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1
Deokule, Amit. "Aesthetics." Journal of Psychology & Behavior Research 2, no. 2 (June 13, 2020): p1. http://dx.doi.org/10.22158/jpbr.v2n2p1.
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In this Article the author has focused on aesthetical outlook to lead a fantastic life! There will be handful number of people who find aesthetics in every small thing which can be beautified by their own way where that will help them to stay focused and confident in life. The author has absolutely identified and explained everything in a metaphoric way and by way of his imagination where mindfully this subject becomes very effective! The author has given multiple examples in an illustrious manner because of which this small world becomes subjective with appropriate spaces used by him. He has also taken care that this word will not be misused by the people but will be utilized diligently by understanding the concept for their own betterment and the whole life, too!
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Berger, J. "The Political Fantastic: Zizek, Fantasy, and a New Autonomous Aesthetics." Minnesota review 2012, no. 79 (January 1, 2012): 53–77. http://dx.doi.org/10.1215/00265667-1708250.
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Seymour, Graham. "On reading literary fantasy: towards an aesthetics of the fantastic." Paragraph 5, no. 1 (March 1985): 56–75. http://dx.doi.org/10.3366/para.1985.0003.
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Beville, Maria. "The Macabre on the Margins: A Study of the Fantastic Terrors of the Fin de Siècle." Text Matters, no. 2 (December 4, 2012): 115–29. http://dx.doi.org/10.2478/v10231-012-0058-3.
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With a view to discussing an important three-faceted example of marginality in literature whereby terror, the literary Fantastic and the fin de siècle period are understood as interconnected marginalia, this paper examines works such as Guy de Maupassant’s “Le Horla” and H. Rider Haggard’s She from an alternative critical perspective to that dominating current literary discourse. It demonstrates that in spite of the dominant associations of fantastic literature with horror, terror, as the marginal and marginalized fear of the unknown, with its uncanny, sublime and suspenseful qualities, holds a definitive presence in fin de siècle fantastic texts. Literary analysis of the chosen texts registers significant examples of the importance of terror to fantastic writing, and as such functions to extract an “aesthetics of sublime terror” from the margins of critical studies of this often macabre literary mode.
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Mahiet, Damien. "The Aesthetics and Politics of Wonder in the First Nutcracker." 19th-Century Music 40, no. 2 (2016): 131–58. http://dx.doi.org/10.1525/ncm.2016.40.2.131.
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Critical response to Tchaikovsky's Casse-Noisette (The Nutcracker), the ballet-féerie premiered in December 1892 in St. Petersburg, has historically been mixed. An aesthetic mongrel, the original production joined the highbrow expectations of Romantic ballet with the popular conventions of the féerie and challenged its first audience just as much as its immediate predecessor, The Sleeping Beauty. To this day, writers object to the original libretto's uneven distribution of pantomime and dance and its lack of a coherent story, of continuous development, and of a satisfying conclusion. This article offers an alternative reading that reconstructs the dramatic disruptions and turnabouts and relates them to the first production's aesthetics and politics. The ballet's composer and choreographers, using music, action, and dance, repeatedly placed the audience in a position of wonder and awe similar to that of the young heroine Clara. This aesthetic captured Alexander III's particular “scenario of power” (Richard Wortman) in late-nineteenth-century Tsarist Russia, projecting imperial court culture and sovereign power onto a fantastic canvas.
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Cuillé, Tili Boon. "La Vraisemblance du merveilleux: Operatic Aesthetics in Cazotte's Fantastic Fiction." Studies in Eighteenth Century Culture 34, no. 1 (2005): 173–95. http://dx.doi.org/10.1353/sec.2010.0027.
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Zuidervaart, Lambert. "Fantastic Things: Critical Notes Toward A Social Ontology of the Arts." Philosophia Reformata 60, no. 1 (December 17, 1995): 37–54. http://dx.doi.org/10.1163/22116117-90000086.
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Future historians will note many parallels between the 1930s and the 1990s in Europe and North America. Both decades appear to be times of dramatic cultural upheaval and societal transformation. Indeed, many of the battles fought over capitalism, democracy, and cultural modernism in the 1930s have returned in recent struggles over a global economy, the welfare state, and cultural postmodernism. Hence it may be instructive for contemporary Christian scholars to revisit the seminal texts of European philosophy in the 1930s. Cultural theorists have long recognized the significance of Martin Heidegger’s essay “The Origin of the Work of Art,” both as a turning point in his own thinking and as a fundamental challenge to modern aesthetics. Presented as lectures in 1935-36 and first published in German in 1950, the essay develops a conception of artistic truth that breaks entirely with Kantian divisions among epistemology, ethics, and aesthetics. Much less recognized, even among his students and followers, is the significance of Herman Dooyeweerd’s discussion of art from around the same time.3 First published in Dutch in 1936 and then revised and republished in English in 1957, Dooyeweerd’s discussion presents a conception of the artwork that reconfigures the Kantian divisions discarded by Heidegger.
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Sputnitskaya, N. Yu. "Ideological Environment and Aesthetics in Fantastic Films of Russia and USA in 1950s." Journal of Flm Arts and Film Studies 9, no. 3 (September 15, 2017): 19–29. http://dx.doi.org/10.17816/vgik9319-29.
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Using archive material and comparative tools, the article examines the representation of the mythological and fairytale view of the world in fantasy films as exemplified by pictures about Sadkos sea wanderings in Soviet films and those of Sinbad in the American ones. The characters, the narrative, the eastern and antique theme contamination, the technologic, aesthetic and ideological aspects of the films are analyzed.
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Jeha, Júlio César. "E. A. Poe: the fall of the masque." Estudos Germânicos 7, no. 1 (December 31, 1986): 218. http://dx.doi.org/10.17851/0101-837x.7.1.218.
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This dissertation is a study of Edgar Allan Poe's "The fall of the house of Usher" and "The masque of the red death", as representative tales of the Gothic and, by extension, of the fantastic mode. It has two axes: one is a survey of critical theories on the fantastic and its main manifestation, the Gothic, in an attempt to distinguish the constituents of the mode and to apply them to a reading of Poe's tales. The other axis is centered on one of these constituents, an esoteric substratum which underlies both texts and is fundamental to Poe's metaphysics as expressed in his aesthetics, Finally, the specular construction of the texts is examined, as well as the use of intertextuality and the ideological questions projected in terms of a theory of knowledge.
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Panos, Leah. "Postmodernism, Culture and Feminism: The Aesthetics of Space and Performance inRock FolliesandRock Follies of ’77." Journal of British Cinema and Television 11, no. 1 (January 2014): 41–67. http://dx.doi.org/10.3366/jbctv.2014.0191.
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This article discusses the aesthetic and spatial representational strategies of the popular studio-based musical television drama serials Rock Follies and Rock Follies of ’77. It analyses how the texts’ themes relating to women and the entertainment industry are mediated through their postmodern ironic mode and representation of fantastic spaces. Rock Follies’ distinctive stylised aesthetic and mode of caricature are analysed with reference to the visual intentions and ‘voice’ of the writer, Howard Schuman. Through considering the programmes’ various spatial strategies, the article draws attention to the importance of visual and performance style in their postmodern discourse on culture, fantasy, gender and subjectivity. Analysis of the spaces of musical performance, characters’ domestic environments and simulated entertainment spaces reveals how a dialectic is established between the escapist imaginative pleasures of fantasy and the manipulative and exploitative practices of the culture industry. The shift from the optimism of the first series, when the Little Ladies first form, to the darker mood of the second series, in which they are increasingly divided by industry pressures, is traced through changes in the aesthetics of space and characterisation. As a space of artifice, performance and electronic visual manipulation that facilitates the texts' reflexive representation of culture and feminised fantasy, the studio's unique aesthetic strengths emerge through this case study.
