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Journal articles on the topic 'Literary aesthetic'

Author: Grafiati

Published: 4 June 2021

Last updated: 5 February 2022

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1

Hollingshaus, Wade. "A Literary (Techno)science." Nordic Theatre Studies 31, no. 1 (2019): 58–72. http://dx.doi.org/10.7146/nts.v31i1.113001.

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Beginning in the late 1970s, Finland’s Erkki Kurenniemi (1941-2017) actively labored to archive every possible aspect of his life. He took photos, made videos, and collected his tram tickets, receipts, body hairs, etc. Kurenniemi believed that within the next forty years, computer technoscience will have advanced sufficiently that it could be programmed to interpret the data of his archive and—on his 107th birthday, 10 July 2018—resurrect his consciousness. For Kurenniemi, this project was an experiment in the realms of neuroscience and artificial intelligence. However, it can also be seen as

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2

Susanto, Dwi, Albertus Prasojo, Rianna Wati, and Murtini Murtini. "WACANA ESTETIKA ISLAM DALAM SASTERA KANAK-KANAK INDONESIA ERA ORDE BARU TAHUN 1980-AN." Jurnal Pengajian Melayu 32, no. 1 (2021): 1–14. http://dx.doi.org/10.22452/jomas.vol32no1.1.

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This research focused on the spread of aesthetic discourse in Islamic literature, especially Islamic Indonesian children’s literature which was marginalised in Indonesian literature history. The paper aimed to identify the system of exclusion or prohibition, restrictions to discourse and genealogical aesthetics of Islamic children’s literature. The data utilised were various discourses available in Indonesian literature, aesthetics in the history of the literature mentioned, Indonesian literary experts and critics’ opinions, and different information related to the topic. Data interpretation w

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3

Ngai, Sianne. "Our Aesthetic Categories." PMLA/Publications of the Modern Language Association of America 125, no. 4 (2010): 948–58. http://dx.doi.org/10.1632/pmla.2010.125.4.948.

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The recent turn to aesthetics in literary studies has been embraced by some of its advocates as a polemical riposte to critique: a practice increasingly attacked from multiple directions but here specifically for doing artworks the disservice of reducing them to encryptions of history or ideology. But while the new or revived focus on pleasure (and, to a much lesser extent, displeasure)1 has been vaunted for the way in which it seems to circumvent the reduction of artworks to historical or ideological concepts, our aesthetic experience is always mediated by a finite if constantly rotating repe

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Ma, Huijuan. "On Representing Aesthetic Values of Literary Work in Literary Translation." Meta 54, no. 4 (2010): 653–68. http://dx.doi.org/10.7202/038897ar.

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Abstract The beauty of literary translation is determined by the artistic nature of the original work. Therefore, how to represent its aesthetic values should be considered the ultimate objective of literary translation. This paper, which is theoretically based on formal and non-formal aesthetic constituents of literature classified by the Chinese translation theorist Liu Miqing as well as traditional Chinese philology and modern literature stylistics, discusses extensively how to succeed in representing aesthetic values of literary works from two aspects, i.e., formal aesthetic markers and no

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5

Kronegger, Marlies, Hans Robert Jauss, and Michael Shaw. "Aesthetic Experience and Literary Hermeneutics." Rocky Mountain Review of Language and Literature 39, no. 2 (1985): 151. http://dx.doi.org/10.2307/1347336.

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6

Jiang, Qiuxia. "Aesthetic Progression in Literary Translation." Meta 53, no. 4 (2009): 860–71. http://dx.doi.org/10.7202/019651ar.

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Abstract The exploration of aesthetic progression in literary translation is a new area yet to be developed. Considering the fact that cognitive linguistic theories have not been fully exploited in literary translation, the present study proposes an image-based translation model out of the assumption that literary comprehension in translation involves not only cognitive activities such as identification of distinctive features and their distribution, but also the aesthetic experience; and successful production in translation does not rise from correspondence finding of individual words or sent

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7

Gao, Shaoping. "AESTHETIC ADAPTATION IN LITERARY TRANSLATION." World of Russian-speaking Countries 4, no. 2 (2020): 46–56. http://dx.doi.org/10.20323/2658-7866-2020-2-4-46-56.

