To see the other types of publications on this topic, follow the link: Ideological and aesthetic reception.
Journal articles on the topic 'Ideological and aesthetic reception'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 journal articles for your research on the topic 'Ideological and aesthetic reception.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
1
Fathurrosyid, Fathurrosyid. "TIPOLOGI IDEOLOGI RESEPSI AL QURAN DI KALANGAN MASYARAKAT SUMENEP MADURA." El-HARAKAH (TERAKREDITASI) 17, no. 2 (February 5, 2016): 218. http://dx.doi.org/10.18860/el.v17i2.3049.
Full textAbstract:
Islamic teachings in the Quran are fused in the community life of West Pakandangan Village, district Bluto at Sumenep Madura. It is not only expressed through reading and exploring the moral messages, or is treated as magical and powerful objects, but also is an aesthetic reception. For instance using a piece of written verses as accessories at homes, mosques and others. This research is qualitative in nature, employing both literary review and field research. It uses phenomenological analysis and content analysis. The findings show; first, the ideological typology of Quran reception in West Pakandangan involves exegetical, aesthetic and functional receptions. Second, the surface structure of reception symbols presents the religious community. While the deep structure exists in the form of social harmony, social stratification, educational media and pragmatic logical structure on the miracle of Quran. Thirdly, the typology reception of West Pakandangan society in the discourse of Quran and commentary can be categorized as a realist and transformative interpretation, that is dialectic and negotiated interpretation with the social context developed in the community.
2
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.
Full textAbstract:
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.
3
Davis Gonzalez, Ana. "La recepción diferida de la narrativa de Roberto Arlt y Leopoldo Marechal." Monteagudo, no. 25 (October 7, 2020): 185–202. http://dx.doi.org/10.6018/monteagudo.448561.
Full textAbstract:
Este trabajo sugiere la expresión de recepción diferida para aludir a la atención de una obra en una época posterior a su publicación. Analizar la evolución de su recepció manifiesta los paradigmas estéticos, ideológicos y socio-políticos que rigen un periodo histórico. Para ejemplificar dicho análisis, nos serviremos de la narrativa de Roberto Arlt y Leopoldo Marechal, pues consideramos claves los juicios que padecieron algunos de sus textos. Nos proponemos demostrar que su recepción fue simétricamente opuesta y no totalmente motivada por cuestiones estéticas. Un examen conjunto permite profundizar en los criterios de época que condicionaron su admisión en el canon nacional. The present work proposes the delayed reception for the acceptance of at specific book in a period after its publication. The route of its reception reveals the aesthetic, ideological and socio-political paradigms that govern a specific era. That study the follows exemplifies this methodological approach with the works of two writers: Roberto Arlt and Leopoldo Marechal. We consider key the judgments that both suffered when publishing certain texts because the changes of opinion among the critics have been symmetrically opposed and not totally motivated by aesthetic causes. A joint analysis of the two allows deepening the criteria of the period that conditioned their admission into the national canon.
4
Kovalets, Lidija. "Taras Shevchenko’s Ballade “Why do you come to the grave?” and it’s Ideological and Aesthetic Reception by Jurij Fed’kovych." Pitannâ lìteraturoznavstva 90 (December 22, 2014): 7–22. http://dx.doi.org/10.31861/pytlit2014.90.007.
Full text
5
Guthrie, Kate. "Propaganda Music in Second World War Britain: John Ireland's Epic March." Journal of the Royal Musical Association 139, no. 1 (2014): 137–75. http://dx.doi.org/10.1080/02690403.2014.886430.
Full textAbstract:
ABSTRACTWhile biographical studies of British composers' experiences in the Second World War abound, little attention has been paid to how the demands of ‘total’ war impacted on music's ideological status. This article sheds new light on how composers and critics negotiated the problematic relationship between art music and politics in this period. John Ireland's Epic March – a BBC commission that caused the composer considerable anxiety – provides a case study. Drawing first on the correspondence charting the lengthy genesis of the work, and then on the work's critical reception, I consider how Ireland and his audiences sought to reconcile the conflicting political and aesthetic demands of this commission. With its conventional musical style, Epic March offers an example of a ‘middlebrow’ attempt to bridge the gap between art and politics.
6
Wróblewski, Wojciech. "Dwie antyutopijne wizje – My Jewgienija Zamiatina i Miranda Antoniego Langego. Z dziejów idei i recepcji." Konteksty Kultury 17, no. 4 (2020): 479–503. http://dx.doi.org/10.4467/10.4467/23531991kk.20.038.13257.
Full textAbstract:
Artykuł stanowi próbę zaprezentowania dwóch antyutopijnych powieści powstałych w latach dwudziestych XX wieku: My Jewgienija Zamiatina (1920) i Mirandy Antoniego Langego (1924). Autor przedstawia w nim genezę obu tekstów, a także wskazuje kulturowe, artystyczne i ideowe płaszczyzny ich odczytania. Omawia recepcję My i Mirandy oraz stan badań nad twórczością antyutopijną Zamiatina i Langego. Stara się ująć obie powieści w kontekście rozwoju gatunku. Ponadto ukazuje My Zamiatina i Mirandę Langego jako wypowiedzi o charakterze historiozoficznym, uwikłane często w dyskusje z dominującymi prądami artystycznymi i estetycznymi. Two Anti-Utopian Visions – We by Yevgeny Zamyatin and Miranda by Antoni Lange: History of Idea and Reception The article attempts to present two anti-utopian novels written in the 1920s: We by Yevgeny Zamyatin (1920) and Miranda by Antoni Lange (1924). The author examines origins of both texts and points out cultural, artistic and ideological aspects of their interpretation. The reception of We and Miranda is discussed as well as the current state of research on the anti-utopian oeuvre of Yevgeny Zamyatin and Antoni Lange is addressed. The author attempts to present both novels in the context of evolution of the literary genre. Moreover We by Zamyatin and Miranda by Lange are depicted as statements of historiosophical character, often embroiled in disputes with the dominating artistic and aesthetic movements.
7
Stolow, Jeremy. "Aesthetics/Ascetics." Postscripts: The Journal of Sacred Texts, Cultural Histories, and Contemporary Contexts 2, no. 1 (May 20, 2007): 5–28. http://dx.doi.org/10.1558/post.v2i1.5.
Full textAbstract:
This article focuses on the relationship of aesthetics and ascetics with regard to the publication and popular reception of Kosher By Design, a cookbook published by a major American Jewish Orthodox press, ArtScroll Publications. The article analyses the ideological, rhetorical, discursive, and iconographic modes of address embedded within this text, treating them as instances of popular religion, and also as elements of a project in and through which the Orthodox Jewish intellectuals associated with ArtScroll seek to assert new forms of religious authority, in the context of a broader culture of “kosher consumerism,” to which this text is directed. The article ends by highlighting the paradoxical character of this form of “post-scripture,” in which books like Kosher By Design, and by extension other ArtScroll texts—including their popular prayer-books—are caught between competing demands of popularity and authority, art and asceticism, and religious stringency and bourgeois living.
8
Ozsvárt, Viktória. "Folklorism and Classical Tradition in László Lajtha's Late String Quartets." Studia Musicologica 59, no. 3-4 (December 2018): 323–44. http://dx.doi.org/10.1556/6.2018.59.3-4.5.
Full textAbstract:
Abstract The gains from the folk music collection movement initiated by Béla Bartók and Zoltán Kodály in the first decade of the twentieth century set a path for Hungarian music theory that continued to influence the approach to composition in later decades. Placing folklore material in composed, classical works is complicated by tonal and formal problems and by political overtones. For quotations or thematic material from folk music may introduce complex implications and associations. So the way a composer imbues folk music calls for more than mere technical skill – it embodies an artistic statement. This article analyzes two works by the Hungarian composer and ethnomusicologist László Lajtha (1892–1963): his string quartets nos. 7 and 10 completed in the early 1950s. Through these two quartets I attempt to fathom the aesthetic, ideological and personal motives behind Lajtha's use of folk material in classical composition. Analysis of the composing process involved and the reception the two works received reveal the manifold scope that folk music brings as a source of inspiration.