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Arlandis, Sergio, and Agustin Reyes-Torres. "Thresholds of Change in Children’s Literature: The Symbol of the Mirror." Journal of New Approaches in Educational Research 7, no. 2 (July 15, 2018): 125–30. http://dx.doi.org/10.7821/naer.2018.7.275.
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This article approaches the study of children’s literature as a threshold of change that allows readers to explore the reality around them, imagine other worlds and understand other perspectives. Based on the notion of the child’s cognitive development organized into four stages ―pre-reading, fantastic stage, fantastic-realistic stage and aesthetics stage― reading becomes a resource to combine fantasy and experience where the mirror is a highly suggestive element and prone to hundreds of interpretations and applications as can be seen in the plots of well-known books such as the brother Grimm’s Snow White, Lewis Carroll’s Through the Looking-Glass, Michael Ende’s The Neverending story and J.K. Rowling’s The Philosopher’s Stone, among others. As a result, as young readers go from one stage to another, the mirror gains greater symbolic complexity and they face the discovery of the self and the other as well as the confrontation between the so-called primary and secondary worlds, reality and the marvelous.
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Dubrovskikh, Tatyana S. "AESTHETICS OF THE FANTASTIC IN THE BOOK “THE PROSE OF THE POET” BY N. ASEEV." Вестник Пермского университета. Российская и зарубежная филология, no. 3(35) (2016): 103–11. http://dx.doi.org/10.17072/2037-6681-2016-3-103-111.
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Ferreira Prado, María Cecilia. "La casa y su dimensión fantástica en “El cuarto de vidrio”, de Norah Lange = The house and its fantastic dimension in “El cuarto de vidrio” by Norah Lange." Lectura y Signo, no. 13 (December 21, 2018): 101. http://dx.doi.org/10.18002/lys.v0i13.5670.
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<p class="Pa15"><em>El cuarto de vidrio </em>(póstuma-2006) es la última novela de la escritora argentina Norah Lange. En ella se privilegia el espacio de la casa, la cual aparece aquí profundamente personificada, lo que tiñe el total del relato del sello fantástico que caracteriza a los escritores del <em>boom</em>. Lange reanuda, en esta novela, la estética de lo increíble que se había iniciado en <em>Antes que mueran </em>(1944)<em>, </em>había conocido el éxito y el reconocimiento con <em>Personas en la sala </em>(1950)<em>, </em>y había llegado a <em>Los dos retratos </em>(1956)<em>, </em>sin que la crítica literaria se hubiera percatado de que estábamos ante una literatura plenamente fantástica o, dicho de otro modo, que sin descifrar ese elemento fantástico no se podía interpretar el sentido último de la narrativa de Lange; una estética que se inserta en la línea de la literatura fantástica promocionada por su primo político Jorge Luis Borges y que tuvo amplia repercusión en Hispanoamérica, especialmente en el Río de la Plata.</p><p><em>El cuarto de vidrio </em>(posthumous work-2006) is the last novel of the Argentine writer Norah Lange. In it is privileged the space of the house, which appears here deeply personified, which dyes the history of the fantastic seal that characterizes the writers of the Boom. In this novel, Lange reiterates the aesthetics of the incredible stories, that had begun in <em>Antes que mueran </em>(1944), had known success and recognition with <em>Personas en la sala </em>(1950), and had come to <em>Los dos retratos </em>(1956), without the literary criticism having realized that we were in front of a totally fantastic literature or, in other words, that without deciphering that fantastic element could not be interpreted the ultimate meaning of Lange’s narrative an aesthetic that is inserted in the line of fantastic literature promoted by his cousin in-law, Jorge Luis Borges, and that had wide repercussion in Hispanic America, mainly in the Río de la Plata.</p>
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Hollington, Michael. "“Why do you write what isn’t true?”: Dostoevsky and the Fantastic Paradox." Synthesis: an Anglophone Journal of Comparative Literary Studies, no. 3 (May 1, 2011): 30. http://dx.doi.org/10.12681/syn.16918.
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In this paper, my starting point will be Philip Roth’s famous essay “Writing American Fiction,” in which he complains about the difficulty of writing novels in a country “where the actuality is constantly outdoing our talents.” I shall contend that this perception is not a new one, nor does it apply to American reality alone, and trace it back through a series of writers commenting on the difficulty of writing novels in the face of contemporary reality to its origins in Byron’s Don Juan: “For truth is always strange; stranger than fiction.” I shall argue that the aesthetics of “romantic realism,” as Donald Fanger labels it—the writing of Dickens, Dostoevsky, Balzac, Gogol, etc—directly addresses this paradox, and that this partly accounts for the differences between it and “classic realism.” My contention is that we mistake the nature of such writing if we judge it by the criteria of “classic realism”—and find it wanting, as is often the case.
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이청. "A Study on the Fantastic Nature of Zhang Lu’s Films -Aesthetics of Death, Gap and Overlap-." Contemporary Film Studies 13, no. 1 (February 2017): 211–39. http://dx.doi.org/10.15751/cofis.2017.13.1.211.
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Engberg, Maria. "Polyaesthetic sights and sounds: media aesthetics in The Fantastic Flying Books of Mr. Morris Lessmore, Upgrade Soul and The Vampyre of Time and Memory." SoundEffects - An Interdisciplinary Journal of Sound and Sound Experience 4, no. 1 (December 15, 2014): 21–40. http://dx.doi.org/10.7146/se.v4i1.20370.
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This article explores the notion of polyaesthetics as a contemporary media condition that relates to questions of production, reception and analysis of media objects. Primarily, the paper is concerned with understanding the aesthetics of digital media works that remediate existing genres of creative practice and ultimately move towards creating new digital media forms that are conditional and provisional.The three digital works that the article analyses – The Fantastic Flying Books of Mr. Morris Lessmore, Upgrade Soul and The Vampyre of Time and Memory – exemplify contemporary strategies and changing patterns of creation, distribution and reception evidenced in how we create, read, listen to, engage with, play and understand contemporary digital works.
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Mayward, Joel. "The Fantastic of the Everyday: Re-Forming Definitions of Cinematic Parables with Paul Ricoeur." Horizons 47, no. 2 (December 2020): 283–314. http://dx.doi.org/10.1017/hor.2020.104.
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Recent publications on theology and film attempting to explain what a parable is remain less clear about how or why a parable works for cinema, and many definitions do not fully take into account the formal dynamics of film qua film nor parable qua parable. I seek to demonstrate the benefits of a more precise conception of cinematic parables by utilizing philosopher Paul Ricoeur's understanding of “parable” to make theological interpretations of film that take audio-visual aesthetics into consideration. I conclude with three recent examples of cinematic parables in order to demonstrate this Ricoeurian parabolic hermeneutic: Asghar Farhadi's Iranian melodrama, A Separation (2011), American filmmaker Anna Rose Holmer's enigmatic The Fits (2016), and Aki Kaurismäki's droll Finnish comedy, The Other Side of Hope (2017). Ultimately, I make a case for film as theology, what I am calling “theocinematics.”
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Mohammed Alashari, Duaa, Abd Rahman Hamzah, and Nurazmallail Marni. "The Aesthetic of Islamic Calligraphy and Ornamentation in Prophet Mosque Interior of the Calligrapher Abdullah Zuhdi (Al-Masjid An-Nabawi)." UMRAN - International Journal of Islamic and Civilizational Studies 7, no. 2 (June 28, 2020): 69–80. http://dx.doi.org/10.11113/umran2020.7n2.374.
