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Journal articles on the topic 'Thick aesthetic concepts'

Author: Grafiati

Published: 4 June 2025

Last updated: 1 August 2025

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1

BONZON, ROMAN. "Thick Aesthetic Concepts." Journal of Aesthetics and Art Criticism 67, no. 2 (2009): 191–99. http://dx.doi.org/10.1111/j.1540-6245.2009.01348.x.

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Hoffmann, Kai-Uwe. "Normativity and Thick Aesthetic Concepts." Aesthetic Investigations 1, no. 2 (2016): 319–27. https://doi.org/10.5281/zenodo.4027399.

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Thick aesthetic concepts such as ‘gracious’, ‘delicate’ and ‘virtuous’ are, according to the standard theory, characterised as both descriptive and evaluative. In the first part of this paper (I), I examine Sibley’s study of normativity with regard to his version of thick aesthetic concepts. In the second part (II), I concentrate on Zangwill’s recourse to Grice’s theory of implicature and the normative demands this move makes on the process. Finally (III), I develop a sketch that shows which contextual considerations precede the selection p

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Hoffmann, Kai-Uwe. "Normativity and Thick Aesthetic Concepts." Aesthetic Investigations 1, no. 2 (2016): 319–27. http://dx.doi.org/10.58519/aesthinv.v1i2.11997.

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 Thick aesthetic concepts such as ‘gracious’, ‘delicate’ and ‘virtuous’ are, according to the standard theory, characterised as both descriptive and evaluative. In the first part of this paper (I), I examine Sibley’s study of normativity with regard to his version of thick aesthetic concepts. In the second part (II), I concentrate on Zangwill’s recourse to Grice’s theory of implicature and the normative demands this move makes on the process. Finally (III), I develop a sketch that shows which contextual considerations precede the selection process of thick aesthetic concepts and how norm

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Wang, Yifan, and Yaluo Bai. "Aesthetic Exploration and Identity Perception of Body Hair." Highlights in Art and Design 7, no. 1 (2024): 1–4. http://dx.doi.org/10.54097/c2a51059.

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Traditionally, thick male body hair is seen as a symbol of masculinity, while women tend to seek a smooth state of body hair as a reflection of softness and beauty. As aesthetic concepts change, more and more people are embracing and celebrating body hair in its natural state, viewing it as a direct expression of their unique style and self-confidence. In this article, we firstly explain the development of body hair removal by introducing the history of hair removal, then further explore the aesthetics and identity perception of body hair by sorting out the relationship among body hair, gender

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Oliva, Stefano. "Risonanze della Teoria della Formatività di Luigi Pareyson nell’Estetica Musicale Contemporanea." Philosophy of Music 74, no. 4 (2018): 1077–92. http://dx.doi.org/10.17990/rpf/2018_74_4_1077.

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In spite of its limited influence on Italian Aesthetics, Luigi Pareyson’s Aesthetics. Theory of formativity is often cited in the contemporary debate about Aesthetic of music. In this paper I will present the context and reception of Pareyson’s theory of formativity, one of the main post-Crocian aesthetic theories. Then, I will introduce some of the key concepts of Pareyson’s Aesthetics as person, form and interpretation; at last, I will show the relevance of these concepts for issues such as: musical gesture, improvisation, written and not written music, musical ontology. Although these terms

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Innis, Robert E. "Peirce and Dewey think about art: Quality and the theory of signs." Semiotica 2019, no. 228 (2019): 103–33. http://dx.doi.org/10.1515/sem-2018-0079.

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AbstractMy goal in this essay is not to investigate the sources, systematic applications, extensions, or coherence of Peirce’s admittedly fragmentary remarks on aesthetics, tasks that have been undertaken by others. Rather, I want, with both historical and systematic intent, to draw attention to some important links between Dewey’s aesthetic use of Peirce’s theory of quality and the remarkable, albeit not thematic, reconstitution in Dewey’s explicitly experiential or perception based aesthetics of central Peircean distinctions and typologies that bear upon the putative aesthetic importance of

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Gannon, Matthew. "The Aesthetic Death Drive of Modernism." differences 31, no. 2 (2020): 58–85. http://dx.doi.org/10.1215/10407391-8662174.

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This essay argues not only that Wilhelm Worringer’s concept of the urge to abstraction from his work of art history Abstraction and Empathy (1908) prefigures Sigmund Freud’s notion of the death drive in Beyond the Pleasure Principle (1920) but also that Worringer’s aesthetics of nonrepresentational art solves in advance some key problems that Freud had in accounting for the modernism of his day. Though Worringer and Freud did not appear to ever engage with each other, their two central concepts share a high degree of compatibility, and it is possible to think of Worringer’s urge to abstraction

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Altynbaeva, Gulnara M. "“WORLDVIEW GEOGRAPHY” OF THE WRITER: JUSTIFICATION OF THE CONCEPT (ON THE MATERIAL OF A. I. SOLZHENITSYN’S LITERARY WORKS)." Proceedings of Southern Federal University. Philology 26, no. 1 (2022): 129–37. http://dx.doi.org/10.18522/1995-0640-2022-1-129-137.