9
Noll, K. L. "THE KALEIDOSCOPIC NATURE OF DIVINE PERSONALITY IN THE HEBREW BIBLE." Biblical Interpretation 9, no. 1 (2001): 1–24. http://dx.doi.org/10.1163/156851501300112335.
Full textAbstract:
AbstractOver the centuries, rabbis, priests and laity have wrestled with the Bible's various and often conflicting portraits of the God Yahweh. The social sciences suggest that each Yahweh text reflects the needs of the communities that formulated the text. Also, academic research has explored the reception of the complete Bible by religious communities. With the exception of so-called canonical criticism, very little work has been done on the transition between these two stages of the Bible's (and Yahweh's) evolution, from initial composition of texts to complete biblical canon. But canonical criticism usually presumes, a priori , that any text later deemed biblical was in some sense religiously useful from the day of initial composition, became (or continued to be) religiously authoritative as it evolved toward final edited form, and only increased in sacredness as it moved toward canonization. This study disputes that presumption, suggesting that the anthology was produced by a group of literati whose motivation was both socio-ideological and aesthetic, but not religious. This motivation best explains the extreme diversity of Yahweh personalities in the Hebrew canon.
10
Stevanovic, Vladimir. "Cultural based preconceptions in aesthetic experience of architecture." Spatium, no. 26 (2011): 20–25. http://dx.doi.org/10.2298/spat1126020s.
Full textAbstract:
On a broader scale, the aim of this paper is to examine theoretically the effects a cultural context has on the aesthetic experience of images existing in perceived reality. Minimalism in architecture, as direct subject of research, is a field of particularities in which we observe functioning of this correlation. Through the experiment with the similarity phenomenon, the paper follows specific manifestations of general formal principles and variability of meaning of minimalism in architecture in limited areas of cultural backgrounds of Serbia and Japan. The goal of the comparative analysis of the examples presented is to indicate the conditions that may lead to a possibly different aesthetic experience in two different cultural contexts. Attribution of different meanings to similar formal visual language of architecture raises questions concerning the system of values, which produces these meanings in their cultural and historical perspectives. The establishment of values can also be affected by preconceptions resulting from association of perceived similarities. Are the preconceptions in aesthetic reception of architecture conditionally affected by pragmatic needs, symbolic archetypes, cultural metaphors based on tradition or ideologically constructed dogmas? Confronting philosophical postulates of the Western and Eastern traditions with the transculturality theory of Wolfgang Welsch, the answers may become more available.
11
Florya, A. V. "ETHICAL AND LINGUOAESTHETICAL RECEPTION OF THE FILM “GIRLS” BY Yu. CHULYUKIN IN RELATION TO THE SAME-TITLED NOVEL BY B. BEDNY." Bulletin of Udmurt University. Series History and Philology 31, no. 3 (July 13, 2021): 456–62. http://dx.doi.org/10.35634/2412-9534-2021-31-3-456-462.
Full textAbstract:
The subject of this article is a paradox: the personages of the film “Girls” by Yu. Chulyukin formally commit reprehensible deeds, cause suffering to each other, but the film as a whole makes the cheerful impression. The author analyzes the visual aesthetics of the film in combination with verbal texts - the same-titled novel by B. Bedny and songs on verses by M. Matusovsky. The heroes of the film and the story receive an evaluation in the labor and private spheres of their lives. The article explores the semantic nuances of the concept “good” in a song from the film and in the story “Girls”, elements of the pantheistic aesthetics of the film, and correlation between the ideology of the film and Soviet ideological maxims.
12
DOMINGO MARTÍN, Javier. "LA RECEPCIÓN DE LA LITERATURA PORTUGUESA EN LAS REVISTAS DEL INSTITUTO DE CULTURA HISPÁNICA (1948-1955): CUADERNOS HISPANOAMERICANOS, MUNDO HISPÁNICO Y CORREO LITERARIO." Signa: Revista de la Asociación Española de Semiótica 30 (January 6, 2021): 419. http://dx.doi.org/10.5944/signa.vol30.2021.26424.
Full textAbstract:
Resumen: En este artículo, se estudia la presencia de la cultura y literatura portuguesas en las publicaciones periódicas del Instituto de Cultura Hispánica: Mundo Hispánico, Cuadernos Hispanoamericanos y, fundamentalmente, Correo Literario, la más interesante a este respecto. Haremos un catálogo exhaustivo de los contenidos portugueses en el arco de tiempo elegido (1948-1955) y valoraremos cuáles fueron los condicionantes ideológicos y estéticos que determinaron la recepción de la cultura portuguesa, así como el papel que la literatura del país vecino desempeñó en sus páginas.Abstract: This essay aims to study the reception of portuguese culture and literature in “Instituto de Cultura Hispánica” magazines during the years 1948-1955: Mundo Hispánico, Cuadernos Hispanoamericanos and Correo Literario, the most interesating one in this respect. We will catalogue every text of the corpus in order to establish which ideological and aesthetical variables determined the reception of portuguese culture and which function it played in these magazines.
13
Dudziński, Robert. "Fantastyka naukowa w polskim piśmiennictwie krytycznofilmowym przełomu lat pięćdziesiątych i sześćdziesiątych XX wieku." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 28, no. 37 (March 31, 2021): 99–125. http://dx.doi.org/10.14746/i.2020.37.06.
Full textAbstract:
The article is devoted to the Polish reception of science-fiction cinema; the statements of film critics from 1956–1965 were analysed. During this period, science fiction, previously absent from the screens of Polish cinemas for ideological and censorship reasons, returned to the repertoire and became the subject of press discussions and reviews. The analysis of articles devoted to this genre and published at the time allows reconstruction of the cultural context in which science-fiction productions operated. The article consists of three main parts. In the first of these, the author describes which science fiction films were present in Polish cinemas at the turn of the 1950s and 1960s. In the second part, he analyses press statements devoted to the history and aesthetics of the genre. The subject under consideration in the third part is the reception of two productions, which at the time enjoyed the greatest interest from contemporary critics: Godzilla (Gojira, 1954, dir. Ishirō Honda) and The Silent Star (Der schweigende Stern 1960, dir. Kurt Maetzig).
14
Verzosa, Noel. "Realism, Idealism and the French Reception of Hanslick." Nineteenth-Century Music Review 14, no. 1 (November 28, 2016): 51–64. http://dx.doi.org/10.1017/s1479409816000288.
Full textAbstract:
When Charles Bannelier’s French translation of Hanslick’s Vom Musikalisch-Schönen was published in 1877, it elicited discussions among French musicians and critics that can seem puzzling from our twenty-first century vantage point. The French were almost entirely ambivalent to the issue of descriptive versus non-programmatic music and were perfectly comfortable disregarding this seemingly central point of contention in Hanslick’s treatise. French critics focused instead on issues that seem tangential to the main thrust of Vom Musikalisch-Schönen: German music education, the merits of philosophy versus philology, and so forth.The French reception of Hanslick becomes less puzzling, however, when we consider the conceptual framework within which French musical discourse operated in the late nineteenth century. By 1877, musical aesthetics and criticism in France were an extension of broader trends in French intellectual culture, in which a materialist, realist view of the world vied with a metaphysical, idealist conception of the divine. Between these two ideological poles lay a rich spectrum of ideas that had profound ramifications for music and art criticism. The degree to which works of art could be understood as products of historical circumstances, for example, or whether art embodied ineffable meanings resisting explanation, were questions whose answers depended on one’s position along this realist–idealist spectrum.In this article, I show how this tension between realism and idealism formed the conceptual framework for French critics’ readings of Hanslick’s Vom Musikalisch-Schönen. I survey writings by Théodule Ribot, Jules Combarieu, Camille Bellaigue and others to show how this network of texts, when placed alongside each other, was effectively a manifestation of the realist–idealist spectrum. By putting these writings in conversation with each other, this article brings to light the intellectual premises of French writings on music in the nineteenth century. Only by understanding these premises, I argue, can we make sense of the French reception of Hanslick.
