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Статті в журналах з теми "Aesthetics"

Автор: Grafiati

Опубліковано: 4 червня 2021

Оновлено: 25 липня 2025

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1

Popovic, Una. "Baumgarten on the sublime: Aesthetics and ethics." Theoria, Beograd 63, no. 3 (2020): 129–39. http://dx.doi.org/10.2298/theo2003129p.

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In this paper, Baumgarten?s account of the sublime will be inspected with regard to the category of aesthetic greatness (magnitudo aesthetica), and in view of his analysis of aesthetic subjectivity. The Sublime is here shown to be the topic within which Baumgarten aims to prove the inner connection between aesthetics and ethics, or, more precisely, that the aesthetic domain is intrinsically related to moral acts and decision-making. My analysis will primarily focus on Baumgarten?s Aesthetics, but it will also include his other works, like Metaphysics and Ethics, as well as the comparison with

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2

Jansen, F. J. Billeskov. "The Aesthete's Aesthetics." Orbis Litterarum 52, no. 6 (1997): 373–86. http://dx.doi.org/10.1111/j.1600-0730.1997.tb00038.x.

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3

Elwazani, Salim. "Purposing aesthetics in historic preservation: advocating, signifying, and interpreting aesthetics." Virtual Archaeology Review 12, no. 24 (2021): 66. http://dx.doi.org/10.4995/var.2021.13812.

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<p>Aesthetics is a pillar consideration in historic preservation. Yet, purposing aesthetics for historic preservation ends seems to lag behind the opportunities. Utterly subjective, aesthetics poses challenges for the preservation community worldwide to moderate, accommodate, and purpose aesthetics in heritage programs. The challenges revolve around the assessment of aesthetical purposing in three domains. These domains include the community disposition towards accommodating aesthetics (advocacy), the criteria and strategies for assessing the aesthetic value of historic resources (signif

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4

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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5

Scott, Sarah. "From Genius to Taste." Journal of Jewish Thought & Philosophy 25, no. 1 (2017): 110–30. http://dx.doi.org/10.1163/1477285x-12341281.

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I reconstruct the aestheticism of Martin Buber in order to provide a new way of framing his moral philosophy and development as a thinker. The evolution of Buber’s thought does not entail a shift from aesthetics to ethics, but a shift from one aspect of aesthetics to another, namely, from taking genius to be key to social renewal, to taking taste to be key. I draw on Kantian aesthetics to show the connection between Buber’s aesthetic concerns and his moral concerns, and to defend the notion that a certain aesthetic orientation may be just what is needed for moral response.

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6

Guss, Aleksandra. "Aesthetics of Law." McGill GLSA Research Series 1, no. 1 (2021): 1–17. http://dx.doi.org/10.26443/glsars.v1i1.137.

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The aesthetics of law appears as one of the parts of the philosophy of law that focuses on the relationship between law and aesthetical values, in their broadest sense. The aesthetics of law can be closed in its three dimensions: external, internal and the approach defined as "law as a tool of aestheticization”. This division was made from the perspective of the subject of research, which is the law. The third dimension refers to the law as "tool of aestheticization” of everyday life, which indicates the aesthetic function of law, implemented mainly by legal regulation and the legal norms they

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7

Kirwan, James. "Aesthetics Without the Aesthetic?" Diogenes 59, no. 1-2 (2012): 177–83. http://dx.doi.org/10.1177/0392192112469478.

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8

Hickman, Rechard, and Fraser Smith. "Reviews Editorial: Aesthetics, aesthetic." Journal of Art & Design Education 13, no. 1 (1994): 87. http://dx.doi.org/10.1111/j.1476-8070.1994.tb00361.x.

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9

Greiman, Jennifer. "Democratic Aesthetics, Aesthetic Democracy." American Literary History 35, no. 1 (2023): 400–410. http://dx.doi.org/10.1093/alh/ajac234.

