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Journal articles on the topic 'Symbolism (Art movement) Aesthetics'

Author: Grafiati

Published: 4 June 2021

Last updated: 8 February 2022

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1

Ryabchenko, V. D. "The Evolution of Symbolist Ideas in the Zolotoe Runo Magazine." Concept: philosophy, religion, culture 4, no. 3 (2020): 158–67. http://dx.doi.org/10.24833/2541-8831-2020-3-15-158-167.

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The article treats the role art magazine Zolotoe runo played in history of symbolist’s theoretical ideas. By 1906, symbolism as a philosophical and aesthetic movement enters a crisis stage (and, then, a renaissance) — the pioneering movement has become utterly formal, tendentious, and has even acquired public recognition, which contradicts the modernist spirit. Zolotoe runo turns into a platform for the adversaries of outdated, decadent or individual symbolism, changing the symbolist nature and landscape. V. F. Khodasevich suggests that not only hasn’t symbolism been yet studied, but it also d

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Симеонова-Конах, Галя. "Към въпроса за стила „Pодно изкуство” в аспекта на българския авангард през 20-те години на ХХ век". Poznańskie Studia Slawistyczne, № 18 (28 квітня 2020): 209–22. http://dx.doi.org/10.14746/pss.2020.18.12.

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The article presents the selected aspects of the Bulgarian avant-garde movement called “Native Art” (Rodno izkustvo) which developed in art (painting of Ivan Milev and others) and literature (the so-called decorative prose, ars decorum) in the 1920s. An aesthetical object of the then creators was searching for spirituality of the community expressed through a synthesis of such form of cultural heritage as symbolism, secession, Old Bulgarian and Byzantine iconography, rituals and folklore embroideries, ancient mosaic. For the constitution of the style “Rodno izkustvo”, the aesthetics of Bulgari

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Lebbe, Pauline. "Symbolisme en het kunstlied in België (1884 ‐ 1950). Een nieuwe esthetiek voor muziek op symbolistische gedichten / Symbolism and the art song in Belgium (1884 ‐ 1950): A new aesthetics for music accompanying symbolist poetry." Forum+ 26, no. 2 (2019): 3–12. http://dx.doi.org/10.5117/forum2019.2.lebb.

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Abstract In de periode tussen de jaren 80 van de negentiende eeuw en de Tweede Wereldoorlog was België een belangrijk internationaal kunstcentrum. In het bijzonder vond de symbolistische stroming er toen vruchtbare grond. Wereldwijd erkent men de hoge kwaliteit van de Belgische symbolistische literatuur en schilderkunst, maar ook in de muziek speelde het symbolistische gedachtegoed een belangrijke rol. In dit artikel bespreekt Pauline Lebbe het repertorium aan liederen van Belgische componisten, gecomponeerd op teksten van Belgische symbolistische auteurs. Ze heeft daarbij aandacht voor de cre

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Drakopoulou, Konstantina. "THE GRAFFITI COVERING OF THE NATIONAL TECHNICAL UNIVERSITY OF ATHENS AND ITS POLITICO-CULTURAL SYMBOLISM." ARTis ON, no. 5 (January 4, 2018): 159–67. http://dx.doi.org/10.37935/aion.v0i5.140.

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Artistic activity which violates urban space is based on the aesthetics of vandalism; it underscores the emergence of the artist as a guerrilla fighter and a defacer, reminiscent of art practices developed during the historical and the post-war avant-garde. The intervention of three graffiti artists, who completely covered the southern annex facades of the National Technical University of Athens’ neoclassical building with large-scale black and white abstract patterns in March 2015, can be understood within the framework of trauma theory and destruction art, as explained by the art historian K

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Melnik, N. D. "The Magazine “Zolotoe runo” (1906–1909) as a Reflection of the Artistic Life of Russia at the Beginning of the 20th Century." Vestnik NSU. Series: History and Philology 20, no. 6 (2021): 62–73. http://dx.doi.org/10.25205/1818-7919-2021-20-6-62-73.

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Purpose. The article studies the history of the magazine “Zolotoe runo” (“Golden Fleece”) that has been publishing in Moscow from 1906 till 1909. It was a project of the young art lover, millionaire N. P. Ryabushinsky, who decided to continue the mission of “miriskusniki” (members of the “World of Art” movement) and promote the aesthetic principles of symbolism, which he saw as the most promising style of art at the beginning of the 20th century.Results. Based on the analysis of the memoirs written by contemporaries, correspondence between the representatives of the Russian cultural elite, pub

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Walden, Lauren. "Transmediality in Symbolist and Surrealist Photo-Literature." Open Cultural Studies 1, no. 1 (2017): 214–31. http://dx.doi.org/10.1515/culture-2017-0020.

