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1
Louth, Andrew. "“Beauty will Save the World”." Theology Today 61, no. 1 (April 2004): 67–77. http://dx.doi.org/10.1177/004057360406100108.
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Mikić, Aleksandar, Petr Smýkal, Gregory Kenicer, Margarita Vishnyakova, Nune Sarukhanyan, Janna A. Akopian, Armen Vanyan, et al. "Beauty will save the world, but will the world save beauty? The case of the highly endangered Vavilovia formosa (Stev.) Fed." Planta 240, no. 5 (August 3, 2014): 1139–46. http://dx.doi.org/10.1007/s00425-014-2136-9.
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Mikić, Aleksandar, Petr Smýkal, Gregory Kenicer, Margarita Vishnyakova, Nune Sarukhanyan, Janna A. Akopian, Armen Vanyan, et al. "Erratum to: Beauty will save the world, but will the world save beauty? The case of the highly endangered Vavilovia formosa (Stev.) Fed." Planta 240, no. 5 (September 24, 2014): 1147. http://dx.doi.org/10.1007/s00425-014-2173-4.
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Breckner, Katharina. "Beauty and Art in Solovjev’s (1850–1903) and in Bulgakov (1874–1948). Does Beauty Save the World?" Logos i Ethos 1 (June 30, 2012): 7. http://dx.doi.org/10.15633/lie.196.
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Diessner, Rhett. "Beauty Will Save the World: My Mother's Words, My Father's Gaze and Gait." Ecopsychology 10, no. 3 (September 2018): 189–91. http://dx.doi.org/10.1089/eco.2018.0049.
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Banner, Francine. "‘Beauty Will Save the World’: Beauty Discourse and the Imposition of Gender Hierarchies in the Post-War Chechen Republic." Studies in Ethnicity and Nationalism 9, no. 1 (April 2009): 25–48. http://dx.doi.org/10.1111/j.1754-9469.2009.01027.x.
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Miller, Rod. "Wolfe, Gregory. Beauty Will Save the World: Recovering the Human in an Ideological Age." Journal of Interdisciplinary Studies 24, no. 1 (2012): 207–9. http://dx.doi.org/10.5840/jis2012241/226.
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Kliszcz, Angelika, Andrzej Danel, Joanna Puła, Beata Barabasz-Krasny, and Katarzyna Możdżeń. "Fleeting Beauty—The World of Plant Fragrances and Their Application." Molecules 26, no. 9 (April 23, 2021): 2473. http://dx.doi.org/10.3390/molecules26092473.
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This article is devoted to some aspects of the fragrant substances of plant origin applied in the food industry and perfumery as well. Since antiquity many extractive techniques have been developed to obtain essential oils. Some of them are still applied, but new ones, like microwave or ultrasound-assisted extractions, are more and more popular and they save time and cost. Independently of the procedure, the resulting essential oils are the source of many so-called isolates. These can be applied as food additives, medicines, or can be used as starting materials for organic synthesis. Some substances exist in very small amounts in plant material so the extraction is not economically profitable but, after their chemical structures were established and synthetic procedures were developed, in some cases they are prepared on an industrial scale. The substances described below are only a small fraction of the 2000–3000 fragrant molecules used to make our life more enjoyable, either in food or perfumes. Additionally, a few examples of allelopathic fragrant compounds, present in their natural state, will be denoted and some of their biocidal features will be mentioned as an arising “green” knowledge in agriculture.
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Levine, George. "Why Beauty Matters." Victorian Literature and Culture 47, no. 1 (December 7, 2018): 243–65. http://dx.doi.org/10.1017/s106015031800147x.
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For those of us for whom “literary Darwinism,” which bases its “scientific” approach to literary criticism on evolutionary psychology, has seemed an intellectual disaster, but who continue to believe that it is important to incorporate science cooperatively into our study of literature; for those who are concerned about how art and literature matter in a world so troubled and dangerous; for those convinced Darwinians who find themselves skeptical about and uneasy with the mechanico-materialist version of Darwinism that Richard Dawkins and Daniel Dennett have made popular; for those who find that the science they credit is yet inadequately attentive to women's perspectives, Richard Prum's The Evolution of Beauty offers a potentially marvelous option. A distinguished ornithologist, Prum has undertaken an enormously ambitious project, whose implications run from evolutionary biology to aesthetics. From the perspective of a very unscientific literary guy and a wannabe birder, I slightly distrust my enthusiasm for the book. But Prum's arguments are creatively provocative and brilliantly argued, even when they get rather iffily hypothetical; his ornithological studies are intrinsically fascinating, even to nonbirders, and at the same time they have potentially transformative implications. What he has to say, even if his inferences can and should be challenged, deserves the most serious engagement.
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Nickoloff, James B. "Gustavo Gutiérrez Meets Giuseppe Verdi: The Beauty of Liberation and the Liberation of Beauty." Religion and the Arts 17, no. 3 (2013): 203–21. http://dx.doi.org/10.1163/15685292-12341270.
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AbstractSome have criticized the theology of liberation, especially its Latin American form, for emphasizing ethical concerns while ignoring the aesthetic dimension of Christian faith. At the same time, many see the fine arts—and particularly opera—as unrelated and even opposed to the struggle for justice today. This essay considers the case of liberation theologian Gustavo Gutiérrez and his debt to fellow Peruvian and novelist José María Arguedas. It then examines the ethical import of one of Giuseppe Verdi’s most famous creations, the enslaved princess Aida. Both Gutiérrez and Verdi may be said to belong to what Arguedas called the “fraternity of the broken-hearted” whose members glimpse a new world coming into being in the very beauty of liberated humanity.
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Poltrum, M. "Ethics and Aesthetics–Philosophical Perspectives." European Psychiatry 41, S1 (April 2017): S51. http://dx.doi.org/10.1016/j.eurpsy.2017.01.216.
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European intellectual history teaches us that beauty is not just an adornment to life but is also a major source of strength for our life. Moreover, the positive aesthetic experience also has healing power. That beauty is a highly effective antidote to life's suffering, i.e. acts as an anti-depressant, has been documented in the tradition of philosophical aesthetics from Plato to Bloch. Beauty reveals truth and goodness (Plato), it shows the harmonious order and the glory of things (Pseudo-Dionysius the Areopagite), it is one of the transcendental names of God (Thomas of Aquinas), in beauty the world appears in its perfection (Baumgarten), beauty is the daughter of freedom (Schiller), it offers a temporary escape from the suffering of existence (Schopenhauer), aesthetic values are the only values that withstand nihilism and the meaninglessness of existence and are thus the actual stimulus of life (Nietzsche), the beautiful is the sensual appearance of the idea (Hegel), beauty is an anti-depressant and Weckamin of being, it tears people out of their forgetfulness of Being (Heidegger), there is a close relationship between the shining forth of the Beautiful and the evidentness of the Understandable (Gadamer), in an artwork and through the aesthetic attitude the Other, foreign, the non-identical that is mangled and mutilated in the administered world is preserved and saved (Adorno). Many more positive affirmative descriptions from the tradition of philosophical aesthetics demonstrate that beauty and the aesthetic have a therapeutic dimension.Disclosure of interestThe author declares that he has no competing interest.