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Abstract This essay reviews four new books, each of which assesses the prospects of contemporary democracy in the face of wide-ranging crises—from the legacies of settler colonialism to the resurgence of right-wing nationalism—and finds possibilities for democratic renewal in aesthetic orientations and practices. Taken together, Jason Frank’s The Democratic Sublime (2021), Andrés Fabián Henao Castro’s Antigone in the Americas (2021), Michael Steinberg’s The Afterlife of Moses (2022), and Elisabeth Anker’s Ugly Freedoms (2022) suggest that the aesthetic turn in democratic theory most closely as

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10

Berleant, Arnold. "Objects into Persons: The Way to Social Aeshetics." Espes 6, no. 2 (2017): 9–18. https://doi.org/10.17613/M6MC6S.

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This essay traces the steps to a social aesthetics. I begin by affirming the central place of sense experience for aesthetics and its refinement in the perceptual acuity of a developed sensibility. This leads to associating aesthetic appreciation with such perceptual experience.  Rejecting the identification of disinterestedness with such appreciation, I propose the full participatory involvement in the experience of appreciation as expressed by the concept of aesthetic engagement.  This describes the appreciative situation as an aesthetic field in which the perceptual, creative, foc

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11

Castro, Sixto J. "Beyond Theological Aesthetics: Aesthetic Theology." Religions 13, no. 4 (2022): 311. http://dx.doi.org/10.3390/rel13040311.

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In this text, I explore what I have termed “aesthetic theology”. After noting the transference of religious content, function, etc., to art in Modernity, an act that has made art a locus theologicus once again, I analyse one of the main consequences of this phenomenon: art is progressively being considered through what was once purely theological categories, thus giving rise to aesthetic theology. The implication is that some of the solutions that have arisen from theological debate might be useful in the philosophy of art. I also suggest that aesthetic theology can provide theology with a gen

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12

Pattison, George. "KIERKEGAARD: AESTHETICS AND ‘THE AESTHETIC’." British Journal of Aesthetics 31, no. 2 (1991): 140–51. http://dx.doi.org/10.1093/bjaesthetics/31.2.140.

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13

Stige, Brynjulf. "The Aesthetic or Multiple Aesthetics?" Nordic Journal of Music Therapy 17, no. 1 (2008): 25–29. http://dx.doi.org/10.1080/08098130809478193.

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14

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 (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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15

Sattler, Janyne. "Middleway aesthetics: an aesthetical way to say nothing about aesthetics." Revista de Filosofia Aurora 27, no. 40 (2015): 375. http://dx.doi.org/10.7213/aurora.27.040.ao06.

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This is a very brief sketch on Wittgenstein’s “middle” writings about aesthetical appreciation and aesthetical attitude concerning the objects of art. Even if it takes the Tractarian conception of ‘aesthetics’ as a starting point, the paper is focused on Wittgenstein’s (second-hand) class-notes taken from his Lectures on Aesthetics and a very specific remark reported by Moore, brought from the Philosophical Occasions, where “reasons” for aesthetical persuasion and correction are said to be like those offered in “discussions in a court of law”. At the end, not much is left for aesthetical appre

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16

John, Eileen. "Can Aesthetics Be Global?" Royal Institute of Philosophy Supplement 93 (May 2023): 209–30. http://dx.doi.org/10.1017/s1358246123000061.

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AbstractPhilosophical aesthetics is to some extent beholden to what I will call personal aesthetics. By personal aesthetics, I mean the phenomena of individual aesthetic sensitivity: how each of us discerns and responds to elements of experience. I take that sensitivity to be finely woven into feeling to some degree at home in the world. There is something extremely local, and in a certain sense unreflective, about personal aesthetics – it is hard to notice one's own, historically specific aesthetic formation. Philosophical aesthetics, meanwhile, aspires to understand aesthetic life in a more

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17

Saito, Yuriko. "The Ethical Dimensions of Aesthetic Engagement." ESPES. The Slovak Journal of Aesthetics 6, no. 2 (2017): 19–29. https://doi.org/10.5281/zenodo.6377955.