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The article presents the substantiation of the literary concept «writer’s “worldview geography”» put forward by the author as one of the aesthetic principles of A.I. Solzhenitsyn. The author of the article aims at proving that the inclusion of the proposed concept in scientific circulation is relevant for the study of the writer’s aesthetics. Understanding the «writer’s “worldview geography”» as an aesthetic principle of the writer, which is realized in travel notes and literary texts about the journey based on the impressions of the trip, the author of the study insists that, choosing a place

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Moosa, Ebrahim. "Aesthetics and Transcendence in the Arab Uprisings." Middle East Law and Governance 3, no. 1-2 (2011): 171–80. http://dx.doi.org/10.1163/187633711x591512.

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Politics is regarded as a science for it tells us what to do, when it deals with measurable concepts. But politics is also an art—a form of practice, telling us how and when to do things. Lest we forget, the arts of persuasion and inspiration are part of politics. And, every art also produces an aesthetic. By aesthetics I mean, the ways by which we think about art: recall, art is what we do and how we do things. Th ose things and acts that become visible when we do and produce certain actions—jubilation, conversations, speeches, greetings, protests, banners, deaths, wounds and other expression

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Hacohen-Bick, Tafat. ""And Whatever Corner You Turn It's Either Garbage and Dirt or a Beard and Sidelocks": Agnon on Jews, Dirt, and Garbage." Shofar: An Interdisciplinary Journal of Jewish Studies 42, no. 2 (2024): 68–87. https://doi.org/10.1353/sho.2024.a946468.

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Abstract: This article examines the aesthetics of dirt in Shmuel Yosef Agnon's writing, through the perspective of the Anthropocene. I argue that the climate crisis requires a rethinking of many aspects of human life, including the way we think about consumerism, physical objects, bodily fluids, and filth. Agnon's writing — situated and struggling between two opposing aesthetic orders — can function as a valuable opportunity for rethinking these issues. I start with two moments of filth: The very short story "Three Sisters," and the story about Firadeus's father in the novel Shira . In the mai

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Mitranić, Nevena. "The Tales of Death and Kindergarten: Becoming in Dark Encounters [COVID-19 Edition]." AM Journal of Art and Media Studies, no. 24 (April 15, 2021): 41–56. http://dx.doi.org/10.25038/am.v0i24.420.

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For speculative pragmatism, aesthetics is an ethical practice of becoming with the world. Considering educational practice, we might say just the same. But an educational practice is not ethico-aesthetical by its nature – the challenge is to think and live it in an ethico-aesthetical manner. Acceptance of this conclusion goes easily with stressed importance of vitality, movement and creativity of thought – but what about death? Is death even allowed in educational practice? As this paper is written during the emergence of a pandemic, the question goes even further: could education and aestheti

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Malabou, Catherine. "Formas de destrucción Sufrimiento cerebral, sufrimiento psíquico y plasticidad. / Forms of destruction Cerebral suffering, psychic suffering, plasticity." Revista Liminales. Escritos sobre Psicología y Sociedad 1, no. 01 (2012): 115–26. http://dx.doi.org/10.54255/lim.vol1.num01.218.

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Durante el siglo XX, el concepto de plasticidad se desplazó desde la estética y la filosofía hacia el psicoanálisis y la neurología con el fin de caracterizar al sistema psíquico. Dicho desplazamiento se llevó a cabo de una manera simultáneamente muy cercana y muy diferente de aquellos conceptos previos. ¿Qué significa una ‘libido plástica’ o una ‘plasticidad cerebral’? ¿Puede ser esta una plasticidad destructiva? En el presente artículo se exploran las significaciones psicoanalíticas y neurológicas de la plasticidad, y se examina la posibilidad de pensar una plasticidad destructiva del cerebr

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Malabou, Catherine. "Formas de destrucción Sufrimiento cerebral, sufrimiento psíquico y plasticidad. / Forms of destruction Cerebral suffering, psychic suffering, plasticity." Revista Liminales. Escritos sobre Psicología y Sociedad 1, no. 01 (2012): 115–26. http://dx.doi.org/10.54255/lim.vol1.num01.218.