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Abstract The fin de siècle period throughout Europe undoubtedly cultivated the “interdisciplinary principle of la fraternité des arts” (Genova 158). Literature, poetry, visual art and music superseded former hierarchical structures favouring the painterly. Correspondence between intellectuals would cross-fertilise between disparate realms through publishing in interdisciplinary cultural journals that were distributed internationally across cosmopolitan cityscapes. The ability for the photograph to be mechanically reproduced, postulated by Walter Benjamin in 1936, allowed for one of the first t

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Pavlova, O. Y. "SEMANTIC SHIFT FUNCTIONAL ARCHITECTURE (part 1)." UKRAINIAN CULTURAL STUDIES, no. 1 (4) (2019): 17–20. http://dx.doi.org/10.17721/ucs.2019.1(4).03.

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The article is devoted to analyze of the signification mode of symbolic architecture. An attempt is carried out to detect the difference between the symbolic form of the ritual and the symbolic architecture, as well as the semantic shift that this distinction causes the organization of symbols to generate. Application of strategies of semantic analysis to the material of aesthetics G. Hegel allows not only to expand the horizons of applied semantics, but also to understand the patterns of formation of artistic culture and aesthetic process in general. Using strategies of semantic analy- sis to

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Pavlova, O. Y. "SEMANTIC SHIFT FUNCTIONAL ARCHITECTURE IN THE TRANSFORMATION LOGIC OF CULTURAL PRACTICES (PART 2)." UKRAINIAN CULTURAL STUDIES, no. 2 (7) (2020): 72–77. http://dx.doi.org/10.17721/ucs.2020.2(7).13.

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The article is devoted to analyze of the signification mode of symbolic architecture. An attempt is carried out to detect the difference between the symbolic form of the ritual and the symbolic architecture, as well as the semantic shift that this distinction causes the organization of symbols to generate. Application of strategies of semantic analysis to the material of aesthetics G. Hegel allows not only to expand the horizons of applied applied semantics, but also to understand the patterns of formation of artistic culture and aesthetic process in general. Using strategies of semantic analy

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Vorova, T. P., N. V. Pidmogylna, and O. I. Romanova. "Short Excursus into the History of the Russian Symbolism Origin." International Letters of Social and Humanistic Sciences 63 (November 2015): 151–217. http://dx.doi.org/10.18052/www.scipress.com/ilshs.63.151.

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Being well-known nowadays as the Silver Age of Russian literature, Russian symbolism is an extraordinary phenomenon of spiritual life at the end of the 19th – beginning of the 20thcenturies. This essay aims to study the appearance and development of Russian symbolism as a result of revaluation of cultural wealth in philosophy / art and stimulation of the appropriate rise of the certain aesthetic systems which were embodied in the literary works of that period. The current study introduces a new approach to the origin of this trend and represents the new tendencies in Russian symbolist novels w

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Bogdanova, Olga. "Bibliography of Georgy Chulkov’s literary and critical works of 1903 –1922." Literary Fact, no. 16 (2020): 413–35. http://dx.doi.org/10.22455/2541-8297-2020-16-413-435.

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Bibliography of literary and critical works (books, articles, reviews, conversations, notes, “letters”, etc.) by Georgy Ivanovich Chulkov (1879 –1939), compiled and published on these pages for the first time, gives an idea of the range of creative interests and the evolution of aesthetic views of one of the major literary and cultural figures of Russian Symbolism in the first two decades of the 20th century. Poet, translator, novelist, playwright, literary critic and journalist, publisher, and since the 1920s also a literary critic, who created serious scientific works about A.S. Pushkin, F.I

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Panasiuk, Valerii. "Ideas’ stories and people’s stories in A. Zholdak’s directorial conception." Aspects of Historical Musicology 19, no. 19 (2020): 358–73. http://dx.doi.org/10.34064/khnum2-19.21.

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Problematic field, objectives and methodology of the study. The “star” figure of A. Zholdak, one of the most shocking directors intriguing with his unpredictability, cannot be overlooked in the sky of modern theatrical art. True, not of national art, but Western European or Russian – the stage productions of the avant-garde director resonate with the priority world trends in theatrical culture. This also applies to musical performances, where the staging process in last time has been carried out under the sign of the “Regio-Theater”, under the director’s concept, which is often radical and rev

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Kirillova, Natalia B. "Metamorphoses of Russian Mass Culture." Observatory of Culture 16, no. 5 (2019): 536–41. http://dx.doi.org/10.25281/2072-3156-2019-16-5-536-541.

