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Artigos de revistas sobre o tema "Aesthetics, Modern"

Autor: Grafiati

Publicado: 4 de junho de 2021

Última modificação: 1 de agosto de 2024

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1

Konanchuk, Svetlana. "MODERN AESTHETIC EDUCATION: CURRENT PROBLEMS AND MAIN TRENDS." Man and Education, no. 2 (75) (2023): 86. http://dx.doi.org/10.54884/s181570410026348-7.

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The article discusses the main problems and trends in the development of modern aesthetic education in Russia. It is noted that Russian aesthetic education is currently undergoing a number of positive innovative transformations associated with the processes of strengthening the virtual component in artistic culture and the social sphere. A number of scientific events, such as international conferences and the Russian Aesthetic Congress, held over the past five years, have served as an active incentive for the development of theoretical and practical aesthetics and aesthetic education. The curr

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2

Du, Wei. "Aesthetic utilitarianism: heritage of modern Chinese aesthetics." Neohelicon 43, no. 2 (August 31, 2016): 529–42. http://dx.doi.org/10.1007/s11059-016-0359-4.

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3

Qu, Weicheng. "Modern Chinese Scholars' Perspectives on Zhuangzi's Aesthetics." Communications in Humanities Research 4, no. 1 (May 17, 2023): 491–96. http://dx.doi.org/10.54254/2753-7064/4/20220741.

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Modern Chinese scholars of Zhuangzi's aesthetics can be illustrated by the words of Liu Shaojin in Zhuangzi and Chinese Aesthetics. The aesthetic significance of the book Zhuangzi is not a theoretical summary of beauty and art as objects, but rather, when it comes to its 'Dao', it's understanding of The aesthetic significance of Zhuangzi's book is not a theoretical summary of beauty and art, but a coincidence between its experience and realm of 'Tao' and the aesthetic experience and realm of art. Because of this coincidence, later generations naturally transposed these philosophical questions

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4

Shevchuk, Dmytro, and Kateryna Shevchuk. "Aesthetics and Politics." Symposion 10, no. 2 (2023): 261–73. http://dx.doi.org/10.5840/symposion202310215.

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The paper examines the relationship between aesthetics and politics. In modern humanities, we can find few conceptions of this relationship. These conceptions are not only part of political philosophy or political theory, but also a methodological instrument for analyzing modern politics and aesthetics. They provide an opportunity to understand both the features of contemporary politics and the state of modern aesthetic theory in light of the significant changes that have affected both of these spheres. This article analyzes the main models of the relation between aesthetics and politics. We i

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Ortlieb, Stefan A., Werner A. Kügel, and Claus-Christian Carbon. "Fechner (1866): The Aesthetic Association Principle—A Commented Translation." i-Perception 11, no. 3 (May 2020): 204166952092030. http://dx.doi.org/10.1177/2041669520920309.

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Most of the groundbreaking works of Gustav Theodor Fechner (1801–1887), who paved the way for modern experimental psychology, psychophysics, and empirical aesthetics, are so far only available in German. With the first full text translation of Fechner’s article on The Aesthetic Association Principle ( Das Associationsprincip in der Aesthetik), we want to fill in one of the blank spots in the reception of his Aesthetics from Below (Aesthetik von Unten). In his 1866 article, Fechner devises a fundamental principle that accounts for the role of associations in the formation of aesthetic preferenc

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6

Sernelj, Téa. "Different Approaches to Modern Art and Society: Li Zehou versus Xu Fuguan." Asian Studies 8, no. 1 (January 10, 2020): 77–98. http://dx.doi.org/10.4312/as.2020.8.1.77-98.

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Proceeding from the inseparable relation between ethics and aesthetics in traditional (and often also modern) Chinese thought, this article aims to illuminate two important approaches to the aesthetic foundations of Chinese modernity. The relation between the individual and society, which is a core question of modern ethics, is reflected in most of the ethical theories of 20th century China. In this context, the article first presents Li Zehou’s theory of aesthetics and his definition of aesthetic experience. In this way, it aims to illuminate Li’s interpretation of modern art and society, and

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Ortlieb, Stefan A., and Claus-Christian Carbon. "Kitsch and Perception: Towards a New ‘Aesthetic from Below’." Art and Perception 7, no. 1 (March 6, 2019): 1–26. http://dx.doi.org/10.1163/22134913-00001091.