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This paper explores the ethical dimensions of aesthetic engagement, the central theme of Arnold Berleant’s aesthetics. His recent works on social aesthetics and negative aesthetics explicitly argue for the inseparability of aesthetics from the rest of life, in particular ethical concerns. Aesthetic engagement requires overcoming the subject-object divide and adopting an attitude of open-mindedness, responsiveness, reciprocity, and collaboration, as well as the willingness and readiness to expose negative aesthetics for what it is. These requirements characterize not o

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18

Song, Yeon-Min. "Study of Organizing a System for the Establishment of Tea-Aesthetics: Focusing on the 18th Century Tea Culture Space of the Joseon Dynasty." Korean Tea Society 29, no. 2 (2023): 13–23. http://dx.doi.org/10.29225/jkts.2023.29.2.13.

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An analysis system was established through perceptual characteristics in aesthetic experiences related to Korean tea culture around the 18th century when aesthetics were established as a study and tea-aesthetics were established as a detailed branch of Korean aesthetics. A literature review and case analysis of the tea culture space were conducted based on Gernot Böhme's ‘Atmosphere Aesthetics’. As a result of this study, an aesthetic proposition called the “space” of physical detection that combines the natural environment, external aesthetic elements, and perceptual characteristics of the ae

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19

Wildt, Franziska. "Aesthetics of Resistance: On the Politics of Aesthetic Thought in Hegel’s Theory of Art and Peter Weiss’ Novel The Aesthetics of Resistance." AM Journal of Art and Media Studies, no. 22 (September 15, 2020): 1–13. http://dx.doi.org/10.25038/am.v0i22.385.

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hrough a confrontation of Hegel’s Lectures On Aesthetics and Peter Weiss’ novel The Aesthetics of Resistance this paper criticizes the theory of aesthetics for its lack of aesthetic thinking. Hegel’s theory of aesthetics is introduced as a paradigmatic case of this problem, while The Aesthetics of Resistance is read as an attempt to “re-aestheticize” the thought of aesthetics. Following a brief introduction and contextualization of the problem within the theoretical discourse on “aestheticization”, Hegel’s theory is analyzed and then contrasted to The Aesthetics of Resistance. The analysis is

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20

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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21

Loginova, Marina V. "Ethno-aesthetics in the system ethnic culture: theoretical and methodological aspect." Finno-Ugric World 13, no. 2 (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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22

Lazzaretti, Lucas. "A antiestética estetizante de Hamann." Aletria: Revista de Estudos de Literatura 34, no. 1 (2024): 72–86. https://doi.org/10.35699/2317-2096.2024.46438.

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Considered a hermetic author, Johann Georg Hamann was often associated with philosophical and literary positions influential to the Sturm und Drang movement and as an early critic of the Enlightenment. His reflections on aesthetics, however, were received by the Frühromantik movement and may have provided important conceptual contributions to romanticism. This article aims to analyze how Hamann, in his essay Aesthetica in Nuce, develops a critique of a classicist and rationalist conception of aesthetics at the same time that he presents considerations about an aesthetics based on a relationshi

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23

DOLGOVA, Elena D. "AESTHETICS OF ANONYMOUS ARCHITECTURE." Urban construction and architecture 6, no. 2 (2016): 91–95. http://dx.doi.org/10.17673/vestnik.2016.02.17.

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The article examines the anonymous architecture in terms of aesthetic knowledge. A parallel between the categories of classical aesthetics - a beautiful / ugly, and the categories of architectural activity in the Vitruvian paradigm professional / anonymous is drawn. Traced the background and process of incorporating objects anonymous architecture in non-classical aesthetic field through poetization everyday life, the emergence of technical aesthetics, aesthetics and functionalism of modernism. Non-classical aesthetics characterize objects anonymous architecture using parakategory daily, physic

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24

Kiianlinna, Onerva. "Contradiction That Never Was: Epigenesis versus Modularity in Evolutionary Aesthetics." Aisthesis. Pratiche, linguaggi e saperi dell’estetico 14, no. 2 (2022): 79–91. http://dx.doi.org/10.36253/aisthesis-13054.

