The Immediacy of Mystical Experience in the European Tradition
Vassányi M. – Sepsi E. – Daróczi A., eds., The Immediacy of Mystical Experience in the European Tradition. Springer International Publishing, 2017, XIX+274.
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Vassányi M. – Sepsi E. – Daróczi A., eds., The Immediacy of Mystical Experience in the European Tradition. Springer International Publishing, 2017, XIX+274.
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Every product that is designed for being liked and that bears aesthetical values is a social communication instrument that arouses pleasure on consumers by directly addressing to their senses. Blijlevens et al. made contribution to the body of literature by developing a scale that is reliable, validated and generalizable so that the aesthetic pleasure and the determinants of the aesthetic pleasure received from design products can be measured. The applicability of the scale were additionally tested in Austria, Netherlands and Taiwan by them. The scale comprises aesthetic pleasure (5 items) and typicality (6 items), extraordinary novelty (4 items), unity (4 items) and variety (4 items) aspects that are accepted to describe the determinants of aesthetic pleasure. By means of these aspects, it can be possible to respectively define both aesthetic pleasure and the determinants of aesthetic pleasure and to set forth the relationship between them.
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In this working, we will study to deal with Hz. Muhammed's understanding of beauty. We will deal with beautifulness of Hz. Muhammed, his moral beautifulness and reflections of this beautifulness to his education. At the same time we will touch on, pioneered in our Prophet, in history of Islam, viewpoints to aesthetic after our Prophet, conception of beauty and good science topics which is the most important subject at beautifulness. Hz. Muhammed expresses aesthetic concept with "beauty" concept. Altough we have a Prophet who is graceful and sensitive, knows the beauty and thinks everything thoroughly, there are a few works under this heading come until today. Religious educator has to explain the "Religion" with Koran and tradition truthfully. Religion is very deep and sensitive. God commands in a verse: "God created everything according to a certain. God has created the universe in a spectacular system so people have made think in astonishment. It is a necessity that while they explain the religion to people they mustn't tight them and use an aesthetic presentation. People who listen to them can adopt the religion or a non-muslim can be involved in Islam with this aesthetic. Hz. Muhammed has reflected aesthetic and beautifulness every moment of his life. He has proved it not only with his life but also his words. We wish that Muslims give more place to beautifulness in their lives thanks to this working and make use of the education method of Hz. Muhammed and recognize Hz. Muhammed, too.
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This essay is a discussion of the task of the avant-garde, and it presents it as an implication of Benjamin's weak messianism, as a „weak universalism” – a construction of democratic art. There is a similarity between the art of Malevich, Beuys, Warhol and internet art, which consists in efforts to build a transhistorical art pieces, which contains the conditions of possibility of all art pieces, but which is at the same time accessible to the widest public. This is the translation of the original text published „The Weak Universalism” in e-flux magazine, issue 15/2010.
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The aim of the analysis is to present the film (Late Afternoon) by Gilles Renard as a study of melancholy. Both the plot and the cinematographic means used to shape the form of this short film correspond with the theoretical texts by Julia Kristeva and Melanie Klein on depression in women. The author of the text considers Late Afternoon as a feminist and affirmative film, strongly inspired by the aesthetics of Krzysztof Kieślowski’s cinematic output.
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Saeculum includes both profanum and sacrum – independent realities which simultaneously depend on and in some ways complement each other. This temporality also includes spaces, horizons and sacred centres which permeate one another. In each of them, we discover the surrounding reality, nature, ecosystem as well as various manifestations of human creativity and artistry. Awareness, responsibility and setting boundaries to this exploration are crucial not to disturb the harmony, order, aesthetics and the integral sense of the universe.
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This essay will show the influence of Flaubert’s writings and aesthetical conception on Maupassant’s short stories. For our demonstration, we chose the thematical level and the concept of intertextuality, which can be applied not only on stylistic or semantic microstructures, but also on a literary work as a whole. The examples of intertextuality are based on five fragments of Flaubert’s novels, compared to five fragments (thematically related) of Maupassant’s short stories.
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One of the greatest challenges of cognitive science is the application of its methods to explain the phenomena of normative character. One of the attempts on naturalizing philosophy is neuroaesthetics, which utilizes the development of neurosciences to study the neural basis of aesthetical experiences. This area brings much hope in the context of scientific explanation of art and beauty, albeit faces many methodological problems. The main objection is the inadequacy of methods used to the subject of explanation. Despite some of the objections seem correct, this research programme may fruitfully contribute to the aesthetical thought and provide a scientific background of the mental states of that character.
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Review of: Justyna Weronika Łabądź - Teoria i estetyka fotografi i cyfrowej. Antologia. Wybór, wprowadzenie i redakcja naukowa: Piotr Zawojski, seria Biblioteka „Kultury Współczesnej”, Narodowe Centrum Kultury, Warszawa 2017, ss. 352.
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Materiał został przygotowany dla studentów zarządzania kulturą i mediami oraz filmoznawstwa na II stopniu studiów, ale może zostać wykorzystany (w całości bądź we fragmentach) również na innych kierunkach, ponieważ dotyczy znanych filmów, w tym filmu Loving Vincent, nominowanego w 2018 roku do Oscara w kategorii animacja długometrażowa.