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Islamic Calligraphy and ornamentation are using to decorate mosques as well as other sacred places all over the Islamic world. This paper provides some sources of information for understanding and studying Islamic calligraphy and ornamentation in the Prophet Mosque interior (Al-Masjid An-Nabawi). Indeed, this paper aimed to highlight the formation aesthetics of calligraphy and Islamic decorations in which the aesthetic values. There are many aesthetic values of the Islamic calligraphy and ornamentation that portrayed in the Prophet Mosque interior. The Prophet Mosque has been selected in the present research due to the uniqueness in its calligraphy and ornamentation. Abdullah Zuhdi a calligrapher who was known as the calligrapher of the two holy sanctuaries (katib al-haramayn). The calligraphy and ornamentation in the Prophet Mosques are testifying to the skill of the master calligrapher. The principles of aesthetics in calligraphy and ornamentation based precisely on the principles of the beauty of Islam. After Islam, calligraphy was one of the most important kinds of art in Islamic world as well as one of the essential features of Islamic civilization. This study aims to show the necessity of studying Islamic calligraphy used in the Prophet Mosque interior as well as to display some Quranic verses that been written above the tomb of the Prophet Muhammad. The Prophet Mosque located in Medina city in Saudi Arabia as a model simply because it was one of the first mosques built by Prophet Muhammad and it has the fantastic and historical calligraphy and ornamentation that have a long history. The study has revealed that the calligraphy and ornamentation in the Prophet Muhmmad Mosque considered as an innovative art through its dependence unique Thuluth script and intricate pattern of Islamic motifs, the Muslim artist creativity expressed about the sacred calligraphy and highlighted the global nature of the decoration.
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Yi, We Jung. "Melodramatic Tactics for Survival in the Neoliberal Era: Excess and Justice in The Heirs and My Love from the Star." Journal of Korean Studies 23, no. 1 (March 1, 2018): 153–73. http://dx.doi.org/10.1215/21581665-4339098.
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Abstract This article examines two 2013 TV miniseries, The Heirs and My Love from the Star, by relating their melodramatic aesthetics to the survivalist imperative under neoliberal governance. From the colonial sinp’a theater to Golden Age films, melodrama has operated as a popular mode of imagination that expresses inarticulate experiences generated over the course of Korea’s modernization. To extend and complicate existing scholarship on modern melodrama, this study approaches recent K-dramas’ melodramatic modes as both an affective response to and an everyday tactic for coping with failing economic democracy in contemporary Korea. In this light, the intensifying fantastic elements of the genre are deemed not so much anachronistic as tactical, as they are deployed to reclaim the justice and equality that are felt to be hopelessly disappearing in daily lives. As I look at their excessive aesthetics within the context of diminishing social mobility in the neoliberal era, my analysis of the two miniseries further notes the gendered structure of these melodramatic fantasies in which the survival of women, who have fewer privileges, is achieved through the reform of male elites.
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Gajewska, Grażyna. "Ecology and Science Fiction. Managing Imagination in the Age of the Anthropocene." Przegląd Kulturoznawczy, no. 1 (47) (2021): 79–97. http://dx.doi.org/10.4467/20843860pk.21.005.13459.
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When formulating proecological strategies, social imagination is devoted relatively little attention. Contribution of the humanities to the management in the age of the Anthropocene is most often perceived as explaining threats that we and the future human and non-human beings will have to face as a result of irresponsible environmental policies. Hence, the presumed task of the humanities (and social science) consists primarily in analyzing and presenting the causes and the processes which culminated in the climate crisis and the decline of biodiversity. However, such an approach does not allow this knowledge to be actively engaged in constructing alternative, proecological attitudes. Consequently, I argue in this paper that in order for the state of affairs to change one requires not only new scientific tools (methodology, language), but also new sensitivity and aesthetics. The author argues that the challenges of the current times, resulting from environmental change, destruction of habitats and ecological disasters, direct our sensibilities and aesthetics ever more tangibly towards the fantastic: horror, science fiction, or fantasy. However, while ecohorror mainly exposes the negative aftermath of the Anthropocene – culminating in the inevitable disaster – science fiction offers leeway for a more speculative approach, enabling one to construct such visions of reality in which multispecies justice will be observed and cultivated. It is therefore suggested that there is much need for a science fiction aesthetic and narration that would be capable of guiding us out of the anthropocentric entanglement and the Anthropocene into the Chthulucene (as conceived by Haraway).
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Brittan, Francesca. "Berlioz and the Pathological Fantastic: Melancholy, Monomania, and Romantic Autobiography." 19th-Century Music 29, no. 3 (2006): 211–39. http://dx.doi.org/10.1525/ncm.2006.29.3.211.
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Both the literary program of Berlioz's Symphonie fantastique and his personal letters dating from the year of the work's composition are suffused with the rhetoric of illness, detailing a maladie morale characterized by melancholy, nervous "exultation," black presentiments, and a malignant idee fixe.. Often mistakenly identified as a term new to the 1830s, the idee fixe has a considerably longer history, dating from the first decade of the nineteenth century when it appeared in the writings of French psychiatrists Etienne Esquirol and Jean-Etienne Georget. Both Esquirol's early writings on insanity and his seminal 1838 treatise identify mental "fixation" as the primary symptom of monomania, the most contentious and well-known mental disease of the period, and one with far-reaching implications not only for medicine but for Romantic literature, philosophy, and autobiography. Examination of the disease's early reception reveals that, well before Berlioz, the psychiatric terminology surrounding monomania had been absorbed into popular discourse. Malignant and humorous idee fixes appeared in cartoons, diaries, and newspaper articles from the 1810s onward, and in fictional works by Hoffmann, Duras, Scribe, Balzac, and others. Here, and in essays published in musical and literary journals of the period, monomania emerged as an increasingly aestheticized malady, and the idee fixe itself as a signal, not of mental debilitation, but of creative absorption and artistic inspiration. When Berlioz figured himself as a monomaniac, both in his personal writing and his symphonic program, he was responding to a discourse of "creative aberration" permeating Romantic literary and medical culture, and to a fashionable fascination with mental pathology. Berlioz was by no means the only artist of the period to diagnose himself with the symptoms of mental fixation. Musset, Janin, and Georges Sand also described themselves in monomaniacal terms in autobiographical "confessions" permeated with references to hallucination, fixation, and emotional pathology. Indeed, we can draw clear parallels between the veiled self-referentiality of the Fantastique and the autobiographical strategies of the Romantic Confession. Berlioz's "self-sounding" resonates with a host of other confessional autobiographies of the period and reflects the collapse between inspiration and insanity, between anatomy and aesthetics, underpinning early-nineteenth-century theories of genius.
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Cabrera, María Dolores. "The Aesthetics And The Influence Of German Cinema in The Fantastic Cinema and Mexican Horror Of The 1930's." Brumal. Revista de investigación sobre lo Fantástico 7, no. 1 (June 16, 2019): 183. http://dx.doi.org/10.5565/rev/brumal.530.
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Santoso, Vedy. "AKULTURASI ESTETIKA SEBAGAI MODAL UNTUK MENGHADAPI PERTUKARAN KESENIAN DALAM MASYARAKAT EKONOMI ASEAN (Sebuah Kajian Holistik Terhadap Perkembangan Kesenian Modern di Indonesia)." INVENSI 1, no. 1 (April 26, 2017): 70–79. http://dx.doi.org/10.24821/invensi.v1i1.1604.