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Although kitsch is one of the most important concepts of twentieth-century art theory, it has gone widely unnoticed by empirical aesthetics. In this article we make a case that the study of kitsch is of considerable heuristic value for both empirical aesthetics and art perception. As a descriptive term, kitsch appears like a perfect example of hedonic fluency. In fact, the frequently invoked opposition of kitsch and art reflects two types of aesthetic experience that can be reliably distinguished in terms of processing dynamics: a disfluent one that promises new insights but requires cognitive

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8

He, Kailin. "Research on Marketing Strategy Formulation and Optimization of Korean Wave Idol Market under Modern Aesthetic Changes." SHS Web of Conferences 181 (2024): 01014. http://dx.doi.org/10.1051/shsconf/202418101014.

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The modern aesthetic is on the path of continuous innovation, and the modern aesthetic has been part of the cause of the expansion of consumerism for a long time. The marketing strategy of Korean idols has been developed and optimized to a certain extent in this context. In order to study the development and optimization of the Korean idol market in the context of modern aesthetics, this paper investigates the changes and optimization of the marketing strategies of the second-generation girl group “Girls Generation” in the early and late stages and summarizes the impact of modern aesthetics on

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9

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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10

Kholodynska, Svitlana. "THE CREATIVE WORK OF BORIS VIAN WITHIN FRENCH HUMANITIES OF THE 1940s–1960s." UKRAINIAN CULTURAL STUDIES, no. 1(12) (2023): 29–33. http://dx.doi.org/10.17721/ucs.2023.1(12).07.

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In the second half of the 20th century, discussions around the understanding of crisis phenomena that permeated all spheres of human life became more frequent, in particular, the spheres of art and aesthetics were also touched upon. The crisis in the artistic sphere was connected with the general cultural crisis of the late 19th and early 20th centuries, the decline of spirituality, and the relativization of values, primarily moral and aesthetic. Analysis of the crisis in the sphere of artistic practice and aesthetics of the 20th century was the subject of scientific research by several repres

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11

Shevchuk, Kateryna. ""CRISIS OF ART" AND "CRISIS OF AESTHETICS" IN RESEARCH OF POLISH HUMANITIES OF THE SECOND HALF OF THE 20th CENTURY." UKRAINIAN CULTURAL STUDIES, no. 1(12) (2023): 25–28. http://dx.doi.org/10.17721/ucs.2023.1(12).06.

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In the second half of the 20th century, discussions around the understanding of crisis phenomena that permeated all spheres of human life became more frequent, in particular, the spheres of art and aesthetics were also touched upon. The crisis in the artistic sphere was connected with the general cultural crisis of the late 19th and early 20th centuries, the decline of spirituality, and the relativization of values, primarily moral and aesthetic. Analysis of the crisis in the sphere of artistic practice and aesthetics of the 20th century was the subject of scientific research by several repres

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12

Onishchenko, E. I. "POLISH AESTHETIC DISCOURSE OF THE 20TH CENTURY: INTERPRETATION OF INTERPRETATIONS." UKRAINIAN CULTURAL STUDIES, no. 1 (2) (2018): 25–29. http://dx.doi.org/10.17721/ucs.2018.1(2).05.