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Lazzerini, Simona. "Threatening Beauty and Demonic Seduction: Unveiling Hārītī’s Sexuality." NAN NÜ 23, no. 1 (August 16, 2021): 1–34. http://dx.doi.org/10.1163/15685268-02310011.
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Abstract The former child-eating demoness Hārītī is well-known throughout the Buddhist world as a fertility goddess, healer, and protector. However, two eighth-century Chinese esoteric texts, the Da yaochanü Huanximu bing Aizi chengjiufa (Sādhana of the great yakṣiṇī Mother Joy and Priyaṇkara) and the Helidimu zhenyan jing (Sūtra of the mantra of Mother Hārītī), shed light on a more obscure Hārītī, marked by her sexuality and romantic past. This article argues that Hārītī may be understood as a seductress, a potentially sensual deity who remains loyal to her husband but, at the same time, demonstrates the ability to displace her sexuality. More specifically, the article proposes that Hārītī should be recognized as a chaste seductress on two levels: through her relationship with her husband, and through her interaction with those who practice esoteric rituals. Furthermore, Hārītī’s threatening sexuality went beyond Buddhist texts and entered the world of Chinese literature: Song dynasty supernatural tales and Ming era fictional works reveal a less orthodox and more daring way in which the goddess is able to employ her sexuality.
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Silva, Alvaro. "Dorothy Day: The World Will Be Saved by Beauty. An Intimate Portrait of my Grandmother." Mayéutica 43, no. 95 (2017): 216–18. http://dx.doi.org/10.5840/mayeutica2017439526.
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Gejmbuh, E. Yu. "Lexical-semantic Field «Happiness» in the Composition-speech Structure of the Miniature of the Same Name by V.P. Astafiev (For the 95th Birth Anniversary)." Russian language at school 80, no. 2 (March 19, 2019): 62–66. http://dx.doi.org/10.30515/0131-6141-2019-80-2-62-66.
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The article is devoted to one of the aspects of the compositional speech structure of the miniature «Happiness» – the ratio of two semantic fields – happiness and unhappiness – and their role in creating an image of the world. The author comes to the conclusion that the center and periphery of the field are formed around the core (happiness – sleep). Joy, beauty, and intimacy (the center) have been exclusively in the field of «happiness»; however light, breath, love and music appear ambivalent, since they can belong to both opposing worlds (the periphery).
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Marais, N. ""Adorn the cross with roses"? Justice and human dignity, beauty and human flourishing." Acta Theologica Supp, no. 29 (November 30, 2020): 77–92. http://dx.doi.org/10.18820/23099089/actat.sup29.5.
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What does beauty have to do with justice, justification, and salvation? Can the world be saved by beauty? In this contribution, some theological and rhetorical convergences and differences between the discourse on human dignity and the discourse on human flourishing are explored. The role of beauty, in these discourses, is a pivotal concern – especially as often justice and human rights shape the theological discourse on human dignity. A key proposed argument in this analysis is that justice is to human dignity what beauty is to human flourishing, and that these shape or mould the theological language with which salvation – the good news of the gospel – is articulated. The argument concludes by proposing that both forensic language and aesthetic language are born from the fold of Christian soteriology, and that not only the more static, forensic language of human dignity is required to speak about salvation, but also the more pliable, artistic language of human dignity.
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Mykhailova, O. V. "Woman in art: a breath of beauty in the men’s world." Aspects of Historical Musicology 17, no. 17 (September 15, 2019): 163–80. http://dx.doi.org/10.34064/khnum2-17.11.
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Background. А history of the development of the human community is at the same time a history of the relationship between men and women, their role in society, in formation of mindset, development of science, technology and art. A woman’s path to the recognition of her merits is a struggle for equality and inclusion in all sectors of public life. Originated with particular urgency in the twentieth century, this set of problems gave impetus to the study of the female phenomenon in the sociocultural space. In this context, the disclosure of the direct contribution of talented women to art and their influence on its development has become of special relevance. The purpose of the article is to summarize segmental of information that highlights the contribution of women to the treasury of world art, their creative and inspiring power. Analytical, historical-biographical and comparative studying methods were applied to reveal the gender relationships in art and the role of woman in them as well as in the sociocultural space in general. The results from this study present a panorama of gifted women from the world of art and music who paved the way for future generations. Among them are: A. Gentileschi (1593–1653), who was the first woman admitted to The Florence Academy of Art; M. Vigee Le Brun (1755–1842), who painted portraits of the French aristocracy and later became a confidant of Marie-Antoinette; B. Morisot (1841–1895), who was accepted by the impressionists in their circle and repeatedly exhibited her works in the Paris Salon; F. Caccini (1587–1640), who went down in history as an Italian composer, teacher, harpsichordist, author of ballets and music for court theater performances; J. Kinkel (1810–1858) – the first female choral director in Germany, who published books about musical education, composed songs on poems of famous poets, as well as on her own texts; F. Mendelssohn (1805–1847) – German singer, pianist and composer, author of cantatas, vocal miniatures of organ preludes, piano pieces; R. Clark (1886–1979) – British viola player and composer who created trio, quartets, compositions for solo instruments, songs on poems of English poets; L. Boulanger (1893–1918) became the first woman to receive Grand Prix de Rome; R. Tsekhlin (1926–2007) – German harpsichordist, composer and teacher who successfully combined the composition of symphonies, concerts, choral and vocal opuses, operas, ballets, music for theatrical productions and cinema with active performing and teaching activities, and many others. The article emphasise the contribution of women-composers, writers, poetesses to the treasury of world literature and art. Among the composers in this row is S. Gubaidulina (1931), who has about 30 prizes and awards. She wrote music for 17 films and her works are being performed by famous musicians around the world. The glory of Ukrainian music is L. Dychko (1939) – the author of operas, oratorios, cantatas, symphonies, choral concertos, ballets, piano works, romances, film music. The broad famous are the French writers: S.-G. Colette (1873–1954), to which the films were devoted, the performances based on her novels are going all over the world, her lyrics are being studied in the literature departments. She was the President of the Goncourt Academy, Chevalier of the Legion of Honour, a square in the center of Paris is named after her. Also, creativity by her compatriot, L. de Vilmorin (1902–1969), on whose poems С. Arrieu, G. Auric, F. Poulenc wrote vocal miniatures, is beloved and recognized as in France as and widely abroad. The article denotes a circle of women who combined the position of a selfsufficient creator and a muse for their companion. M. Verevkina (1860–1938) – a Russian artist, a representative of expressionism in painting, not only helped shape the aesthetic views of her husband A. Yavlensky, contributing to his art education, but for a long time “left the stage” for to not compete with him and help him develop his talent fully. Furthermore, she managed to anticipate many of the discoveries as for the use of light that are associated with the names of H. Matisse, A. Derain and other French fauvist. F. Kahlo (1907–1954), a Mexican artist, was a strict critic and supporter for her husband D. Rivera, led his business, was frequently depicted in his frescoes. C. Schumann (1819–1896) was a committed promoter of R. Schumann’s creativity. She performed his music even when he was not yet recognized by public. She included his compositions in the repertoire of her students after the composer lost his ability to play due to the illness of the hands. She herself performed his works, making R. Schumann famous across Europe. In addition, Clara took care of the welfare of the family – the main source of finance was income from her concerts. The article indicates the growing interest of the twentieth century composers to the poems of female poets. Among them M. Debord-Valmore (1786–1859) – a French poetess, about whom S. Zweig, P. Verlaine and L. Aragon wrote their essays, and her poems were set to music by C. Franck, G. Bizet and R. Ahn; R. Auslender (1901–1988) is a German poetess, a native of Ukraine (Chernovtsy city), author of more than 20 collections, her lyrics were used by an American woman-composer E. Alexander to write “Three Songs” and by German composer G. Grosse-Schware who wrote four pieces for the choir; I. Bachmann (1926–1973) – the winner of three major Austrian awards, author of the libretto for the ballet “Idiot” and opera “The Prince of Hombur”. The composer H. W. Henze, in turn, created music for the play “Cicadas” by I. Bachmann. On this basis, we conclude that women not only successfully engaged in painting, wrote poems and novels, composed music, opened «locked doors», destroyed established stereotypes but were a powerful source of inspiration. Combining the roles of the creator and muse, they helped men reach the greatest heights. Toward the twentieth century, the role of the fair sex representatives in the world of art increased and strengthened significantly, which led Western European culture to a new round of its evolution.