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Masyarakat ekonomi ASEAN (MEA) adalah program kerjasama internasional yang menjadi usaha negara-negara anggota ASEAN untuk memperluas pasar. Dengan terjalinya kerjasama di segala bidang termasuk seni dan budaya, maka kesenian akan memasuki era konseptual “baru”. Sebuah era yang secara ekonomi penting dan berharga secara personal. Nilai keindahan seni (estetika) akan dihadapkan oleh tuntutan nuansa fantastis namun juga harus menarik secara emosional. Selain itu, masyarakat penyangga pada era konseptual ini memiliki corak maya yang hidup dalam dunia yang penuh dengan simulasi. Sehingga untuk menghadapi MEA diperlukan faktor daya modal sebagai benteng pertukaran seni. Metode holistik dalam penelitian ini digunakan untuk : (1) Menjelaskan konsep akulturasi estetika sebagai sebuah toleransi masyarakat dalam berbudaya dengan pendekatan sosio-historis, (2) Menganalisis hubungan perkembangan teknologi informasi dengan kesenian modern yang telah melampaui batas-batasnya dan menjalar keseluruh sendi-sendi kehidupan masyarakat modern dari sudut pandang konvensi komunikasi massa. Data penelitian diperoleh dari pengamatan terhadap fenomena munculnya budaya populer di Indonesia, objek materi kesenian modern dan studi pustaka. Hasil pengkajian menunjukkan bahwa akulturasi estetika dapat menjadi daya modal alternatif dalam proses pertukaran seni dan interaksi sosial masyarakat ekonomi ASEAN. Namun dengan catatan kerjasama internasional yang dilakukaan merupakan sebuah aktivitas pertukaran dalam perspektif pasar yang berarti tempat bertemunya penjual dan pembeli dengan tujuan yang saling menguntungkan. Bukan sebuah perdagangan dengan tujuan untuk saling menguasai yang berpotensi pada penjajahan. ASEAN Economic Community (AEC) is a program of international cooperation into the business of ASEAN member countries to expand the market. With coop- eration in all fields including the arts and culture, it will enter the era of conceptual art “new”. An era which are economically important and valuable personal. The value of the beauty of art (aesthetics) to be confronted by the demands of the fantastic shades, but also must be emotionally appealing. In addition, public support on this conceptual era has a style of living in a virtual world filled with simulations. So, as to face the AEC required power factor capital as a bastion of art exchange. Holistic method in this study is used for: (1) explain aesthetics acculturation concept as a culture of tolerance in the society with the socio-historical approach, (2) analyze the relationship development of information technology and artistry that has gone beyond limits and spread throughout the joints of modern society from the standpoint of mass communication convention. Data were obtained from observations of the phenomenon of the rise of popular culture in Indonesia, material objects of art and literature. The study showed that acculturation aesthetics can be an alternative capital in the process of artistic exchange and social interaction ASEAN economic community. But with a record of international cooperation is an activity in the exchange market perspective, which means meeting place for sellers and buyers with mutually beneficial goals. Not a trade aimed at mutual control of potential colonization.
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Langebach, Martin, and Christoph Schulze. "Affirmation and denial: Extreme right black metal and the Holocaust." Metal Music Studies 6, no. 3 (September 1, 2020): 375–93. http://dx.doi.org/10.1386/mms_00024_1.
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The article examines how the Holocaust is addressed in the extreme right wing sections of the larger black metal culture. Drawing from an extensive pool of primary sources the authors analyse how the Holocaust features in song lyrics, album artworks and interviews with artists. They argue that references to the Holocaust in extreme right wing black metal follow the logic of the culture’s aesthetics, which regularly employ symbols of fantastic or factual atrocities in order to express statements of misanthrophy, hatred and male strength. At the same time, the references are non-metaphorical and in that sense political. The artists often do not attempt to minimize the magnitude of the Holocaust but they celebrate the event exactly for the brutality it represents. In other instances, the idea of Holocaust is approved while its factuality is denied. Historic denialism and affirmation of the Holocaust can go hand in hand. While crass antisemitic statements can be found in other extreme right wing cultural realms, extreme right black metal might be the cultural sphere in the contemporary western world that articulates the harshest type of antisemitism.
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Mader, Gottfried. "History as Carnival, or Method and Madness in the Vita Heliogabali." Classical Antiquity 24, no. 1 (April 1, 2005): 131–72. http://dx.doi.org/10.1525/ca.2005.24.1.131.
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Abstract The Vita Heliogabali in the Historia Augusta consists of a political-biographical first section (1.4––18.3), generally considered to be historically useful, followed by a fantastic catalogue of the emperor's legendary excesses (18.4––33.8), generally dismissed as pure fiction. While most of these eccentricities are probably inventions of the ““rogue scholar,”” it is argued that the grand recital of imperial antics, more than just a detachable appendix, serves a demonstrable ideological purpose and is informed by a unifying rationale, which in turn helps explain the ““Lampridian”” Elagabalus as historiographical construct. Within the sequence of Antonine biographies Elagabalus, ultimus Antinonorum, marks the climax in a progressive tendency towards tyranny and is accordingly styled as transcendental despot; multiple topoi from the literary tradition provide the generic coordinates for this larger-than-life portrait. Food and sex in particular, both typical elements in this context, are inflated in Heliog. into major thematic systems to signal the emperor's tyrant status, to bring out his distinctive attention to aesthetics, and to enhance the Life's literary cohesion.
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Shemesh, Abraham. "“Holiness, War, and Peace”: Ancient Jewish Traditions Concerning the Landscape and Ecology of Jerusalem and Its Environs in the Second Temple Period." Religions 9, no. 8 (August 9, 2018): 241. http://dx.doi.org/10.3390/rel9080241.
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The Second Temple period is considered both a pinnacle and a low point in the history of Jerusalem. One manifestation of the sharp fluctuations in Jerusalem’s status is its flora and ecology. The current study aims to address the historical events and the Talmudic traditions concerning the flora and landscape of Jerusalem. In the city’s zenith, the Jewish sages introduced special ecological regulations pertaining to its overall urban landscape. One of them was a prohibition against growing plants within the city in order to prevent undesirable odors or litter and thus maintain the city’s respectable image. The prohibition against growing plants within the city did not apply to rose gardens, maybe because of ecological reasons, i.e., their contribution to aesthetics and to improving bad odors in a crowded city. In the city’s decline, its agricultural crops and natural vegetation were destroyed when the beleaguered inhabitants were defeated by Titus’ army. One Talmudic tradition voices hope for the rehabilitation of the flora (“shitim”) around the city of Jerusalem. Haggadic-Talmudic tradition tries to endow Jerusalem with a metaphysical uniqueness by describing fantastic plants that allegedly grew in it in the past but disappeared as a result of its destruction.
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Saif, Mohammad. "Modernism and Romanticism: A Comparative Study of the Selected Poems of W.B. Yeats and John Keats." SMART MOVES JOURNAL IJELLH 7, no. 6 (June 28, 2019): 10. http://dx.doi.org/10.24113/ijellh.v7i6.8849.
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Romantic poetry was especially concerned with the themes of country life which is also known as pastoral poetry; moreover it also employed mythological and fantastic settings. Romanticism focuses more on the individual than society. The Romantics were fascinated especially by the individual imagination and individual consciousness. “Melancholy” was quite the exhortation for the Romantic poets. A firm loosening of the persistent rules of artistic expression, during earlier times, was observed in the Romantic era.
In English literature, modernism has its roots in 19th and 20th century; the age was characterised by an unexpected and sudden release from conventional ways of viewing the world and interacting with it. Individualism and Experimentation, which were often heartily discouraged in the past, became the modern virtues. The modernist period in English literature was an intuitive response towards the prevailing aesthetics and culture of the Victorians culture of the 19th century. At the turn of the twentieth century, artists and intellectuals blamed the writers of earlier generation for misleading the society, thereby resulting in a dead end. They had the ability to predict hence they could foresee that world events were escalating into a mysterious territory.