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Durante el siglo XX, el concepto de plasticidad se desplazó desde la estética y la filosofía hacia el psicoanálisis y la neurología con el fin de caracterizar al sistema psíquico. Dicho desplazamiento se llevó a cabo de una manera simultáneamente muy cercana y muy diferente de aquellos conceptos previos. ¿Qué significa una ‘libido plástica’ o una ‘plasticidad cerebral’? ¿Puede ser esta una plasticidad destructiva? En el presente artículo se exploran las significaciones psicoanalíticas y neurológicas de la plasticidad, y se examina la posibilidad de pensar una plasticidad destructiva del cerebr

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Fang, Ge, Yuxin Fu, and Linqi Peng. "Wabi-sabi Style: the Collision of the East and West, the Combination of the Fashion and the Nature." Journal of Education, Humanities and Social Sciences 8 (February 7, 2023): 2499–505. http://dx.doi.org/10.54097/ehss.v8i.5019.

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In the past fifty years, Japanese fashion as one of the most prosperous Asian fashions has become a legend in the world fashion field through its special oriental design that breaks the fashion aesthetics with the West as the mainstream in the past. In recent years, wabi-sabi style has become a new fashion trend. As sustainable fashion is advocated by more and more people, the ecological concept wabi-sabi aesthetic holds also accords with the eco-fashion tendency. This paper aims to study the wabi-sabi style in the fashion field, which includes its power to collide with the fashion world domin

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Stanic, George M. A., and Dee Russell. "Continuity in how We Think." Teachers College Record: The Voice of Scholarship in Education 104, no. 6 (2002): 1229–63. http://dx.doi.org/10.1177/016146810210400605.

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Prawat (2000, 2001) claims that a major discontinuity appeared in John Dewey's thinking in 1915, when Dewey moved away from the thinking of William James to that of Charles Peirce. The change is described as a “dramatic” and “stunning about face” in Dewey's views. We look at one crucial part of Prawat's evidence of discontinuity, the 1910 and 1933 versions of How We Think. Prawat cites passages from the 1933 version to make his case for discontinuity when, often, very similar (even identical) text can be found in the 1910 version. Focusing on Dewey's views on the role of the teacher, the place

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Karam, Muayyad Ahmed. "COMPETENT APPROACH AS A FACTOR OF PROFESSIONAL DEVELOPMENT OF STUDENTS OF ARTISTIC SPECIALTIES." Educological discourse, no. 3-4 (2019): 92–99. http://dx.doi.org/10.28925/2312-5829.2019.3-4.9299.

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The study deals with the conceptual approaches to the process of formation of competences of students of artistic specialties. The main goal of the educational process for students of artistic specialties, which consists in the comprehensive development and arming of essentially important competencies, theoretical knowledge and practical skills, the ability to think creatively, to improve practically their own individual abilities is determined. The ideology of artistic education is characterized in terms of a competent approach. The essence of the concepts of «competence», «aesthetic competen

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Salman, Haneen Khalid, and Ali Mohammad Abed. "Displacement of Substitution in The Poetry of Yousuf III the King of Granada (D.820 AH)." Journal of AlMaarif University College, no. 32(1) (January 27, 2021): 157–82. http://dx.doi.org/10.51345/.v32i1.221.g192.

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Displacement is one of stylistic terms and concepts, which appeared with modern poetry, especially in poetry, because poetic Language is popular with scholars and thinkers, and ancient Arab studies have paid attention to this phenomenon, but it has been expressed in other terms, such as counting, turning, violating, and paradoxical, poetic necessity and other terms,(some may think that displacement affects only expressions and structures but rather transcends them to images, ideas, meanings, vocalization, and even at the level of Letters), it is a departure from the usual and usual to formulat

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Kostіuk, O. "PHILOSOPHY OF ART AND DESIGN: UNDERSTANDING THE CULTURAL SPACE AND REFLECTION." Aesthetics and Ethics of Pedagogical Action, no. 30 (December 22, 2024): 54–63. https://doi.org/10.33989/2226-4051.2024.30.320915.

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The article raises a problem that characterizes the dynamic processes of the modern contradictory cultural environment, which encourages a person to think, take responsibility, and consciously choose the direction of their activity. The purpose of the article is to highlight the problem of understanding the cultural space of the philosophy of art and design in the context of critical-reflective processes. Art is defined as a manifestation of perfect skill in reflecting reality. Through the system of artistic images, with the help of certain means and techniques, a person learns, realizes, aest

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Dziudzia, Corinna. "Historisierung des Diskurses und Potenzierung ästhetischer Erfahrungen in der Literatur der (Post-)Moderne." Journal of Literary Theory 14, no. 1 (2020): 10–30. http://dx.doi.org/10.1515/jlt-2020-0002.

