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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 Pseudo-Longinus?s text On the Sublime. My research should indicate one possible interpretation of Baumgarten?s project, such that it would not discard its purpose, the autonomy of aesthetical domain, but which could, at the same time, determine the relations of aesthetics with other forms of human thought.
2

Jansen, F. J. Billeskov. "The Aesthete's Aesthetics." Orbis Litterarum 52, no. 6 (December 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 (January 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 (signification), and, the standards for treating historic resources in preservation projects (interpretation). This study, therefore, assesses the trends for purposing aesthetics in historic preservation thought and practice through three platforms: advocating aesthetics, signifying aesthetics, and interpreting aesthetics. The study completed literature content analysis on aesthetics in general and aesthetics in historic preservation in particular. Further, because of the perspective of the study, the works of international and country preservation programs provided information relevant to advocacy, signification, and interpretation of aesthetics that have been refined by classification, comparison, and exemplification methods. Among others, these works include those of the International Council on Monuments and Sites (ICOMOS) and the U.S. National Historic Preservation Program in the National Park Service. The study culminated with general and platform-specific conclusions. First, as the three proposed platforms (advocacy, signification, and interpretation) maintain structural and serial relationships, they constitute a relevant and feasible framework for assessing aesthetical purposing. Second, as the aesthetical purposing assessment followed a broad, international perspective, the conclusions of the study are commensurate with the selective scope of information used from international and country preservation programs. Third, the contribution to aesthetical purposing at each of the three platforms can be measure only in general, and at times, subjective terms.</p><p><strong>Highlights:</strong></p><ul><li><p>Proposing aesthetical advocacy, aesthetical signification, and aesthetical interpretation as a platform framework to assess the purposing of aesthetics was feasible.</p></li><li><p>As aesthetical purposing was approached from a broad, international perspective, the conclusions of the study commensurate with the selective scope of information used.</p></li><li><p>The contribution to aesthetical purposing at each of the three platforms is hard to measure; however, the indications point to uneven contribution.</p></li></ul>
4

Guss, Aleksandra. "Aesthetics of Law." McGill GLSA Research Series 1, no. 1 (November 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 contain, which are the determinants of what is aesthetic. We can distinguish three basic fields in which the law can affect the aestheticization of everyday life: 1) legal norms that set and promote certain aesthetic standards, 2) legal norms that serve to protect and preserve aesthetic values and 3) the field where law, as an instrument of politics, can be used to fight against certain aesthetic values that are inconsistent with the ideology promoted by the ruling class – the so-called art in the service of state power. The first group of norms is used to make the overall „pretty” but when interpreting such legal regulations, can be concluded that there’s something more than only this - that it’s promoting aesthetic standards and values through legal norms. The policy of many countries focuses on introducing legal regulations aimed at ensuring the aesthetics of the landscape of their cities. The article aims to present the implementation of the third approach to the aesthetics of law in Poland and discussing legal measures and activities undertaken to ensure the aesthetics of the landscape.
5

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

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6

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

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7

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 preferences. Based on concrete everyday examples and thought experiments, he demonstrates how aesthetic choices are largely shaped by the observer’s learning history (associative factors) rather than by an object’s formal properties (direct factors). Fechner’s Aesthetic Association Principle has lost nothing of its initial relevance as the role of content and personal meaning is still grossly underrated in theory and practice of empirical aesthetics today.
8

Onishchenko, E. I. "POLISH AESTHETIC DISCOURSE OF THE 20TH CENTURY: INTERPRETATION OF INTERPRETATIONS." UKRAINIAN CULTURAL STUDIES, 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 legacy of L. Blaustein, M. Wallis, H. Elzenberg and G. Ossowski. In particular, this perspective covers traditional for the twentieth century aesthetics problems, including psychology of art, collective aesthetic experience, ratio, fantasy, and imagination. Also, new interpretive perspectives of sublime and ugly, aesthetical experience are opened. The theoretical orientations of the Polish scholars, in one way or another, were connected with the cornerstones of the aesthetic science - its subject, the conceptual-categorical apparatus, the structure of aesthetic consciousness, the phenomenon of artistic creativity, the specific nature of art, and others. In the process of conceptual concretization, in the field of Polish aesthetics a number of problems have been rather clearly distinguished, among which the special attention of practically all of its leading representatives has attracted the phenomenon of aesthetical experience. K. Shevchuk’s investigation opens up an opportunity, at least in the format of a secondary interpretation, to join the research of the Polish scholars, whose work proved to be a giant "white spot" for the Ukrainian aestheticians. Introducing actually unexplored concepts Polish scientists to the modern Ukrainian aesthetic theory not only facilitates the opening of "unknown pages" in the history of the twentieth century aesthetics, but also makes actual mark of new approaches to the analysis of classical problems, the relevance of which will never be a subject of doubt.
9