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SMITH, AYANA. "THE MOCK HEROIC, AN INTRUDER IN ARCADIA: GIROLAMO GIGLI, ANTONIO CALDARA AND L'ANAGILDA (ROME, 1711)." Eighteenth Century Music 7, no. 1 (January 21, 2010): 35–62. http://dx.doi.org/10.1017/s1478570609990443.
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ABSTRACTIn 1711 the opera L'Anagilda was performed in the private theatre of Francesco Maria Ruspoli, an important Roman patron of the Arcadian Academy. L'Anagilda's librettist (Girolamo Gigli) and composer (Antonio Caldara) were both associated with this society, but the opera contrasts with the basic goal of Arcadian aesthetics – namely, to reform literature and opera by imitating the structure of ancient Greek tragedy and the stylistic purity of Italian renaissance poets. Rather, Gigli and Caldara created an opera infused with comedy, interspersed with fantastic intermezzos and formulated according to a genre not endorsed by Arcadian literary critics, the mock heroic. This article explores topics related to one central question: why would Gigli and Caldara openly flout the literary precepts of Arcadia? Gigli was a career satirist whose works eventually caused him to be exiled from his native Siena, all of Tuscany and the Papal States, and to be expelled from three major literary academies, the Intronati, the Cruscanti and the Arcadians. Since he continually criticized the organizations to which he belonged for their narrow-mindedness, prejudice and hypocrisy, I contend that L'Anagilda represents a critique of Arcadia. Yet in the process, Gigli also shows the Arcadians that there is more than one path to verisimilitude and the imitation of classical models. Despite the mock-heroic characteristics of the libretto, Gigli adheres to some Arcadian structural requirements, and Caldara's score heightens the characterizations and the overall verisimilitude of the opera.
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Brayko, Oleksandr. "Coloristic Expressive Tools in Prose by Volodymyr Drozd." Слово і Час, no. 8 (August 11, 2019): 78–97. http://dx.doi.org/10.33608/0236-1477.2019.08.78-97.
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The paper deals with coloristic means in the works by the well-known Ukrainian writer-Sixtier. It focuses on the functions of colors and color effects in the text, their analogues in painting, and the role of the colors in showing semantic and mood accents or expressing some implicated meanings. The researcher traces accordance of the literary means with expressive resources of painting art as they are recorded in the theory of art.
Throughout all the periods of the writer’s creative work the prose by V. Drozd shows the author’s attention to the plastic wealth of the outside world and its coloristic potential. The search for the graphic forms of a psychological analysis, as well as the mood dominant, the background of event, the expressive color markers of semantic accents or meaningful image components of exposition, and, after all, the very painting-like modeling of the landscape or interior, stimulated new graphic experiments that renewed and deepened aesthetic impact of a literary work on a reader, due to the culture of visual perception and constructive imagination.
The first attempts of verbal design and color rendering in V. Drozd’s works still testify to his literary apprenticeship showing excessively decorative nature, unambiguity of semantic associations, bright hues and chromatic saturation that looks rather as adopted from pictures and not taken from nature. Such artistic approach to the theme generates enormous, and at the same time ideologically typical, pathos associated with aesthetics of socialistic realism and therefore with the teaching function of art.
The development of coloristic culture in the works of the prose writer is rooted in his attention to the rich range of hues, their emotional and expressive potential, and also in the author’s desire to show a psychological action in a more plastic and suggestive way. In order to reproduce the coloristic variety of sensory experience and underline important semantic implications the writer skillfully works on the parameters of achromatic light environment which becomes symbolized or transformed in a fantastic and hyperbolic way due to the expressive function of light markers.
The light and color contrasts or combinations of hues may underline some essential semantic aspects of the verbal picture components within the reproduction of a landscape. The analysis of figurative and modeling means proves the artistic functionality of the verbal analogues of painting in V. Drozd’s prose, and its consistency with the aesthetic dominants of the Sixtiers.
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Müller, Simone, Steven Hill, Sukwi Kim, Francis Müller, Nahoko Suzuki, and Andres Toledo. "Aufzeichnungen über einen unheimlichen Mönch: Eine kommentierte Übersetzung." Asiatische Studien - Études Asiatiques 73, no. 2 (July 26, 2019): 297–310. http://dx.doi.org/10.1515/asia-2019-0006.
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Abstract Yōsōki (Records about a Creepy Monk, 1902) is a lesser-known short story of Izumi Kyōka, one of the most popular writers of the Meiji period. Kyōka, known for his fantastic, pictorial and folksy stories, belonged to the renowned literary circle Kenyūsha, founded by Ozaki Kōyō, that committed itself to light fiction and firmly rejected didactically motivated literature. The story Yōsōki presented here for the first time in German translation, stands prototypically in the tradition of the fantastic-aesthetic literature characteristic for Kyōka’s writing.
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Диденко and Valeriy Didenko. "Artistic-Aesthetic Communication as Expression of the Ineffable." Modern Communication Studies 3, no. 1 (February 10, 2014): 16–20. http://dx.doi.org/10.12737/2445.
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In paper it is shown, that art, as a component of spiritual’s common grounds,
carries out its expressive function in the culture by completing the construction
of world picture, produced by scientific-and-theoretical (authentic)
knowledge. This is necessary for the integrity and completeness, which
meeting the infinity of human spirit claim, where the unknown appears as a
strange, wonderful, fantastic, but, nevertheless, semantic beginning in individual
and society life.
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Trębicki, Grzegorz. "Debate on the merits of fantastic literature." Literatura i Kultura Popularna 25 (July 28, 2020): 237–48. http://dx.doi.org/10.19195/0867-7441.25.13.
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The possible “value” of “fantastic” or non-mimetic literature has been the subject of an on-going debate. There is, obviously, the dispute between these critics (and academics) who regard non-mimetic literature to be inferior to truly “literary” mainstream fiction and deprived of “literary merit” and those who defend it. Additionally, within the proper field of “fantastic” literature criti-cism there exists an interesting, largely theoretical (but partly also ideological) argument about the merit of particular fantastic genres and cognitive modes that seem to be inherent to those genres. Finally, the status of particular works of fantastic fiction is often debated or questioned.The present paper attempts to initialize a comprehensive discussion on the merits of non-mi-metic (fantastic) literature. It summarizes the previous discourse on the subject and searches for the reasons of various discrepancies and confusion shrouding the field. It also undertakes to dem-onstrate that these discrepancies result primarily from different criteria applied, which are, in turn, determined not only by arbitrary tastes, but, first of all, by methodological, aesthetic, cognitive, and ideological approaches.The whole discussion will, hopefully, prepare the ground for an attempt to approximate poten-tial merits of the whole of non-mimetic fiction and analyze them initially from structural, cognitive, or cultural angles.
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Rafikov, Ilias. "Synthesis of the technique of academic architectural drawing and architectural fantasy in composite openings as an invariant of professional training of future architects." E3S Web of Conferences 274 (2021): 01038. http://dx.doi.org/10.1051/e3sconf/202127401038.
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The article reveals the compositional specificity of architectural drawing from nature and from the standpoint of including the aesthetic category – «fantastic» in the creative learning process. In this regard, the content, methods and forms of teaching in the variety of compositional solutions of architectural drawing are considered.
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Schubert, Maria. "Dramatherapy and Fairytale: Entering the fantastic reality." Dramatherapy 41, no. 1 (April 2020): 25–36. http://dx.doi.org/10.1177/0263067221996923.