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Coevolutionary aesthetics has been forming since the early 2010s. Its contribution of great value has been the inclusion of cultural evolution into Darwinian theories on the origins of art and aesthetic judgement. Coevolutionary aesthetics – or non-modular evolutionary aesthetics as it is sometimes called – emphasizes that aesthetic behavior develops in a specific social environment. Coevolutionary aesthetics suggests that traditional evolutionary aesthetics, drawing from evolutionary psychology, has ignored this. The critical position stems from the widely accepted notions that humans adapt p

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25

Fokeeva, Mariia Petrovna. "Sublime in the aesthetics of trauma." Философская мысль, no. 3 (March 2020): 68–73. http://dx.doi.org/10.25136/2409-8728.2020.3.32311.

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The subject of this article is the concept of sublime. The author examines which transformations has experiences the aesthetic theory of sublime since the XVIII century. In the context of aesthetics of trauma, sublime is a specific form of aesthetical experience that emerges in the context of encountering traumatic experience of the history, where the key concomitant affect is horror. The forms of sublime, associated with encountering the historical trauma, are immeasurable by their influence, as the scales of catastrophe cannot be assessed rationally, and the experience of historical violence

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26

Zhang, Xin, and Jian Chen. "The expression of "Balanced Harmony" aesthetic paradigm in aesthetic and artistic concepts." Journal of Education, Humanities and Social Sciences 38 (September 28, 2024): 213–16. http://dx.doi.org/10.54097/vvckk176.

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The so-called "Balanced Harmony" aesthetic paradigm simply means that Chinese aesthetics emphasizes the reconciliation and unity between two conflicting and confronting aspects of aesthetic things and aesthetic systems, or between two extremes and two ends. The so-called "neutral" aesthetic paradigm simply means that Chinese aesthetics, when interpreting the ontology of "beauty is harmony", puts emphasis on the reconciliation and unity between the two conflicting and confronting aspects of aesthetic things and systems, or between the two poles and the two ends of the …… system, which are balan

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27

Tahira Munawar, Tooba Khalid Noori та Saba Aorangzaib. "جمالیات سے متعلق نصیر احمد ناصر کے نظریات :"حسنِ تفسیر" کا اختصاصی مطالعہ". Al-Qamar 6, № 3 (2023): 189–200. https://doi.org/10.53762/ws68xy44.

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Aesthetic is concerned with beauty or the appreciation of beauty. It is used to talk about beauty or art and people’s appreciation of beautiful things. Its value can be defined as sensation or feeling of enjoying beauty. Every human will have the value of aesthetics or aesthetic sense that one get to enjoy whatever he sees in his daily life. As a study it aims at the understanding of beauty that is prescribed in front of us. It is not just expressing, enjoying beauty our inner emotions are connected to pursuit of beauty in all its means. In this article Dr. Naseer Ahmad Nasir view on Aesthetic

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28

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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29

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

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30

Cova, Florian, and Nicolas Pain. "Can Folk Aesthetics Ground Aesthetic Realism?" Monist 95, no. 2 (2012): 241–63. http://dx.doi.org/10.5840/monist201295214.

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31

Rancière, Jacques. "The Aesthetic Dimension: Aesthetics, Politics, Knowledge." Critical Inquiry 36, no. 1 (2009): 1–19. http://dx.doi.org/10.1086/606120.

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32

Dourley, John. "Jung, a mystical aesthetic, and abstract art." International Journal of Jungian Studies 7, no. 1 (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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33

Diuzheva, Kateryna. "Media Aesthetics As A University Educational Component." Obraz 47, no. 1 (2025): 144–52. https://doi.org/10.21272/obraz.2025.1(47)-144-152.