Scott, Sarah. "From Genius to Taste." Journal of Jewish Thought & Philosophy 25, no. 1 (May 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.
10

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

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11

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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12

Castro, Sixto J. "Beyond Theological Aesthetics: Aesthetic Theology." Religions 13, no. 4 (April 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 generalized way of reasoning based on aesthetic judgments—judgements formed by postulated consensus instead of forced judgements formed on conceptual grounds. I defend that the formulation of religious judgement has always been of the former sort, such that aesthetic theology may prove itself a useful tool for theologians in developing their thinking about, depiction of, representing, or approaching God.
13

Sattler, Janyne. "Middleway aesthetics: an aesthetical way to say nothing about aesthetics." Revista de Filosofia Aurora 27, no. 40 (April 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 appreciation and for aestheticsitself but a certain kind of contextual, circumstantial “appeal to the judge”.
14

Ortlieb, Stefan A., and Claus-Christian Carbon. "Kitsch and Perception: Towards a New ‘Aesthetic from Below’." Art and Perception 7, no. 1 (March 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 elaboration (art), and a fluent one that consists of an immediate, unreflective emotional response but leaves us with what we already know (kitsch). Yet as a derogatory word, kitsch draws our attention to a general disregard for effortless emotional gratification in modern Western aesthetics that can be traced back to eighteenth-century Rationalism. Despite all efforts of Pop Art to embrace kitsch and to question normative values in art, current models of aesthetic liking—including fluency-based ones—still adhere to an elitist notion of Modern art that privileges style over content and thereby excludes what is essential not only for popular taste and Postmodern art but also for premodern artistic production: emotionally rich content. Revisiting Fechner’s (Vorschule der Aesthetik, 1876) criticism of highbrow aesthetics we propose a new aesthetic from below (Aesthetik von Unten) that goes beyond processing characteristics by taking content- and context-related associations into account.
15

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 discredits the possibility of subjective routine. Research methodology is structured on the philosophical-aesthetic approach. Which is based on analysis of the concepts of sublime and negative sublime. The author comes to the conclusion that sublime in the XX century experiences crisis related to reconsideration of the modernistic values. However, discipline associate with the aesthetic reconsideration of traumatic historical events &ndash; the aesthetics of trauma, rehabilitates the concept of sublime, because representation of the traumatic through referring to sublime, opens an opportunity to comprehend the traumatic experience and overcome it.
16

DOLGOVA, Elena D. "AESTHETICS OF ANONYMOUS ARCHITECTURE." Urban construction and architecture 6, no. 2 (June 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, physicality, thing. We present the aesthetic characteristics of the anonymous architecture using the categories developed in the traditional aesthetics of eastern cultures - wabi, sabi, sibui and eugen. A parallel between the perception of the aesthetics and simplicity of anonymity is drawn.
17

Loginova, Marina V. "Ethno-aesthetics in the system ethnic culture: theoretical and methodological aspect." Finno-Ugric World 13, no. 2 (July 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 following methods: dialectical (ethno-aesthetics at the level of the singular, particular and universal), comparative-historical (transformation of ethno-aesthetic values); structural and functional (ethno-aesthetics as an open system of aesthetic values that serve as “markers” of ethnic originality). Results and Discussion. The author denotes the theoretical and methodological aspects of ethno-aesthetics in the modern conditions of being of an ethnos: ethno-aesthetic values, aesthetic ontology of ethnos, expression in ethno-aesthetics of the “spirit of a people”. In the ethnic world-picture the expression of the concept “spirit of the people” allows to highlight the levels of ethno-aesthetics in ethnoculture: substantial (aesthetic consciousness, aesthetic values that reflect/express the “spirit of a people”); functional-historical (transforming system of aesthetic relations and aesthetic experience of an ethnos). The author notes the relationship of ethno-aesthetic values with mentality, the “spirit of a people”, the deep layers of ethnic consciousness (traditions, rites, beliefs, mythological representations, archetypes), art as a system of creating symbolic images. The dialectics of single, special and universal with regard to aesthetic values distinguishes ethno-aesthetics as the level of being of special, which at the same time combines (values and creative potential of an ethnos in world exploration) and determines the specifics of understanding and interpretation by an ethnos the basic values (the beautiful, the tragic, the comic, etc.) and its fixation in the language. The source of aesthetic ontology is the experiencing by an ethnos life, nature, labour, creativity, which have creative and harmonizing potential. Conclusion. The author interprets ethno-aesthetics as an integral part of aesthetics, which creates a philosophical theory of an ethnos aesthetic relationship to the world (nature, art, labour), reflects the process of formation and development of aesthetic sensuality and aesthetic consciousness, the value of the world.
18