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Agnihotri, Manjari. "PRESERVATION OF ENVIRONMENT THROUGH ECO-FRIENDLY STEPS." International Journal of Research -GRANTHAALAYAH 3, no. 9SE (September 30, 2015): 1–3. http://dx.doi.org/10.29121/granthaalayah.v3.i9se.2015.3135.
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The word eco-friendly is actually derived from Ecosystem which is related to human beings and their habits. The term eco-friendly means those steps which are friendly to our ecosystem and environment, that do not hurt our earth’s health and wealth. Earth is the wonderful creation of god. To save this beauty nature keeps balance among environmental components through ecosystem. If it is disturbed in any case, it affects the health of the earth. Environment is our natural heritage, and as a social creature it is the moral duty of every person to save this valuable property. So to save this environment, we should be eco-friendly.
Basically environment is made up of biotic and abiotic components present around us. They all maintain clean, balanced, perfect environment by keeping a proper balance and relation. Our environment is a rich source of natural resources.
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Roberts, Graham. "Angels with Dirty Faces: Gosha Rubchinskiy and the Politics of Style." Journal of Extreme Anthropology 1, no. 3 (October 30, 2017): 18–40. http://dx.doi.org/10.5617/jea.5564.
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In many ways, twenty-first century Russia is the land par excellence of extreme masculinity. President Putin himself regularly indulges in spectacular performances of extreme masculinity, whether it be pledging to ‘bump off’ Chechen terrorists in their ‘shithouses’, swimming in ice-cold Siberian lakes, or posing in the pilot’s seat of a supersonic strategic bomber. Men’s fashion and fashion imagery is one of the rare areas of Russian culture where the kind of masculinity embodied (in a literal sense) by Putin is still challenged, and indeed subverted. Perhaps the most interesting Russian men’s fashion designer working today, certainly the designer who has engaged most persistently with political change, is Gosha Rubchinskiy. In his work he foregrounds various ‘extreme’ forms of Russian masculinity, from the angelic youth at one end of the spectrum through the brown-shirted neo-fascist adolescent, to the shaven-headed football fan at the other end. He does so, he maintains, in order to change the way Russia is perceived in the world. Indeed, if Dostoevsky once claimed that ‘beauty will save the world,’ Rubchinskiy self-consciously enlists what he refers to as the ‘beauty’ of his models in an attempt to challenge the negative image of Russia generated by western media as part of what he has called an ‘informational [sic] war’ against his native country. Borrowing concepts from Bakhtin (the chronotope, carnival) and Foucault (heterotopia), I examine Rubchinskiy’s extreme masculinities, and the questions they raise about masculinity, about the cultural relationship between Russia and the West, fashion as a discrete cultural practice, and the place and role of the fashion designer in society.
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De Smet, Johan, and Helen De Cruz. "Delighting in Natural Beauty: Joint Attention and the Phenomenology of Nature Aesthetics." European Journal for Philosophy of Religion 5, no. 4 (December 22, 2013): 167–86. http://dx.doi.org/10.24204/ejpr.v5i4.211.
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Empirical research in the psychology of nature appreciation suggests that humans across cultures tend to evaluate nature in positive aesthetic terms, including a sense of beauty and awe. They also frequently engage in joint attention with other persons, whereby they are jointly aware of sharing attention to the same event or object. This paper examines how, from a natural theological perspective, delight in natural beauty can be conceptualized as a way of joining attention to creation. Drawing an analogy between art and creation, we propose that aesthetic appreciation of nature may provide theists with a unique phenomenological insight into God’s creative intentions, which are embodied in the physical beauty of creation. We suggest two directions in which this way of looking at the natural world can be fleshed out: in a spontaneous way, that does not take into account background information, and with the help of science.
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McCabe, Maryann, Timothy de Waal Malefyt, and Antonella Fabri. "Women, makeup, and authenticity: Negotiating embodiment and discourses of beauty." Journal of Consumer Culture 20, no. 4 (October 16, 2017): 656–77. http://dx.doi.org/10.1177/1469540517736558.
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This essay examines women’s makeup practices and cultural tension between inner and outer constructs of beauty in the United States. Ethnographic research reveals competing discourses of beauty in the embodied experience of women, compared to images of beauty as promoted in advertising by the cosmetic industry. While the discourse of women’s embodied experience emphasizes inner worth and connecting internal and external self, cosmetic advertising focuses on physical appearance and critical gaze of self and others. Women incorporate advertising discourses, not yielding to them or resisting them, but rather transforming them to suit their needs in using makeup products for creating confidence and preparing themselves for engagement in the world. At the same time, paradoxical adherence to advertising discourse indicates that gender inequality remains an ideological force in our society. Processes of ritualization produce and legitimize hierarchies of power in society. In this way, women’s relationships to their bodies, commoditized products, and makeup practices are transformative as they are paradoxical.
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Aleksenko, Vitaliia. "Aesthetization of the christian ethical ideal in o. wilde's fairy tale «The Happy Prince»." Vìsnik Marìupolʹsʹkogo deržavnogo unìversitetu. Serìâ: Fìlologìâ 13, no. 22 (2020): 11–16. http://dx.doi.org/10.34079/2226-3055-2020-13-22-11-16.