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A magical, transitional space connects Dramatherapy and Fairytale. A space isolated, consecrated and forbidden, within which special rules occur. The description of this space talks about “temporary worlds,” as Johan Huizinga describes for Play, “within the usual world, dedicated in doing an act independent from our everyday practical lives.” It is there, that the dramatherapeutic stage allows us to enter this magic, transitional space that transforms itself from a wooden floor into a space where important and serious acts happen—even if they make us cry out with laughter. Therefore, within the context of Play, Fairytale, and Dramatherapy, the dramatherapeutic stage allows the person to exit, for a while, its real life and routine, and enter a magic world, a world that allows the unconscious to be expressed and relieved in a safe way. In this article, the author will explore the way Dramatherapy and Fairytale interconnect through the mediation of aesthetic distance which in both disciplines allows the clients and the dramatherapist to enter the liminal space of fantastic and/or dramatic reality and explore traumatic and painful events and issues of the clients’ life.
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Lee, H. "Governmentality and the Aesthetic State: A Chinese Fantasia." positions: east asia cultures critique 14, no. 1 (March 1, 2006): 99–130. http://dx.doi.org/10.1215/10679847-14-1-99.
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Gándara Fernández, Leticia. "Un estudio del Valyrio, lengua artificial diseñada para Juego de Tronos." Revista de Lingüística y Lenguas Aplicadas 15, no. 1 (July 1, 2020): 39. http://dx.doi.org/10.4995/rlyla.2020.12770.
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<p>This paper presents a linguistic analysis of high Valyrio, a language designed by David J. Peterson for aesthetic purposes to complement the fantastic universe of the television adaptation of Game of Thrones. This study aims to show how the inventor has designed the main phonetic and morphosyntactic features of this system in order to give it a classic and natural language appearance.</p>
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Cvejić, Žarko. "From "Bach" to "Bach's son": The work of aesthetic ideology in the historical reception of Carl Philipp Emanuel Bach." New Sound, no. 54-2 (2019): 90–108. http://dx.doi.org/10.5937/newso1954090c.
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The paper explores the historical correlation between the marginalization of C. P. E. Bach in his posthumous critical reception in the early and mid 19th century and the paradigm shift that occurred in the philosophical, aesthetic, and ideological conception of music in Europe around 1800, whereby music was reconceived as a radically abstract and disembodied art of expression, as opposed to the Enlightenment idea of music as an irreducibly sensuous, sonic art of representation. More precisely, the paper argues that the cause of C. P. E. Bach's marginalization in his posthumous critical reception should not be sought only in the shadow cast by his father, J. S. Bach, and the focus of 19th and 20th-century music historiography on periodization, itself centred around "great men", but also in the fundamental incompatibility between this new aesthetic and philosophical ideology of music from around 1800 and C. P. E. Bach's oeuvre, predicated as it was on an older aesthetic paradigm of music, with its reliance on musical performance, especially improvisation, itself undervalued in early and mid 19th-century music criticism for the same reasons. Other factors might also include C.P. E. Bach's use of the genre of fantasia, as well as the sheer stylistic idiosyncrasy of much of his music, especially the fantasias and other works he wrote für Kenner ("for connoisseurs"). This might also explain why his music was so quickly sidelined despite its pursuit of "free" expression, a defining ideal of early to mid 19th-century music aesthetics.
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S.S., Zhurba. "NOVELISTICS OF HALYNA ZHURBA: DIFFUSION OF THE GENRE." South archive (philological sciences), no. 83 (November 4, 2020): 6–10. http://dx.doi.org/10.32999/ksu2663-2691/2020-83-1.
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Мета. Мала проза кінця ХІХ – початку ХХ століття вражає експериментальністю письма, жанровою еклектикою, моди-фікацією жанру, інтертекстуальністю. Мета статті – на прикладі творів «Казка про Змарагд», «В ясний день», «Ассірійська легенда» Галини Журби простежити художньо-образну організацію текстів, авторське поєднання різножанрових елементів у структурі новели. Питання дифузії жанрів майже не висвітлювалося в публікаціях про письменницю, тож потребує належ-ного осмислення й аналізу.Методи. Методологічні засади дослідження полягають у комплексному застосуванні історико-літературного, герменев-тичного методів та рецептивної естетики, що дало змогу розкрити проблему дифузії жанру у літературі, вказати значення Галини Журби у модифікації жанру новели через аналіз її творів. Метод інтертекстуального аналізу було використано у дослі-дженні міжтекстових зв’язків прози письменниці та фольклору, міфології. Використано методику аналізу, синтезу, добору та систематизації матеріалу.Результати. У процесі дослідження продемонстровано руйнування канонів жанру новели у літературі початку ХХ століт-тя, вказано на динамізм і художні трансформації модерних творів, синтез різножанрових форм. У ранній прозі Галини Журби простежуємо експериментальні пошуки авторки у формозмістовій організації новели. Результати дослідження показали, що процес жанрового синтезу дав змогу авторці увиразнити ідейно-тематичний зміст творів, розширити горизонт читацького сприйняття. Філософське осмислення буття людини і світу, трансформація міфологічних образів «Казки про Змарагд», «В ясний день», «Ассірійської легенди» Галини Журби засвідчують індивідуально-стильову ознаку письма та творчі пошуки в жанрі новели. Виявлено особливості прози письменниці, до яких належить контамінація жанрів новели і казки, новели і легенди, трансформація фантастичних образів, мотивів у новелістичну структуру, інтертекстуальність.Висновки. Отже, взаємопроникнення одного тексту в інший у малій прозі Галини Журби сприяє увиразненню сюжетно-композиційних можливостей текстів, збагаченню формозмістових елементів, міжтекстовій взаємодії. Авторська інтерпрета-ція відомих міфологічних образів, фантастичні вкраплення, оновлення семантики текстів, композиційна організація текстів визначили нову жанрову модель творів «Казка про Змарагд», «В ясний день» як модерну казку, «Ассірійську легенду» – модерну легенду. Через модерні способи мислення письменниці відбувається становлення індивідуально-художнього стилю у співвідношенні з літературними здобутками прози доби. Purpose. The short prose of the end of the XIX – beginning of the XX century impresses with the experimentality of writing, genre eclecticism, modification of the genre, intertextuality. The purpose of the article is to trace the artistic and figurative organization of texts, the author’s combination of various genre elements in the structure of the short story on the example of the works “The Tale of the Emerald”, “On a Clear Day”, “Assyrian Legend” by Halyna Zhurba. The issue of diffusion of genres was hardly covered in publications about the writer, so it needs proper understanding and analysis.Methods. The methodological principles of the research are the complex application of historical-literary, hermeneutic methods and receptive aesthetics, which revealed the problem of genre diffusion in literature, to indicate the importance of Halyna Zhurba in modifying the genre of short stories through analysis of her works. The method of intertextual analysis was used in the study of intertextual connections between the writer’s prose and folklore, mythology. The method of analysis, synthesis, selection and systematization of material is used.Results. The study demonstrates the destruction of the canons of the genre of short stories in the literature of the early twentieth century, points to the dynamism and artistic transformations of modern works, the synthesis of various genre forms. In Halyna Zhurba’s early prose we trace the author’s experimental searches in the formcontent organization of the short story. The results of the research showed that the process of genre synthesis allowed the author to express the ideological and thematic content of the works, to expand the horizon of the reader’s perception. Philosophical comprehension of human existence and the world, transformation of mythological images “Tales of the Emerald”, “On a Clear Day”, “Assyrian Legend” by Halyna Zhurba testify to the individual stylistic feature of writing and creative research in the genre of short stories. Short stories and fairy tales, short stories and legends, transformation of fantastic images, motives into a novelistic structure, intertextuality.Conclusions. Thus, the interpenetration of one text into another in the short prose of Halyna Zhurba contributes to the expression of plot-compositional possibilities of texts, enrichment of formcontent elements, intertextual interaction. The author’s interpretation of well-known mythological images, fantastic inclusions, updating the semantics of texts, compositional organization of texts defined a new genre model of works “The Tale of the Emerald”, “On a Clear Day” as a modern tale, “Assyrian Legend” – a modern legend. Through the modern ways of thinking of the writer is the formation of individual artistic style in relation to the literary achievements of prose of the day.