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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19

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

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20

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

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21

Kiianlinna, Onerva. "Contradiction That Never Was: Epigenesis versus Modularity in Evolutionary Aesthetics." Aisthesis. Pratiche, linguaggi e saperi dell’estetico 14, no. 2 (January 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 plastically to changing conditions and that there is no «innate» aesthetic module in the mind. What has not been examined is that modularity itself is often considered a condition for plasticity of mind. My main argument is that aesthetic inference is a metarepresentational module without direct fitness-increasing functions. Coevolutionary and evolutionary psychological aesthetics are thus more complementary than contradictory. Combining modular and coevolutionary thinking is the most consilient way forward in evolutionary aesthetics.
22

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 emphasis was placed not on integration but differentiation. Aesthetics is no exception here. Both philosophy and aesthetics of the twentieth century fragmented into several directions. Nevertheless, as the article proves, in the history of aesthetics and, more precisely, at its early stages, there was an aesthetic system that defined all kinds of aesthetics. This is an ontological aesthetic that excludes the separation of the aesthetic into a separate sphere. Having arisen in antiquity, ontological aesthetics became the aesthetics of being. The aesthetic did not have independence, as it would be in the aesthetics of the New Time, and was a sign of being itself. It was this aesthetic system that had an exceptional universalism. In the history of culture, such a manifestation of the aesthetic constantly returned but still did not become decisive. However, the closer to the twentieth century, the more evident the need for the integration of isolated trends becomes. Having an advantage in integration processes, ontological aesthetics becomes consonant with the science of culture, or rather, with the integrative potential that this science contains. It is this circumstance that should be taken into account by enthusiasts who develop the problems of cultural aesthetics.
23

P, Theertharaman, and Siluvaimuthu A. "Aesthetics in Ilandevan Poems." International Research Journal of Tamil 4, SPL 2 (February 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. he has used the moon, the sky, and the milky way galaxy as his objects of natural expression.
24

Dourley, John. "Jung, a mystical aesthetic, and abstract art." International Journal of Jungian Studies 7, no. 1 (January 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 representatives of this tradition who were influenced by mystical experience – especially that of Jacob Boehme, one of Jung's key intellectual ancestors. The paper works to identify the rudiments of a Jungian aesthetic and show its compatibility with the work and theory of Kandinsky, Arp and the expressionist/abstract project.
25

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

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26

Fischer-Lescano, Andreas. "Sociological Aesthetics of Law." Law, Culture and the Humanities 16, no. 2 (July 2016): 268–93. http://dx.doi.org/10.1177/1743872116656777.

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Aesthetic theory has the potential to develop a sensorium for the rational and arational forces of law. But the aesthetic knowledge of law is underdeveloped. That is why this article proposes a self-reflective sociological aesthetics of law that is capable of acknowledging human and social forces. The article unfolds its argument in three steps: first, it outlines the main approaches in the field of “law and aesthetics”; second, it connects these approaches in legal aesthetics with sociological and philosophical discussions on aesthetics; and, third, it suggests what distinctive contributions such a connection could make to jurisprudence and legal practice.
27

Wilson, Alan T. "The Virtue of Aesthetic Courage." British Journal of Aesthetics 60, no. 4 (August 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 also argue that aesthetic courage is vital for any sort of aesthetically virtuous life. It is not possible to possess any aesthetic virtue without possessing aesthetic courage. It is important, therefore, for any future development of virtue aesthetics to acknowledge the central importance of aesthetic courage.
28

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 (November 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 Heidegger’s separation of the equipment from the artwork, the paper claims that Heidegger’s significant contribution to the field of aesthetics must be sought in his focus on the attenuation of the subjective element in aesthetic experience.
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Kreft, Lev. "How to defend aesthetics?" SAJ - Serbian Architectural Journal 7, no. 2 (2015): 27–36. http://dx.doi.org/10.5937/saj1501027k.