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The paper explores the problem of the relationship between the ideas of aesthetics and the Christian doctrine of active love in the famous tale written by O. Wilde. The research which emphasizes the Christian basis of the author's outlook became the methodological basis of the present study on the background of a detailed analysis of various assessments of the writer's position, interpreted as an immoral aesthete and as a supporter of socialist ideas or a recipient of ideas of ancient philosophy of spiritual beauty. The study proves this in detail, analyzing the plot and figurative solutions of the fairy tale «Happy Prince», taking into account the traditional Christian symbols. Thus, the image of the Prince-Statue, decorated with gold and precious stones, is interpreted as a symbol of Christ, who gives his splendor and power to save the poor. It is also reminiscent of the words of Christ, who tells a young rich man who seeks perfection to sell his wealth and give money to the poor. The very values of the earthly world, gold and precious stones, luxurious things made of them, are transparently interpreted in an ironically reduced tone. The confirmation of the fact that the aestheticization of being yields to the hidden spiritual greatness of Christian love and self-sacrifice is also that that the values of the earthly world, gold and precious stones are transparently interpreted in an ironic tone in the fairy tale. The swallow, being the ancient symbol of the Renaissance, this bird was lured by the perishable beauty of idols and tombs of Egypt, the biblical symbol of captivity. The swallow finds its purpose in the service of the Prince, scattering his precious clothes to the poor. And here the ethical criterion turns out to be higher than the aesthetic one. They are not rewarded on the Earth: the bird dies of the cold, and the remains of an unpresentable statue of the prince are demolished, the decisive word to belong to the professor of aesthetics. However, the angel of God brings the most precious things he has found in this city to the heavenly palaces of the Lord: the tin heart of the Prince, torn by grief, and a dead bird. By analyzing the writer's ideological system with implicit implications, Wilde's position is quite obvious: despite his apparent admiration for the aesthetics of beauty, the writer rejects ultimately the doctrine of aesthetics and exalts Christian values, setting out his concept in the style of a parable.
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Peters, Julia. "Beauty, Aesthetic Experience and Immanent Critique." Hegel Bulletin 30, no. 1-2 (2009): 67–81. http://dx.doi.org/10.1017/s0263523200000926.
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In his essay What is living and what is dead of the philosophy of Hegel?, Benedetto Croce praises Hegel for bestowing the highest value on beauty, in particular artistic beauty. He emphasises Hegel's ‘tendency to make art a primary element in human life, a mode of knowledge and of spiritual elevation’, and the ‘constant contact of Hegelian speculation with taste and with works of art, and the dignity which it assigned to the artistic activity’ (Croce 1985: 121). This tendency, Croce writes, is what makes Hegelian speculation congenial to the great aesthetic theories of the Romantic period. In this paper, I shall put forward some considerations which render support to Croce's observation that there is a strand of unreserved and absolute appreciation of beauty, in particular artistic beauty, in Hegelian philosophy. My focus will be in particular on the question of why Hegel thinks that the experience of beauty — which I will be referring to, in short, as aesthetic experience — is of special, even absolute value for human beings. This will involve, in the first part of the paper, an analysis of what Hegel takes to be the content of such experience; hence an analysis of Hegel's notion of beauty.Such emphasis on the absolute value of beauty invites of course the question of how beauty relates, in Hegel's system, to what Hegel regards as the highest value of all: reconciliation. Hegel believes that both philosophical speculation — which culminates in knowledge of the absolute truth — and the achievement of the highest practical good, the participation in civic life, are ways of reconciling the human individual with the world they live in. Does the same apply to beauty, or aesthetic experience? I will briefly touch on the relation between aesthetic experience and reconciliation in the second part of the paper. In this context, we will also consider an objection to the view that Hegel's appreciation of aesthetic experience is unrestricted or absolute, which arises from consideration of Hegel's famous claim that philosophy is higher than art.
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Hermann, Enno. "‘Sale of the Millennium’: The 2000 Olympics and Australia's Corporate Identity." Media International Australia 94, no. 1 (February 2000): 173–81. http://dx.doi.org/10.1177/1329878x0009400116.
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This article argues that discourses of ‘the national’ in Australia have increasingly come to be treated in commodified terms — that is, in the language of advertising. It looks at the advertising campaign that accompanies the upcoming Sydney Olympic Games, where Australia features as a tourist spectacle of an idealised global culture. Images of natural beauty, multicultural harmony and particularly Indigenous culture are highlighted in this unprecedented opportunity for Australia to sell itself to the world. Treating the Sydney Olympics in this way, as a global media event, allows for some reconsideration of the processes and the images employed in Australia's national imagining.
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Opran, Elena Rodica, Dan Valeriu Voinea, and Mirela Teodorescu. "Art and Being in Neutrosophic Communication." International Letters of Social and Humanistic Sciences 47 (February 2015): 16–27. http://dx.doi.org/10.18052/www.scipress.com/ilshs.47.16.
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What seems to suggest various avant-garde and artistic experimentalism movements from futurism to cubism, from expressionism to surrealism, from Picasso to the great masters of informal art is a Beauty of challenge. The avant-garde art does not arise the issue of Beauty. It is understood without saying that the new images are "beautiful" in terms of art and that should produce the same pleasure that feel the contemporaries of Rafael and Giotto in front of their works” asserts Umberto Eco (Eco, 2005). The phenomenon is due to the fact that the challenge of avant-garde tear down all aesthetic canons, observed at the moment. Art no longer aims to offer images of natural beauty, no longer occasion for calm pleasure of contemplation the harmonious forms. Instead, it wants to lead to an interpretation of the world from a different optic, wants to return to archaic or exotic models: the universe of dreams or ill mentally fantasies, visions experienced under the drugs influence, rediscovering matter, chaotic household objects current location in contexts unlikely (new object, Dadaist movement etc.), unconscious impulses, of uncertainties, of confusion, of neutrality. The study aims to explore Beauty and ugly in terms of neutrosophic concept.
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Yarosh, Daniel. "Perception and Deception: Human Beauty and the Brain." Behavioral Sciences 9, no. 4 (March 29, 2019): 34. http://dx.doi.org/10.3390/bs9040034.
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Human physical characteristics and their perception by the brain are under pressure by natural selection to optimize reproductive success. Men and women have different strategies to appear attractive and have different interests in identifying beauty in people. Nevertheless, men and women from all cultures agree on who is and who is not attractive, and throughout the world attractive people show greater acquisition of resources and greater reproductive success than others. The brain employs at least three modules, composed of interconnected brain regions, to judge facial attractiveness: one for identification, one for interpretation and one for valuing. Key elements that go into the judgment are age and health, as well as symmetry, averageness, face and body proportions, facial color and texture. These elements are all Costly Signals of reproductive fitness because they are difficult to fake. However, people deceive others using tricks such as coloring hair, cosmetics and clothing styles, while at the same time they also focus on detecting fakes. People may also deceive themselves, especially about their own attractiveness, and use self-signally actions to demonstrate to themselves their own true value. The neuroscience of beauty is best understood by considering the evolutionary pressures to maximize reproductive fitness.
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Cornell, Tom. "Dorothy Day, the World Will Be Saved by Beauty: An Intimate Portrait of My Grandmother by Kate Hennessy." American Catholic Studies 128, no. 3 (2017): 84–86. http://dx.doi.org/10.1353/acs.2017.0037.
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Solovieva, Greta. "Abai About the Whole Man: Unity of Truth, Goodness and Beauty." Al-Farabi 74, no. 2 (June 30, 2021): 18–32. http://dx.doi.org/10.48010/2021.2/1999-5911.02.