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Knyt, Erinn E. ""How I Compose": Ferruccio Busoni's Views about Invention, Quotation, and the Compositional Process." Journal of Musicology 27, no. 2 (2010): 224–64. http://dx.doi.org/10.1525/jm.2010.27.2.224.
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An anecdote circulating among pupils of Egon Petri (1881––1962), a protégé of Ferruccio Busoni (1866––1924), was the story Petri told of how on more than one occasion Busoni's wife was mistakenly introduced as "Mrs. Bach-Busoni." Whether fact or fiction, this social faux pas illustrates how closely Busoni's name has been associated with the names of composers whose works he arranged. Despite his prolific compositional career, he is remembered more as a transcriber and arranger than as a composer of original works. His practice of arranging others' works also affected his own compositions, which frequently contained borrowed material. Busoni's creative art thus blurred conventional boundaries between what is traditionally considered to be primary "original" works and subsidiary transcriptions or arrangements. While Busoni's tendency to blur boundaries between new pieces and arrangements has been already noted, his compositional aesthetics has only been cursorily studied. Relying on the essay "How I Compose," the section on notation from The Sketch of a New Aesthetic of Music (1907), and unpublished sketches from the Staatsbibliothek Berlin, I examine Busoni's idiosyncratic compositional ideology, explain the meaning of his terms Idee, Einfall, Transkription and Bearbeitung in his compositional process, and show that Busoni valued the creativity involved in transforming already existing musical material no less than invention of the new. I illustrate Busoni's compositional aesthetics through analyses of his arrangements of Liszt's sixth Paganini Etude, Mozart's Piano Concerto, K. 453, and his Fantasia nach J. S. Bach.
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Čipkár, Ivan. "Aesthetic Universals in Neil Gaiman’s Post-Postmodern Mythmaking." Prague Journal of English Studies 8, no. 1 (July 1, 2019): 97–117. http://dx.doi.org/10.2478/pjes-2019-0006.
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Abstract Aesthetic theory, as reflected in both contemporary cognitive (Patrick Colm Hogan) and more traditional structuralist criticism (H.G. Widdowson), points to the dynamics between familiarity and surprise as the driving force behind the pleasure we derive from reading fiction. This paper explains how Neil Gaiman’s works, particularly his novel Neverwhere, utilize genre expectations and reinvent mythologies in order to captivate audiences in the current age of unprecedented access to information and a rather superficial intertextuality. The paper draws on Brian Attebery’s analyses of the literature of the fantastic to place Gaiman within the context of both modernist and postmodernist legacies, while proposing that his works could be best understood as representative of the current cultural paradigm, sometimes labelled as the pseudo-modern or post-postmodernism. The discussion of the shifting paradigm is used as a backdrop for the scrutiny of the devices employed in Gaiman’s writing: the pre-modern focus on storytelling, prototypicality, modernist “mythic principle”, postmodernist textual strategies, and utilization of current technologies and mass-communication media.
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Junior, Sandi Tramiaji, Autar Abdillah, and Trisakti Trisakti. "Budaya Populer dan Estetika Baru melalui Pesona Make Up dan Kostum dalam Film Asterix at the Olympic Games." SALAM: Jurnal Sosial dan Budaya Syar-i 7, no. 9 (September 3, 2020): 813–24. http://dx.doi.org/10.15408/sjsbs.v7i9.15640.
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AbstractThis study wants to discuss the new aesthetic or queer aesthetic in the charm of makeup and costumes used in the film Asterix At The Olympic Games by director Frederick Forestier produced in 2008. The perspective taken in this study is charm through makeup and costumes, and its relevance to popular culture and people's interest in fantasy films. This study uses a qualitative method, with film studies as an approach in the analysis of cinematographic studies. Film studies in this study focus on social practice performances about the body, identity, representation, and elements contained in the charm of makeup and costumes in the film Asterix At The Olympic Games. The results showed that Asterix at The Olympic Games became a fantasy film genre that gave the complexity of the show as entertainment. In Asterix at The Olympic Games, there is a parody with an imitation of the situation and culture of Greece, which is conveyed through makeup, costumes, and performances. Alfred Gell, in his study of technology of enchantment, concerned the 'technical complexity' aspects of a work to attract the attention of the audience through the management of makeup and costumes. Furthermore, the concept of theatrical mimicry and parody as a 'technical complexity' is shown as a display of aesthetic queer for the sake of performance that can attract attention because of its shape as a popular culture product that is different for the audience.Keywords: new aesthetics; the enchantment of makeup and costumes; Asterix at the Olympic Games AbstrakPenelitian ini ingin membahas tentang estetika baru atau queer aesthetic dalam pesona make up dan kostum yang digunakan dalam film Asterix At The Olympic Games karya sutradara Frederick Forestier yang diproduksi tahun 2008. Sudut pandang yang diambil dalam penelitian ini adalah pesona melalui make up dan kostum, dan relevansinya terhadap budaya populer dan minat masyarakat terhadap film fantasi. Penelitian ini menggunakan metode kualitatif, dengan film studies sebagai pendekatan dalam analisis kajian sinematografinya. Film studies dalam penelitian ini berfokus pada pertunjukan praktik sosial mengenai ketubuhan, identitas, representasi, dan unsur-unsur yang terkandung dalam pesona make up dan kostum dalam film Asterix At The Olympic Games. Hasil penelitian menunjukkan Asterix at The Olympic Games menjadi genre film fantasi yang memberikan kompleksitas pertunjukan sebagai hiburan. Di dalam Asterix at The Olympic Games terdapat parodi dengan imitasi terhadap situasi dan budaya Yunani yang disampaikan melalui make up, kostum, dan pertunjukannya. Alfred Gell dalam telaahnya mengenai technology of enchantment mementingkan aspek ‘kerumitan teknik’ dalam suatu karya untuk menarik perhatian penonton melalui pengelolaan make up dan kostum. Lebih lanjut, konsep theatrical mimicry dan parodi sebagai suatu ‘kerumitan teknik’ ditunjukkan sebagai suatu display atas queer aesthetic untuk kepentingan pertunjukan yang mampu menarik perhatian karena bentuknya sebagai produk budaya populer yang berbeda bagi penonton.Kata kunci: estetika baru; pesona make up dan kostum; Asterix At The Olympic Games
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Lehmann, Hans-Thies. "Thinking/Tragedy/Thinking Tragedy: Remarks on the Fate of Theory on Stage." Anglia 136, no. 1 (March 8, 2018): 61–74. http://dx.doi.org/10.1515/ang-2018-0009.