15
Minenko, O. V. "THE RECEPTIVE-AESTHETIC PRINCIPLES OF THE ARTISTIC TRANSLATION IN THE SYSTEM OF COMPARATIVE STUDIES." English and American Studies 1, no. 16 (September 7, 2019): 118–24. http://dx.doi.org/10.15421/381916.
Full textAbstract:
The article attempts to reveal the main receptive-aesthetic principles of artistic translation from the point of view of comparative studies. The analysis of the views of the researchers D.Nalyviayko, V.Izer, G.Yaus as to proposed subject is presented. Characteristic features of the artistic translation in the system of comparative studies are highlighted and described. On the basis of the research it was established that the perception of the artistic work is determined on the basis of the work of understanding the original text, that is, as a result of the dialogue between the text and the translator; as a manifestation of the hidden meaning that passes through the translation consciousness. Each new translation of the work acquires a relative autonomy; it carries something unique in its own right, created by the translator-writer. The creative person of the translator inevitably influences the translated work, which is perceived by the reader through the prism of his person. During the translation of a literary work belonging to a certain national culture and created by appropriate means of the linguistic and stylistic systems, one can reflect the phenomena inherent in the national artistic consciousness. The article describes the content of the concept of "perception", which is dynamic, since the perception continues until new translations, new translation studies appear. As each artwork is a holistic ideological and creative structure in which individual parts interact organically and form an inseparable unity, all elements of this structure are open to the reader, and in the process of cognition are realized in different ways in his mind.
16
Močnik, Rastko. "Vantržišna motivacija tržišta umetničkih dela." Život umjetnosti, no. 104 (July 2019): 66–85. http://dx.doi.org/10.31664/zu.2019.104.04.
Full textAbstract:
Art markets are not homogeneous, the difference being especially between the art products that can be technically reproduced and the unique products. As for the former, regulations of the copyright type introduce certain specificities (the author retains some rights over the object in circulation— for example, she or he can withdraw it). In case of unique goods, the demand is determined by the buyers’ tastes and does not result from some generally valid presupposition: thus, these goods have a price, but they have no value. Since the aesthetic nature of the reproducible works of art is subject to the same laws as the unique artworks, the economy of unique artworks can serve as a paradigm for the economy of artworks in general. According to a theory developed by Rade Pantić, the price of unique artworks is a monopoly rent. As any other rent, it is determined by non-economic mechanisms. These mechanisms should allow for the freedom of individual tastes and at the same time provide a unique field within which these idiosyncratic attitudes can interact. The mechanisms determining the rent (price) of artworks are therefore ideological apparatuses that present themselves and their elements (individual taste judgments) as non-ideological, and moreover formulate the judgments as individual receptions open to “interpretation,” i.e. as cognitive-affective material to be processed in specific symbolic formations (in curatorial practices, art criticism, philosophical interventions, and alike). In contemporary art, the structure of ideological apparatuses reproduces domination-through-fragmentation, typical of contemporary capitalism.
17
Marsovna Yusupova, Nurfiya, Aygul Firdinatovna Ganieva, Fatima Khaliullovna Minnullina, Leysan Radifovna Nadyrshina, and Ayrat Faikovich Yusupov. "Image-Symbols in the Tatar Poetry Between the 1920s-1930s." International Journal of Engineering & Technology 7, no. 4.38 (December 3, 2018): 724. http://dx.doi.org/10.14419/ijet.v7i4.38.24763.
Full textAbstract:
This article reveals the functional and semantic field of image-symbols in the Tatar poetry of the 1920s-1930s as exemplified by the poetic texts of Hadi Taqtaş, Musa Cəlil, Hasan Tufan and Ahmed Faizi. The structural and semantic field of the image-symbols formed in the literature between the 1920s and the 1930s significantly differs from the artistic and aesthetic search of the previous periods in the development of literature. Avant-garde experiments with the form of verses of the 1920s, complex literary devices and techniques, as well as the possibility of creating an image from a large number of mosaic details led poets to folklore image-symbols. At the same time, the authors observed the diversity of ideological images that often serve as symbols and structure-forming components in the structure of a poetic text. The research aims to study folklore and ideological image-symbols in the Tatar poetry of the 1920s-1930s and to reveal their structural-semantic and functional field in poetic texts. The scientific novelty of this article is determined by a different approach to the study of the system of images in poetic works, i.e. in the course of the study, the authors focus their attention on the symbolic use of images as structure-forming components. Within the framework of this research, the authors have proved that folklore and ideological symbols act as structure-forming components and are perceived as an opportunity to change artistic paradigms, restore ideological and philosophical depth, polysemy, the possibility of double interpretation and national traditions of the Tatar poetry. The fundamental method used in the course of this study is the hermeneutic approach that guides the reader’s receptive activity to the analysis of principles and techniques for creating images and image-symbols.
18
Tkachenko, Roman. "Mykola Bidenko’s poetry: typology and idiography." Synopsis: Text Context Media 27, no. 1 (2021): 1–6. http://dx.doi.org/10.28925/2311-259x.2021.1.1.
Full textAbstract:
The relevance of the selected inquiry is in the need for urgent understanding of the ways of Ukrainian literature development, in particular, of poetry development, at the turn of the 20–21th centuries. It is no secret that art recreates the spiritual atmosphere of the time, but even more valuable is its ability to respond to subtle changes in the mood of contemporaries and form a spiritual picture of the future. In this sense, the study of contemporary art will be useful not only to literary critics. The subject of research is the typological and idiographic parameters of M. Bidenko’s poetry, its immediate artistic context, unique features of poetics, education and ideological and thematic direction. We understand the problem statement as an attempt to outline the first approximation of the role and place of M. Bidenko’s creative heritage in the context of Ukrainian literature of the late 20 — early 21th centuries. The study used mainly typological method, as well as principles of hermeneutics in the interpretation of key images. The purpose of this article is to outline the aesthetic and typological parameters of the artistic heritage of M. Bidenko, its unique features and features, consistent with the artistic context, based on the analysis of formal means and conceptual principles. As the result of the study Bidenko’s poetry is outlined mainly in the aesthetic coordinates of avant-garde and belongs to the environment of the Kyiv school of poets (verlibre, autotheliality of the word, avoidance of rhetoric, etc.), but in worldview he is more radical, skeptical and paradoxical than “kyivans.” In our view, Bidenko's dominant reception is a paradox. Pain as one of the key images of Bidenko's poetry, is metaphysical. Against such pain, the poet invented a “cure of death.” We see the novelty of this exploration in the definition of the dominant technique and our own interpretation of key images in Bidenko’s poems. Promising for future research are the nature of Bidenko’s verlibrium, features of the author's syntax or the nature of visual flavor.
19
Sicari, Ilaria. "Paratext as weapon." Translation and Interpreting Studies 15, no. 3 (October 23, 2020): 354–79. http://dx.doi.org/10.1075/tis.20081.sic.
Full textAbstract:
Abstract Although the selection and publication of foreign literature in the USSR was subject to state control, many foreign works were able to reach the Soviet reader, thanks to the clever strategies employed by editors, literary advisers, critics, and translators. This was particularly true in the case of foreign literature written by Western authors, which underwent more rigorous control and often required incisive cultural and ideological domestication in order to comply with the aesthetics of the Soviet literary canon. Through the analysis of a corpus of published and unpublished Soviet critical texts, this article sheds new light on the Soviet system of cultural production by taking into account the strategies implemented, at different levels, by cultural operators, and in particular by critics. This article focuses on the Soviet reception of Western anti-mimetic novels by Italo Calvino and Kurt Vonnegut, illustrating the strategies of critical domestication to which they were subjected.
20
Fontana, Chiara. "“Beyond a Snow Pile”: Najīb Surūr’s Challenging Reading of the Egyptian Literary Canon in Riḥlah Fī Thulāthiyyat Najīb Maḥfūẓ." Journal of Arabic Literature 51, no. 3-4 (August 20, 2020): 189–214. http://dx.doi.org/10.1163/1570064x-12341410.