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The article is a review of the monograph “Russian Mass Culture: From Baroque to Post-Modernism” by Doctor of Philosophy, Professor of the Russian State University for the Humanities, Academician of the Russian Academy of Natural Sciences I.V. Kondakov. The book, which consists of seven chapters, is devoted to the history of the emergence and development of mass culture in Russia from ancient times to the beginning of the 20th century. Studying its origins dating back to antiquity, the author proves that Russian mass culture received an “impulse of independence” in the 17th century, as the cu

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Mankovskaya, Nadezda Borisovna. "Narcissus in a mirror image. Aesthetics of André Gide’s symbolism." Культура и искусство, no. 4 (April 2020): 71–84. http://dx.doi.org/10.7256/2454-0625.2020.4.31968.

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The subject of this research is the fundamental aesthetic problematic in the symbolist philosophy of art of Andr&eacute; Gide. The author examines such mainstream themes as the concept of artistic symbol, categories of the beautiful, tragic and heroic, interrelation of art and nature, specificity of theatrical aesthetics. In his works, Gide brings to life the ideas of subjective, solipsistic symbolism, when symbol ingratiates with a hieroglyph that depicts inner world of the artist in a creative form, his subjective experiences, dreams and reverie, while the external sensible world is inte

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Fishwick, Paul A. "Aesthetic Programming: Crafting Personalized Software." Leonardo 35, no. 4 (2002): 383–90. http://dx.doi.org/10.1162/002409402760181178.

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Marrying traditional methods of computer programming with an artistic temperament allows the birth of a new phenomenon: the aesthetic program. The work of the author and his students builds on visual ap-proaches in programming as well as in software modeling, leading toward a gradual evolution from program to model. The need for the aes-thetic model is increased with the importance of personalized, individually tailored media, as found with web-based style sheets and the economic movement termed “mass customization.” The author and his students have formulated the rube Project methodology arou

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Mankovskaya, Nadezhda B. "Synesthetic Problems in French Symbolism’ Aesthetics and their Current Relevance." Journal of Flm Arts and Film Studies 8, no. 1 (2016): 64–77. http://dx.doi.org/10.17816/vgik8164-77.

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The article explores the conceptions of synesthesia and the synthesis of arts in French Symbolism based on the theory of con-gruity of spiritual and physical worlds. The author analyzes the synesthetic ideas in musical poetry, color hearing, total theatre and their impact on modern multimedia art practices.

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DiPietro, Cary. "Shakespeare in the Age of Mechanical Reproduction: Cultural Discourse and the Film of Tree's ‘Henry VIII’." New Theatre Quarterly 19, no. 4 (2003): 352–65. http://dx.doi.org/10.1017/s0266464x03000241.

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In early twentieth-century England the general recognition among dramatists and theatre practitioners that the theatre had reached a crisis or turning point – that as an institution it no longer answered the social and moral requirements of a modern industrialized society – resulted in a profusion of books and articles which addressed alternative modes of theatrical production or proposed institutional restructuring. Simultaneously with these discussions of the social utility of the theatre as an institution, a broad debate about theatrical aesthetics was continuing under the influence of new

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Lahelma, Marja. "The Symbolist aesthetic and the impact of occult and esoteric ideologies on modern art." Approaching Religion 8, no. 1 (2018): 31–47. http://dx.doi.org/10.30664/ar.66685.

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Within the past couple of decades, art-historical scholarship has developed a more acute awareness of the need to reassess and re-evaluate its dominant narratives. It has become apparent that the value judgements that have guided modernist historiography can no longer be taken for granted, and there has been an ever-increasing demand for more diverse perspectives. One central issue which has gradually surfaced into broader consciousness, is the impact of occult and esoteric ideas on artistic theories and practices since the late nineteenth century. This article looks into the background of thi

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Vojvodić Balaž, Violeta. "Monetary Symbolism: Art as a Deposit of Value." AM Journal of Art and Media Studies, no. 20 (October 15, 2019): 137. http://dx.doi.org/10.25038/am.v0i20.333.

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MONEY – a unit of account, a deposit of value, and a medium of exchange – formally evolved from grain, precious metal, cheap paper, to state-of-the-art digital accounting records managed by artificial intelligence. Although the economists of the 19th century believed in its neutrality, money is an ambiguous socio-economic phenomenon which serves as a political tool and a measure of value even if its own value is volatile. The stamp of authority marked the symbolization of money as a cultural artifact: the character of a ruler, a symbol, or an inscription on the coin came to be a signifier of v

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Nyam, Esther Akumbo. "Female Mask/Masquerade in Nigeria, Aesthetics and the Art of Secret Societies." Journal of African Theatre, Film and Media Discourse 1, no. 1 (2020): 97–104. http://dx.doi.org/10.33886/kujat.v1i1.129.