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8

During, Simon. "The Postcolonial Aesthetic." PMLA/Publications of the Modern Language Association of America 129, no. 3 (2014): 498–503. http://dx.doi.org/10.1632/pmla.2014.129.3.498.

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Postcolonialism emerged as a field within literary studies during the 1980s as part of the discipline's general restructuring. That restructuring has, perhaps, been insufficiently acknowledged by the profession, and at any rate there seems to be little consensus as to its significance and shape. But it seems undeniable that, during the 1980s, literary criticism ceased to ground itself on its attention to its objects' literary qualities or on its efforts to establish convincing literary judgments about them. It turned rather to thinking about literature as, for instance, a vehicle of cultural-p

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Fokeeva, Mariia Petrovna. "Analytics of trauma in aesthetic discourse." Культура и искусство, no. 3 (March 2020): 13–22. http://dx.doi.org/10.7256/2454-0625.2020.3.32309.

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The subject of this research is the fundamental concepts of the analytics of trauma and means of their integration into an aesthetic discourse. The goal of this work consists in determination of theoretical aspects of the aesthetics of trauma. The impact of historical trauma of the XX century upon a man and entire communities is tremendous; and art becomes the space for representation of traumatic experience. The author examines such types of art as literature, cinema and painting, and demonstrates the ways of deflection of traumatic experience in the artworks. Discipline of the aesthetics of

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10

Bisschop, Wouter T. C. "Interpretation and Aesthetic Appreciation." Journal of Literary Theory 14, no. 1 (2020): 1–9. http://dx.doi.org/10.1515/jlt-2020-0001.

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AbstractIn order to talk and think sensibly about the various ways of engaging with texts, we need to distinguish them by reference to relevant differences and commonalities between them. This paper focusses on the conceptual relations between three ways of engaging with texts that figure prominently in literary scholarship: textual interpretation, literary interpretation, and aesthetic appreciation. Rather than giving a full analysis of these three terms, this paper has two specific concerns. First, it is argued that literary interpretation is best understood as a species of textual interpret

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11

McGregor, Rafe. "A Literary Aesthetics of War Crime." Croatian journal of philosophy 21, no. 61 (2021): 135–53. http://dx.doi.org/10.52685/cjp.21.1.8.

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In order to develop a literary aesthetics of war crime, I examine the phenomenon of moral immunity in military memoir. Using three paradigmatic examples of memoirs of unjust wars characterised by the routine perpetration of war crimes, I argue that moral immunity is achieved by means of three literary devices: literary irresponsibility, ethical peerage, and moral economy. I then employ the proposed literary aesthetics of war crime to provide an answer to the perennial question of the relationship between literature and morality as well as to two specific instantiations of this question, the va

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12

Graham, Gordon. "Aesthetic Cognitivism and the Literary Arts." Journal of Aesthetic Education 30, no. 1 (1996): 1. http://dx.doi.org/10.2307/3333229.

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13

Huang, Furong. "Translation Aesthetics in Children’s Literature." Theory and Practice in Language Studies 7, no. 12 (2017): 1327. http://dx.doi.org/10.17507/tpls.0712.22.

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Despite the fact that children’s literature is an important branch of the literary polysystem, it was neglected as a peripheral subject for long. It is not until in recent years that much attention is increasingly poured into it due to the rapid development of economy and booming cross-cultural exchanges. Currently, the newly-developed children’s literature is gradually occupying a dominant position and winning children’s favor. Translated works are no exception. Numerous classic children’s literary works from abroad are translated and retranslated. People tend to care much about translation a

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14

Loesberg, Jonathan. "Materialism and Aesthetics: Paul De Man's Aesthetic Ideology." diacritics 27, no. 4 (1997): 87–108. http://dx.doi.org/10.1353/dia.1997.0033.