Full textAbstract:
Abstract This study of the Egyptian intellectual Najīb Surūr’s critical essay, Riḥlah fī Thulāthiyyat Najīb Maḥfūẓ (c. 1978; A Journey into Najīb Maḥfūẓ’s Trilogy) argues that this underexplored work of Surūr is a brave assessment of the Egyptian literary canon of the 1950s. The argument finds justification in the author’s unique mastery of irony, and his vigorous textual engagement with Maḥfūẓ’s widely acclaimed masterpiece. Throughout his essay, liberated from a “snow pile” of sensational success, Surūr dives into Maḥfūẓ’s novel Bayna al-Qaṣrayn, in order to bolster his conviction that all authors and genres deserve in-depth analyses. Arguing the viability of applying the Constance School’s Reception Theory in evaluating Surūr’s revolutionary reading, this paper seeks to resituate new aesthetical and ideological paradigms in criticism within the broader context of extra literary/intraliterary dynamics that give birth to competing works of fiction. Surūr’s effort also highlights a compelling mismatch between young authors’ de jure inventive ambitions and their de facto conciliation with previous models.
21
Kudryavtseva, Tamara V. "“Fyodor Dostoevsky’s The Adolescent in German-Speaking Countries." Dostoevsky and world culture. Philological journal, no. 1 (2021): 153–83. http://dx.doi.org/10.22455/2541-7894-2021-1-153-183.
Full textAbstract:
The article analyzes the reception of Fyodor Dostoevsky’s The Adolescent in German-speaking countries, covering the period from the first translations of the novel into German and the first reactions by writers, critics, and researchers to the present day. The material here analyzed (reviews, essays, prefaces to publications, and numerous reprints of The Adolescent throughout the 20th century, scientific articles, monographs) indicates a quite stable interest in this novel by German intellectuals. The available material shows that the recipients were somehow interested in all aspects of the novel, from its themes and main problems to the peculiarities of its poetics. The analysis and the evaluation of the novel are usually carried out in direct connection with the writer’s life, his worldview, religious and aesthetic beliefs, and consider the cultural context of his era. The article shows how the novel was differently received at different times, as well as the connections with ideological and individual peculiarities, due to the specific task that the recipient set himself. The common denominator can be found in the recognition of The Adolescent as one of the most famous novels of Dostoevsky (as it is always considered as one of the “five great novels”, or “Pentateuch”); however, it is also true that The Adolescent presents less value and popularity than Dostoevsky’s other novels, as it is proved by the smaller quantity of research about it. Nevertheless, The Adolescent receives well-deserved recognition to this day not only as a relevant work of the famous Russian author but also for the experimental, modernist nature of its artistic structure, thereby consolidating the canonical significance of the novel in the European literary process of the 21st century.
22
Toledano Buendia, Carmen. "Robinson Crusoe Naufraga en Tierras Españolas." Babel. Revue internationale de la traduction / International Journal of Translation 47, no. 1 (December 31, 2001): 35–48. http://dx.doi.org/10.1075/babel.47.1.05tol.
Full textAbstract:
The incorporation of English novels into the Spanish literary system during the 18th century is characterized, in general terms, by their late appearance, especially if a comparison is drawn with other European countries, and by French mediation. One of the most illustrative examples is the assimilation process followed by Robinson Crusoe. This work, written by Daniel Defoe in 1719, appears for the first time in Spain in 1826 — more than 100 years after it was originally written — in an abridged version for children. This paper aims to explore some of the many factors that may play a part in the late appearance of this novel and its reception as a juvenile or children’s book. Apart from the sociopolitical circumstances that turned Spain into a country which was very suspicious of foreign influence, an important factor to take into account is the influence of the French mediation. The introductory role played by mediator systems involves a filtered way of access through which the mediating culture reveals its own points of view and aesthetic criteria. Most of the 19th-century Spanish translations of Robinson Crusoe are secondhand translations from French and inherit the didactic and moralizing interpretation that the French makes of Robinson Crusoe. But the reading of Defoe’s work as juvenile or children’s literature is not only the result of the mediator system; it is also a consequence of the literary tradition to which the text is attached. When this work was imported there was an established tradition of Robinsonades that influenced its reading and interpretation and had created a particular set of expectations in the reader. This study also tries to analyze the different strategies used by Spanish translators in order to adapt Defoe’s novel to the poetic and ideological expectations of its potential readers and to the new function assigned to the text in the new cultural context.
23
Tarnashynska, Liudmyla. "Borders of (Non-)Compromise: Oles Honchar in Reception of Ivan Koshelivets." Академічний журнал "Слово і Час", no. 2 (February 25, 2019): 26–40. http://dx.doi.org/10.33608/0236-1477.2019.02.26-40.
Full textAbstract:
The paper traces the reception of O. Honchar’s personality and works in publications of the journal “Suchasnist” in 1960s–1990s. The author of the paper bases her research on the multi-genre publications by I. Koshelivets, which had utterly polemical tone, and reinforces her observations with the other scholars’ ideas regarding the specifics of interpreting the text.
Adhering to the presumption of fact and the aesthetic criteria for assessing the work of literature, a Western critic put his maxims against a historical background and in a broad European literary context.
Defending his anti-cult position in regard to the writer’s personality of O. Honchar, I. Koshelivets evaluated the works of the Ukrainian Soviet literature classic based on the ground of artistic truth exclusively. Despite the fact that O. Honchar mastered the language skillfully and had an indisputable gift of a writer, he always adhered to the ‘boundaries of the permitted’, which made him to limit the scope of themes and adhere to the artificial style with its varnished reality and false poetic flavor. Paying tribute to the fact that O. Honchar supported the Ukrainian sixtiers and always had a pro-Ukrainian position, I. Koshelivets still kept his principled position for decades.
The critic considered the literary work of O. Honchar as a sample of socialist realism with its indisputable taboos. In particular, he analyzed in detail the most known Honchar’s novel “Cathedral”. According to I. Koshelivets, it got its fame mostly due to the party functionaries that made a relatively weak piece of literature a political event and gave it some extra-literary value, so that the issues of style and literary features became secondary. The author of the paper states that in the conditions of a totalitarian society and ideologically controlled literary process, the talent of O. Honchar couldn’t be realized properly, anyway.
This controversial topic of I. Koshelivets’s interpretation of the works by Ukrainian Soviet literature classic has been perceived within the oppositional literary-critical discourse as a kind of challenge undermining the ‘foundations’ of the national culture. Although without its detailed consideration the history of Ukrainian literature will be incomplete.
24
Gultyaeva, Galina S. "Realistic Painting of the 20th Century China in the Context of Cultural Visualization." Observatory of Culture 18, no. 1 (May 24, 2021): 32–43. http://dx.doi.org/10.25281/2072-3156-2021-18-1-32-43.
Full textAbstract:
This article examines the phenomenon of Chinese realism, as well as the prerequisites and factors that influenced the processes of reception in modern Chinese art. At the beginning of the 20th century, under the influence of Western academic realism and the artistic system of social realism, a new direction and artistic method was formed — realism, which became mainstream in the art of China of the mid-20th century. According to its aesthetic and ideological motifs, Chinese realism is an object of social realism reception, which was determined by cultural and historical factors, and the development of political, economic and cultural ties with the USSR. Studying the realistic painting, which reflects the atmosphere of the era, the worldview, and the dialogue of cultures, is relevant for both Chinese and Russian contemporary art studies. The article examines the role of realism in the development of Chinese art culture of the 20th century, including its socio-political components, as well as the dynamics of artistic and expressive means and the iconographic system in the context of the historical and cultural situation. In the 1980s and 1990s, as a result of the liberalization of economic and political life, the artistic consciousness formed new concepts of realistic painting — neorealism and cynical realism, associated with a critical rethinking of the historical heritage. The neorealism and cynical realism, which would significantly enrich realistic painting with new forms and content, adopted Western postmodern concepts of pop art, and debunked, in a grotesque and satirical form, the political stereotypes of the past. The analysis of realistic painting of the 1990s demonstrates how the transformation of past painting canons reflects the desire of society to free itself from the pressure of totalitarian ideology and to rethink the value orientations of the previous era.The novelty of this study lies in the fact that it applies a systematic and holistic approach to the analysis of realism in Chinese painting, reveals the diversity of its forms and directions, and gives ground for the specifics of its evolution in the context of the artistic culture of the 20th century China. There are almost no comprehensive studies of this issue in modern art history, so this work is an attempt to create a scientific approach to the study of this artistic phenomenon and the formation of ideas about how the artistic consciousness of an entire epoch was changing.