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Kazakh philosophy, being ethics, aesthetics and at the same time metaphysics, fulfills a great mission: to be a teaching about a beautiful and righteous life. Expressing the spirit of Kazakh culture, Abai Kunanbayev creates at the same time a new value paradigm that determined the life and fate of his native people. The brilliant thinker connects the transformed East and the rethought West, a thinking heart and a conscientious mind under the leadership of Faith. From these positions, he reveals the essence of the philosophy of the “whole person”: overcoming ignorance, laziness, greed, envy, mastering knowledge, understanding work as a condition of full life, developing the ability to think, do good and contemplate beauty. This is the path of the Kazakh people into the space of world history, where they will become an example for other peoples in comprehending the spiritual meanings of life and affirming high moral values.
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Barrett, Peter. "Toward a Theological 'Theory of Everything'." Religion and Theology 7, no. 3 (2000): 355–78. http://dx.doi.org/10.1163/157430100x00216.
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AbstractThe emergence of a new scientific world-picture during the course of the 20thcentury has created the challenge to theology, as in the time of Aquinas, to act as the great integrating discipline, drawing upon the full range of knowledge to formulate a grand narrative of the evolving cosmos. First, key questions of the science-theology debate of the past three decades are outlined, with emphasis on the epistemic aspects. George Ellis's theistic cosmology is then presented briefly, as an example of a limited integration that brings together the realms of the physical and the moral. Using the same hypothetico-deductive approach, an axiomatic framework is proposed as a way of extending his model into a more comprehensive scheme - one that is based on a fundamental idea of trinitarian theology, the kenosis of God. This is then linked to the traditional triad of transcendental values - truth, goodness and beauty - with reference on the one hand to the neglect of beauty in modern culture, and on the other hand to the role of the Holy Spirit as the One who affirms particularity and inspires beauty.
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Barrett, Peter. "Toward a Theological Theory of Everything." Religion and Theology 7, no. 4 (2000): 355–78. http://dx.doi.org/10.1163/157430100x00450.
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AbstractThe emergence of a new scientific world-picture during the course of the 20thcentury has created the challenge to theology, as in the time of Aquinas, to act as the great integrating discipline, drawing upon the full range of knowledge to formulate a grand narrative of the evolving cosmos. First, key questions of the science-theology debate of the past three decades are outlined, with emphasis on the epistemic aspects. George Ellis's theistic cosmology is then presented briefly, as an example of a limited integration that brings together the realms of the physical and the moral. Using the same hypothetico-deductive approach, an axiomatic framework is proposed as a way of extending his model into a more comprehensive scheme - one that is based on a fundamental idea of trinitarian theology, the kenosis of God. This is then linked to the traditional triad of transcendental values - truth, goodness and beauty - with reference on the one hand to the neglect of beauty in modern culture, and on the other hand to the role of the Holy Spirit as the One who affirms particularity and inspires beauty.
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Antonova, Clemena. "'The world will be saved by beauty': The Revival of Romantic Theories of the Symbol in Pavel Florenskii's Works." Slavonica 14, no. 1 (April 2008): 44–56. http://dx.doi.org/10.1179/174581408x281696.
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Jacob, Margaret C. "Merchants and Marvels: Commerce, Science, and Art in Early Modern Europe. Edited by Pamela Smith and Paula Findlen. New York: Routledge, 2002. Pp. ix, 437. $27.95." Journal of Economic History 63, no. 1 (March 2003): 250–51. http://dx.doi.org/10.1017/s002205070322180x.
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The Marxists had it right all along, they just got tripped up by their materialism. Early modern capitalism opened vast new worlds, particularly in the arts and sciences, only the traffic went both ways. Creative agents invented new markets and pushed commerce in directions that favored enterprises immensely cosmopolitan and innovative, often solely for the sake of beauty and display. Commerce offered a context but the nobility, and not an imagined bourgeoisie, had the edge when it came to exploiting the market for objets. Paintings could be traded for property, land, and houses. Princes could sponsor natural philosophers, and the fluidity in values meant that good investors, like good practitioners of the arts and sciences, took an interest in all aspects of learning. The interrelatedness of the representational arts and natural philosophy stands as one of the central themes in this tightly integrated collection of essays. We now have a vast historiography telling us that we should no longer teach early modern science without reference to the art of the time, and vice-versa. The point is beautifully illustrated by an exhibition recently held at the J. Paul Getty Museum in Los Angeles (spring 2002) on the art of Pieter Saenredam. Working in Utrecht in the 1630s, he used geometry to regularize and make precise the angles and corners found in the exquisite paintings he made of the city's churches. He knew as much about geometry as he did about chiaroscuro. At precisely the same moment, an hour or two away by barge, Descartes in Leiden put the final touches on his Discourse on Method (1637). In effect he explained to the world why precision and clarity of thought made possible the kind of beauty that Saenredam's paintings would come to embody.
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Holobuț, Bianca. "Reinterpretations of the Shakespearean Universe In Terms of the Commedia Dell’Arte." Cercetări teatrale 2, no. 1 (2021): 93–117. http://dx.doi.org/10.46522/ct.2021.01.05.
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Through our study we will try to cast light on two distinct theatre laboratories, each with its own dominants, with its alchemy and, obviously, with its own alchemist (the director, the guide, the spiritual master). We will take a journey into two parallel stage universes: Carlo Boso’s lab, which I call the French Artistic Legion, and Muriel Manea’s workshop, which draws a dynamic relationship between the beauty and ugliness of the Balkan space. The two approaches are put in a ritual context, highlighted in the analysis of the stage process. Two different productions of the same text, A Midsummer Night’s Dream, by W. Shakespeare, with similar types of training and the requirement of an artistic discipline, while having the ability to give up dogma. Carlo Boso brings the masks of the commedia dell’arte in a stylistic and energetic agreement with Shakespeare›s universe, while Muriel Manea, using the aesthetics of beauty, but also of ugliness, builds an authentic world, preserving the essence of that created by Shakespeare.
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Pushkareva, Irina A. "The precedent text "Beauty will save the world" in the city newspaper Kuznetsky rabochiy: semantic and stylistic analysis (on the dynamics of the axiological picture of the world in the regional media discourse of the late 20th and early 21st centuries)." Vestnik Tomskogo gosudarstvennogo universiteta. Filologiya, no. 2(34) (April 1, 2015): 55–70. http://dx.doi.org/10.17223/19986645/34/6.
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Krotova, Daria. "A. Blok in the Poetic World of V. Shalamov." Philology & Human, no. 3 (September 7, 2021): 76–87. http://dx.doi.org/10.14258/filichel(2021)3-07.