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15

Woods, Walter A. "Parameters of Aesthetic Objects: Applied Aesthetics." Empirical Studies of the Arts 9, no. 2 (1991): 105–14. http://dx.doi.org/10.2190/7d3x-03g1-aguv-w417.

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Braiterman, Zachary. "Joseph Soloveitchik and Immanuel Kant's Mitzvah-Aesthetic." AJS Review 25, no. 1 (2001): 1–24. http://dx.doi.org/10.1017/s0364009400012228.

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In the following pages, I will address the relationship between Jewish thought and aesthetics by bringing Joseph Soloveitchik into conversation with Immanuel Kant, whose Critique of Judgment remains an imposing monument in the history of philosophical aesthetics. While Buber and Rosenzweig may have been more accomplished aesthetes, Soloveitchik's aesthetic proves closer to Kant's own. In particular, I draw upon the latter's distinction between the beautiful and the sublime and the notion of a form of indeterminate purposiveness without determinate purpose. I will relate these three figures to

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Ivbulis, Viktors. "Only Western influence? The birth of literary Romantic aesthetics in Bengal." Acta Orientalia Vilnensia 9, no. 2 (2008): 145–57. http://dx.doi.org/10.15388/aov.2008.2.3703.

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University of LatviaMuch has been said about how fruitfully European aesthetics worked on the minds of Indian writers in the 19th century. For this reason Rabindranath Tagore (1861–1941), even before he turned twenty, in the eyes of some of his compatriots was already a Romanticist—‘the Shelley of Bengal’. Of course, he could not be Shelley because of the very different historical circumstances of India and England (in India at that time historically could not be born aesthetic rebels like Shelley). But what was implied in this assertion remains: in Bengali writing about Tagore and his embarka

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Salimovna, Safarova Khurshida, Karimova Shahnoza Karimovna, and Nazarova Gulshod Xodjiyevna. "Main Characteristic Features of Oscar Wilde and Omon Mukhtor’s Literary- Aesthetic Works." International Journal of Psychosocial Rehabilitation 24, no. 1 (2020): 397–402. http://dx.doi.org/10.37200/ijpr/v24i1/pr200142.

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19

Kolkutina, Victoria. "Literary hermenetics Dmitro Dontsov: aesthetic-national vector." Collection of scientific works "Visnyk of Zaporizhzhya National University. Philological Sciences", no. 1 (2018): 5–10. http://dx.doi.org/10.26661/2414-9594-2018-1-01.

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20

Simoniti. "Virginia Woolf, Literary Style, and Aesthetic Education." Journal of Aesthetic Education 50, no. 1 (2016): 62. http://dx.doi.org/10.5406/jaesteduc.50.1.0062.

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21

Kulikova, E. Ju, and E. N. Penskaya. "Literary and aesthetic paradoxes of Viktor Burenin." Sibirskiy filologicheskiy zhurnal, no. 62 (March 1, 2018): 152–67. http://dx.doi.org/10.17223/18137083/62/11.

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22

French, Marilyn. "Is There a Feminist Aesthetic?" Hypatia 5, no. 2 (1990): 33–42. http://dx.doi.org/10.1111/j.1527-2001.1990.tb00415.x.

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Literary art that is identifiably feminist approaches reality from a feminist perspective and endorses female experience. A feminist perspective demystifies patriarchal assumptions about the nature of human beings, their relation to nature, and the relation of physical and moral qualities to each other. To endorse female experience, the artist must defy or stretch traditional literary conventions, which often means offending or alienating readers. Traditional literary conventions are rooted in philosophical assumptions several thousand years old and still widely current. A third principle of f

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23

McGrath, Laura B. "Literary Agency." American Literary History 33, no. 2 (2021): 350–70. http://dx.doi.org/10.1093/alh/ajab005.

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Abstract This essay is one part documentation and one part provocation, with a simple goal: to acknowledge the agency of the literary agent. There is no figure more significant to contemporary literary production and less studied by scholars than the agent. Drawing on ethnographic interviews conducted with 28 literary agents over the course of four years, I argue that agents shape the form and content of contemporary fiction by acting as administrators of the logic of the marketplace, conditioning their clients to write in and for the international multimedia conglomerates known as the Big Fou

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24

Phelan, James. "Rhetorical aesthetics and other issues in the study of literary narrative." Narrative Inquiry 16, no. 1 (2006): 85–93. http://dx.doi.org/10.1075/ni.16.1.12phe.