25
Przhigotskiy, Vladislav A. "Essays and Short Stories From Nikolai Naumov’s Collection Strength Breaks the Straw in the Context of the Tchaikovtsy Ideas." Tekst. Kniga. Knigoizdanie, no. 23 (2020): 22–42. http://dx.doi.org/10.17223/23062061/23/2.
Full textAbstract:
The collection Strength Breaks the Straw, published in St. Petersburg in 1874 by the Circle of Tchaikovsky, marked the heyday of the literary work of Nikolai Ivanovich Naumov, a Siberian writer and official. The works of this collection were originally published in leading democratic journals of this period and later entered the pantheon of populist fiction and won the attention of many contemporaries and researchers in the future. A relevant aspect in the study of Naumov’s creative heritage of the first half of the 1870s, i.e. the mentioned collection, is the understanding of the mutual influence of the various social fields he was engaged in during these years sequentially or in parallel and, accordingly, of his various institutional activities closely connected with literary ones, in particular, with the aesthetics and poetics of the collection. The article explores the mechanisms of influence of these various social fields on Naumov’s literary activities during this period. It reveals the poetic and aesthetic features of the works of the collection caused by the historical and literary trends, by the ideological influence of populism, and by Naumov’s own tasks as a Siberian writer and official. The analysis showed that the features of the works are caused not only by the main trends of populist ideology and fiction, but also by the tasks that Naumov tried to solve in the course of his institutional activities. His works of the first half of the 1870s, which the Tchaikovtsy used to spread their ideology, aimed at satisfying the demands of the mass reader and also at creating his “ideal” reader, which regionalists sought from Naumov. The exceptional documentary nature creating a “reality effect” and directly related to the author’s ubiquitous voice permeating the structure of each essay was a means for Naumov to form the reader’s reception, primarily that of a reader from people and from Siberia. On the other hand, the documentary nature of Naumov’s essays is caused not only by the trends associated with the flourishing of realism and the search for means of transmission of the truth of life in fiction, but also by the writer’s previous public service, which provided him with rich factual material and influenced the nature of its presentation in literature. This mutual influence was largely supported by the fact that, in the considered period, Naumov occupied homologous positions in various social fields.
26
Vilhjálmsson, Björn Þór. "„Taumlaust blóðbað án listræns tilgangs“: Íslenski bannlistinn og Kvikmyndaeftirlit ríkisins." Íslenskar kvikmyndir 19, no. 2 (October 24, 2019): 69–133. http://dx.doi.org/10.33112/ritid.19.2.4.
Full textAbstract:
The regulation of film exhibition in Iceland has closely shadowed the history of cinema exhibition itself. Although regulation practices have undergone various shifts and realignments throughout the twentieth century, they retained certain core concerns and a basic ideological imperative having to do with child protection and child welfare. Movies were thought to have a disproportionate impact on children, with „impressionable minds“ often being invoked. Their interior lives and successful journey towards maturity were put at risk each and every time they encountered unsuitable filmic materials. Thus, while assuming that adults could fend for them-selves among the limited number of theaters in Reykjavík, children were a whole another matter and required protection. Civic bodies were consequently formed and empowered to evaluate and regulate films. But even in the context of fairly rigorous surveillance and codification, the turn taken by regulatory authorities in the 1980s strikes one as exceptional and unprecedented. The Film Certification Board (TFCB) was, for the first time, authorized to prohibit and suppress from distribution films deemed especially malignant and harmful. Motivating this vast expansion of the powers of the regulatory body were concerns about a variety of exploitation and horror films that were being distributed on video, films that were thought to transgress so erroneously in terms of on-screen violence that their mere existence posed a grave threat to children. Two years after finding its role so radical-ly enlarged, TFCB put together a list of 67 „video-nasties“, to borrow a term from the very similar but later moral panic that occurred in Britain. Police raids were conducted and every video store in the country was visited in a nation-wide effort to remove the now illegal films from rental stores. This article posits that the icelandic nasties list can be viewed as something of a unique testament to the extent to which the meaning, aesthetic coherence and the affect of cultural objects is constructed in the process of reception, while also main-taining that the process of reception is thoroughly shaped by historical discourses, social class, embedded moral codes and a social system of values, as well as techno-logical progress. in what amounts to a perfect storm of moralizing, political games-manship and the sheer panic of a certain segment of the population, the governing institutions in iceland managed in the span of months to overturn constitutionally protected rights to free speech and privacy, as well as undermine central principles of the republic. Two decades would pass before these setbacks were recuperated, and then only on a legal and institutional level. While analyzing the history of the icelandic video nasties, the article also attempts to grapple with and articulate the symbolic register of the ban, how it speaks to the status of cinema in Iceland at the close of the twentieth century, and what ideological strains, morals and/or values were being put into play and funneled into this particular debate. Then, to close, the role of the most notorious of the nasties, Cannibal Holocaust (Ruggero Deodato, 1980), is examined in the context of media coverage and parliamentary debates at the time.
27
Novitska, Oksana. "Genre and stylistic modifications of realistic essay of Anton Krushelnytsky." Vìsnik Marìupolʹsʹkogo deržavnogo unìversitetu. Serìâ: Fìlologìâ 12, no. 21 (2019): 57–62. http://dx.doi.org/10.34079/2226-3055-2019-12-21-57-62.
Full textAbstract:
The article deals with genre-style modifications of the realistic essay of the 19th-20th centuries. In the article the author studies Anton Krushelnytsky’s artistic legacy (1878–1937) in the context of the dominant trends of Ukrainian literature at the end of XIX – the beginning of XX century and through the receptive dimensions of modern theory of literature. The paper defines the ideological and axiological background of the writer’s artistic understanding the reality and aesthetic nature of his creativity. The unity of the form and contest of prose texts is determined. The prose of the given period has a great variety of intra-genre modifications: essay, feuilleton, short story, story, novel. The works demonstrate exceptional multidimensionality of their inner structure, style diffusion, eclecticism of belles lettres methods and ways to achieve reality; the motives of «true morals» appear, which form counterbalance and alternative to moral chaos. Syncretic interaction of aesthetic paradigms of neorealism with impressionism, expressionism, symbolism is observed in prose. The characteristic features of the literature of the transitional stage in the moral-ethical, psychological and emotional aspects are revealed. Ukrainian literature of the late nineteenth and early twentieth centuries was accompanied by the synthesis of sociological, psychological, aesthetic systems. The genre and style features and modifications of A. Krushelnytsky’s small form of prose are considered. The narrative models of the writer’s novels are analysed. Consequently, the essay as a genre of small prose is a complex and multifaceted phenomenon that contains philosophical and aesthetic representations, artistic, socio-political, and moral-ethical quest for the breakthrough of the turn of the 19th and 20th centuries. The artistic practice of writers contributed to enriching of Ukrainian writing with new themes, images and genre forms, expanding the limits of traditional realism, so, updating the artistic and stylistic palette. The given motives of writers’ works reflected to the inside feelings and experiences of heroes are present as intertextual inclusions in prose of M. Kotsubinskiy, V. Stefanik, P. Mirniy, L. Ukrainka, O. Kobilianska and other writers at the turn of XIX-XX centuries. Being an organic component of Ukrainian literature, the narrative represents a tendency to expand the social sphere of personality images, to deepen the personal psychological characteristics of the individual. The place and role of prose creative works in Ukrainian literary process at the turn of the century are grounded.
28
Aini, Adrika Fithrotul, and Ahmad Suhendra. "PEMAHAMAN KHILAFAH DAN INTERNALISASINYA DALAM JEMAAT AHMADIYAH GONDRONG TANGERANG BANTEN (Studi Living Qur’an)." QOF 2, no. 1 (January 22, 2018): 14–29. http://dx.doi.org/10.30762/qof.v2i1.497.