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Introduction. The article deals with the university discipline “Media Aesthetics”, reveals the problem of forming and improving students’ ideas about the general laws of aesthetic activity and aesthetic development of the world, and substantiates the need to outline the specifics of the social nature of beauty, art as a mechanism of human socialization, aesthetic information as an integral part of the mass media. Relevance and purpose. The study of media aesthetics at the university is relevant because of the need to analyze the aesthetic aspects of media materials, especially in wartime. Medi

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34

Siraj, Fuad Mahbub, and Zikraini Alrah. "The Concept of Islamic Aesthetic of Abdul Hadi WM." KALAM 16, no. 2 (2022): 157. http://dx.doi.org/10.24042/klm.v16i2.14648.

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This study aims to see how the concept of Islamic aesthetics in the thought of Abdul Hadi WM. Aesthetics is an interesting discourse to study because aesthetics is one of the five branches of philosophy that relate to values that are contained in something or arise from human actions. Although the values contained in aesthetics are very important and are always relevant in human life, the fact is that aesthetics receive less attention in philosophical studies. One reason is the narrow view that aesthetics is only related to art. Abdul Hadi WM sees an important aesthetic in the realm of philoso

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35

Szyszkowska, Małgorzata Anna. "Reconsidering Ingarden's Contribution to European Aesthetics: Aesthetic Experience and the Concept of Encounter." ESPES. The Slovak Journal of Aesthetics 7, no. 1 (2018): 47–56. https://doi.org/10.5281/zenodo.6377915.

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Entering the discussion about European Aesthetic traditions, their aspirations and achievements, their metamorphosis and developments, author argues in favor of acknowledging the importance of what in her opinion should be seen as milestone in Polish tradition of aesthetics. One such important element of European Aesthetic tradition that author wishes to acknowledge is the phenomenological aesthetics developed by Roman Ingarden (1893-1970) in the 30-ties and especially two concepts which best show lasting power of Ingraden’s contributions. Author describes the concept of aesthetic experi

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36

Lu, Yi Yu. "A study on the Aesthetics of Urban Brand Design : Focusing on Urban Brand Logos." Korea Institute of Design Research Society 10, no. 2 (2025): 378–91. https://doi.org/10.46248/kidrs.2025.2.378.

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In the era of globalization and rapid information transmission, the city brand image has become an important means to highlight the city's cultural characteristics and comprehensive competitiveness. Successful brand design can not only enhance the city's popularity and international influence, but also become the key to shaping public cognition and promoting economic development. Aesthetics, as the core element of city brand design, includes multiple dimensions such as formal aesthetics, atmospheric aesthetics, symbolic aesthetics, ecological aesthetics, phenomenological aesthetics, etc., whic

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37

Dziamski, Grzegorz. "Przemiany estetyki." Przegląd Kulturoznawczy, no. 1 (51) (March 2022): 127–47. http://dx.doi.org/10.4467/20843860pk.22.009.15754.

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Metamorphosis of Aesthetics Many aesthetic lecturers feel that the subject of their lectures is not so much aesthetics as the history of aesthetics, the aesthetic views of Plato and Aristotle, Kant and Hegel, Hume and Burke, British philosophers of taste and German romantics. Does this mean that aesthetics is nourished by its own past, nourished by reinterpretations of its classics, defends concepts and categories that no longer inspire anyone? Don’t they open up new cognitive perspectives? Does this mean that aesthetics is dead today, like Latin or Sanskrit, and that its vision of art and bea

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38

Wilson, Alan T. "The Virtue of Aesthetic Courage." British Journal of Aesthetics 60, no. 4 (2020): 455–69. http://dx.doi.org/10.1093/aesthj/ayaa022.