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Shalamov repeatedly noted the significant role of A. Blok in the formation of his own poetic system. The work of the outstanding artist of the Silver Age is discussed in Shalamov’s essays (in more than twenty works), as well as in “Kolyma Tales” and unpublished notes about Blok (The Russian State Archive of Literature and Arts). Shalamov emphasizes that Blok is a great poet, at the same time very little studied. It is precisely taken poetic lines of Blok that serve as the epigraph for “Kolyma notebooks”. The article analyzes parallels in the worldview of the two poets (a feeling of the closest relationship of personal fate with the turning points in Russian history); in the imagery (in particular, various levels of interpretation of the snowstorm motif, which has special significance in the work of both poets, are discussed in detail. Shalamov’s succession in relation to Blok in comprehension of this image is shown, as well as cardinal differences in its explication in the lyrics of the two poets). The unanimity in understanding the challenges of art is analyzed (Blok’s idea of combining “beauty and benefit” in artistic work is close to Shalamov’s thinking); in verse technique (special significance of phonetic component). Not only published texts are involved in the study, but also materials stored in Shalamov’s archive at the Russian State Archive of Literature and Arts.
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Markova, M. V. "An enlightened beauty and a natural beast. A dialogue of epochs in a fairy-tale dimension." Voprosy literatury, no. 6 (February 7, 2019): 226–53. http://dx.doi.org/10.31425/0042-8795-2018-6-226-253.
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The article analyses the dialogue happening between two historical periods inside the fairy-tale context of Beauty and the Beast: a story with its origins in the late days of the ‘gallant’ age and on the cusp of the Age of Enlightenment. A product of the conflict between the two, the fairy-tale provides ample inspiration for contemporary re-tellers of classical stories. The original work by Madame de Villeneuve centres on the idea of assimilation of a territory, its colonization and its integration into the political and economic context of the inhabited world. The same idea is taken up and reinforced by the American author M. Lackey, who considered the French original and its origination period through the concept of a national idea, in particular, the notion of the ‘hearth’. The article demonstrates how this idea, reaching its peak during the American Enlightenment, helped Lackey to transform the original’s colonization motifs and endow the classical plot with new prospects. In her ‘domestication’ of the fairy-tale world, Lackey delivers it a paradoxical blow at the end of the story, and turns de Villeneuve’s triumph of civilization into a more relevant ideal of freedom and unlimited opportunities, where the female protagonist enjoys emancipation and is invested with her rights.
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Noordin, Nazmi, and Kamarudin Ngah. "The Beauty and The Beast of Rural Education Development in Northern Malaysia." Asian Social Work Journal 4, no. 4 (October 7, 2019): 1–8. http://dx.doi.org/10.47405/aswj.v4i4.104.
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Education will lead to the economic growth, stability of social and political system, able to reduce crime rates and at the same time will improve social services. Education is very important for rural folks especially among young people in improving their standard of living. Poor and lack of education will spoil all other effort towards rural development. When rural people schooling, it will open a lot of opportunities for them in exploring the wider world. Education contribute in developing appropriate skills among the communities and individuals in facing the challenges in their life. Both formal and non-formal education are important in giving an opportunity to the people to excel in their life. Formal education is said to be a foundation in developing some skills while non-formal education more advantageous in some situation. The purpose of this study is to identify the improvement and the pitfall of education development in rural area in Northern Malaysia especially in Kedah, Malaysia. Mix methods were applied where 240 households from selected rural village answered a questionnaire distributed to them and another thirteen (13) headman and six (6) development managers were interviewed for the data collection. Mean value was used in explaining the finding for the quantitative method while Hermeneutic Analysis was used for the qualitative method. The findings discussed on the improvement as well as pitfalls of education development in rural area.
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Patumanon, Tipsuda. "The Emergence of the Beauty of the ‘Childscape’: Rediscovering the Path to the Hidden Dimension of Architecture for Children." MANUSYA 5, no. 3 (2003): 66–80. http://dx.doi.org/10.1163/26659077-00503005.
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A Phenomenological writing on the rediscovering the path to the hidden dimesion of architecture for children is an attempt to describe the emegence of the beauty of the 'childscape'. We, as adults, often see our child busily talks to the world. Many stories are created along many paths of his life. What we see depends on how often we give ourselves a chance to look and see… to listen and hear. The voices which come from the distant horizon of our child's world are the same voices with which we once spoke. When there is a fusion of the horizons between ourselves and our child, we will see in front of our eyes that the morning has broken at the horizon of the ‘childscape’ as it did on the first morning of time. The sun has broken the sky, opening the morning glory in celebration of the pleasantness of the earth becoming the golden land of the child in the ‘childscape’.
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Zimmerman, Jonathan. "Simplified Spelling and the Cult of Efficiency in the “Progressiv” Era." Journal of the Gilded Age and Progressive Era 9, no. 3 (July 2010): 365–94. http://dx.doi.org/10.1017/s1537781400004102.
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At the height of the Progressive Era, a small circle of scholars and educators launched a zealous but failed effort to reform American spelling. Bankrolled by Andrew Carnegie, the Simplified Spelling movement epitomized the era's much-chronicled passion for “efficiency”: By replacing words like through and although with thru and altho, the simplifiers said, citizens would save both time and money. Yet the rapid demise of the campaign also highlights the limits of America's efficiency craze, even during its supposed heyday. Although some critics invoked the efficiency idiom against Simplified Spelling, questioning its utility and practicality, others denounced efficiency itself. Even if simplification made spelling more efficient, they said, Americans should retain their older forms in the name of higher values: beauty, habit, and tradition. Their rejection of Simplified Spelling stood as a standing rebuke to the gospel of efficiency, which never quite gained the full-throated worship that its high priests imagined.
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Goldman, Mary S., Dan L. Davis, and Robert H. Clifford. "Preventing the Sale of Fraudulent Gemstones using Non-Destructive X-Ray Fluoresence Spectroscopy." Microscopy Today 17, no. 1 (January 2009): 52–55. http://dx.doi.org/10.1017/s1551929500055048.
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As the old adage goes, beauty is in the eye of the beholder. Ultimately, in the world of jewelry, the unwitting buyer uses his or her naked eye to decide which baubles are the most beautiful and worthy of wear. The expert jeweler and gemologist, however, know that each gem is subjected to rigorous scientific examinations and standards to determine its value and authenticity.As the number of methods for altering gems grows with technology, methods to counteract counterfeiters, who can take a worthless stone and alter it to make it appear like a more expensive gem, are essential to gem buyers and traders. They must be able to detect artificial stones.Gemologists assess gemstones based on several standards such as chemical composition and purity. Chemical composition plays a significant role in evaluating gems, as two of the same gemstone can differ chemically. One of the most well known methods of non-destructive testing for detecting gem quality is X-ray fluorescence (XRF) spectroscopy. Increasingly in demand, XRF spectroscopy is an ideal technique for fighting the battle against fraud.
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Mahiet, Damien. "The First Nutcracker, the Enchantment of International Relations, and the Franco-Russian Alliance." Dance Research 34, no. 2 (November 2016): 119–49. http://dx.doi.org/10.3366/drs.2016.0156.