Full textAbstract:
Ahmadi is an Islamic group based in India. The group stressed the aspects of ideological-eschatological because this group is mahdiistik with the belief that the al-Mahdi viewed as "Judge Peng-Islah" or as a "peacemaker". Al-Mahdi in the Ahmadiyya faith was Mirza Ghulam Ahmad, who has the task to reunite the split Muslims, both in the field of faith and the Shari'a. Of belief, jema'at this very rapidly growing in Indonesia. As this church already exists in various regions in Indonesia, such as the Ahmadiyah in Gondrong Tangerang, Banten (JAG). This study examines the understanding of the concept of the caliphate in members of Ahmadiyah. This research is a field, namely the phenomenon of living Quran. which will lead to a study that examines the living Quran verses of the Koran understanding of the concept of the caliphate held by JAG, and also internalization in their daily lives are realized in a variety of receptions, both hermeneutic, aesthetic, and cultural. Sociological approach to the theory of Pierre Bourdieu's habitus become a foothold in this paper. Understanding the concept of the caliphate is the basis of understanding and JAG members have internalized that manifested itself in several ways, namely solidarity, unity, sacrifice, and social.
29
Prygoda, Tamila, and Ivan Donets. "Jazz, zen, event as bordering phenomena modern culture." Grani 23, no. 11 (November 25, 2020): 25–33. http://dx.doi.org/10.15421/172098.
Full textAbstract:
The purpose of the article is a culturological and philosophical understanding of the borderline phenomena of modern culture that arise on the border of different traditions, life strategies, cultural and artistic spheres. The relevance of the study is associated with the methodological and existential need to comprehend some phenomena on the border in the conditions of postmodern culture (intercultural inter-borrowing, ideological crisis, methodological pluralism, consumer society, ethical and aesthetic disorientation, scientism and non-scientific practice of knowledge and experience, etc.), which can be extrapolated to other similar trends, and practically-existential significance associated with the real need to search for and create a compromise and creative platform for the "dialogue of cultures", cultivating and feeling the unity of man and the world, man and man, implementing balanced and holistic strategies of life in society and an individual. The nature of jazz as a cultural phenomenon, which embodies the freedom of musical thinking, spontaneous improvisation, imaginative dynamics, a special receptive environment and an atmosphere of openness, changeability, acceptance, capable of generating new (other) musical and cultural phenomena, is analyzed. The features of Zen as a spiritual and aesthetic practice in the West, the reasons for its spread and the specifics of the sympathetic audience are revealed. It was found that Zen Buddhism became a worldview platform for a significant jazz and subcultural environment, especially in the 60s of the XX century - the era of great objection and great refusal, the search for spiritual self-identity, the true sources of human transcendence, personal creative self-realization and ethical self-improvement. Passion for Zen, its meditative simplicity and routine of life has become a saving strategy for many representatives of creative and protest youth movements, an alternative spiritual resource for the intellectual elite of the West. It has been determined that these processes and phenomena have a specific borderline nature, which makes it possible, on the one hand, to organically and dynamically combine different characteristics and functions, on the other, to form new perspectives in the cultural environment. The simulative and technological nature of modern event industries and creative management in the context of new media, social networks, advertising business is outlined. An integrated approach in modern event technologies is presented: Tao-and-Zen-presentations based on restrained minimalist Zen aesthetics and Taoist principles of perception of life and the world. The openness, sincerity, and originality of these event actions are a potential prospect for the newest cultural industries and event management.
30
Herlt, Georgia, J. J. White, Hans Robert Jauss, Timothy Bahti, and Robert C. Holub. "Towards an Aesthetic of Reception." Modern Language Review 80, no. 3 (July 1985): 673. http://dx.doi.org/10.2307/3729294.
Full text
31
Oster, Angela. "Moderne Mythographien und die Krise der Zivilisation." Zeitschrift für Ästhetik und Allgemeine Kunstwissenschaft Band 51. Heft 2 51, no. 2 (2006): 79–108. http://dx.doi.org/10.28937/1000107604.
Full textAbstract:
Im Verlauf seiner Rezeption hat der Medea-Mythos kontinuierlich einen wichtigen Stellenwert in der Reflexion des zivilisatorischen Krisenbewußtseins eingenommen. Dieser Prozeß kulminiert in der Moderne, innerhalb derer die Medea-Version von Pier Paolo Pasolini einen exzeptionellen Stellenwert einnimmt. Pasolinis umsichtige und vielschichtige Cinematopoetik kombiniert den antiken Mythos mit religionswissenschaftlichen Quellen und enttarnt dabei den Begriff des gesellschaftlich ›Natürlichen‹ als ideologische Setzung. Der Ideologie des vorgeblich Natürlichen setzt die pasolinische Medea eine ethnoästhetische Mythographie entgegen, die vor allem das Postulat des zivilisatorischen Fortschritts anzweifelt. Die Rehabilitierung des sakralen Mythos kann in der Moderne zwar nurmehr scheinhaft stattfinden. Doch ist es eben die Fiktion der Mythopoiesis, welche ihr in der modernen Welt einen (wenn auch imaginären) Sinnzusammenhang garantiert. In the history of its reception, the myth of Medea has always been of prime importance for reflections on an awareness of civilization crisis. This process culminates in the modern age, and especially so with Pier Paolo Pasolini’s exceptionally significant version of the Medea story. Pasolini’s far-seeing and complex poetics of cinema combines the ancient myth with sources drawn from the history of religions and thereby exposes the concept of social naturalness as ideologically posited. Against an ideology of the allegedly natural, his „Medea“ brings to bear an ethnoaesthetic mythography, which casts doubt on the postulate of the progress of civilization. To be sure, in the context of modernism, a rehabilitation of religious myth is impossible except in a mode of aesthetic illusion. But it is the fiction of ›mythopoiesis‹ which assures that such an enterprise can make sense, if only in an imaginary way.
32
Purnama, Rizal Faturohman. "THE AESTHETIC RECEPTION OF THE QURAN IN INSTAGRAM: Variations, Factors, and Religious Commodification." ULUL ALBAB Jurnal Studi Islam 21, no. 2 (December 29, 2020): 237–68. http://dx.doi.org/10.18860/ua.v21i2.9528.
Full textAbstract:
This research discusses the aesthetic reception of the Quran in Instagram including various forms, appearance factors and commodification. This research is included in the qualitative study using Ahmad Rafiq’s reception theory. Using descriptive-analytical method, the study found variations of the Quran’s aesthetic reception in Instagram which are in the form of verse continuation and the Quran recitation. The background factors of the Quran’s aesthetic reception in Instagram include normative factors the Quran’s verses showing kindness to those who teach and practice it; historical factor i.e. the past reality related to the Quran’s aesthetic reception done by the Arab community; and social factors showing high passion of self-expression in preaching. Instagram as a social media has modified the Quran’s aesthetic reception with several available facilities and featuresthat enables its users to express themselves concerning the identity of religious piety and economic commodities through several contents related to the Quran.
33
Becker, Svea, and Bruce Williams. "A Madison for Outcasts: Dance and Critical Displacements in Jean-Luc Godard’s Band of Outsiders." Hors dossier 18, no. 2-3 (August 4, 2008): 215–35. http://dx.doi.org/10.7202/018559ar.
Full textAbstract:
Abstract In light of Timothy Corrigan’s discussion of the cult film as “adopted child,” Godard’s Band of Outsiders (Bande à part) can be viewed as a film which has transcended its original destiny and opened doors to diverse critical and spectatorial receptions. Drawing upon pulp fiction and the “B movie” genre, Godard’s original intent was to make a mainstream film. But it was precisely the film’s homage to the American mainstream that soon led to its cult status in non-mainstream cinema. Based on a pulp fiction novel by Delores Hitchens, Band of Outsiders celebrates dance and movement from American popular culture and, in particular, American jazz dance as popularized in Europe in the early 1960s. In one sequence, the protagonists break into the Madison, a line dance that quickly moved from the African-American community to the white mainstream through such television shows as American Bandstand and to Europe through the work of such performers/teachers as Harold Nicholas. The freedom of movement within a structured environment, which defines the Madison, recalls the director’s own approach to filmmaking as well as his high regard for the physical dexterity of his actors. Inasmuch as each dancer dances the Madison “solo,” the dance allows individual characters to articulate through movement their mental and emotional states. At the same time, it permits the three protagonists to function as a synchronized group, a “band of outsiders.” The Madison sequence, moreover, presents a microcosm of many of the ideological and aesthetic premises of the Nouvelle Vague and is particularly reflective of Godard’s love of Americana. This dance, itself synonymous with the film, is the sequence that generates the most intricate intertextual references as well as the most divergent critical response. The Madison has thus become the vehicle through which Band of Outsiders has come to stand in for non-mainstream cinema at large.