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The Dramatic performance by actors in masks and costumes still remains enigmatic. The ideological context of mask, and masquerade in Africa is associated with the spirit world which is an act of secret society dominated by men’s world. This paper focused on the role, performances and contributions of women in masquerade performances in Nigeria. The symbolism of women’s aesthetics, cosmology, mythology, performance, Genre, audience participation, construction, and originators and custodians of mask and masquerade is highlighted as emerging trends of feminist discuss in contemporary theatre perf

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Ranjan, Rahul. "Politics of Symbolism: The Making of Birsa Munda’s Statue in Post-colonial Jharkhand, India." Bandung 7, no. 1 (2020): 130–61. http://dx.doi.org/10.1163/21983534-00701007.

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Birsa Munda, Adivasi leader (Indigenous people) led a rebellion at the end of the 19th century against the dikus (outsiders) popularly known as Birsa Ulgulan (tumult, rebellion). The movement targeted British officials, zamindars, and missionaries. One of the immediate effects of the movement emerged in the form of protectionary legislation (Chota Nagpur Tenancy Act) and later played an influential role in the making of Jharkhand. In the contemporary social and political landscape, the presence of Birsa Munda in the form of the built environment such as statue is indelible and offers an exciti

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Park, So-Jeong. "Musical Metaphors in Chinese Aesthetics." Journal of Chinese Philosophy 47, no. 1-2 (2020): 31–48. http://dx.doi.org/10.1163/15406253-0470102006.

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According to the conceptual metaphor theory, a metaphor is not just a rhetorical device but rather a fundamental conceptual framework operating at the level of thinking. When one describes a painting as “musically moving” or “melodious,” one transfers a conceptual framework of music from its typical domain into a new domain where neither musical movement nor melody takes place. In this light, the extensive use of musical metaphors based on qì-dynamics such as “rhythmic vitality” or “literary vitality” for art criticism in early China can be deemed as conceptual mappings between music and other

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Oboladze, Tatia. "The Myth of the City in the French and the Georgian Symbolist Aesthetics." International Journal of Social Sciences and Humanities Invention 5, no. 3 (2018): 4519–25. http://dx.doi.org/10.18535/ijsshi/v5i3.07.

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“Modern Art is a genuine offspring of the city… the city created new images, here the foundation was laid for the literary school, known as Symbolism…The poet’s consciousness was burdened by the gray iron city and it poured out into a new unknown song” (Tabidze 2011: 121-122), - writes Georgian Symbolist Titsian Tabidze in his program article Tsisperi Qantsebit (With Blue Horns). Indeed, in the Symbolist aesthetics the city-megalopolis, as a micro model of the material world, is formed as one of the basic concepts.

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Bychkov, V. V. "The Symbolic Essence of Art in Friedrich Schlegel’s Romantic Aesthetics." Art & Culture Studies, no. 1 (2021): 266–87. http://dx.doi.org/10.51678/2226-0072-2021-1-266-287.

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According to Friedrich Schlegel, one of the leading theorists of German Romanticism, the “highest” art is always symbolic, and it would be more precise to name the discipline that deals with it “symbolics”, rather than “aesthetics”. According to Schlegel, the highest arts comprise painting, sculpture, music, and poetry as the “arts of the beautiful and the ideally significant”. Using the examples of painting and literary arts, he demonstrates the symbolic character of art in general. Schlegel thinks that masterpieces of old Italian and German painters exemplify symbolic art. Schlegel is agains

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Marty, Nicolas. "Deleuze, Cinema and Acousmatic Music (or What If Music Weren’t an Art of Time?)." Organised Sound 21, no. 2 (2016): 166–75. http://dx.doi.org/10.1017/s1355771816000091.

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Drawing on Deleuze’s work about cinema (the ‘movement-image’ and the ‘time-image’), this article explores formal and aesthetic resonances with sound-based music, distinguishing between aesthetics of energy, articulation and montage, and aesthetics of contemplation, space and virtual relations. A second perspective is given, focusing on how listening behaviours may impose a ‘movement-image’ or a ‘time-image’ lens through which we could experience and remember a work’s form. This is exemplified with a short analysis of the first section ofChat Noir(1998–2000) by Elizabeth Anderson.

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Blasko, Andrew M. "The Politics of Aesthetics." Public Voices 9, no. 1 (2017): 86. http://dx.doi.org/10.22140/pv.205.