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The article is devoted to the analysis of the Polish aesthetic discourse of the twentieth century and the prospects for its interpretation in the Ukrainian aesthetics, particularly in the works by Kateryna Shevchuk, defended at the department of ethics, aesthetics and culture studies of Taras Shevchenko National University of Kyiv. These research greatly extend the idea of the aesthetic canon of the Polish thought, classically represented by the aesthetics R. Ingarden and W. Tatarkiewicz and reveal the names of virtually unknown in Ukraine Polish scientists, including special interest is the l

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13

Suwignyo, Heri. "LINTASAN PEMIKIRAN ESTETIKA PUISI INDONESIA MODERN (THE PERIOD OF ORIENTATION MINDED INDONESIAN’S MODERN POETRY AESTHETIC)." JURNAL BAHASA, SASTRA DAN PEMBELAJARANNYA 3, no. 2 (March 1, 2018): 210. http://dx.doi.org/10.20527/jbsp.v3i2.4554.

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AbstractThe Period of orientation minded Indonesian’s modern poetry aesthetic. The orientationminded Indonesian’s modern poetry aesthetic leads to aesthetic theory of harmony,deviation, and emancipatory. The conception of poetry by Sanusi Pane, Rustam Effendi’spoems appearance, and the sonnets by M. Yamin which have soul about nationalism,have relation to harmony of pantun and syair’s asthetic. Mind of deviation aestheticmarked by Chairil’s free poetry that emphasized the depth of the meaning rather thanlinguistic devices. Emancipatory aesthetic found by credo Sutardji that liberating wordsfro

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14

Shuangyu, Xue. "World Relational Aesthetics: A Modern-Day Continuation of Theological Aesthetics1." Contemporary Chinese Thought 51, no. 1 (January 2, 2020): 70–78. http://dx.doi.org/10.1080/10971467.2020.1768762.

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15

Meng, Fanjun, and Yushui Liang. "A New Interpretation of the Essence of Aesthetic Experience: From the Perspective of Cognitive Neuroaesthetics and Aesthetic Anthropology." Journal of Aesthetic Education 56, no. 4 (December 1, 2022): 97–120. http://dx.doi.org/10.5406/15437809.56.4.07.

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Abstract In the transformation from classical to modern aesthetics, the proposition and exploration of aesthetic experience constitutes one of the major dimensions of various aesthetic problems. Pragmatic aesthetics, phenomenological aesthetics, hermeneutic aesthetics, analytical aesthetics, and new pragmatic aesthetics have comprehensively analyzed and discussed aesthetic experience. Through the construction and deconstruction of aesthetic experience in aesthetic history, the study of the key concept seems to have come to a certain predicament. This is mainly reflected in the fact that the su

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16

Draskic-Vicanovic, Iva. "Aesthetics as analysis of mind experience." Filozofija i drustvo 26, no. 3 (2015): 617–28. http://dx.doi.org/10.2298/fid1503617d.

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The paper presents an at tempt to shed light on causes and circum stances which brought about foundation of aesthetics in 18th century as discipline which analyzes mind experience. Author recognizes key importance of 17th century epistemology for constitution of modern aesthetics, principally idea of subjectivity, subject-object relation problem and new method - philosophical introspection. Special place in modern aesthetics, according to author, deserves aesthetic theory of Francis Hutcheson who defines beauty as phenomenal quality of subjective experience of human mind.

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Froy, Thomas. "Everyday Aesthetics - Review." Aesthetic Investigations 5, no. 2 (January 31, 2023): 229–31. http://dx.doi.org/10.58519/aesthinv.v5i2.13535.

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This article reviews the volume 'Everydayness: Contemporary Aesthetic Approaches', edited by Lisa Gombini and Adrián Kvokačka. Thomas Froy assesses the relation, explored by the contributing authors, between the notion of the 'everyday' and the field of aesthetics, focussing on questions about the 'who' and the 'what' of everyday aesthetics, and its place in the modern world.

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18

Wilkoszewska, Krystyna. "Aesthetic experience in the nature-culture continuum: The biological dimension of pragmatist aesthetics." SAJ - Serbian Architectural Journal 7, no. 2 (2015): 47–56. http://dx.doi.org/10.5937/saj1501047w.

