do the spots make her beautiful? Or are the spots seen as beautiful because they are attached to such a beauty--does she make them beautiful? Is the word spots even right here, or should it give way to the more postmodern marks? Or, conversely, is the whole question of here a merely tautological one--if she's a (whatever that may mean), then she's ipso facto got beauty spots. If do have a tautology, is it an enclosure out of which the novel cannot lift itself? Can aesthetics progress from this linguistic question? Can Barthelme's version of Snow White properly begin? Perhaps as compensation for the problems inherent in the word beauty, the reader is next invited to picture Snow White's through the marks that rest not so coincidentally near her fetishized erogenous zones: breast, belly, knee, ankle, buttock, neck. To assist the reader in attempting to conjure up an aesthetic image of Snow White's marks, there's a helpful representation provided in the text. However, this series of bullets on the left side of the page manages only to disrupt or frustrate the reader's representational desire and, in the process, links this frustrated desire to the failure of the word or category beauty--to the tautology that, let us say, opens the text or, perhaps, (fore)closes it as it attempts to begin. Unable to climb toward the light of the signified, remain exposed to the uncertainty of the signifier. This problem concerning meaning, which dogs all of Barthelme's Snow White, seems to rob textual or aesthetic production of its traditional privilege and put it on the same level as other cultural productions. This postmodern situation, in turn, troubles traditional aesthetic thinking on at least three registers: first, it robs aesthetics of its role as arbiter of taste and value; second, it collapses the aesthetic distance that is absolutely essential for a traditional notion of aesthetic judgment; (1) finally, and perhaps most cripplingly, such a leveling gesture robs aesthetics of its proper object--after Warhol, how to tell the difference between a disposable commodity and enduring art? But as Dan the dwarf puts it in Snow White's most famous passage, there may be a way for aesthetics to continue from the point where its founding distinctions are irremediably blurred, from the point where art cannot separate itself from trash: at such a point, you will agree, the question turns from a question of of this trash to a question of appreciating its qualities.... And there can no longer be any question of disposing of it, because it's all there is, and will simply have to learn how to dig it--that's slang, but particularly appropriate here. (97) Here have all the ingredients for a familiar reading of aesthetics in Snow White and Barthelme's project on the whole: Barthelme, it seems, asks us to consider an ironic aesthetic stance as compensation for the absence of a transcendental signified; whatever may think of trash, we will simply have to learn how to 'dig' it. …

Pictet’s Du Beau (1856) and the crystallisation of saussurean linguistics

Summary The key formative figure in the intellectual life of the young Ferdinand de Saussure was Adolphe Pictet (1799–1875), a family friend best remembered for his Les origines indo-européennes, ou Les Aryas primitifs: Essai de paléontologie linguistique (1859–1863). A review of its second edition written by Saussure two years after Pictet’s death contains a wealth of information about his life and work, including a description of his book Du beau, dans la nature, l’art et la poésie: Etudes esthétiques (1856). In it, Pictet makes clear that aesthetics is principally centred on the problem of the meaning of the word beauty, and that within this problem are to be found all the tensions between the rational and sensible, the intellectual and emotional, the subjective and objective, and intention and reaction, that are at the heart of the whole Enlightenment discourse on the nature of language. A number of remarks on regularity of form in nature, for example in crystallisation, find echoes in Saussure’s later characterisation of the language system, as do Pictet’s assertions about the arbitrary nature of the linguistic sign and about the signified being not a thing but a concept. Indeed, a number of ‘influences’ on Saussure which Aarsleff (1982) credited to Hippolyte Taine (1828–1893) – for whom we have no independent evidence of such influence – can more convincingly be ascribed to his early mentor Pictet. Du beau moreover provides a ‘missing link’ between the Enlightenment philosophers whose aesthetic views it details, and the traces of their philosophical positions that have repeatedly been detected in the Cours de linguistique générale.