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An examination of the role that art and aesthetic activity have played in the affairs of state can be useful in shaping a framework for a discussion of the more specific issue of the interrelations between music and political life. The following discussion focuses on the manner in which the Russian avant-garde aesthetic movement gradually coalesced with the centrally planned construction of Soviet-style society in the efforts to build a new way of life and a new type of human being in accordance with the developing practice of the Communist-led revolution.

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Chapakdee, Thanom. "Art of Engagement: Visual Art of Thailand in Global Contexts." International Journal of Creative and Arts Studies 3, no. 1 (2017): 21. http://dx.doi.org/10.24821/ijcas.v3i1.1832.

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This paper on the topic of Art of Engagement: Visual Art of Thailand in Global Contexts, attempts to explore that “global contexts” is transformed because of the impacts rapid change in economics, politics, society and culture. Globalization based on the notion of Global art and transform Thai art scene into the state of international art movement such as Installation art, Performance art, Community art, i.e. these movement becomes the mainstream of art since 1980s. This kind of movement which artist has created the art objects, space, time and sphere as a model of sociability which audiences

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Raunig, Gerald. "Singers, Cynics, Molecular Mice: The Political Aesthetics of Contemporary Activism." Theory, Culture & Society 31, no. 7-8 (2014): 67–80. http://dx.doi.org/10.1177/0263276413497406.

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On the basis of certain tensions between Jacques Rancière’s aesthetics and his political philosophy, the article tries to trace new modes of subjectivation in contemporary activism and art. It explores how the actors of the overlapping terrains of aesthetic and political practices organize ‘different forms, different spaces of expression and distribution of ideas’ in Rancière’s sense. Yet, analysing the practices of the Occupy movement, the Spanish M15 movement, and the dOCUMENTA (13) ‘agents’ AND AND AND as radically inclusive, polyvocal and transversal, it proposes a position that differs fr

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Mankovskaya, Nadezhda B. "Maurice Maeterlinck’s Philosophy of Art." Journal of Flm Arts and Film Studies 10, no. 1 (2018): 76–90. http://dx.doi.org/10.17816/vgik10176-90.

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In the article the key ideas of Maurice Maeterlincks philosophy of art, inspired by the spirit of German idealism, European Romanticism and also mysticism and occultism are considered. On this basis his own original philosophical-aesthetic and artistic views which have laid down in a basis of philosophy of art of symbolism crystallize. The main problems interesting for Maeterlinck in this sphere are metaphysics of art and its philosophical-aesthetic aspects: silence, hidden, destiny, external and internal, madness, mystical ecstasy; essence of artistic image and symbol in art; aesthetic catego

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Kristianto, Paulus Eko. "Aku dalam Kehinaanku!: Menafsir Kehinaan Menurut Julia Kristeva." Gema Teologika 2, no. 1 (2017): 23. http://dx.doi.org/10.21460/gema.2016.21.281.

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Abjection normally is understood as the gross taste. However, whether such humiliation is also understood when placed in the frame of philosophy? Julia Kristeva states abjection with regard to aesthetics in art and literature through poetry catharsis. That is through abjection, people are invited to immerse themselves further in selfhood. The key phrase is trying held by the author in this article outlines. The author tries to offer an alternative that has been wrapped Kristeva debasement in the language of the interface between semiotics and symbolism.

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Kristianto, Paulus Eko. "Aku dalam Kehinaanku!: Menafsir Kehinaan Menurut Julia Kristeva." GEMA TEOLOGIKA 2, no. 1 (2017): 23. http://dx.doi.org/10.21460/gema.2017.21.281.

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Abjection normally is understood as the gross taste. However, whether such humiliation is also understood when placed in the frame of philosophy? Julia Kristeva states abjection with regard to aesthetics in art and literature through poetry catharsis. That is through abjection, people are invited to immerse themselves further in selfhood. The key phrase is trying held by the author in this article outlines. The author tries to offer an alternative that has been wrapped Kristeva debasement in the language of the interface between semiotics and symbolism.

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Sernelj, Téa. "Different Approaches to Chinese Aesthetics." Asian Studies 8, no. 3 (2020): 161–82. http://dx.doi.org/10.4312/as.2020.8.3.161-182.

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The article introduces Fang Dongmei’s and Xu Fuguan’s ideas about aesthetics and examines their different methodological approaches. Fang Dongmei and Xu Fuguan are both representatives of the second generation of Modern Taiwanese Confucianism. The fundamental goal of this significant movement is to re-evaluate and re-examine the profound contents of Chinese thought in contemporary socio-political conditions through a dialogue with Western philosophy. The representatives of Modern Confucianism of the 20th century hoped that the encounter with the Western intellectual tradition would serve as a

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Koloze, Jeff. "When Culture Is Challenged by Art." Catholic Social Science Review 25 (2020): 87–100. http://dx.doi.org/10.5840/cssr20202529.