34
Stevanovic, Vladimir. "Ideological assumptions in aesthetic judgment of architecture." Spatium, no. 30 (2013): 40–46. http://dx.doi.org/10.2298/spat1330040s.
Full textAbstract:
The aim of this paper is consideration of presence of ideological factor in aesthetic judgment of architecture. The focus is on the aesthetic theories in which ideology is the key component that can produce aesthetic meaning on the basis of which aesthetic evaluation can be performed. With regard to this, the paper provides an insight into the relevant aesthetic approaches, which, by subject matter and methodology, can be determined as ideologically oriented. The theoretical frame established allows implementation of an interpretive and comparative analysis of two texts that through aesthetic judgment discuss Belgrade architecture, immediately before and after World War II. Through recognition of an ideological context in these two texts, this paper will point out how different aesthetic evaluations of certain morphological aspects of architecture (such as folklorism, ornamentalism, eclecticism, classicism, monumentalism and purism) do not come from inherently architectural, i.e. stylisticformalist aspects, but how they result from ideological connotations attributed to them in a wide variety of ways. In this sense, this paper finds ideological background in established criteria of aesthetic judgment such as authenticity, homogeneity and contemporaneity.
35
Tatar, Tõnis. "THE POSSIBILITY OF A BRIDGE. PERSPECTIVES AND LIMITATIONS OF NEUROAESTHETICS." Baltic Journal of Art History 17 (May 15, 2019): 151–70. http://dx.doi.org/10.12697/bjah.2019.17.06.
Full textAbstract:
In the traditional study of humanities non-humanitarian inputinto the study of culture has usually been rejected. According tohumanist theories, only the meanings and values derived fromhistory and culture can be attributed to art. Recently a disciplineknown as neuroaesthetics has risen to the fore from among thevarious disciplines that use non-humanitarian methods to approachthe subject of aesthetics. Triggered by the invention of varioustechnological devices (EEG, fMRI, PET), neuroaesthetics is nowbeing used to tackle the role of the brain in the processes of creation,reception and even thinking about arts.When introducing new perspectives, such as neuroaesthetics, it isimportant to acknowledge the limitations of the different methods.A narrow reductional approach to art and the brain clearly does notsuffice – a satisfactory explanation must also involve non-physicalfactors, such as knowledge about the history of art. On the otherhand, as with any theoretical approach, the explanatory capacityof neuroaesthetics varies when applied to different kinds of art.Neuroaesthetic theories tend to stress the visual, mimetic andemotional nature of art, often associating artistic features with theactivity of the visual brain as well as evolutionary psychology.Instead of stressing historic and local differences and culturalexceptions, researchers with a natural sciences background tend to search for the universal qualities of art. This appears to beirreconcilable with the institutional theory of art that implicitlyunderlies the entire contemporary paradigm of art. It can be assumedthat some of the reasoning behind the sceptical attitude shared bymost mainstream humanitarian discourse is hidden in this conflict.It can even be claimed that, under the banner of institutionalist ideas,the art of the modernist period constituted a systematic negation ofthe conditions of art prescribed by the universal qualities of art basedon the laws of the brain. Therefore, one of the challenges in this earlyphase of the biologically and psychologically based analysis of artshould be to shed light on this inherent and ideological bias that isdeeply rooted in the humanistic discourse of arts.
36
Azizhanli, G. "IDEOLOGICAL-AESTHETIC, THEORETICAL FOUNDATIONS OF CITIZENS LYRICS." Scientific notes of Taurida National V.I. Vernadsky University, series Philology. Social Communications 4, no. 4 (2020): 85–90. http://dx.doi.org/10.32838/2663-6069/2020.4-4/15.
Full text
37
Jacobs, Arthur M., Jana Lüdtke, Arash Aryani, Burkhard Meyer-Sickendieck, and Markus Conrad. "Mood-empathic and aesthetic responses in poetry reception." Transdisciplinary Approaches to Literature and Empathy 6, no. 1 (December 14, 2016): 87–130. http://dx.doi.org/10.1075/ssol.6.1.06jac.
Full textAbstract:
In the present study we investigate factors shaping poetry reception at multiple levels of analysis. We use both qualitative and quantitative means for describing structural aspects of poems, scales for assessing subjective dimensions, as well as behavioral and peripheral-physiological measures. Applying such mixed analyses we tested three hypotheses derived from the Neurocognitive Poetics Model of literary reading (Jacobs, 2011, 2015a, 2015b): (a) the multilevel hypothesis stating that textual features at four relevant levels of textual analysis (supralexical, interlexical, lexical and sublexical) affect empathic/immersive and aesthetic-liking processes of poetry reception at all three levels of measurement (experiential, peripheral-physiological, and behavioral); (b) the mood empathy hypothesis stating that poems expressing moods of persons, atmospheres, situations, or objects should engage readers to mentally simulate and affectively resonate with the depicted state of affairs (see also Lüdtke et al., 2014); and (c) the aesthetic trajectory hypothesis stating that poems with a high amount of foregrounding facilitate aesthetic liking responses. The results are in line with all three hypotheses and raise a number of questions for future research on poetry reception.
38
Meinel, Katarzyna. "RECEPCJA ESTETYCZNA POEZJI KONKRETNEJ NA LEKCJI JĘZYKA OBCEGO." Scripta Neophilologica Posnaniensia 19 (December 15, 2019): 265–79. http://dx.doi.org/10.14746/snp.2019.19.18.
Full textAbstract:
The subject of the article is the aesthetic reception of concrete poetry and the possibility of its use in foreign language classes. Reception aesthetics concentrates on the reception of the work and not its production. Concrete poetry works on sight and hearing, combines decoding of letters with visual perception and creates special opportunities for aesthetic reception in foreign language classes. The article draws attention to the phenomenon of text communication. The historical background and the first attempts to experiment with concrete poetry are discussed. Works of concrete poetry bring together aesthetics and didactics, which justifies their use in class. The functions and objectives of working with concrete poetry in the lesson are discussed and examples of works included in textbooks and examples of lesson scenarios are given.
39
Erokhina, Tatiyana I., and Ruslan E. Shamshadinov. "«Soviet school of juggling»: ideological and aesthetic aspects." Yaroslavl Pedagogical Bulletin 2, no. 119 (2021): 182–89. http://dx.doi.org/10.20323/1813-145x-2021-2-119-182-189.
Full textAbstract:
The article is devoted to understanding the ideological and aesthetic aspects of the formation of the Soviet circus art. The authors turn to the analysis of the origins of the Soviet circus, noting its genetic connection with pre-revolutionary circus performances, as well as with the attitudes of the Soviet state to the formation of a new Soviet art and Soviet man. The purpose of the study was to understand the genesis of the Soviet school of juggling, the formation of which falls at the beginning of the formation of the Soviet state. The article considers the factors that influenced the ideological and aesthetic specifics of Soviet circus art, as well as the factors that influenced the transformation of the concept of circus performance in Soviet culture. Turning to the history of circus art, the authors analyze the sociocultural context of the formation of the «Soviet school of juggling», noting the synthesis of ideological attitudes that position the Soviet circus as a means of forming and educating a new personality, and aesthetic activities that create a life-affirming image of the Soviet circus artist. The authors note the signs of the «Soviet circus school», focus on thetheatricality of circus performances, the formation of specialized educational institutions in the Soviet state for the training of a new generation of professional circus artists. Referring to the performances and techniques of the most outstanding Soviet jugglers-E. Abert, A. Kiss, S. Ignatov – the authors come to the conclusion that the concept of «Soviet school of juggling» was the result of the aesthetic and ideological attitudes of the Soviet state. The «Soviet School of Juggling» is a metaphor that aims to emphasize the ideological differences between the Soviet state and the capitalist countries, as well as to assert the superiority of Soviet art.