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In 1930 American pragmatist philosopher John Dewey introduced into aesthetics a relatively new idea of experience. Living in modern time Dewey offered non-modernist way of thinking which especially in the field of aesthetics seems to be more adequate to our time than the modern ideas of aesthetic experience and autonomy of art. After short presentation of Dewey's philosophy of aesthetics I would like to show its inner dimensions that are fully developed today: ecological, evolutionary and transhuman tendencies, experience as interaction, soma and sensuous perspective.

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19

Dourley, John. "Jung, a mystical aesthetic, and abstract art." International Journal of Jungian Studies 7, no. 1 (January 2, 2015): 4–18. http://dx.doi.org/10.1080/19409052.2014.924687.

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On the question of aesthetics, Jung makes a clear distinction between aestheticism and aesthetics. He dismissed the former as lacking substance and moral commitment, but allows that his psychology can never usurp but can contribute to a depth aesthetic. On close examination, this aesthetic rests on the manifestation of the archetypal in all forms of creativity. As such, it is closely related to the spiritual and religious. Modern expressionist and abstract art was consciously influenced by the apophatic mystical tradition to which Jung himself was drawn. Kandinsky and Arp are significant repre

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20

Biskoivski, Lawrence J. "Politics Versus Aesthetics: Arendt's Critiques of Nietzsche and Heidegger." Review of Politics 57, no. 1 (1995): 59–89. http://dx.doi.org/10.1017/s0034670500019938.

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Several recent commentaries on Hannah Arendt's political thought have suggested strong connections and affinities between Arendt and Nietzsche or between Arendt and various later Nietzschean, aestheticist, or postmodernist thinkers. But a close reading of Arendt's critiques of Nietzsche and Heidegger suggests that an overemphasis on the more Nietzschean or aesthetic aspects of Arendt's work risks obscuring some vital distinctions Arendt makes or preserves concerning politics and aesthetics. More significantly, the Nietzschean or aestheticist interpretation of Arendt tends to conceal or distort

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21

Grubor, Nebojsa. "Baumgarten‘s foundation of modern aesthetics." Filozofija i drustvo 26, no. 3 (2015): 599–616. http://dx.doi.org/10.2298/fid1503599g.

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The paper explains Baumgarten?s foundation of modern aesthetics as the science of sensible cognition. The paper first examines mentalistic paradigm in modern philosophy as an intellectual background of Baumgarten?s philosophy and aesthetics (I). This is followed by consideration of Baumgarten?s definitions of aesthetics from Philosophical meditations of pertaining to some matters concerning poetry (1735), Metaphysics (1739) and Aesthetics (1750) (II). Finally, it considers Baumgarten?s definition of aesthetics as the science of sensible cognition starting from Leibniz?s theory of different sta

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22

S. Foroozani, Seyedeh, and Bahee Hadaegh. "Moderno kazalište iz estetskih perspektiva." Anafora 10, no. 1 (2023): 149–72. http://dx.doi.org/10.29162/anafora.v10i1.7.

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Modern aesthetics is fascinated by the quality of empirical expressions in art, where the most unattainable forms of experiences seek refuge to survive through temporal dialectics. Whereas modern art endeavors to transcend its inherent experience of suffering through negating the sociopolitical reality of the imposed suppressive pain, Theodor Adorno’s Aesthetic Theory associates itself with the study of a non‐discursive form of experience that refers to the transient nature of a multilayered truth, compromising a self‐reflexive and subjectively temporal essence, to which all aesthetic question

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23

Nia, Hourakhsh Ahmad, and Rokhsaneh Rahbarianyazd. "Aesthetics of Modern Architecture: A Semiological Survey on the Aesthetic Contribution of Modern Architecture." Civil Engineering and Architecture 8, no. 2 (April 2020): 66–76. http://dx.doi.org/10.13189/cea.2020.080204.

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Chen, Shan. "The Imaginative Impulse: Philosophies of Film and Chinese Aesthetic Sensibilities." Journal of Chinese Film Studies 1, no. 2 (October 27, 2021): 399–414. http://dx.doi.org/10.1515/jcfs-2021-0023.