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This paper examines three paintings by T. Gerhardt Smith as pro-life responses to the life issues of abortion, infanticide, and euthanasia: Sorrow Without Tears: Post-Abortion Syndrome, Femicidal National Organization Woman’s Planned Parentless Selfish Movement, and Killer Caduceus. After identifying foundational principles of art aesthetics from a Catholic perspective, the paper determines that Smith’s paintings are consistent with ideas enunciated in St. John Paul II’s Letter to Artists (1999).

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Nake, Frieder. "The Pioneer of Generative Art: Georg Nees." Leonardo 51, no. 3 (2018): 277–79. http://dx.doi.org/10.1162/leon_a_01325.

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The pioneer of computer art Georg Nees passed away on 3 January 2016, at the age of 89. He was the first to exhibit computer-generated drawings, in Stuttgart in February 1965. Influenced by Max Bense’s information aesthetics (a rational aesthetics of the object based on Shannon’s information theory), Nees completed his PhD thesis in 1968 (in German). Its title, Generative Computergraphik, is an expression of the new movement of generative art and design. Trained as a mathematician, Nees participated in many early, but also recent, displays of computer art. After retiring from his research posi

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Smith, Matthew Ryan. "Strange Brew: Art, Protest, and the Anti-Fracking Movement." Afterimage 46, no. 1 (2019): 3–16. http://dx.doi.org/10.1525/aft.2019.461002.

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This article examines how contemporary artists respond to the technique of hydraulic fracturing, more commonly known as “fracking.” Drawing on examples of political protest and social activism, with special focus on the ways that artistic interventions challenge energy corporations in galleries and museums, Smith analyzes how artists fuse concerns over the environment with critical aesthetics. By doing so, they explore the problematic relationships between fracking and climate change, waste, environmental degradation, pollution, and public health. In the wake of new data, research, and dissent

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Peremislov, I. A., and L. G. Peremislov. "JAPANESE AESTHETICS IN AMERICAN SILVER MASTERPIECES." Arts education and science 1, no. 2 (2021): 79–88. http://dx.doi.org/10.36871/hon.202102010.

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Japanese culture with its unique monuments of architecture, sculpture, painting, small forms, decorative and applied arts, occupies a special place in the development of world art. Influenced by China, Japanese masters created their own unique style based on the aesthetics of contemplation and spiritual harmony of man and nature. In the context of "Japan's inspiration" the work refers to the influence of the art of the Land of the Rising Sun on American decorative arts and, in particular, on the silver jewelry industry in trends of a new aesthetic direction of the last third of the XIXth centu

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Demeshchenko, Violeta. "Oriental Motives in the Aesthetics of the New Theater of Gordon Craig." Culturology Ideas, no. 14 (2'2018) (2018): 68–78. http://dx.doi.org/10.37627/2311-9489-14-2018-2.68-78.

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The article is an attempt to rethink the creativity of a well-known English director, artist, screenwriter and journalist Gordon Craig who, in his professional work, preferred the traditions of the Eastern Theatre (China, India, and Japan) and their aesthetics. The director also was fond of the ideas of symbolism, which made it possible to use the forms of figurative poetic and associative thinking effectively in theatrical performances being the means of transferring an emotional idea. The article also reveals the creative stages of the prominent English director Gordon Craig emphasising his

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Kowsari, Masoud, and Mehrdad Garousi. "Fractal art and multi-blended spaces." Virtual Creativity 9, no. 1 (2019): 23–41. http://dx.doi.org/10.1386/vcr_00003_1.

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Abstract Artworks, especially in the last two centuries, have been more created through a process of blending than at any other time. This blendedness is seen not only in many modern and postmodern works of art, from German expressionist woodcuts to Picasso's paintings and spontaneous action paintings of Pollock, but in fractal works of art perhaps more than anywhere else. This study, based on Fauconnier and Turner's blended space and conceptual blending theories, will show how fractal artworks are the result of a multi-blending process. This multi-blending is not only because fractal artworks

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Dai, Chuang. "Philosophical-aesthetic reflection in China in the century: Wang Guowei and Zong Baihua." Философская мысль, no. 12 (December 2020): 15–29. http://dx.doi.org/10.25136/2409-8728.2020.12.34614.