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This paper introduces practical and theoretical appreciation of the phenomenon of beauty of nature in its theological and aesthetic dimension. It is partly based on a philosophical point of view involving the opinion of a number of experts and following a theological appreciation of this phenomenon. The topicality of theological approach is demonstrated by presentation of the conclusions of a qualitative research, which, by means of an empirical method, examines the ways of human perception of the beauty of nature. The aim of this empirical research was to evaluate whether and to what extent a contemporary man addresses the phenomenon of the beauty of nature, and whether this type of experience also contains the elements of numinosity. The outcomes of this research can be used in pastoral practice.
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Central focus of this investigation is problematizations of aesthetics in Fichte’s philosophy. The process of this problematization includes key aesthetical concepts of the most important representatives of German idealism, as well as Fichte’s interpretation concerning this subject. Problematization of aesthetics in the philosophy of German idealism in Fichte‘s case must focus on the interpretation of tacit ideas, as well as clarification of only the few explicit treatise on aesthetics, art and beauty in Fichte‘s philosophy.
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The article argues that early Romanticism, articulating its own view, addresses to the Enlightenment an “aesthetic” remark which be traced deep into the twentieth century. The author of the work found it, after Schlegel and his school, not only in Weber ‘s diagnosis of institutionalized rationality of Western civilization, and in the Horkheimer’s and Adorno’s Dialectic of Enlightenment and the critique of the goal-oriented or instrumental reason of modernity that followed, but in a different way, also in Foucault, Böhme brothers, and even in postmodern philosophy and neopragmatism. It is concluded that all these orientations share detection of the lack od self-enlightenment of the Enlightenment and, consequently, the lack of its self-referential correction. These unaccounted costs of violations the Enlightenment committed to its “other”, irreversibly or somehow still recoverable, undermines its original critical and emancipatory program.
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The review of: Nebojša Grubor, Od estetičke egzaktnosti do metaestetičkog skepticizma. Studije o savremenoj srpskoj estetici, Filozofski fakultet, Univerzitet u Beogradu, Beograd, 2015.
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Text is an attempt of specific phenomenological analysis of relationship between Auguste Rodin’s sculpture and its visual expression and philosophy of Neoplatonism. Author treats Neoplatonism as philosophical prism for Auguste Rodin’ s sculptoral precedure. Author emphasizes philosophical importance of non finito aesthetic principle and sculpture defined by that principle, calling it »metaphysical shortcut« because of its visual and ontological strength.
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The main intention of this paper is explanation of Schelling’s idea of art, through examination of his philosophical system and philosophy of art, as one of its forms. Schelling understands the idea of art as a key connection point between the nature and the freedom. He explains the nature as the spirit that’s visible, and the spirit as the nature that’s invisible. Philosophy of art is the peak of philosophical knowledge, because the art overgrows the difference between theoretical and practical knowledge. Philosophy is not able to represent nature in itself, because it streams through rationality in order to reach the irrational. Beauty, in the other hand, makes an expression of infinity in finite form – art has its own purpose in itself. Art can express what the theory is not able to – because it’s not dependable of an object that must be expressed by terms. But the question remains: can philosophy comprehend the form of spirit that overgrows her own boundaries?
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The review of: Damir Smiljanić, Sinestetika. Skica patičke teorije saznanja, Adresa, Novi Sad, 2011.
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The paper presents an analysis of two main concepts of space in fine arts: renaissance and baroque. From Giotto to high renaissance artifact‘s space was created to situate recipient in front of the presented scene, as a »witness«. The baroque concept of space intensified the illusion – the space of illusion strives to envelope and involve the recipient, making him a »participant« of the presented sight.
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Pojam refleksivne moći suđenja Kant je uveo kao odgovor na problem koji se tiče empirijske heterogenosti prirodnih pojava. U svetlu ovog problema čini se da se refleksivna moć suđenja primarno odnosi na mogućnost primene u sistematskoj prirodnoj nauci. Međutim, Kant takođe smatra da se ona koristi i u sudovima ukusa*: „pod estetskom moći suđenja, kao naročitom moći, neće smeti da se posmatra neka druga moć do refleksivna moć suđenja.“ Shodno tome, on smatra da mogućnost ukusa počiva na istom principu a priori za kojeg misli da stoji i u osnovi empirijskog naučnog istraživanja, naime principu da je priroda sistematski ustrojena tako da se povinuje, ili, Kantovim rečima, da je svrhovita za naše saznajne moći. „[Estetska moć suđenja] ... sadrži princip koji moć suđenja stavlja potpuno a priori u osnov sopstvene refleksije o prirodi, naime princip formalne svrhovitosti prirode u njenim empirijskim zakonima za našu moć saznanja.“ [...]
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In the first part of the article, the author argues on justifi ed usage of an expression “Plato’s Aesthetics of Beauty”(I). The second part, which is named “Dialectics of Beauty” (II), considers the problem of diversity of aspects of beauty within the dialogue Hippias Major. In the third part, or “Anamnestic Acknowledgement of Beauty” (III), Plato’s definition of beauty from the dialogue Symposium is considered at first. Then, referring to dialogue Theaetetus, it is shown in what way beauty is available to human knowledge. Finally, on the ground of dialogue Phaedrus, it is explained why is so hard for people to take cognizance of beauty itself. Author follows the thesis that there is complementarity between early Plato’s interpretation of beauty in the dialogue Hippias Major and later one in Symposium and Phaedrus; furthermore, that Plato’ aesthetics, seen in that light, does articulate ambivalence of beauty and that that is why Plato’s aesthetics of beauty represents the integral moment and trial of our philosophical-aesthetical self-understanding.
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