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Abstract Theorists have recently been exploring the prospects for a virtue-centred approach to aesthetics. Virtue aesthetics encourages a re-focusing of philosophical attention onto the aesthetic character traits of agents, in the same way that virtue ethics and virtue epistemology have encouraged us to focus on moral and intellectual traits. In this paper, I aim to contribute to the development of virtue aesthetics by discussing aesthetic courage, the aesthetic analogue of one of the most widely acknowledged moral virtues. In addition to proposing an account of the nature of this trait, I als

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Süner, Ahmet. "A critical evaluation of Heidegger’s criticism of aesthetics in ‘The Origin of the Work of Art’." Journal of European Studies 47, no. 1 (2016): 21–33. http://dx.doi.org/10.1177/0047244116676686.

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This paper examines and critiques Heidegger’s repudiation of aesthetics in his essay ‘The Origin of the Work of Art’ and claims that his alternative approach to artworks in the essay must be understood as a theory of aesthetics and, more particularly, of aesthetic use, which delineates the inseparability of senses and sensations. The paper analyses Heidegger’s explicit remarks on aesthetics in the epilogue, discusses his criticism of the aesthetic thing-interpretation at the beginning of the essay and concludes with some critical observations on Heidegger’s own aesthetics. While critical of He

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Kiianlinna, Onerva. "Aesthetic Gadgets: Rethinking Universalism in Evolutionary Aesthetics." Philosophies 7, no. 4 (2022): 71. http://dx.doi.org/10.3390/philosophies7040071.

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There is a growing appetite for the inclusion of outcomes of empirical research into philosophical aesthetics. At the same time, evolutionary aesthetics remains in the margins with little mutual discussion with the various strands of philosophical aesthetics. This is surprising, because the evolutionary framework has the power to bring these two approaches together. This article demonstrates that the evolutionary approach builds a biocultural bridge between our philosophical and empirical understanding of humans as aesthetic agents who share the preconditions for aesthetic experience, but are

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Gulertekin Genc, Seray, and Saadet Pinar Temizkan. "Destination aesthetics: An empirical study of aesthetic judgment and aesthetic distance among tourists in Turkey." European Journal of Tourism Research 33 (January 20, 2023): 3308. http://dx.doi.org/10.54055/ejtr.v33i.2221.

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Aesthetics constitute a fundamental element of the tourist experience and contribute to tourists’ behavioral intention. Yet, empirical research on destination aesthetics is very limited. This study explores whether destination aesthetics affects behavioral intention and whether there is a difference between tourists’ aesthetic judgment and aesthetic distance. Destination aesthetics are determined by comparing the perceived difference between the home environment of the tourist and the destination. Gestalt theory has been adopted to understand the impact of destination aesthetic judgment and ae

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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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Stepanova, Anna A., and Ilona V. Dorohan. "AESTHETIC VS ARTISTIC CONSCIOUSNESS: TYPOLOGY OF AESTHETICS AND LITERATURE INTERACTION." Alfred Nobel University Journal of Philology 2, no. 26/1 (2023): 22–32. http://dx.doi.org/10.32342/2523-4463-2023-2-26/1-2.

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The objective of the work is to study the specifics of aesthetic and artistic consciousness in their interaction in terms of literary comprehension of philosophical concepts; to highlight the levels of interaction between aesthetics and literature as a factor in the formation of aesthetic dominants of the literary trend and artistic method. The focus of the work determines the use of cultural-historical, historicalliterary, philosophical and aesthetic research methods. Aesthetic consciousness is understood as a mode of intellectual-sensory perception (and assessment) of empirical reality, whic

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Chen, Changhai. "New Aesthetic Characteristics Emerging in the Digital Cinema Era." International Journal of Education and Humanities 2, no. 1 (2022): 1–6. http://dx.doi.org/10.54097/ijeh.v2i1.224.