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&nbsp; This article is dedicated to examination of the philosophical-aesthetic reflection in China in the XX century, and the impact of European aesthetics upon the development and transformation of the traditional Chinese aesthetics. The article employs the method of historical and cultural with elements of structural analysis of aesthetic text of the modern Chinese philosophers. In the XX century, a number of Chinese thinkers made attempts of reforming the traditional Chinese aesthetics, complementing it with the viewpoint of European philosophy. The article examines the paramount aesthe

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Gaydos,, H. Lea Barbato. "The Cocreative Aesthetic Process: A New Model for Aesthetics in Nursing." International Journal of Human Caring 7, no. 3 (2003): 41–45. http://dx.doi.org/10.20467/1091-5710.7.3.41.

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The cocreative aesthetic process is a new model to describe aesthetics in nursing. The process has four aspects: engagement, mutuality, movement, and new form. This description of an aesthetic process in nursing has some features in common with other descriptions of the art of nursing and adds to these in significant ways. Importantly, the cocreative aesthetic process demonstrates the necessity of both caring and holism to the art of nursing. This model can be used to evaluate the presence of nursing as art in selected situations.

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Peremyslov, I. A., and L. G. Peremyslova. "JAPANESE AESTHETICS IN MASTERPIECES OF AMERICAN SILVER." Arts education and science 1, no. 1 (2021): 89–96. http://dx.doi.org/10.36871/hon.202101010.

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Japanese culture with its unique monuments of architecture, sculpture, painting, small forms, decorative and applied arts, occupies a special place in the development of world art. Influenced by China, Japanese masters created their own unique style based on the aesthetics of contemplation and spiritual harmony of man and nature. In the context of "Japan's inspiration" the work refers to the influence of the art of the Land of the Rising Sun on American decorative arts and, in particular, on the silver jewelry industry in trends of a new aesthetic direction of the last third of the XIXth centu

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Dziamski, Grzegorz. "ESTHETICS TOWARDS FEMINISM." DYSKURS. PISMO NAUKOWO-ARTYSTYCZNE ASP WE WROCŁAWIU 25, no. 25 (2019): 40–66. http://dx.doi.org/10.5604/01.3001.0012.9829.

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When we talk today about women’s art, we think about three phemonena, quite loosely related. We think about feminist art, about the way that the feminist’s statements and demands were expressed in the creativity of Judy Chicago and Nancy Spero, Carolee Scheemann and Valie Export, Miriam Schapiro and Mary Kelly, and in Poland in the creativity of Maria Pinińska-Bereś, Natalia LL or Ewa Partum. We think about female art, the forgotten, abandoned, neglected artists brought back to memory by the feminists with thousands of exhibitions and reinterpretations. Lastly, we think about the art created

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Dziamski, Grzegorz. "Estetyka wobec feminizmu." DYSKURS. PISMO NAUKOWO-ARTYSTYCZNE ASP WE WROCŁAWIU 25, no. 25 (2019): 40–66. http://dx.doi.org/10.5604/01.3001.0012.9850.

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When we talk today about women’s art, we think about three phemonena, quite loosely related. We think about feminist art, about the way that the feminist’s statements and demands were expressed in the creativity of Judy Chicago and Nancy Spero, Carolee Scheemann and Valie Export, Miriam Schapiro and Mary Kelly, and in Poland in the creativity of Maria Pinińska-Bereś, Natalia LL or Ewa Partum. We think about female art, the forgotten, abandoned, neglected artists brought back to memory by the feminists with thousands of exhibitions and reinterpretations. Lastly, we think about the art created b

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Marković, Ivica. "Ideal-real beauty in the theurgical creativity: Themes and concepts of visual art aesthetics of the silver age of Russian culture." Artefact 6, no. 1 (2020): 15–32. http://dx.doi.org/10.5937/artefact6-27763.

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The paper explores the Christian-intoned philosophical aesthetics of the figurative arts during the silver age of Russian culture. In this period, which covers the second half of the nineteenth and the first two decades of the twentieth century, Russia's speculative thought, based on the Orthodox patristic and philosophical idealism, promoted the original religious philosophy, which highly valorized the importance of comprehensive gnoseology and ontology of "total-unity", true knowledge sought only through the absolute - an ideal which in itself synthesizes a real beauty, truth and goodness. T

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Van Rensburg, F. I. J. "Van Wyk Louw Simbolis?" Literator 11, no. 1 (1990): 35–55. http://dx.doi.org/10.4102/lit.v11i1.792.