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AbstractThe paper is based on the assumption that modern art centralises aesthetic experience in a specific way, why it as well be may regarded – in contrast to the rather forced interpretation of art already opposed by Susan Sontag (Sontag 2001, 10) – as an appropriate mode for encountering art. However, the theoretical discourse on aesthetic experience is characterised by opposite poles, which will be examined in the first part of this paper. On the one hand, there is the utopian conception around 1800, in which the reflection on aesthetic experience originally is rooted, in Friedrich Schill

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Mayer, Seth. "Interpreting the Situation of Political Disagreement: Rancière and Habermas." Journal of French and Francophone Philosophy 27, no. 2 (2019): 8–31. http://dx.doi.org/10.5195/jffp.2019.888.

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Although Jacques Rancière and Jürgen Habermas share several important commitments, they interpret various core concepts differently, viewing politics, democracy, communication, and disagreement in conflicting ways. Rancière articulates his democratic vision in opposition to important elements of Habermas’s approach. Critics contend that Habermas cannot account for the dynamics of command, exclusion, resistance, and aesthetic transformation involved in Rancière’s understanding of politics. In particular, the prominent roles Habermas affords to communicative rationality and consensus have led pe

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Di, Sanza Silvia del Luján. "El concepto de técnica de la naturaleza fundamento de la idea kantiana de finalidad." Characteristica Universalis Journal 1, no. 1 (2020): 35–51. https://doi.org/10.5281/zenodo.4294119.

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The concept of the technique of nature is a concept that is not very well taken care of by the commentators of the Third Critique, in particular by those who interpret this work from Kant's position in the Critique of Pure Reason. The development of the idea of reflection, the discovery of a transcendental capacity for reflection: the Urteilskraft, the need to think about the incorporation of the empirical singular into a transcendental order and, all of this, according to the unity of the system of philosophy, makes the text of the Third Critique a work worthy of a reading and interpretat

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Hanfling, Oswald. "‘I heard a plaintive melody’: (Philosophical Investigations, p. 209)." Royal Institute of Philosophy Supplement 28 (March 1990): 117–33. http://dx.doi.org/10.1017/s1358246100005270.

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Asked about Wittgenstein's contribution to aesthetics, one might think first of all of his discussion of ‘family resemblance’ concepts, in which he argued that the various instances of games, for example, need not have any feature or set of features in common, in virtue of which they are all called games; the concept of a game can function perfectly well without any such set of conditions. This insight was soon applied to the much debated quest for a definition of the word ‘art’, and it was claimed that here too the various instances of art were related by way of family resemblance, so that it

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FIGUEIREDO, Virginia. "Arte após o fim da natureza/ Art after the end of nature." Revista Viso: Cadernos de Estética Aplicada 17, no. 32 (2023): 1–40. https://doi.org/10.5281/zenodo.8392648.

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This paper is an attempt to analyze the GFP Bunny, bio-art by the Brazilian artist Eduardo Kac, understood here as a paradigmatic contemporary work of art, based on some concepts from Kant's Aesthetics, especially those notions which shed light on the very ancient relationships that art maintains with nature, among which I will highlight the theory of genius. The paper includes a long “Methodological Note” that intended, at least, to initiate, without reaching any solution, the discussion about the current validity (or not) of the pair art/nature to think about the problem.

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University, of Galway. "Mastering Conceptualization and the Four Stages of Practice." Mastering Conceptualization and the Four Stages of Practice 1, no. 1 (2025): 1–20. https://doi.org/10.5281/zenodo.15049102.

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Design Like an Architect: Mastering Conceptualization and the Four Stages of Practice introduces a structured approach to architectural thinking aimed at students. The paper outlines four key stages—observation, conceptualization, development, and reflection—designed to cultivate critical and creative engagement with design problems. By emphasizing process over product, the framework encourages students to think beyond aesthetics and focus on meaning, context, and innovation. Drawing from theory and studio practice, this guide equips learners with tools to frame problems, generate

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Gil, Diego. "Processual Creativity and Partial Incorporations." AM Journal of Art and Media Studies, no. 24 (April 15, 2021): 83–94. http://dx.doi.org/10.25038/am.v0i24.423.

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Brian Massumi and Félix Guattari conceptualize the creative processual force of life that shapes the passages from the potential to the actual dimensions of experience. Throughout these passages, bodies, environments and their relational modes of felt perception crystallize into form. What the conceptual vocabulary of Massumi and Guattari offers is a tool box to register the processual creative forces that are predetermined towards a coming into shape of a body-environment (subjectivity), as well as to take into account the forces deflecting from capture. The relevancy of their concepts is in

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YERMOLENKO, Svitlana. "Word and memory of Ivan Drobnyi." Culture of the Word, no. 96 (2022): 7–26. http://dx.doi.org/10.37919/0201-419x.2022.96.1.