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Milan Damnjanović (1924-1994) published his aesthetic opus in the context of (Yugoslav) Marxist "overcoming" (Aufhebung) of aesthetics and of aesthetics' self-criticism expressed as the "crisis of aesthetics". To oppose both of these critical positions and at the same time reform aesthetics' ability to treat all aesthetic phenomena, but still keep art in special focus, he introduced the problem of immediacy of experience of the world by a human being. In his article "The Problem of Immediacy and Mediation in Marx's Thought" (1970) Damnjanović wanted to demonstrate the primacy of aesthetic dimension in immediacy and immediate mediation/reflection which can support philosophy's legitimate claim to organize it as an open system, and aesthetics' solidity as a discipline of such system. To achieve this purpose, he introduced an intertwined argumentation which combines his reading of Marx's philosophy of labour from Paris Manuscripts and from Capital with Helmut Plessner's esthesiology and Paul Valery's esthésique. To revisit Damnjanović's defence of the Whole, of philosophical systematicity, and of aesthetics' autonomous position as a discipline is an opportunity to argue that he pointed into the right direction, be it in taking Plessner and Valéry for support, or, in taking fundamental philosophical problem of immediacy/mediation as a foundation stone of the status of aesthetics.
30

Chen, Changhai. "New Aesthetic Characteristics Emerging in the Digital Cinema Era." International Journal of Education and Humanities 2, no. 1 (January 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 art system, digital film aesthetics has produced aesthetic implications that transcend the original system, in terms of virtual images, spatial and temporal concepts, narrative modes, sound and picture relationships, and movement characters. They all exhibit new aesthetic characteristics that are distinct from traditional film aesthetics in terms of virtual images, spatial and temporal concepts, narrative modes, sound and image relationships, movement characteristics, and interactive methods. When one examines existing discussions on digital cinema in China and globally, it is easy to see that they primarily focus on expanding the audiovisual expression of images and on the study of the expressive power and image effects of digital special effects, while research on expanding film concepts and expanding film aesthetics is superficial, or even nonexistent. From a film aesthetics standpoint from the standpoint of film aesthetics, as digital technology has gradually displaced traditional modes of film production and concepts, audience viewing styles, and human aesthetic concepts, the aesthetics of digital film under the new digital technology can be a new construction in terms of time and space, reality, narrative techniques, virtual reality, and aesthetic acceptance. Based on established film theories and aesthetic notions, this study will seek to develop film aesthetics in the digital era, highlighting the study's uniqueness and systemic character in light of shifting aesthetic categories and the incorporation of new aspects in digital cinema.
31

Novakovic, Marko. "Renewal of aisthesis in contemporary aesthetics." Theoria, Beograd 62, no. 2 (2019): 17–34. http://dx.doi.org/10.2298/theo1902017n.

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The main subject of this work is the new aesthetics of atmospheres promoted in the last decades of 20th century by Gernot B?hme. Aesthetics of the atmospheres is a consequence of revival of aesthesis in contemporary aesthetics. The concept of atmospheres changes the model of perception from mechanical-cognitivistic to pathic and existential: perception is not grasping the sensitive qualities of things, but bodily sensing ourselves in the presence of atmospheres filling space or environment. Traditional concept of aisthesis and aesthetics as a science of sensitive knowledge provides a model for contemporary aesthetics and renewal of interest for sensitivity and perception in problems related to nature and aestheticized life world and politics. The task of contemporary aesthetic theory is to analyse the full range aesthetic work and aesthetic experiences using concept of atmospheres, not only related to works of art, but to nature and everyday life as well. In the context of contemporary theories of appreciation of nature, this type of aesthetic theory belongs to aesthesical model. According to this model, sensing oneself in the presence of aesthetic object in nature or art is the principal feature of every aesthetic experience.
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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 Arendt's actual, highly original, and more promising response to various facets of the modern political condition.
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Cutting, James E. "Goldilocks Aesthetics." Projections 14, no. 2 (June 2020): 66–74. http://dx.doi.org/10.3167/proj.2020.140206.