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Abstract This article investigates the similarities between inherent Chinese aesthetic sensibilities and modern cinematic thought and introduces Chinese films’ exploration of oriental film aesthetics during the “seventeen-year period” (1949–1966). It serves to remind us that in seeking to understand the developmental trajectory and driving forces behind Chinese film art, it is important to examine the changes in and contexts of modern Chinese modes of thought—especially artistic thought—so as to reveal the aesthetic sensibilities of modern Chinese films; the true nature of their artistic inher

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Grubor, Nebojsa. "Hermeneutics of taste Gadamer’s critique of Kant’s aesthetics in truth and method." Theoria, Beograd 59, no. 3 (2016): 23–33. http://dx.doi.org/10.2298/theo1603023g.

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The Article explains Gadamer?s critique of Kant?s aesthetics in Truth and Method (1960). The paper first examines basics characteristics of Kant?s foundation of modern aesthetics (I). This is followed by consideration Gadamer?s interpretations of the process of the subjectivization of aesthetics in Kant?s Third Critique (II). Finally, it considers critique of abstraction aesthetic consciousness and conception of aesthetic differentiation as Gadamer?s attempt to through analysis of Kant?s theory of taste complete its own hermeneutics of art (III).

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Turner, Frederick. "The Crisis in Modern Aesthetics." Performing Arts Journal 11, no. 2 (1988): 7. http://dx.doi.org/10.2307/3245640.

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Rao, V. "Hindu Modern: Considering Gandhian Aesthetics." Public Culture 23, no. 2 (April 1, 2011): 377–94. http://dx.doi.org/10.1215/08992363-1161958.

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Nannini, Alessandro. "Ancient or modern? Alexander G. Baumgarten and the coming of age of aesthetics." Filozofija i drustvo 26, no. 3 (2015): 629–51. http://dx.doi.org/10.2298/fid1503629n.

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The aim of this essay is to examine Baumgarten?s conception on the history of aesthetics and on his role in it. In the first part, I analyze the way in which Baumgarten?s aesthetic innovation has been perceived by two of his disciples, namely Georg Conrad Winckelmann and Georg Andreas Will. While the former puts the emphasis on the modernity of aesthetics, Will seems more inclined to attribute the birth of aesthetics to ancient philosophers. Despite this apparent disagreement, my thesis is that the basic positions of the two authors are very similar and find their rationale in Baumgarten?s pec

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Huang, Taochen. "Literature Review on the Study of Modernity in Tragic Aesthetics." Communications in Humanities Research 14, no. 1 (November 20, 2023): 322–28. http://dx.doi.org/10.54254/2753-7064/14/20230512.

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Tragic aesthetics, a field of study encompassing profound explorations of human suffering and volition, has played a crucial role in the development of human artistic and cultural expressions from ancient Greek times to the present day. With the continuous evolution and advancement of modern society, the concept of modernity has gradually intertwined with the ideal and aesthetics of tragedy. Modernity introduces new ideas, values, and aesthetic perspectives that have progressively influenced the realm of tragic art and aesthetics. This paper focuses on the manifestations of modernity in the ev

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Lisovetc, Irina, and Boris Orlov. "Urban Art Practices in the Vision of Projective Aesthetics." AM Journal of Art and Media Studies, no. 22 (September 15, 2020): 77–84. http://dx.doi.org/10.25038/am.v0i22.389.

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Modern urban art practices (public art, street art, flash mob, performance, etc.), are engaged in a radical aesthetic transformation of everyday life. The problem of projective aesthetics is taken as a variant of the praxis of modern aesthetics. Projective aesthetics suggests that one should mark out art projects which are created in the real aesthetic experience and which represent topical cultural issues in daily human life. Being the subject of projective aesthetics, the main examples of that kind are the projects of actual art in the urban environment. It is a group of artifacts at the bor

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Xu, Jing. "On the applied value of traditional Chinese aesthetics in modern illustration design." OOO "Zhurnal "Voprosy Istorii" 2023, no. 9-1 (September 1, 2023): 236–43. http://dx.doi.org/10.31166/voprosyistorii202309statyi23.