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The current study of literary narrative is a vibrant and various activity, marked not by a single orthodoxy but by multiple approaches. Within that variety there are five especially salient issues currently being investigated: nonmimetic narrative; digital narrative; the fact/fiction distinction; narrative space; and rhetorical aesthetics. Rhetorical aesthetics moves not toward a universal standards of literary quality but toward an understanding of how narratives work on their own terms and of appropriate general criteria for judging those terms. These criteria, as a comparison of the endings

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25

Stengel, K. "Ethics as Style: Wittgenstein's Aesthetic Ethics and Ethical Aesthetics." Poetics Today 25, no. 4 (2004): 609–25. http://dx.doi.org/10.1215/03335372-25-4-609.

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Braginsky, Vladimir. "Light, Sound and Fragrance: The Impact of Sufism on the Aesthetics of Traditional Malay Literature." Malay Literature 24, no. 1 (2011): 51–69. http://dx.doi.org/10.37052/ml.24(1)no3.

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Sufi ideas exerted a great influence on nearly every aspect of traditional Malay literature of the late 16th to the 17th century. Not only Malay literary practice of that age owed much to the Sufi inspiration, equally important is the fact that Sufism brought to life a pre-modern Malay literary theory including, inter alia, fundamental concepts of literary aesthetics. On the basis of a poem by Hamzah Fansuri and Sufi allegories Hikayat Inderaputera and Hikayat Si Burung Pingai the article investigates the Sufi doctrine of imagination as a particular world all of its own, the “aesthetics of lig

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27

Pavlenko, Olena. "Aethetic value of Rostislav Dotsenko’s literary translation." Vìsnik Marìupolʹsʹkogo deržavnogo unìversitetu. Serìâ: Fìlologìâ 13, no. 22 (2020): 57–65. http://dx.doi.org/10.34079/2226-3055-2020-13-22-57-65.

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The article gives a brief outline of Rostislav Dotsenko’s translation activity focusing on the translator’s contribution into Ukrainian literary space of the second half of the twentieth century, highlights aesthetic value of his Ukrainian interpretations as well as defines the basic principles of the artist’s translation concepts.

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Sernelj, Téa. "Modernization of Beauty in China." Asian Studies 9, no. 2 (2021): 165–79. http://dx.doi.org/10.4312/as.2021.9.2.165-179.

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The article explores the socio-political and historical development of the great debate on aesthetics and the aesthetic fever in China during the 20th century. It introduces the main figures of the aesthetic movement and their aesthetic theories. It introduces the period of appropriation of the aesthetic debates to Marxist ideology that prevailed in China after 1949 and lasted until the end of 1970s. The 1980s and 1990s represent a shift in the Chinese aesthetic debate which focused on the adoption of Western aesthetic concepts and paradigms in a more scientific way. The article tackles the pr

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Darenskiy, V. Yu. "THEORETICAL AESTHETICS OF L. TOLSTOY AS A MANIFEST OF ANTI-MODERNISM." Bulletin of Udmurt University. Series History and Philology 29, no. 5 (2019): 805–11. http://dx.doi.org/10.35634/2412-9534-2019-29-5-805-811.

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The article is devoted to the interpretation of L. Tolstoy’s theoretical aesthetics as a part of the literary process - as a kind of “manifesto” directed against the emerging modernism (anti-traditionalism). The main components of L. Tolstoy’s aesthetic theory, which are interpreted as worldview principles that most effectively oppose the “death of art” (V. Weidle) in the “postmodern situation” and anti-artistic requirements of the “consumer society”, are considered. The aesthetic concept of L. Tolstoy is interpreted as a strategy to combat the imposition of perverted tastes and immorality in

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Forsey, Jane. "Aesthetic Experience, Aesthetic Value." Estetika: The European Journal of Aesthetics 54, no. 2 (2017): 175. http://dx.doi.org/10.33134/eeja.162.