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AbstractThe article thematizes the uniquely complex relation between theory and theatre by focusing on the specific case of theory presented on stage. Part One exposes an aporia of classical aesthetics: the aesthetic object is conceived as different from thought but at the same time it is demanded that its nucleus is thought. Commenting on a particularly telling example of theory on stage: Karl Marx: Das Kapital, Erster Band von Rimini Protokoll (2006), it is argued that the power of the performance is able to uncover under the surface of a seemingly well-known and well-ordered theory a mostly overlooked element of madness. Part Two deals with the Aristotelian gesture of thinking tragedy as a para-logical reality. The ‘logification’ of the aesthetic overlooks (or ‘forgets’) that all theoretical positing loses necessarily its earnest when appearing on stage. The paper concludes with a reflection on the enduring ‘unconscious’ Aristotelianism of the discourse on theatre and tragedy. Drawing on the research of Ulf Schmidt, the irreconcilable contradictoriness of the concepts of nous and fantasia is exposed which leads time and again to the hatred for the unruly playfulness of theatre in the classic tradition. The nobilitation of tragedy by Aristotle as more ‘philosophical’ than historiography must be unmasked as a ‘Trojan horse’ which serves the subordination of the tragic play to the jurisdiction of the philosophical discourse. Resisting theory’s attempt to transform the theatrical play into a mere double of a conceptual contradiction, theatre must insist on its moment of opaqueness, sheer materiality, defiant unreasonability.
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Sergeant, Alexander. "Scrutinising the rainbow." Alphaville: Journal of Film and Screen Media, no. 2 (February 14, 2012): 4–18. http://dx.doi.org/10.33178/alpha.2.01.
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The Wizard of Oz is not only an iconic film but an iconic fantasy film. An unwillingness to describe it as such within film studies points to a long history of the fantasy genre’s critical neglect. Dissecting the intrinsically cinematic apparatus of space, this article will seek to demonstrate how The Wizard of Oz functions as a fantasy film. Specifically, it will scrutinise how the film attempts to elicit a positive and reassuring encounter with a sense of the magical that seems tied to the genre’s unique aesthetic pleasures. As the film demarcates a mimetic sense of reality, Kansas, from another magical space wherein the fantasy elements of the narrative takes place, Oz, its sense of space hesitates between a sense of the real and the unreal in a manner similar to that originally described in Tzvetan Todorov’s The Fantastic. The Wizard of Oz would seem to operate a similarly fantastic sense of space, constructing a relationship between the two realms that oscillates between the virtues of both as it celebrates the values of the homely and the otherworldly, the familiar and the new in order that it might mitigate its potential traumas and showcase its joys.
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Grodecka, Aneta. "Fotografie nieistniejącego świata. O polskiej sztuce fantastycznej." Poznańskie Studia Polonistyczne. Seria Literacka, no. 28 (February 19, 2017): 53–76. http://dx.doi.org/10.14746/pspsl.2016.28.3.
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Starting with a reconstruction of the views of philosophers and aesthetes on the topic of fantastic images, the Author aims to characterize fantasy art. She describes the reception of this art in Poland, characterizes its determinants, and defines the trend, indicating the most important examples of artistic works. While exploring this approach, she refers to Waldemar Okoń, Jerzy Malinowski, Tomasz Gryglewicz, and Antoni Smuszkiewicz. The convention of fantasy art appears to be a vital, developmental quality, an expression of the rebellion of consciousness against simplifications.
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Daniel Hempel. "“This Fantastic Land of Monstrosities”: The Aesthetic of the Australian Grotesque in the Long Nineteenth Century." Antipodes 30, no. 2 (2016): 305. http://dx.doi.org/10.13110/antipodes.30.2.0305.
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Reis, Jakson Ney da Costa. "FRACTAIS NO ENSINO MÉDIO: EXPLORANDO A ÁRVORE DE PITÁGORAS." Ciência e Natura 37 (August 7, 2015): 411. http://dx.doi.org/10.5902/2179460x14636.
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http://dx.doi.org/10.5902/2179460X14636Mathematics has its aesthetic beauty as one of the main attractions. There are times geometric patterns arouse the curiosity of many mathematicians. Is this universe Geometry that a subject is gaining more space, it is of Fractals. Working these fantastic structures in high school redeems the importance of showing this beauty in mathematics, in addition, the content is virtually forgotten by schools and almost always overlooked in the development of curricula. In this paper, we propose a brief analysis of the fractal known as Tree of Pythagoras, showing how you can work topics like Arithmetic and Geometric Progressions in order to arouse the curiosity of the student.
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Piskunov, S. "We E. Zamyatin, or the integrity of the mystery." Canadian-American Slavic Studies 45, no. 3-4 (2011): 289–306. http://dx.doi.org/10.1163/221023911x567588.
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AbstractThis essay attempts to analize Zamiatin's We as an aesthetic whole in which, pace Yuri Tynianov, antiutopia is organically combined with “a fantastic adventure novel.” With this aim in mind We is read not only in its literary context but also in a historical-poetologic perspective, ranging from Hellenistic love/adventure novels to Andrei Belyi's Silver Dove. Following in Belyi's footsteps, Zamiatin develops a Dionysian theme according to the interpretation proposed by Viacheslav Ivanov's interpretation (his conception of the divine unity of existence), making the myth of Dionysus the subject of an aesthetic experiment in the tradition of Mennipian satire. The author of We, to what extent the protagonist-narrator can be associated with his creator, is concerned with the fate of “the whole” not less than with the fate of individual. He is confronted with an unresolved conflict in terms of atheistic consciousness, bearing not only personal and socio-political consequences, but ontological as well.
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You, Chengcheng. "Aesthetic Dilemmas of Adaptation and the Politics of Subjectivity: Animating the Chinese ClassicJourney to the West." International Research in Children's Literature 12, no. 1 (July 2019): 34–46. http://dx.doi.org/10.3366/ircl.2019.0289.
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This article reviews four major Chinese animated adaptations based on the classic Journey to the West. It shows how these adaptations, spanning four historical phases of modern China, encapsulate changes in Chinese national identity. Close readings underpin a developmental narrative about how Chinese animated adaptations of this canonical text strive to negotiate the multimodal expressions of homegrown folklore traditions, technical influences of western animation, and domestic political situations across time. This process has identified aesthetic dilemmas around adaptations that oscillate between national allegory and individual destiny, verisimilitude and the fantastic quest for meaning. In particular, the subjectivisation of Monkey King on the screen, embodying the transition from primitivistic impulse, youthful idealism and mature practicality up to responsible stewardship, presents how an iconic national figure encapsulates the real historical time of China.
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LaBelle, Brandon. "Sharing Architecture: Space, Time and the Aesthetics of Pressure." Journal of Visual Culture 10, no. 2 (August 2011): 177–88. http://dx.doi.org/10.1177/1470412911402889.
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Exploring acoustic space, this article aims to supplement the practice of acoustic design by exposing other perspectives on sound’s relationship to space. Following Paul Carter’s notion of sonic ambiguity, the author contends that the idealized sonic image of acoustics eliminates the potentiality inherent to sound and listening as forces of relational intensity and differentiation. To draw out this tension, the article examines alternative forms of acoustics as appearing within the practice of sound art. Through eccentric and speculative design, sound art comes to demonstrate a vital addition to notions of acoustics; by creating heightened listening experiences that exceed the traditional concepts of fidelity, it cultivates forms of noise by integrating extreme volume and frequency, building fantastical architectures for their diffusion, and incorporating a dynamic understanding of psychoacoustics and perception. Through such elements, sound and space are brought together and deliver other forms of acoustical experience while hinting at potentialities for their application in environments outside the art situation. Works by such artists as Tao G. Vrhovec Sambolec and John Wynne provide a vibrant terrain for registering how sound comes to perform as spatial material.
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Hansen, Anne Juhler, Hendrik Knoche, and Thomas B. Moeslund. "Fantastic plastic? An image-based test method to detect aesthetic defects in batches based on reference samples." Polymer Testing 89 (September 2020): 106585. http://dx.doi.org/10.1016/j.polymertesting.2020.106585.
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