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The purpose of this article is to study the applied value of traditional Chinese aesthetics in modern illustration design, as well as to identify the features of combining traditional and modern aesthetic principles in creating illustrations.

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Okulov, Jaana. "Artificial Aesthetics and Aesthetic Machine Attention." AM Journal of Art and Media Studies, no. 29 (October 15, 2022): 13–28. http://dx.doi.org/10.25038/am.v0i29.534.

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The aesthetics of artificial intelligence is often viewed in relation to the qualities of their generated expressions. However, aesthetics could have a broader role in developing machine perception. One of the main areas of expertise in aesthetics is the understanding of feature-based information, which involves how the aesthetics of sensory features can cause affective changes in the perceiver, and the other way around – how affective states can give rise to certain kinds of aesthetic features. This two-way link between aesthetic features and affects is not yet well-established in the interdi

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Manuel, Peter. "Music as symbol, music as simulacrum: postmodern, pre-modern, and modern aesthetics in subcultural popular musics." Popular Music 14, no. 2 (May 1995): 227–39. http://dx.doi.org/10.1017/s0261143000007455.

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Postmodern aesthetics has come to be recognised as a salient feature of much popular culture, including music. Urban subcultures, and especially migrant subcultures, may have inherent inclinations toward postmodern aesthetics, while at the same time retaining ties to modern and even pre-modern cultural discourses. The syncretic popular musics created by such subcultures may reflect these multiple cultural orientations by combining postmodern and more traditional characteristics. Thus, for example, punk rock and rap music can be seen to combine postmodern techniques of pastiche, bricolage and b

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Ya, Song. "A Study on Creation Principles of Five-storied Pagoda: From the Perspective of Eco-aesthetics." Studies in Linguistics and Literature 5, no. 4 (October 18, 2021): p53. http://dx.doi.org/10.22158/sll.v5n4p53.

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The novel-Five-storied Pagoda-written by Japanese novelist Koda Rohan manifestly presents ecological consciousness from the perspective of the natural principle, the holistic principle, and the harmonious principle, which are the three principles of ecological aesthetics. By perceiving the harmonious atmosphere among man and nature, individuals themselves, individuals, and society in texts, we can learn that Koda Rohan insisted on traditional Japanese aesthetics and prospectively reflected on the modern aesthetic ideology of Japanese society after Meiji Restoration. This paper explores the aes

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Teukolsky, Rachel. "Modernist Ruskin, Victorian Baudelaire: Revisioning Nineteenth-Century Aesthetics." PMLA/Publications of the Modern Language Association of America 122, no. 3 (May 2007): 711–27. http://dx.doi.org/10.1632/pmla.2007.122.3.711.

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John Ruskin's Modern Painters V (1860) and Charles Baudelaire's “The Painter of Modern Life” (1863) are contemporaneous texts that both champion modern painters. Yet the two have rarely been considered together; while Ruskin's work is usually taken to represent a moralistic Victorianism, Baudelaire's essay is a foundational text of aesthetic modernism. This article compares the two texts in order to arrive at a more accurate, descriptive sense of nineteenth-century aesthetics, especially at the mid-century moment when “the modern” emerges as an aesthetic value in both England and France. Ruski

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He, Guang Qing. "The Aesthetic View of the Chinese Urban Landscape Design." Applied Mechanics and Materials 584-586 (July 2014): 587–94. http://dx.doi.org/10.4028/www.scientific.net/amm.584-586.587.

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The modern city landscape not only as a window of the image of the city, but also an important manifestation of architectural aesthetics. Concern landscape characteristics in China's development, further analysis and design point of aesthetic consciousness and aesthetic spirit. Therefore, in view of the aesthetic characteristics of traditional and modern landscape, this paper attempts to explore the sustainable development of the visual system.

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Khrenov, Nikolay A. "Aesthetics as a Human Science in the Situation of Culturological Reflection Becoming." Koinon 2, no. 4 (2021): 13–25. http://dx.doi.org/10.15826/koinon.2021.02.4.037.