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Much of aesthetics is based in psychological responses. Yet seldom have such responses—couched in empirically based psychological terms—played a central role in the discussion of movie aesthetics. Happily, Todd Berliner’s Hollywood Aesthetic: Pleasure in American Cinema does just that. This commentary discusses some history and some twists and turns behind Berliner’s analysis.
34

Grubor, Nebojsa. "The relation between the beauty and the sublime in Hartmann′s aesthetics." Theoria, Beograd 63, no. 3 (2020): 159–67. http://dx.doi.org/10.2298/theo2003159g.

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The text examines the relationship between the beauty and the sublime in Hartmann?s aesthetics. According to the basic assumption of Hartmann?s aesthetics, the sublime, like all other aesthetic values, are subordinated to the beauty. The text shows that the relationship between the beauty and the sublime in Hartmann?s aesthetics is complex and that beauty formally includes the sublime, but that the sublime in terms of fixing aesthetic content is the core of aesthetic issues.
35

Lorts, Cori, Marc Adams, Anthony J. Roberto, and Punam Ohri-Vachaspati. "What Influences the Credibility of Printed Nutrition Education Materials?" American Journal of Health Behavior 46, no. 1 (January 2022): 3–11. http://dx.doi.org/10.5993/ajhb.46.1.1.

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Objectives: In this study, we aimed to determine the influence of aesthetics and color of printed nutrition education materials on perceived credibility of the material content. Methods: A randomized 2 x 2 (aesthetics and color) factorial experimental design was completed on a university campus. Undergraduate and graduate students (N=204) were randomly assigned one of 4 types of flyers (high aesthetic-color, high aesthetic-black-and-white, low aesthetic-color, and low aesthetic-black-and-white). Perceptions on the flyer content (accurate, believable, biased, valuable, and trustworthy), perceptions of overall flyer quality (attractive, pleasant, confusing, and interesting), and knowledge of the content within the flyer were assessed via a survey after reading the flyer. Results: A statistically significant main effect of aesthetics was observed for perceived "trustworthiness" of the flyer information (p = .048). Flyers with high aesthetics, regardless of print color, had a higher mean score of "trustworthiness" (M = 6.01) than flyers with low aesthetics (M = 5.71). An interaction effect was seen for perception of the flyer being "confusing" (p = .02). The high aesthetic-black-and-white flyer had the highest mean score for "confusing" (M = 1.66) with the low aesthetic flyer printed in color having the second highest mean score for "confusing" (M = 1.56). Conclusions: The aesthetics of nutrition education materials appear to influence perceived trustworthiness of those materials.
36

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

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37

Wilson, R. "Aesthetics and its Discontents * The Aesthetic Unconscious." British Journal of Aesthetics 51, no. 1 (April 2010): 103–5. http://dx.doi.org/10.1093/aesthj/ayq015.

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38

Nadin, Mihai. "Emergent Aesthetics: Aesthetic Issues in Computer Arts." Leonardo. Supplemental Issue 2 (1989): 43. http://dx.doi.org/10.2307/1557943.

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39

Dolapçıoğlu, Sevda, Burcu Gürkan, and Memet Karakuş. "Aesthetics and aesthetic creativity in social studies." Pegem Eğitim ve Öğretim Dergisi 9, no. 3 (July 2019): 913–44. http://dx.doi.org/10.14527/pegegog.2019.029.

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This study’s aim is to investigate the primary school teachers’ views on the applications of aesthetic and aesthetic creativity in social studies class. It was designed as a phenomenological study as one of the qualitative research methods. The participants of the study consisted of 8 primary school teachers working in schools with different socio-economic substructure in Adana and Hatay in the 2017-2018 academic year. The data were collected through semi-structured interview form, and analysed following content analysis method. The findings of the study revealed that teachers conceptualize the concept of aesthetic in different ways; they consider that aesthetic creativity is as important as scientific creativity; that aesthetic education contributes to mental and emotional development of the students; that social studies class is effective in gaining creativity; and accordingly, they have included aesthetic education in their courses. The findings of the study revealed that teachers conceptualize the concept of aesthetic in different ways; that they consider that aesthetic creativity is as important as scientific creativity; they believe aesthetic education contributes to mental and emotional development of the students; that they think social studies class is effective in gaining creativity; and, therefore, they include aesthetic education in various ways in their courses.
40

Middendorf, Ulrike. "AESTHETICS OF EMOTION AND AESTHETIC EMOTION INXUNZI." Monumenta Serica 59, no. 1 (December 2011): 17–71. http://dx.doi.org/10.1179/mon.2011.59.1.002.