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Digital film technology has constantly transformed and enhanced the fundamental aesthetic elements in the traditional aesthetic categories of film aesthetics during its gradual penetration into the film art system, enabling these fundamental aesthetic elements to take on new forms and appearances that enrich the artistic communication of film and mark This is a sign of artistic advancement. The fusion of old and new technologies in synergy with the original film system has also accelerated the development of digital film technology as an aesthetic model, and in adapting to the original film ar

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Hermerén, Göran. "Notions of the Aesthetic and of Aesthetics: Essays on Art, Aesthetics and Culture." British Journal of Aesthetics 58, no. 2 (2017): 212–15. http://dx.doi.org/10.1093/aesthj/ayw093.

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Kordas, O. M. "Lutheran aesthetics." Herald of Omsk University 28, no. 3 (2023): 57–61. http://dx.doi.org/10.24147/1812-3996.2023.28(3).57-61.

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The article discusses the features of the aesthetic expression of religious art in Protestantism. The main features of Lutheran aesthetics are highlighted, which include restraint, expressive simplicity, minimalism, functionality, the prevalence of verbal and musical arts over fine art, the tolerant attitude of Lutherans to the combination of religious and secular aesthetics. Particular attention is paid to the transmission of religious traditions through the active use of the aesthetic possibilities of contemporary art in Lutheran liturgical practice.

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P, Theertharaman, and Siluvaimuthu A. "Aesthetics in Ilandevan Poems." International Research Journal of Tamil 4, SPL 2 (2022): 155–59. http://dx.doi.org/10.34256/irjt22s224.

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Aesthetics is the ability to explore aesthetics, to explore the race of beauty in works of art, and to create works with taste. In Tolkappiyam, the oldest grammar book in the Tamil language, both rhetoric and allegory are said to be aesthetically pleasing. The poet also gives shape to his thought. This is what we call aesthetics, which lines the imagination and injects aesthetic elements into the poem. Poet ILandevan, who is good at writing poetry with aesthetic and aesthetic elements, has used aesthetic elements in his poetry collection to strengthen his language, technique, form and thought.

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Pei, Lei, and Zihao Cao. "Aesthetic Appreciation Is Different: Aesthetic Pleasure in Architectural Aesthetics." Buildings 15, no. 4 (2025): 543. https://doi.org/10.3390/buildings15040543.

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Architectural aesthetics is often studied with a focus on the visual properties of buildings, yet the role of individual aesthetic appreciation abilities in shaping aesthetic pleasure remains overlooked. This study challenges the traditional object-centric perspective by investigating how aesthetic appreciation ability influences architectural aesthetic pleasure through aesthetic judgment. Using Hui-style architecture, a distinctive architectural style originating from the Huizhou region in southern China, as the representative case, a questionnaire survey was conducted with 453 participants.

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Zhang, Baogui, and Yanping Gao. "John Dewey's Aesthetic Legacy in China." Journal of Aesthetic Education 58, no. 4 (2024): 13–27. http://dx.doi.org/10.5406/15437809.58.4.02.

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Abstract Modern China's acceptance of Dewey's legacy of aesthetic thought is divided into three main periods. In 1906–49, Dewey's Art as Experience was noticed, but due to the fact that China was more concerned with the social realities and national crisis at that time, its aesthetic thought appeared as an accessory to Dewey's social philosophy and educational thought, and its rich significance was properly realized only within the practice of aesthetic education. From 1949 to 1978, Dewey's aesthetics was effectively suppressed through China's ideological storms. From 1978 to the present, bene

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Yang, Kaiwei. "Perspectives on Image Aesthetic Evaluation Techniques." ITM Web of Conferences 70 (2025): 03004. https://doi.org/10.1051/itmconf/20257003004.

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With the advancement of technology, support of datasets, cross-fertilization of disciplines, and increasing demand for reference scenarios, image aesthetics has become an active research field and has been widely applied in real life. This paper discusses the application of deep learning in image aesthetics evaluation, including the selection of datasets and the process of image aesthetics evaluation (including aesthetics feature extraction and aesthetics evaluation decision-making), analyzes the application of aesthetics evaluation techniques, and looks forward to the technological prospect.

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