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Леонтьева, Ксения Ивановна. "AESTHETIC DOMINANTS AND THE STRATEGY OF LITERARY TRANSLATION." Вестник Тверского государственного университета. Серия: Филология, no. 4(67) (November 24, 2020): 190–200. http://dx.doi.org/10.26456/vtfilol/2020.4.190.

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Рассматриваются доминанты стратегии перевода, позволяющие реализовать в переводах категорию ХУДОЖЕСТВЕННОЕ, системообразующую в когнитивном акте поэзиса. Это принципы художественной целостности, гармонии формы и содержания, иконичности и отграниченности художественной модели мира, структурные принципы отождествления, со- и противопоставления, а также механизмы детализации, глоссализации и (де)автоматизации восприятия в основе приёма остранения. The article outlines a set of aesthetic dominants constitutive of the cognitive act of poesis and thus fundamental to the translation strategy aimed at

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Ребрій, О. В. "Aesthetic functionalism as a principle of literary translation." Writings in Romance-Germanic Philology, no. 1(34) (October 22, 2015): 143–50. http://dx.doi.org/10.18524/2307-4604.2015.1(34).51878.

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Jacobs, Arthur M., and Annette Kinder. "Computing the Affective-Aesthetic Potential of Literary Texts." AI 1, no. 1 (2019): 11–27. http://dx.doi.org/10.3390/ai1010002.

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In this paper, we compute the affective-aesthetic potential (AAP) of literary texts by using a simple sentiment analysis tool called SentiArt. In contrast to other established tools, SentiArt is based on publicly available vector space models (VSMs) and requires no emotional dictionary, thus making it applicable in any language for which VSMs have been made available (>150 so far) and avoiding issues of low coverage. In a first study, the AAP values of all words of a widely used lexical databank for German were computed and the VSM’s ability in representing concrete and more abstract semant

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Zainal, Z. I., and A. R. Mohd Deni. "Advancing aesthetic literary experience through a multimedia project." Literary and Linguistic Computing 27, no. 2 (2012): 215–26. http://dx.doi.org/10.1093/llc/fqs009.

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Goodheart, Eugene. "The Demise of the Aesthetic in Literary Study." Philosophy and Literature 21, no. 1 (1997): 139–43. http://dx.doi.org/10.1353/phl.1997.0005.

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Sipe, Lawrence R., and Caroline E. McGuire. "Picturebook Endpapers: Resources for Literary and Aesthetic Interpretation." Children's Literature in Education 37, no. 4 (2006): 291–304. http://dx.doi.org/10.1007/s10583-006-9007-3.

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Weisel-Barth, Joye. "Heinz Kohut’s Aesthetic Sensibility, Especially His Literary Imagination." Psychoanalytic Inquiry 41, no. 3 (2021): 141–46. http://dx.doi.org/10.1080/07351690.2021.1886784.

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Vyshenskaya, Yuliya P. "Discursive Aesthetic Impact Strategies in Medieval Literary Texts." RUDN Journal of Language Studies, Semiotics and Semantics 12, no. 1 (2021): 165–84. http://dx.doi.org/10.22363/2313-2299-2021-12-1-165-184.

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The paper deals with the matter investigating the nature of the aesthetic impact of the belles-lettres style being generated within the scope of great transfer from high Middle Ages to the start of Renaissance. In course of the analysis, some traditional ideas and terms adopted in the historical stylistics are used. The mentioned ideas turned up into being during the period of its discrimination from other disciplines of linguistic historical cycle. Acquired linguistic independence charged the ideas with the function of marking the borders between the historical stylistics and other discipline

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Coit, Emily. ""This Immense Expense of Art": George Eliot and John Ruskin on Consumption and the Limits of Sympathy." Nineteenth-Century Literature 65, no. 2 (2010): 214–45. http://dx.doi.org/10.1525/ncl.2010.65.2.214.