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41

Agung, Lingga, and Novian Denny Nugraha. "Digital Culture and Instagram: "Aesthetics for All?"." IMOVICCON Conference Proceeding 1, no. 1 (July 2019): 93–98. http://dx.doi.org/10.37312/imoviccon.v1i1.7.

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Aesthetics is the study of beauty but in a cultural discourse is a representation of cultural expressions that mark its position in social reality. Thus, aesthetics is not a subjective expression of culture but rather a mechanism by which beauty is produced and distributed. The mechanism continues to operate even in a wider landscape such as in multidimensional technological space. This has resulted the aesthetic deconstruction because the norm operates differently. Instagram, which attracted latest generation, has birth a digital culture oriented to the new aesthetic visual forms. The aesthetic visual on Instagram constructed through visual production that is continuously interwoven with one another. The mechanism of cultural production in Instagram tends to deconstruct aesthetics as a norm. The public is more oriented to actions rather than philosophical contemplation. However, the mechanism of culture produces the discourse of aesthetics in Instagram still needs to explore. This research is important because we facing ‘loss of ideological and historical awareness’ of the aesthetics and aesthetics are the alternative to explore the nature of humanity. This research tries to explain how the aesthetics mechanism works on Instagram by virtual ethnography method and Bourdieu's ‘Capital Culture’ theory.
42

Zhang, Pengcheng, Yezi Chen, Yiran Zhu, and Haibin Wang. "Eye region as a predictor of holistic facial aesthetic judgment: An eventrelated potential study." Social Behavior and Personality: an international journal 49, no. 1 (January 2021): 1–13. http://dx.doi.org/10.2224/sbp.9660.

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Event-related potentials (ERP) play an important role in the early detection of emotional arousal. Previous studies of aesthetics have shown that the positive component appearing around 200 ms after stimulus (P2) and the larger late positive component (LPC) are closely related to the early stage of aesthetic judgment. We investigated the temporal features of facial aesthetic judgment on the basis of facial features by using the ERP technique. Participants were instructed to predict holistic face aesthetic level based on the regions of eyes, mouth, or nose. Behavioral results show that holistic score predictions based on the eye region were no different to holistic aesthetic ratings. The ERP analysis results show that beautiful eyes and faces elicited a smaller P2 amplitude and LPC amplitude when judging the holistic aesthetic. The P2 effect of facial aesthetics may reflect automatic processing of facial aesthetics and the difference in LPC may be related to motivational attention to facial aesthetics. Because of the similar ERP effect between the holistic facial aesthetic judgment and the aesthetic judgment of eye region, this region may play a significant role in predicting holistic facial aesthetics. The implication is that the eyes are not only a window to the soul, but also a benchmark of beauty.
43

Al-Salam, Nadia A., Ahmed A. Al-Jaberi, and Ahmed S. Al-Khafaji. "Measuring of Subjective and Objective Aesthetics in Planning and Urban Design." Civil Engineering Journal 7, no. 9 (September 2021): 1557–68. http://dx.doi.org/10.28991/cej-2021-03091743.

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The article includes the concept of aesthetics through what has been dealt with in the literature by philosophers and researchers who have addressed this concept in an attempt to derive indicators of aesthetics. The article adopted a descriptive and analytical methodology by reviewing recent literature on the concept of aesthetics and its relation to urban planning and design issues. Many subjective and objective aesthetics indicators have been identified, some of which are classified under real aesthetics, and some under fake aesthetics. The indicators were applied to the Kufa Mosque complex and Sahla Mosque complex as a comparative case study. It was found that the indicators of real aesthetics have a higher weight in determining the final aesthetic judgment on the complex form versus the fake indicators, which in turn reinforced the weighting of the subjective aspect over the objective. This was consistent with the answer to the question directed to the sample about which complexes are more aesthetic. The answer was that the Kufa Mosque complex is most aesthetically. This was proven by the questions directed in the questionnaire, which outweighed the real aesthetic indicators for the Kufa Mosque complex. As for the results of analyzing the indicators of fake aesthetic were equal, as each complex achieved higher values in three indicators. Doi: 10.28991/cej-2021-03091743 Full Text: PDF
44

Loesberg, Jonathan. "Kant's Aesthetics and Wilde Form." Victoriographies 1, no. 1 (May 2011): 79–95. http://dx.doi.org/10.3366/vic.2011.0008.