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Despite the lively scholarly debate on the place of The Sleeping Beauty (1890) in the political and cultural history of the Franco-Russian alliance in the 1890s, the representation of international relations in the first production of The Nutcracker (1892) has so far received little attention. This representation includes the well-known series of character dances in the second act of the ballet, but also the use of French fashion from the revolutionary era to costume the party guests, the mechanical dolls, the toy soldiers, and even Prince Nutcracker. The fairy-tale world offered a frame that not only promoted the absolutist aspirations of Alexander III's regime, but also solved the symbolic challenge of a problematic alliance between republican France and tsarist Russia. The same visual repertoire informed diplomatic life: four years after The Nutcracker, in 1896, the décor for the state visit of Nicholas II and Alexandra Feodorovna in France duplicated that of the fairy-tale world on stage.
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Bychkov, Victor V. "Schelling As a Forerunner of Symbolist Aesthetics." Voprosy Filosofii, no. 3 (2021): 174–84. http://dx.doi.org/10.21146/0042-8744-2021-3-174-184.
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The aesthetics of early Schelling constitutes the philosophical foundation of the poetic consciousness of German Romantics and becomes one of the theoretical sources for symbolist aesthetics. The article accentuates proto-symbolist elements in Schelling’s aesthetics. It shows that the spiritual cosmos in Schelling – which is a world of ideas and gods that connects to the material world, in particular, through art – develops out of the Absolute. The universe itself is manifested in God as an absolute work of art. At the same time, art in its formation is based on mythology and realises itself as the unity of the “infinite and finite in the finite”, as an identity of the conscious and the unconscious, as a lack of distinction between the ideal and the real, as a depiction of the absolute in a particular. This accounts for a polysemantic understanding of a work of art. Schelling focuses attention on the aesthetic essence of art, which is founded on the principles of the beautiful and the sublime. He values beauty in art – as something that ascends from visible forms to prototypes – higher than natural beauty. He associates the sublime with size, “formlessness”, and chaos, and he classifies its expression in art (“the finite”) as symbolic. Schelling is interested in chaos as a potential for every kind of form, because the contemplation of the infinite – i.e., the Absolute as the highest “form in formlessness”, which can only be manifested to the world symbolically – is rooted in chaos. The notion of symbol occupies one of the central places in Schelling’s aesthetics, because it deals with the expression of the infinite in the finite, of the ideal in the real, and of the universal in the particular. The symbol marks and manifests an idea, and this is why the main point of artisticity lies within the symbol. Schelling understands language (speech) as a work of art, and for this reason he sees more symbolic potential in verbal than in pictorial arts. All these ideas in many ways form the foundation of symbolist aesthetics.
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Afsar, Alweena. "Hazrat Fatima Al-Zahra: As a mother, daughter, and wife." Pakistan Journal of Gender Studies 3, no. 1 (March 8, 2010): 13–27. http://dx.doi.org/10.46568/pjgs.v3i1.364.
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It is the law of Allah that Muslim Ummah would be the best Ummah of the world, who order goodness and halt evils, who will spread the message of Allah to each corner of the world who will strive to make Islam dominant religion of the world. Such a nation should be example of unity and discipline. This Ummah should be exemplary in its action and views for all nations. Islam is a live religion and perfect system of life. It gives such a balance philosophy of life which fills human heart with spiritual strength and joys. Islam doesn't teach seclusion, it teaches to take advantage of bounties of Allah with all its beauty and sophistication. Men and women compliment each other, they are life partners, and companion at equal level. However Islam draws a line between their field of work and responsibilities. The basic field of man is outside and women's field is inside the home. The purpose of this division is not in any sense of discrimination; the purpose of this division is to save gender characteristics of both. As far as levels in religion are concerned men and women, both are kept on two levels: one is ordinary and the other is special level. Ordinary level is the level which is due for every women, she should pay the rights of Allah and his people as ordered by Allah. She should fight against evil thinking and satanic instincts in her personal capacity. She should prefer eternal life over this worldly attraction. Second duty of women is training and guidance of her children, every woman at last become a mother and mother has very deep relation with her children and this relation can be destructive and constructive, being a Muslim it is the duty of women to make this relation constructive and use it for the reformation of society. Third, this is a compulsion for woman she should not create problem for her husband and family. Usually women create unnecessary trouble for husband and family which destroy peace at home and home feels like a desert. If women just maintain peace at home this is a big job. If women have more talent and qualities then she can go ahead to exploit her talent which is called special level and one example of special level is daughter of our beloved Prophet Mohammad S.A.W "KHATOON E JANNAT" Hadhrat Fatima R.A.
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George, R,. "International tourists’ perceptions of crime-risk and their future travel intentions during the 2010 FIFA World Cup™ in South Africa." South African Journal of Business Management 44, no. 1 (March 30, 2013): 47–60. http://dx.doi.org/10.4102/sajbm.v44i1.147.
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The 2010 FIFA World Cup™ tournament provided an opportunity for South Africa to showcase its unique beauty and attractiveness as an international tourist destination. However, the trepidation over crime emerged as a key concern in relation to South Africa’s ability to host a successful 2010 FIFA World Cup™. This study investigates 398 foreign tourists’ perceptions of South Africa during the soccer tournament, especially regarding crime and safety concerns. A questionnaire was distributed among tourists in Cape Town and Johannesburg; two of the major host cities and semi-final and final venues respectively. Findings reveal that most respondents had positive perceptions of South Africa as a holiday destination. Two-thirds of those interviewed agreed that South Africa was a safe place to visit. Over half of respondents were not concerned about their safety while in South Africa. Several individual factors were found to affect their crime-risk perceptions of which the most significant was nationality. Most notably, soccer tourists from the Middle East felt the safest, whereas those from South America and Western Europe felt the least safe. Crime-safety issues did not appear to affect respondents’ future travel intentions, as the majority of study respondents said crime-safety concerns would not deter them from returning to South Africa. The findings of the study are useful to practitioners and contribute to the development of staging major sporting events in Africa, specifically, and globally more generally, in the future.
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Roberts, Bob. "Technology Transfer for MEMS and Advanced Packaging: Precision Surface Preparation Innovatively Applied to Emerging Technologies." International Symposium on Microelectronics 2017, no. 1 (October 1, 2017): 000231–41. http://dx.doi.org/10.4071/isom-2017-wa33_004.
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Abstract The purpose of this presentation is to examine how certain mainline silicon substrate and semiconductor wafer manufacturing processes, can be and are being applied to applications in the manufacture of some of the most advanced digital devices including advanced packaging applications. Periodically, the manufacturing steps and procedures of advanced semiconductor devices have changed dramatically enough that they are termed “paradigm shifts.” Two of the more dramatic manufacturing paradigm shifts in our professional lifetimes have been Precision Ultra-Thinning, and Chemical Mechanical Polishing to achieve planarization of substrates and specifically thin films that have been deposited on those substrates. In addition to the many activities in all or nearly all semiconductor IC manufacturing operations (Integrated Circuits), these two advanced technologies are now being applied to the manufacture of MEMS, MOEMS, LEDs, OLEDs, Nanotechnology and their associated Advanced Packaging methods and procedures. In our technology driven world, it is safe to say that hardly anything in the world of microelectronics, semiconductors, and nanotechnology has been invented only for its awe-inspiring beauty alone, with no intrinsic value toward the improvements in form factor (miniaturization), and functional operation (speed, capacity, reliability, etc.). The same can be said about these two interesting technologies.