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Emily Coit, "'This Immense Expense of Art': George Eliot and John Ruskin on Consumption and the Limits of Sympathy" (pp. 214––245) This essay attempts to better our understanding of George Eliot's conservatism by examining a body of ideas about consumption and moral obligation that she and John Ruskin share. I use a discussion of consumer ethics to explore the moral logic of their conservatism by examining the role of the aesthetic within it. Economic consumption and the aesthetic are subjects inextricably connected, not just because the discourses of political economy and aesthetics have a sh

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Koch, Anne. "Introduction: Revisiting Civil Religion from an Aesthetic Point of View." Journal of Religion in Europe 10, no. 1-2 (2017): 1–15. http://dx.doi.org/10.1163/18748929-01002001.

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This special issue enquires into aesthetic ways of newly creating or re-shaping and re-presenting civil religion and its central characters, symbols, or figures. Normally, civil religion addresses value-orientation and social integration. In addition to these features, the papers make the aesthetic performance of civil religion the subject of discussion. The reason for taking this path is the altered aesthetic circumstances of highly mediatised and consumerist societies. Before this backdrop, images, literary figurations, movie sequences, and brands in media, public and national discourse are

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Ermakova, Galina A., Olga G. Vladimirova, Alena M. Ivanova, Anna N. Zakharova, and Nadezhda I. Yakimova. "Literary Heritage of G.N. Aygy." SHS Web of Conferences 50 (2018): 01020. http://dx.doi.org/10.1051/shsconf/20185001020.

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This article focuses on literary heritage and special features of aesthetic concept of Chuvash poet G.N. Aygy. The analysed body of work of this wordsmith represents a natural phase of evolution of national, Russian, foreign literatures which, absorbing several currents, arises as a new phenomenon in the existing artistic system, reflecting both certain characteristics of non-classical rhetoric and recent trends in public conscience, where search for the meaning is transferred from social and philosophical areas into spheres of intuition and aesthetic. The current interest to the non-classical

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Satyanarayana, K. "The political and aesthetic significance of contemporary Dalit literature." Journal of Commonwealth Literature 54, no. 1 (2017): 9–24. http://dx.doi.org/10.1177/0021989417718378.

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This article attempts to offer a critique of cultural critic D. R. Nagaraj’s theoretical approach to the analysis of contemporary Dalit literature. According to Nagaraj, contemporary Dalit literature is a literature of decultured Dalits which articulates rights and entitlements in liberal polity. Rejecting claims of a separate aesthetics for Dalit literature, he locates Dalit literary contributions in the broad sphere of Indian culture and argues for a new aesthetics for Indian culture. His aim is to recover from the Indian tradition the civilizational contribution of Dalit writers, such as fo

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Görner, Rüdiger. "Poetik der Kritik – Ästhetik des Deutens." Journal of Literary Theory 14, no. 1 (2020): 31–54. http://dx.doi.org/10.1515/jlt-2020-0003.

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AbstractSome of the mainly unchartered territories in literary criticism are the implications of Susan Sontag’s frontal attack on traditional hermeneutical practices in Against Interpretation (1969). This contribution to investigations into the modes of interpretation attempts to draw constructive consequences from this provocation and investigate the notion of a ›poetics of criticism‹ emanating into what can be called the ›aesthetics of interpretation‹. In so doing, it explores the Romantic backdrop of this discourse through examining Friedrich Schlegel’s plea for a ›poetization‹ of critique

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Woods, Walter A., and Thomas C. Padgett. "Aesthetics Applied to Fashion Apparel." Empirical Studies of the Arts 5, no. 1 (1987): 15–30. http://dx.doi.org/10.2190/g0eu-c5ec-ggq5-2ly7.

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An apparently ambiguous status for aesthetics in fashion theory is noted and discussed and an applied aesthetics approach to supplement the current communications theory approach is proposed. Two classes of aesthetic properties—intrinsic formal and extrinsic symbolic content—are discussed in terms of stimulus properties. Certain stimulus properties are used in an experiment in which it is demonstrated that aesthetic properties can be identified and used in evaluating fashion apparel. The findings suggest that when aesthetic criteria are considered in fashion theory, classical fashion concepts

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Hayot, Eric. "Literary History after Literary Dominance." Modern Language Quarterly 80, no. 4 (2019): 479–94. http://dx.doi.org/10.1215/00267929-7777832.