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The author of the article explores the individual linguistic style of Ivan Semenovych Drobnyi, a writer of the Sixties from Cherkasy region, in particular the language of his poetic texts. It is determined that the poet’s style represents the linguistic aesthetics of Ukrainian literature of the second half of the twentieth century, and the stylistic feature of I. Drobnyi’s language thinking reveals the connection of verbal associative images with realities, phenomena of Ukrainian nature, history of the native land, environmental problems and the inner world of a person in love with his land. T

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Muhammad Rizqi Fatahilah, Suci Ika Pujowati, and Heru Widhi Handayani. "Analisis Struktur Batin Pada Puisi Selamat Ulang Tahun Buku Karya Joko Pinurbo." Jurnal Sadewa : Publikasi Ilmu Pendidikan, pembelajaran dan Ilmu Sosial 2, no. 2 (2024): 115–19. http://dx.doi.org/10.61132/sadewa.v2i2.748.

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Poetry is one of the most interesting forms of literary work but is full of meaning. Poetry is a medium for conveying feelings and ideas with beautiful words. Poetry as a meaningful aesthetic work is also a recording and interpretation of human experience composed in the most memorable form. Poetry can make us laugh, cry, smile, think, reflect, be moved and even get emotional and angry. Until now, poetry can be an illustration of the cultural progress of society. How the writer of the poem views his world is a real picture of the culture that surrounds him. Because the progress of society from

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Rubio Marco, Salvador. "Ways of pointing to artworks: a Wittgensteinian approach = Formas de apuntar a las obras de arte: un enfoque wittgensteiniano." REVISTA DE HISTORIOGRAFÍA (RevHisto) 32 (November 20, 2019): 23. http://dx.doi.org/10.20318/revhisto.2019.4892.

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Abstract: The aim of P. Kivy’s recent De Gustibus: Arguing about Taste and Why We Do It (2015) is to answer to the very same question in terms of an emphasis on belief based on «phenomenological» (if not also ontological) «art-realism». Those who disagree on taste do so because they (explicitly or implicitly) see, in judgments relating to properties of artworks, the expression of beliefs, some of which are «true», and true in virtue of correctly reporting «facts» (non-aesthetic art-relevant facts, aesthetic art-relevant facts, or art value facts), and they try to convince others of what they t

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SPARK, JUDY. "The Environing Air: A Meditation on Communications Structures in Natural Environments." PhaenEx 8, no. 1 (2013): 185. http://dx.doi.org/10.22329/p.v8i1.3908.

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Any attention paid to the positioning of telecommunications installations in natural landscapes usually relates to the aesthetic impact. However, such paraphernalia, particularly when contrasted with “natural” surroundings, invites us to think beyond the visible. Through Heidegger’s accounts of Zuhandenheit and Vorhandenheit, as well as his later articulations on Nature as it is subjected to the ordering principles of Gestell, this paper aims to highlight the overlaps of the natural and the technological worlds inhabited by communications structures, considering the relationship between the hu

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Abreu, Jacqueline Amadio de, and Roberta Stubs. "Pensando as figurações feministas e o devir-mulher a partir da arte." Revista PHILIA | Filosofia, Literatura & Arte 2, no. 2 (2020): 269–301. http://dx.doi.org/10.22456/2596-0911.103978.

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Este artigo tem como objetivo pensar as figurações feministas e o devir-mulher a partir da arte para refletir sobre subjetividades inventivas. Em seu conteúdo, aborda-se o contexto do lugar da mulher na arte, desde o apagamento das mulheres até a reapropriação desse espaço pelos movimentos feministas. Para refletir sobre a arte, são apresentados os conceitos de devir e de figuração, bem como artistas que dialogam com esses conceitos. Sob o aporte teórico feminista, o trabalho aponta a arte como um meio de resistência na produção de novas narrativas pelas figurações, além de um estado de devir

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Y., Waghid. "On studious philosopohy of (higher) education?" South African Journal of Higher Education 36, no. 3 (2022): 1–5. http://dx.doi.org/10.20853/36-3-5236.

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Over a decade my reading of Giorgio Agamben’s writings on philosophy in relation to politics, aesthetics, and religion revolved around how notions of infancy, (im)potentiality, becoming, community, rhythmic and kairotic action can guide an understanding of higher education. Although Agamben has not written specifically about education the above concepts can be recognised as significant to a theory of higher education particularly because his ideas invariably radicalise any understanding of higher education. Such a radicalisation of higher education involves thinking anew about higher education

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Tedjokoesoemo, Purnama Esa Dora. "Bridging the Gap to Communicate Abstract Concept of Physics for Visual Learners." kata 25, no. 00 (2023): 101–6. http://dx.doi.org/10.9744/kata.25.00.101-106.