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Ismatova, Saida Tashmuradovna, Bakhtigul Ibodullayevna Sodikova, and Barno Khushbokovna Elmirzayeva. "THE IMAGE OF AN INDEPENDENT WOMAN (IN THE EXAMPLE OF CHARLOTTE BRONTE'S JANE EYRE AND RASHOD NURI'S CHOLI KUSHI)." CURRENT RESEARCH JOURNAL OF PHILOLOGICAL SCIENCES 02, no. 05 (May 31, 2021): 91–95. http://dx.doi.org/10.37547/philological-crjps-02-05-20.
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This article embodies the image of a strong independent woman, reflected in works from two different cultures, namely Charlotte Bronte’s Jane Eyre and Rashod Nuri Gultegin’s Cholikushi. Both works are examples of autobiographical work. It reflects the path that Jane Eyre and Ferede have taken throughout their lives, how they can continue their lives without falling through hardships and obstacles, that is, the lives of women who have been able to restrain their patience and perseverance. Life never stops, it never stops. Happiness can be achieved only by overcoming the difficulties of life. Every woman has her own place in society and worldview. It is no exaggeration to say that these two works reflect the same two views. That is, women are the beauty of the world.
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Joanna Jurczyk and Bogusław Szmygin. "Value assessment of Zamość from the perspective of 25 years on UNESCO World Heritage List." Budownictwo i Architektura 16, no. 4 (January 9, 2018): 093–112. http://dx.doi.org/10.24358/bud-arch_17_164_06.
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The historical center of Zamość was added to the UNESCO World Heritage List in 1992 and over next 25 years the city has undergone great changes. Thanks to numerous restoration, preservation and maintenance works we are now able to admire the beauty of its monuments and perfect spatial harmony. But this is not the end of planned work. Zamość Old Town is a historical part of a vibrant city and therefore needs to evolve constantly in order to satisfy the contemporary requirements of urban population. Concurrently, over that period of time theory of conservation and preservation of monuments and evaluation methodology of the value of goods inscribed on World Heritage List have developed significantly. Hence, the 25th anniversary is a perfect occasion for a renewed evaluation of Zamość Old Town’s value and more in-depth analysis in accordance with current methodology and state of knowledge. It enables further specification and indication of authentic and material carriers of its value which determine its further existence. At the same time, it will allow indicating the limits of possible interference. In addition to this, the outcome of this thorough analysis will be of great use in taking decisions on further actions and investments, which is particularly important with monuments so heterogeneous as a historical city center.
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Romeo, Anthony, and Dale Laurin. "At Home in the World — the Architecture and Life of Frank Lloyd Wright." ICONI, no. 2 (2020): 108–28. http://dx.doi.org/10.33779/2658-4824.2020.2.108-128.
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This article shows how the enduring admiration people have for the architecture of Frank Lloyd Wright (1867–1959) is explained by this principle of Aesthetic Realism, stated by the founder of this philosophy, the great American poet and critic, Eli Siegel: “All beauty is a making one of opposites, and the making one of opposites is what we are going after in ourselves.” Scholars have written of Wright’s contradictions: his charm and his arrogance, the warmth of his interior designs and his coldness to persons near to him. The authors show that like people everywhere, Wright was trying in his life to put together opposites in himself, including the same opposites he was able to compose magnificently in his best architectural work: most particularly, the opposites of inside and outside, “the snug and exterior.” Two early examples discussed are his 1893 Gale House and the Heurtley House of 1902. Wright’s love of nature led to his concept of organic architecture: buildings inspired by, and at one with, their environment. A masterful example discussed in detail is his 1935 house design Fallingwater, built dramatically above a waterfall. The authors also show how two works from very different points in Wrightʼs long career — the 1904 Unity Temple, and the Guggenheim Museum, completed in 1960 — are opportunities for people to know ourselves better now. The explanation lies in the beautiful way each structure puts opposites together.
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Fuad Shukurova, Esmira. "Poetry Customs and Traditions of Shahriyar: Shahriyar and “Sahandim”." Khazar Journal of Humanities and Social Sciences 20, no. 3 (October 2017): 126–45. http://dx.doi.org/10.5782/2223-2621.2017.20.3.126.
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The poem which made Shahriyar popular among all Turkic people in the art world was “Hello to Heydar Baba”. It was translated to 76 languages. This masterpiece of poetry written by the “Heydar Baba Poet” as he was called by various masters of word, has given him an unprecedented glory not only in Southern Azerbaijan and Iran, but also in the Middle East and in a number of countries around the world. The majority of literary critics consider the poem "Hello to Heydar Baba" as a poet's masterpiece. However, the poem "My Sahand", written in his mother tongue, is a special era in the poet's creativity, with a sense of mastery, poetic structure and meaning, as well as an improved work in terms of social content. All natural events taken place in the poet’s poetic description are related to the human kind and the living creatures are compared namely with the man. At the same time, the poet transfers the qualities of the human kind’s spirit, such as sorrowing, laughing, crying, fighting and to be a prisoner, in short, all qualities that are inherent in human beings on the nature of the native lands with an artistic perfection, as a result of which he creates strong smiles, metaphorical periphrasis, as if carrying a pick on his hand is drawing colorful landscapes with charming beauty, inimitable tableau.
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Peter Daniel, Edeh,. "Aesthetics and the African Women’s Lives Drama." Journal of Research in Philosophy and History 1, no. 2 (October 10, 2018): 99. http://dx.doi.org/10.22158/jrph.v1n2p99.
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<p><em>The philosophy that deals with the theory of beauty and ugliness is called Aesthetics. It examines the creation, appreciation, evaluation, interpretation and critique of works of art. In the same vein African women’s live drama appreciates, creates, evaluates, criticizes, interprets and expresses her feelings with regards to the works of arts as it is viewed expressed in the live style of every woman. This paper identifies among others, crops of women, moderate and radical women as well as orthodox or traditional women who accept the traditional position of women but press for peaceful coexistence in spite of men and women distinction. It takes cognisance of the wind of modernity from the west as it affects the African woman. This paper is a critical examination of Aesthetics and the African women’s world view and in appreciation of other world views. While the paper identifies certain problems in women’s lives drama generally it concludes with possible suggestion as it lays much emphasis on African culture and tradition for African Aesthetics. </em></p>
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Dhungel, Nabaraj. "Man-Nature Relationship in L P Devkota’s Poems: An Ecological Study." Literary Studies 33 (March 31, 2020): 61–70. http://dx.doi.org/10.3126/litstud.v33i0.38058.
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Man-nature relationship is one of the central themes of great poet Laxmi Prasad Devkota. This relationship is both analogous and Antithetical. Nature is source of life, knowledge and pleasure foe human beings. But at the same time it is cruel and angry giving pain and suffering to human beings. Similarly, man both loves and exploits the nature. On the one hand, they worship nature as god but on the other hand, they make it the source of earning deteriorating it. Instead of enjoying its beauty and positively using nature, human beings try to get maximum profit from nature irrationally utilizing it which causes adverse effects in the ecosystem and the whole universe. Many of his poems focus on mundane elements of the human and the natural world.