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The article aims to correlate aesthetics with the science of culture, which is increasingly attracting attention at the turn of the XX–XXI centuries. This correlation can give rise to a whole scientific direction, which could be called cultural aesthetics. In this case, arguments are needed. The fact is that the science of culture today attracts other humanities with its universality and ability to integrate knowledge existing in other sciences. It would seem that this trend in integration does not correspond to the processes of modern science, in which, at the later stages of history, the emp

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Hales, Steven D. "AUDIOPHILE AESTHETICS." American Philosophical Quarterly 54, no. 2 (April 1, 2017): 195–208. http://dx.doi.org/10.2307/44982136.

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Abstract What little work has been done on high fidelity/audiophile aesthetics uniformly agrees that the aesthetic aim of high fidelity is to achieve maximum transparency—the degree to which the listening experience is qualitatively identical to hearing the live instruments. The present paper argues that due to modern recording techniques, transparency is often impossible and may not be the proper aesthetic goal even in cases of documentary recordings. Instead, audiophilia should be understood as a broadly pluralist artistic endeavor that aims at an idealized generation of a musical event. Thi

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Kormin, Nikolai Aleksandrovich. "I. Kant: perfection within the structure of the aesthetic field of metaphysics." Философия и культура, no. 3 (March 2021): 22–55. http://dx.doi.org/10.7256/2454-0757.2021.3.35612.

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The subject of this research is the interrelation between aesthetics and metaphysics as it is reflected in the Kantian transcendentalism. In the &ldquo;Critique of Judgment&rdquo;, Kant assumes that the representation of perfection does not correlate with such on the sense of delight; thus, in the first introduction to the &ldquo;Critique of Judgment&rdquo;, he is far from considering the solutions to the problem of interrelation between perfection and aesthetic sense of delight persuasive. However, the attitude towards perfection transforms in Kant's later works, the analysis

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Saito, Yuriko. "Everyday aesthetics and world-making." Contrastes. Revista Internacional de Filosofía 25, no. 3 (January 19, 2021): 35–54. http://dx.doi.org/10.24310/contrastescontrastes.v25i3.11567.

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The project of world-making is carried out not only by professional world-makers, such as designers, architects, and manufacturers. We are all participants in this project through various decisions and judgments we make in our everyday life. Aesthetics has a surprisingly significant role to play in this regard, though not sufficiently recognized by ourselves or aestheticians. This paper first illustrates how our seemingly innocuous and trivial everyday aesthetic considerations have serious consequences which determine the quality of life and the state of the world, for better or worse. This po

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Braiterman, Zachary. "Joseph Soloveitchik and Immanuel Kant's Mitzvah-Aesthetic." AJS Review 25, no. 1 (April 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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Zhang, Ruili, Yong Qin, and Tairan Wu. "The Use of Traditional Chinese Aesthetics in Modern Television Advertising and Consumer Perception." Studies in Art and Architecture 3, no. 1 (March 2024): 45–50. http://dx.doi.org/10.56397/saa.2024.03.06.

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This paper investigates the impact of traditional Chinese aesthetics in modern television advertising on consumer perception. Utilizing a mixed-methods approach, the study combines qualitative content analysis of television advertisements with a quantitative survey of consumer responses. The findings reveal a significant positive correlation between the incorporation of traditional aesthetic elements, such as calligraphy, traditional music, and historical motifs, and consumer engagement. Advertisements featuring these elements are perceived as more appealing and memorable, eliciting stronger e

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Mohammad Nasser AL-Arifi, Tahani. "Phenomenology as an approach to seeing the aesthetics of ugliness in contemporary art designs." Al-Academy, no. 110 (December 15, 2023): 315–50. http://dx.doi.org/10.35560/jcofarts1307.