40
Bezantakou, Olga. "Resonances of Henri Bergson's ‘music’ in the interwar aesthetic discourse of the journal Μακεδονικές Ημέρες: the idea of the nouveau romantisme." Byzantine and Modern Greek Studies 43, no. 1 (April 2019): 117–34. http://dx.doi.org/10.1017/byz.2018.28.
Full textAbstract:
This essay examines the metaphorical use of musical terms in Greek aesthetic discourse during the interwar period by illuminating a crucial yet neglected moment in the reception of anti-rationalistic philosophical and aesthetic tendencies that had greatly influenced European modernist literature since the late nineteenth century. In particular, it points out the ways the reception of Bergsonian theories in Greece co-determined the formation of a new concept of Modern Greek narrative fiction, clearing the ground for the first modernist attempts to ‘musicalize’ fiction. The essay thus proposes a broader perception of the term ‘musicalization’ than the mere imitation of musical techniques in narrative texts, since the aesthetic discourse features not only actual music but also ‘music’ as an aesthetic category synonymous with transcendence, ambiguity and fluidity.
41
Farkas, Aliz. "Critical Reception of William Faulkner’s." Acta Universitatis Sapientiae, Philologica 9, no. 3 (December 1, 2017): 15–27. http://dx.doi.org/10.1515/ausp-2017-0025.
Full textAbstract:
AbstractThe history of reception of William Faulkner’s most cherished work, The Sound and the Fury, tellingly reveals the changes that have occurred in reader attitude toward the novel since its first publication in 1929. The main purpose of this paper is to explore the modalities of interpretation employed by three, culturally and historically distinct “interpretive communities” (Fish 1980): American literary critics and reviewers evaluating the novel upon its first publication, Romanian literary critics and reviewers expressing their opinion on the Romanian translation of the novel published in 1971, and contemporary Internet bloggers and commenters discussing their reading experience with the novel.Relying on Hans Robert Jauss’s notions of “aesthetic distance” and “horizon of expectation” (Jauss 1970, 1982), I have raised two questions that I will try to answer at the end of this paper. First, I would like to see whether the literary career of The Sound and the Fury follows the trajectory from initial rejection to wide acceptance with increasing aesthetic value, as predicted by Jauss’s theory. Second, I am interested in finding out whether those features of the novel that were initially perceived as unfamiliar and incomprehensible were indeed incorporated into the later readers’ horizon of expectations, so that they no longer pose problems for the readers.
42
Родіонова, Інна. "THE AESTHETIC PLATFORM OF “NEOCLASSICS” IN A SCHOOL RECEPTION." Problems of Modern Teacher Training 1, no. 1(21) (February 27, 2020): 132–41. http://dx.doi.org/10.31499/2307-4914.1(21).2020.210238.
Full text
43
Rosen, Elisheva. "Innovation and Its Reception: The Grotesque in Aesthetic Thought." SubStance 19, no. 2/3 (1990): 125. http://dx.doi.org/10.2307/3684673.
Full text
44
Drotner, Kirsten. "Girl meets boy: Aesthetic production, reception, and gender identity." Cultural Studies 3, no. 2 (May 1989): 208–25. http://dx.doi.org/10.1080/09502388900490141.
Full text
45
Trupej, Janko. "Ideological Influences on the Reception of Mark Twain among Slovenians across the Atlantic." Acta Neophilologica 52, no. 1-2 (December 17, 2019): 141–52. http://dx.doi.org/10.4312/an.52.1-2.141-152.
Full textAbstract:
The article discusses the reception of Mark Twain and his works in serial publications by Slovenian immigrants in the United States of America. The analysis encompassed writings published in newspapers and magazines with different ideological orientations, from the beginning of the 20th century to mid-century. The article compares Twain’s reception in left-wing and right-wing publications and furthermore discusses the extent to which the reception was affected by the contemporary political situation in the United States.
46
Turenko, V. E., and N. V. Yarmolitska. "SPECIFICITY AND FEATURES OF THE DEVELOPMENT OF AESTHETICS IN THE UKRAINIAN SOVIET PHILOSOPHY IN THE 50-60s OF THE XX CENTURY." UKRAINIAN CULTURAL STUDIES, no. 1 (8) (2021): 24–28. http://dx.doi.org/10.17721/ucs.2021.1(8).05.
Full textAbstract:
The article highlights the specificity of research in the field of aesthetics in the context of the development of Soviet philosophy in Ukraine in the 50-60s. XX century. There are three main vectors of scientific work: ideological works, original aesthetic developments and historical and aesthetic research. It is revealed that ideological aesthetic works were based on the concept of "positive aesthetics" by A. Lunacharsky, which contributed to the development of the concept of socialist realism, nationality of art by Ukrainian Soviet thinkers, as well as criticism of Western aesthetics and the approval of "Soviet aesthetics". It is shown that, unlike specifically ideological works, the original aesthetic developments were aimed not at substantiating certain provisions of Marxist-Leninist philosophy, but, as far as possible, creating new concepts and ideas in this branch of philosophical knowledge. It was revealed that in the context of historical and aesthetic research, in contrast to Russian researchers, Ukrainian scientists focused mainly on the development of the national tradition. It is proved that during the period under study, aesthetic problems, along with logic, methodology of science, philosophical problems of natural science, were one of the leading in Soviet Ukraine, thereby being one of its centers throughout the Soviet Union.
47
Zaytseva, Anastasia F. "Artistic Reception as a Field of Implementation of the Aesthetic Component of Advertising." Observatory of Culture, no. 4 (October 28, 2015): 29–33. http://dx.doi.org/10.25281/2072-3156-2015-0-4-29-33.
Full textAbstract:
In this article, the author examines the perception of art as a field of implementation of the aesthetic function of advertising. Being based on research works in the field of receptive aesthetics and phenomenology, the author analyzes the relevance of the aesthetic perception of advertising communications. The article examines the advertising communications as a complex phenomenon; there is presented a comparative analysis of the values of perception of works of art and of advertising samples. The article opens a new perspective on the aesthetic component in advertising. The author goes beyond the classical idea of its implementation through artistic techniques and shows a vast field of actualization of the aesthetic component in advertising.
48
Nicholsen, Shierry Weber. "Toward a More Adequate Reception of Adorno's "Aesthetic Theory": Configurational Form in Adorno's Aesthetic Writings." Cultural Critique, no. 18 (1991): 33. http://dx.doi.org/10.2307/1354094.
Full text
49
Flash, Lesley. "Changing perceptions of music with Reception children." British Journal of Music Education 7, no. 1 (March 1990): 43–65. http://dx.doi.org/10.1017/s0265051700007506.
Full textAbstract:
This article is a summary of the influence on the author's practice of classroom observation of four- and five-year-old children working in music. It suggests that a strong emphasis on music in the Reception year is important both for musical and aesthetic development, and for the development of basic formal and social skills across the curriculum.
50
Liu, Yuanyuan. "The acceptance of I.A. Bunin in China in the context of ideological direction." RUDN Journal of Studies in Literature and Journalism 24, no. 3 (December 15, 2019): 444–48. http://dx.doi.org/10.22363/2312-9220-2019-24-3-444-448.
Full textAbstract:
The disagreement between liberal and communist ideological doctrines had a direct impact on the reception of I.A. Bunin's works in China. Having rejected the left ideology, the Chinese community rethought the work of many foreign classics, including Bunin. Liberal ideology has changed, among other things, ideological views on literature, helped by acquaintance with the latest theoretical studies of Western literature. This aroused a natural interest in perceiving the creative heritage of Bunin in China, and made it possible to look at many of its aspects in a new and deeper way. Hereby, this article analyzes the influence of political ideologies on the reception of Bunin’s works in China.