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In this article the question is posed whether one is justified in associating N.P. van Wyk Louw’s work with Symbolism as seen in terms of its being a historical art movement. At first sight some of the main characteristics of his work seem incompatible with the overall spirit of Symbolism. A close look is taken at these characteristics. They are weighed against typical characteristics of Symbolism. A number of common traits are discovered. Following this, a study of Van Wyk Louw’s utterances in his prose works is undertaken to establish the extent of his knowledge of the works of Symbolists an

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Lin, Wen Chia. "Study on Community Empowerment by Conversation Art and Design." Applied Mechanics and Materials 584-586 (July 2014): 132–37. http://dx.doi.org/10.4028/www.scientific.net/amm.584-586.132.

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Community is a basic element of living field. However, due to the influence and intervention of modernization, the original life styles and traditional cultures of Taiwan’s rural areas have vanished gradually. Since the Council for Cultural Affairs (CCA), Executive Yuan promoted the policy of Community Empowerment in 1994, there have been plenty of discussions related to the topic.Aiming at the operation and combination of Local Aesthetics and Art Community, the cultural policies such as Cultural Citizenship and Civil Aesthetic Movement have made Art into the Community a famous topic in the ar

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Nees, Georg. "Growth, Structural Coupling and Competition in Kinetic Art." Leonardo 33, no. 1 (2000): 41–47. http://dx.doi.org/10.1162/002409400552225.

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The author considers systems capable of growth within the framework of the aesthetics of kinetic art and George Rickey's morphology of movement. He explains fundamental growth types as the kinetic aspects of a class of structurally coupled autonomous systems. Two paradigms are treated with examples: the settling of clans competing for space and the concurrent sprouting of up to three plants. The author uses and explains his method of morphography, which generally requires of the artistically inclined scientist the design and usage of computer-generated figures called morphograms.

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Garfinkel, Alan P., and Donald R. Austin. "Reproductive Symbolism in Great Basin Rock Art: Bighorn Sheep Hunting, Fertility and Forager Ideology." Cambridge Archaeological Journal 21, no. 3 (2011): 453–71. http://dx.doi.org/10.1017/s0959774311000461.

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Coso Range rock drawings are a central subject and focus for debates positing alternative meanings and agents responsible for animal depictions in Great Basin prehistoric rock art. We present new evidence offering a middle ground between the divergent views of the ‘hunting religion, increase rites and overkill’ and the ‘shaman, visions and rain-making’ models. We argue that rock-art images, in general, possess multivocality and manifest imbricated conceptual metaphors operating on a variety of scales simultaneously. We recognize that Coso pictures, in one sense, metaphorically represent increa

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Ortega-Villaseñor, Humberto, and Alonso Santiago Ortega González. "Universe in Movement." Asian Journal of Humanity, Art and Literature 3, no. 2 (2016): 103–14. http://dx.doi.org/10.18034/ajhal.v3i2.311.

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In this paper, we analyze some aspects of the posthumous work of American writer Edgar Alan Poe, titled Eureka. A prose poem, published in 1848. This is a controversial book for several reasons, among others, by the complexity of its artistic characterization, depth of and cognitive influences and impact of its nutrients for the world of science, especially physics and astronomy. First, we proceed to do a panoramic review of the contributions of the writer outside the United States, and it is explained the interest in his vast literary production in France and in the Spanish-speaking world. Th

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Kadurina, A. O. "SYMBOLISM OF ROSES IN LANDSCAPE ART OF DIFFERENT HISTORICAL ERAS." Problems of theory and history of architecture of Ukraine, no. 20 (May 12, 2020): 148–57. http://dx.doi.org/10.31650/2519-4208-2020-20-148-157.

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Background.Rosa, as the "Queen of Flowers" has always occupied a special place in the garden. The emergence of rose gardens is rooted in antiquity. Rose is a kind of “tuning fork” of eras. We can see how the symbolism of the flower was transformed, depending on the philosophy and cultural values of society. And this contributed to the various functions and aesthetic delivery of roses in gardens and parks of different eras. Despite the large number of works on roses, today there are no studies that can combine philosophy, cultural aspects of the era, the history of gardens and parks with symbol

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Edwards, Gareth. "From the Black Square to the Red Square: Rebel leadership constructed as process through a narrative on art." Leadership 13, no. 1 (2016): 100–119. http://dx.doi.org/10.1177/1742715015626242.

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The contribution this paper makes to leadership studies is to advance leadership theory towards a process based perspective based on an appreciation of art. The article does this by using a narrative on art in Russia. The narrative forms the basis for discussing the role that symbolism and aesthetics play in (re)interpreting rebel leadership. The article also explores James Downton’s work alongside the narration to develop a socially constructed process based interpretation of rebel leadership. Building on this interpretation fundamental aspects of process-based leadership so far missing from

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