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With a descriptive and analytical approach, it discusses the concept of phenomenology as an approach to seeing the aesthetics of ugliness as one of the concepts associated with the aesthetic experience in contemporary art designs, as it is the result of communication between artistic production and the recipient, which leads to creating a state of aesthetic pleasure. A phenomenological method is used to uncover the aesthetics of ugly and to connect ugliness and beauty since ugliness in aesthetics incorporates beauty as a modern aesthetic vision from the phenomenological perspective. The study

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Han, Jingjing, and Hushinaidi Bin Hamid. "Innovative Application of Traditional Chinese Opera Elements in Modern Dramatic Costume Design." Academic Journal of Science and Technology 11, no. 2 (June 12, 2024): 126–28. http://dx.doi.org/10.54097/911sm911.

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In the field of drama, especially in clothing design, designers are actively exploring how to combine traditional opera elements with modern drama to create clothing images that are both rich in traditional charm and in line with contemporary audience aesthetics. This innovation not only inherits traditional culture, but also challenges and extends modern aesthetics. Traditional Chinese opera elements, as an important component of Chinese culture, provide rich inspiration and materials for modern drama costume design with their unique symbolic meanings and aesthetic characteristics. The articl

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Koshelenko, L. V., and L. V. Toropov. "The system of education of aesthetic culture of students engaged in physical education and sports." Scientific and educational basics in physical culture and sports, no. 1 (September 27, 2021): 36–41. http://dx.doi.org/10.57006/2782-3245-2021-1-1-36-42.

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The analysis of Russian literature, the study of work experience allow us to identify two main directions of the formation of aesthetic culture of modern student youth. The first is the education of aesthetic taste, assessments and aesthetic feelings; the second is the study and description of the experience of forming the aesthetic culture of students in the system of educational measures carried out. In educational and labor activity, students can form an aesthetic culture of appearance, tools, behavior, thinking, organization. In the household sphere aesthetics of the environment, attitudes

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Loginova, Marina V. "Ethno-aesthetics in the system ethnic culture: theoretical and methodological aspect." Finno-Ugric World 13, no. 2 (July 12, 2021): 169–79. http://dx.doi.org/10.15507/2076-2577.013.2021.02.169-179.

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Introduction. The article deals with the study of theoretical and methodological foundations of ethno-aesthetics as a “cultural code” of an ethnos through a systematic approach to solving the problem of the ratio of ethno-culture and ethno-aesthetics. The aim of the study is a philosophical analysis of ethno-aesthetics to determine the semantic potential of the symbolic capital of ethnic culture. Materials and Methods. The logic of the research, ascending from the abstract (definition of ethno-aesthetics) to the exact (ethno-futurism), is based on a systemic approach. It distinguishes the foll

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Ibrahim Al asqha, Shatha. "Islamic Art Aesthetics and modern philosophy." المجلة العلمیة لجمعیة امسیا – التربیة عن طریق الفن 7, no. 26 (April 1, 2021): 1318–87. http://dx.doi.org/10.21608/amesea.2021.178608.

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Shalvarova, Kateryna, and Olga Sova. "Modern educational literature: Aesthetics and functionality." Art and education, no. 3 (2021): 46–51. http://dx.doi.org/10.32405/2308-8885-2021-3(101)-46-51.

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Chell, Samuel L. "Jazz aesthetics and modern literary criticism." Popular Music and Society 15, no. 3 (September 1991): 67–74. http://dx.doi.org/10.1080/03007769108591444.

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Yurenkova, L. R., A. A. Andreeva, N. V. Svistkova, and Yu V. Shcherbakova. "Technical aesthetics in modern mechanical engineering." Glavnyj mekhanik (Chief Mechanic), no. 10 (October 10, 2023): 605–11. http://dx.doi.org/10.33920/pro-2-2310-03.

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The article discusses the methodology of developing the concept of a modern machine to bring its design into visual harmony. The analysis of various techniques of artistic design, including the construction of a geometric perspective of the product being created, shows that its use contributes to enhancing the expressiveness of the image being created. It is emphasized that when creating the latest model of technology, a close contact of the designer, technologist and designer is necessary, when each understands the task of the other. Only then is it possible to create a promising worldclass p

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