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In vitruvius principles, a successful applied design should comply with 3 basic needs. Those are venusity (aesthetic), utilities (function), and firmities (structure). As the bones of the building, structures are often unseen, covered, and considered last by most interior design students. Columns and beams are often taken as a nuisance in creating the perfect canvas of blank space ready to design. Thus, it creates a fragmentation within the building development process to create a well performing building. Conventional approach to deliver the understanding and basics of physics in construction

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Murphy, Maiya. "Edward Gordon Craig’s Continuity of Life, Mind, and Spirit: a Cognitive View." New Theatre Quarterly 35, no. 04 (2019): 373–86. http://dx.doi.org/10.1017/s0266464x19000411.

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In this article Maiya Murphy uses the enactive paradigm of cognition to take a fresh look at Edward Gordon Craig’s experiments in the theatre. By focusing on his obsession with movement, Maiya Murphy argues that an autopoietic conception of life can recategorize his problems with, ideas about, and experiments in the theatre as a coherent but multifaceted effort to create a very particular kind of cognitive engagement. She explores how enaction’s concept of the continuity of life and mind can map out a meaningful logic embedded in Craig’s intuitions about the connections between cognition, aest

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Matejic, Bojana. "Emancipation, duty and the artistic subject." Theoria, Beograd 59, no. 3 (2016): 105–12. http://dx.doi.org/10.2298/theo1603105m.

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In the ?Third Sketch for a Manifesto of Affirmationist Art? (?Troisi?me esquisse d?une manifeste de l? affirmationnisme?), Badiou brings together the concepts of Universality, the Senses and Duty in Art. The author will try to reassess the concept of Duty in Badiou?s conception of Affirmationist Art, examining the problems of, 1. How is an Emancipatory Art possible in the context of the anti-humanist condition? and 2. What is the ontological and epistemological status of an in-humanity as a fundamental presupposition of human emancipation in Art? It will be argued that the artistic formalizati

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Orazov, Mekan R., Viktor E. Radzinsky, Marina B. Khamoshina, et al. "Metabesity: pathogenetic bases and predictive capabilities. A review." Gynecology 25, no. 4 (2023): 416–23. http://dx.doi.org/10.26442/20795696.2023.4.202520.

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One of the most pressing problems of our time is obesity, recognized by the WHO as a pandemic of the XXI century. It is important to remember that obesity is a full-fledged nosological entity, but many women think that obesity is just a problem of beauty and aesthetics. It is important to note that this nosology has a number of serious consequences, starting with the development of cardiovascular disease and ending with cancer. However, the “problem in the problem” is the so-called “metabesity” – a new term that reflects a number of diseases, the pathogenesis of which is based on the metabolic

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Aránguiz, Felipe Kong. "The Triple Synthesis of Rhythm." Deleuze and Guattari Studies 18, no. 1 (2024): 36–59. http://dx.doi.org/10.3366/dlgs.2024.0541.

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Stemming from a general study of rhythm in the work of Gilles Deleuze, we propose a distribution of this concept throughout three levels: a topic level, in which we place rhythm between chaos and measure; a dynamic level, in which we analyse the formation of rhythm towards its stabilisation as a spatio-temporal dynamism; and an unfolding, in which these dynamisms take on the form of rhythmic machines applied in music (refrain), in painting (sensation) and in cinema (montage and time crystals). In this last phase, the rhythmic devices of various arts lead to a genesis of time. We are thus drive

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Doruk, Görkem Özkan, Akyol Kuyumcuoğlu Duygu, and Özer Edanur. "Relationship Between Visual Thinking and Visual Expression: Housing Environment Landscape Project Studio Experience." International JOURNAL OF SOCIAL, HUMANITIES AND ADMINISTRATIVE SCIENCES 10, no. 6 (2024): 745–51. https://doi.org/10.5281/zenodo.14249887.

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Landscape architecture is a discipline that creates spaces by considering the functional, aesthetic and semantic dimensions of the environment in line with human needs in the human-environment relationship. In the production of these spaces, the designer desires to create innovation and aims to present different designs for the user. The development of technology is constantly changing and developing landscape architecture education in terms of content and scope. In particular, the change in visualization technologies in the way students think is of great importance. This change can sometimes

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Kuehn, Manfred. "‘How, or Why, do we Come to Think of a World of Things in Themselves?’." Kantian Review 16, no. 2 (2011): 221–33. http://dx.doi.org/10.1017/s1369415411000082.