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Abstract The various pronouncements of the nation’s dissolution seem to have been premature. Literary history is still very much within the nation, especially if one considers the realm of the middle- and lowbrow, or indeed the vast swaths of genre fiction. What has changed in literary history is the position of literature itself. The discipline of literary study (whether one thinks of it as literary history or literary criticism) institutionalized itself during a period of literary dominance. Now that that dominance is over—now that the field of narrative aesthetic culture includes television

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Benovsky, Jiri. "Aesthetic Supervenience versus Aesthetic Grounding." Estetika: The European Journal of Aesthetics 49, no. 2 (2012): 166. http://dx.doi.org/10.33134/eeja.96.

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Iskhak, Iskhak, Mursid Saleh, Ahmad Sofwan, and Rudi Hartono. "Investigating the Effects of Reader Response Journals on the Quality of Teacher Trainees’ Responses to Literary Works." Theory and Practice in Language Studies 7, no. 10 (2017): 831. http://dx.doi.org/10.17507/tpls.0710.02.

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The present study investigated the effects of writing reader response journals (RRJ) on the quality of responses to literary works assigned. The study is underpinned by Rosenblatt’s Reader Response Theory, literacy principles, and sociocultural views. The study assumes that readers’ responses to literature involve critical and aesthetic reading-writing (literacy) events that are collaboratively constructed. The study involved an intact group (N=22) comprising EFL teacher trainees of a private education college in Ciamis, Indonesia, taking Literature Criticism subject. This time series pre-expe

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Shohifur Rizal, Moh Ahsan. "Nilai Estetika dan Pendidikan Naskah Singir Mitera Sejati dan Ngudi Susila Karya Kiai Bisri Musthofa." Madrasah 8, no. 2 (2016): 18. http://dx.doi.org/10.18860/jt.v8i2.3770.

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<span class="fontstyle0">“Singir mitera sejati” and “ngudi susila” are a literary work that shaped “nadhom” poetically by following the rules of science of arudl. In addition there is an aesthetic and educational value. “Singir” can serve as a medium of education and learning resources. Because “singir” store “adhiluhung” value which can be utilized appropriately, particularly in the study of literature in the school or boarding school. This research aims to reveal the aesthetic and educational value. Substantially, this research describes about three things, namely (1) aesthetic value t

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KOLKUTINA, Viktoriia, Lesia SYNIAVSKA, Volodymyr POHREBENNYK, Tetiana KORNISHEVA, and Natalia IAREMCHUK. "Literary Hermeneutics in The Context of Natiosophic Ideas." WISDOM 16, no. 3 (2020): 41–52. http://dx.doi.org/10.24234/wisdom.v16i3.394.

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The article looks at the literary hermeneutics in the context of natiosophic ideas by H.-G. Gadamer, S. During, M. Heidegger, E. Smith, E. Said, D. Dontsov. It investigates the freedom-centred nature of nationalism, discovers new meanings of the concept “cultural nationalism”, as well as the key concepts of the natiosophic aesthetics. The research outlines the natiosophic specifics of the interpretation system through the comprehension of the various concepts. It sums up that nationalist interpretation is essentially natiologic (natiosophic), however, it is also literary, with the cohere

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Siefkes, Martin. "Perceptual qualities of literary style." Scientific Study of Literature 7, no. 1 (2017): 52–78. http://dx.doi.org/10.1075/ssol.7.1.03sie.

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Abstract This article reports the results of a study that investigated different aspects of the aesthetic perception of literary style. Excerpts from novels belonging to two broadly defined literary style categories, namely modern and postmodern style, were judged by the participants. Semantic scales corresponding to perceptual qualities of modern and postmodern literature were used. The results indicate that these scales can measure perceptual differences between the selected novels, and that the two novels categorized as modern were experienced differently from those categorized as postmoder

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