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Although Wilde was convicted of Gross Indecency, not of having written questionable literature, critics frequently take his trial as a trial of his literature and his theories, and, in a sense, they are oddly enough right since, at key moments, the difficult of reading Wilde's writing becomes manifest in the difficulty of reading what occurs in the trials. That reading difficulty results from the alignment between Wilde's aestheticism and the ostensibly straighter Kantian aesthetics, a theory Wilde queered only by clarifying its paradoxes. Through a comparative reading of Kant's and Wilde's theories of natural and aesthetic beauty and the manifestation of Wilde's theory in The Picture of Dorian Gray (1891), this article will show how the ambiguities in Wilde's trial result from his insistence on a connection between his theoretical paradoxes and what he called his perverse desires, a connection that enriches both aesthetic theory and our understanding of the cultural significance of his trial.
45

Koskinen, Ilpo. "Agonistic, Convivial, and Conceptual Aesthetics in New Social Design." Design Issues 32, no. 3 (July 2016): 18–29. http://dx.doi.org/10.1162/desi_a_00396.

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This paper explores aesthetics in what it calls new social design. It asks, “How can designers work with aesthetics when the main design object is social, and traditional object-bound aesthetic concepts lose their validity.” It describes three approaches to aesthetics: agonistic, which sees aesthetics as a way to lure people to interact with controversial content; convivial, which finds aesthetics in community interactions; and conceptual, which does away with aesthetics. All these have precedents in art.
46

Budiarti, Muriah. "ESTETIKA SINDHENAN KULONAN SURYATI DALAM GENDHING BANYUMASAN." Acintya : Jurnal Penelitian Seni Budaya 13, no. 1 (July 2021): 57–64. http://dx.doi.org/10.33153/acy.v13i1.3821.

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This research is motivated by a unique phenomenon about Sindhenan which has a unique aesthetic, namely Pesindhen Suryati. As a singer, Suryati represents the aesthetic of kulonan (Banyumasan with Pasundan style) especially in gending Banyumasan. The concept of kulonan aesthetics is a new kind of aesthetic which has never been definitively revealed what are the elements that make up the aesthetic. The problems of this research are 1) What is the background of the Suryati’s sindhenan style so that it can represent the kulonan aesthetic? 2) How is the practice of kulonan aesthetics in Suryati’s sindhenan? 3) what are the elements that make up the kulonan aesthetics of Suryati’s sindhenan?This research was conducted qualitatively, with the stages: observation, literature study, interviews, conceptual determination, data analysis, and report writing. To reveal the problems, this study uses the theory of Lono Lastoro SimatupangThe conclusions of this research are 1) the Suryati’s sindhenan of kulonan aesthetics is formed by: bodily experiences influenced by genes, environment and social culture. 2) The constituent elements of Suryati’s kulonan aesthetics are recitation techniques, vocal ornamentation, and musical taste as well as impression.Keyword: Aeshtetics, sindhenan, kulonan, Suryati, Banyumas
47

Daeng Pasiga, Burhanuddin Daeng, Rasmidar Samad, and Rini Pratiwi. "Relationship of Oral Aesthetic Assessment according to Self Perception with Oral Malocclusion Condition of High School Students in Sidrap District, South Sulawesi Indonesia." Brazilian Dental Science 22, no. 4 (October 2019): 450–57. http://dx.doi.org/10.14295/bds.2019.v22i4.1712.