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AbstractThe interpretation of Kant's Critical philosophy as a version of traditional idealism has a long history. In spite of Kant's and his commentators’ various attempts to distinguish between traditional and transcendental idealism, his philosophy continues to be construed as committed (whether explicitly or implicitly and whether consistently or inconsistently) to various features usually associated with the traditional idealist project. As a result, most often, the accusation is that his Critical philosophy makes too strong metaphysical and epistemological claims.In his The Revolutionary

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Chamarette, Jenny. "Dwoskin: Disability, Diaspora, Dysphoria." Jewish Film & New Media: An International Journal 10, no. 1 (2022): 81–117. http://dx.doi.org/10.1353/jfn.2022.a914337.

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ABSTRACT: In this article, I argue that looking and staring, which are typical aspects of Stephen Dwoskin's experimental, highly personal approach to cinema, contribute to a broader sensory inquiry into conditions of diasporic and disabled (gender) dysphoria. I explore the intersecting relationships between these four "d's"—Dwoskin, disability, diaspora, and dysphoria—understanding how in recent years the fields of transgender (trans) studies, diaspora studies, and disability studies have demonstrated collective interest in conditions of dysphoria as strategies that negotiate complex embodimen

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Blok, Johan. "Toward a Formal Interpretation of Kant's Analogies of Experience." Hegel Bulletin 28, no. 1-2 (2007): 107–20. http://dx.doi.org/10.1017/s0263523200000665.

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Very often, the rise of non-Euclidean geometry and Einstein's theory of relativity are seen as the decisive defeat of Kant's theoretical philosophy. Scientific progress seems to render Kant's philosophy obsolete. This view became dominant during the first decades of the twentieth century, when the movement of logical positivism arose. Despite extensive criticism of basic tenets of this movement later in the twentieth century, its view of Kant's philosophy is still common. Although it is not my intention to defend Kant infinitely, I think that this view is rather unsatisfactory and even mislead

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Zalewski, Cezary. "From “catharsis in the text” to “catharsis of the text”." Forum Philosophicum 25, no. 2 (2020): 323–39. http://dx.doi.org/10.35765/forphil.2020.2502.21.

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Roman Ingarden (1893–1970) was a prominent Polish philosopher, phenomenologist, and student of Edmund Husserl. A characteristic feature of his works was the almost complete absence of analyzes from the history of philosophy. That is why it is so surprising that right after the end of World War II, the first text analyzed when Ingarden started working at the Jagiellonian University was Aristotle’s “Poetics.” Ingarden published the results of his research in Polish in 1948 in “Kwartalnik Filozoficzny” and in the early 1960s his essay was translated and published in the renowned American magazine

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Konrath, Germana, and Paulo Edison Belo Reyes. "Fabulation as Design." Revista de Gestão Social e Ambiental 18, no. 4 (2024): e04752. http://dx.doi.org/10.24857/rgsa.v18n4-079.

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Objective: In urban planning, the idea of designing not only space but also time is fundamental and transformative, given its implications for the way we think and produce cities. In this sense, the article seeks to explore different methods of urban design based on a temporal matrix.  Method and theoretical framework: We bring forth two poetic actions developed by the contemporary artist Francis Alÿs, where the concepts of fable and project are present. Alÿs's poetics (empiricism) are discussed here and intersected with theoretical concepts from a literature review, highlighting t

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Et al., Raima Shirinova. "“SYSTEM OF IMAGE IN CREATIVITY OF CHINGIZ AYTMATOV”." Psychology and Education Journal 58, no. 1 (2021): 5558–69. http://dx.doi.org/10.17762/pae.v58i1.1953.

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Background: this article is devoted to the work of the Kyrgyz Soviet writer ChingizAytmatov. In the vast world of fiction, Aytmatov's works amaze us with their figurative system. Against the background of everything and everyone, admires us with the simplicity, beauty, the variety of images created by the writer, whether it is the image of a person, politician, journalist, village shepherd, tree, horse, whale, ocean, etc.The Sarozek steppes, the vastness of space, Issyk-Kul, the Kremlin, Red Square in Moscow, a yurt in a Kyrgyz village, a church choir, Shostakovich's music, Georgian singing, B

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Reisinger, Elisabeth. "“Some Sort of Machine without a Body”." Studia Musicologica 64, no. 1-2 (2024): 75–91. http://dx.doi.org/10.1556/6.2023.00005.

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AbstractFrom the mid-1950s, Basel harpsichordist Antoinette Vischer (1909–1973) promoted the harpsichord as a modern instrument, commissioning numerous composers to contribute to a new repertoire. To this end, she turned to György Ligeti, who completed Continuum for her in 1968. The composer had already used the harpsichord in ensembles several times, but now he had to think about it in a soloistic function for the first time, starting from a specific performer with her specific instrument. In this paper, I focus on this relationship between composer, performer-commissioner, and instrument, dr

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Azize, Rafael Lopes. "Literatura, Arte e Discurso Argumentativo: Apontamentos para um contraste/Literature, Art and Argumentative Discourse: notes towards a contrast." Pensando - Revista de Filosofia 4, no. 8 (2014): 103. http://dx.doi.org/10.26694/pensando.v4i8.1831.

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Literatura e arte, por um lado, e discurso argumentativo, por outro, soem situar-se em campos opostos, de tal maneira que maximizar um é minimizar o outro. Mais ainda se restringimos os conceitos a poesia e lógica. Quando ensaiamos contrastar esses campos do discurso, listas de atributos distintivos necessários e suficientes, ou mesmo a noção de função, parecem recursos pobres para dar conta do papel que esses conceitos desempenham. Pensamos, com isso, no que Wittgenstein gostava de chamar de rituais de uma forma de vida – os quais haveria que descrever com mais perspicuidade para fazer justiç

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Filippova, T. V., and V. V. Ermolaev. "THE FEATURES OF THE «I-CONCEPT» OF RUSSIAN FEMALE POLICE OFFICERS." Scientific Notes of V.I. Vernadsky Crimean Federal University. Sociology. Pedagogy. Psychology 6(72), no. 4 (2021): 140–50. http://dx.doi.org/10.37279/2413-1709-2020-6-4-140-150.

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The article presents data from an empirical study of the features of the “I-concept” of Russian female police officers. An increasing number of women realise themselves in professions traditionally seen as those suitable principally for men, including working in the police. The authors consider the socio-psychological issue of transformation of gender-role behavior and related stereotypes, which contributes to a blurring of the boundaries between male and female in the structure of the psyche of the person, and naturally causes a transformation of the «I-concept» of female police officers. Dif

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Batcho, James. "Kubrick’s audible bodies: unseen subjectivities in 2001 and The Shining." Semiotica 2021, no. 243 (2021): 281–303. http://dx.doi.org/10.1515/sem-2020-0105.

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Abstract Stanley Kubrick is regarded as a filmmaker of complex imagery. Yet the vitality of his more metaphysical works lies in what is unseen. There is an embodiment to Kubrick’s films that maintains a sense of subjectivity, but one which is unapparent and non-visual. This opens another way into Kubrick’s works, that of conditions of audibility (hearing/listening), affectivity, and signs. To think of embodiment from such an audible perspective requires one to subvert film spectatorship (the frame) and instead enter the reality of the film’s immanent, borderless unfolding as itself. This essay

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Rozin, Vadim Markovich. "Sequence of discussion on the “Psychology of Art” by L. S. Vygotsky (analysis and Interpretation of literary works)." Культура и искусство, no. 7 (July 2021): 81–92. http://dx.doi.org/10.7256/2454-0625.2021.7.36093.

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&nbsp; This article reviews the polemic of the author with a number of well-known psychologists who consider L. S. Vygotsky a humanities scholar, and that the book &ldquo;Psychology of Art&rdquo; introduces psychologists to the humanities. The author clarifies his position, trying to show that in his methodological projects L. S. Vygotsky adheres to the natural scientific approach; however, in some works he actually does think as a humanist. The author also casts doubt on Vygotsky's concept of art, demonstrating that the offered mechanisms of aesthetic response and interpretation o

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Balappa. "A STUDY ON AUTOBIOGRAPHICAL ELEMENTS IN POETRY." Shanlax International Journal of Arts, Science and Humanities 6, S2 (2019): 162–64. https://doi.org/10.5281/zenodo.2632856.

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<em> “Aesthetic beauty should be expressed in literature”. Literature should not be stagnant water, but it must be like a flowing river. Innovative expressions, universal values should be developed and bloomed up. Only then prosperous, rich, eternal literature will live. To this Kannada literature doesn’t go out of way.  Till 19<sup>th</sup> century, Kannada literature was single faceted. But, after the invasion of british influenced it like a fresh air, taking away old views in order to welcome the new ones.  ‘Poetry’ means – which was abide

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Le, Vincent. "Philosophy’s dark heir: On Nick Land’s abstract horror fiction." Horror Studies 11, no. 1 (2020): 25–42. http://dx.doi.org/10.1386/host_00009_1.

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Nick Land is a British philosopher who developed a compelling transcendental materialist critique of anthropocentric philosophies throughout the 1990s before leaving academia at the turn of the century and moving to Shanghai. While he is now best known for his controversial pro-capitalist political writings, he has also recently developed a theory of what he calls ‘abstract horror fiction’, as well as applied it in practice by writing two abstract horror novellas. Although one might think that Land’s horror fiction, like his recent far-right politics, marks a new and independent body of work f

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