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Self-perception of dental aesthetics needs to be considered in planning orthodontic treatment because it is known that everyone has a self-perception of different oral esthetic conditions. Objective: To assess the state of malocclusion based on self-perception of dental aesthetics using the Oral Aesthetic Subjective Impact Score (OASIS); to determine the relationship of self-perceptions of oral aesthetics and the state of malocclusion from the results of clinical examinations using the Dental Aesthetic Index (DAI). Material and Methods: Research subjects were middle school students aged between 14-18 years as many as 187 students. For oral aesthetic assessment using the OASIS index questionnaire, and to evaluate the aesthetic and anatomical components of the malocclusion clinic using the Dental Aesthetic Index (DAI). Results: The prevalence of malocclusion according to Dental Aesthetic Index (DAI) showed that mild / normal malocclusion (59.9%), moderate malocclusion (33.4%), severe malocclusion (5.7%), and very severe malocclusion (1%). The prevalence of self-perception of oral aesthetics was 54.6% judging good. The results of the analysis with logistic regression tests showed that there was a significant (p<0.001) relationship between self-perception of oral aesthetics using the OASIS index and malocclusion status using the DAI index. Conclusion: Based on the results of this study, there was a significant relationship (p <0.01) between oral aesthetic self perception and malocclusion status of high school students.KeywordsOral aesthetic perception; Oral aesthetic subjective impact score; Dental aesthetic index.
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Tribot, Anne-Sophie, Julie Deter, and Nicolas Mouquet. "Integrating the aesthetic value of landscapes and biological diversity." Proceedings of the Royal Society B: Biological Sciences 285, no. 1886 (September 2018): 20180971. http://dx.doi.org/10.1098/rspb.2018.0971.

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As a cultural ecosystem service, the aesthetic value of landscapes contributes to human well-being, but studies linking biodiversity and ecosystem services generally do not account for this particular service. Therefore, congruence between the aesthetic perception of landscapes, ecological value and biodiversity remains poorly understood. Here, we describe the conceptual background, current methodologies and future challenges of assessing landscape aesthetics and its relationship with biodiversity. We highlight the methodological gaps between the assessment of landscape aesthetics, ecological diversity and functioning. We discuss the challenges associated with connecting landscape aesthetics with ecological value, and the scaling issues in the assessment of human aesthetics perception. To better integrate aesthetic value and ecological components of biodiversity, we propose to combine the study of aesthetics and the understanding of ecological function at both the species and landscape levels. Given the urgent need to engage society in conservation efforts, this approach, based on the combination of the aesthetic experience and the recognition of ecological functioning by the general public, will help change our culture of nature and promote ecologically oriented conservation policies.
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Hoang Thi My, Nhi. "Characteristics of traditional Japanese Aesthetics from the View of Orient Classical Aesthetics." Journal of Science Social Science 66, no. 2 (May 2021): 29–36. http://dx.doi.org/10.18173/2354-1067.2021-0022.

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Japanese aesthetics was formed very early, and had absorbed classical Oriental thought with its own speciality. Since ancient times, aesthetic concepts had appeared and always played an important role in shaping the Japanese artists’ style of composition and Japanese cultural life, and particularly flourished in Heian period. These aesthetics norms had paved the way for the later development of a unique and rich Japanese aesthetic system. The paper aims to clarify the role of Oriental philosophy, religion and ideology, as well as the ingenious continuation of the Japanese in forming a unique aesthetics of the nation. Besides, the article analyzes the characteristics of beauty such as deficiencies and emotional suppression, intimacy and lofty, sacred and worldly, and fragile fate. Based on those analyses, the paper explains the relationships between Japanese aesthetics and other typical aesthetics such as China and India. The research results will be the theoretical basis contributing to deciphering the characteristics of Japanese culture viewing from a traditional perspective.
50

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 aesthetic thoughts of the modern Chinese philosophers Wang Guowei and Zong Baihua, and determines the impact of European philosophy upon them. The scientific novelty of this study lies in assessing the impact of the concepts of European aesthetics upon self-reflection and development of Chinese aesthetics in the context of cross-cultural problematic. It is demonstrated that Chinese modern aesthetics in many ways retains its connection with the tradition, which determines its specificity and imparts peculiar semantic symbolism. The conclusion is made that in the XX century, Chinese philosophers sought to complement the existing traditional Chinese reflection on art, which is based mostly on the ideas of Taoism and Buddhism, with what can be referred to as the Western viewpoint, associated with a scientific approach and scientific interpretation. Another vector in the area of humanistic understanding of the phenomenon of art was related to the attempts of interpretation of the European aesthetic thought from through the prism of Chinese traditional philosophy. The philosopher Wang Guowei tried to incorporate the European aesthetics into the scientific problematic of China. The philosopher Zong Baihua wanted to synthesize the Chinese and European aesthetic theories, and create what he believed is the modern Chinese aesthetics. &nbsp;

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