A Structural Study on the Image of the Turk in the British Caricatures

Author(s): Evrim Ulusan Öztürkmen / Language(s): English / Issue: 91/2017

The main tool of the caricature is the “line”. The line on its own, the characteristics of the line such as being horizontal, vertical, or diagonal and its figural characteristics such as being circular, curved, diagonal, or zig-zag create different associations and semantic fields in the mind. While the line in the caricature is processed with such tools as color, texture, shadow and perspective, it creates a discourse consisting of verbal and visual patterns. In this research, the following questions were sought to be answered by examining six cartoons published in England in the magazine Punch during World War I: What kind of image of the Turk do the lines in the England caricatures create? What kind of relationship is there between the visual content and the verbal content of the caricature? What are the concepts that make up the positive and negative contents of the images of the Turk?

A szépség és a szörnyűség

Author(s): Gizella Horváth / Language(s): Hungarian / Issue: 10/2017

A THEORETICAL APPROACH TO THE RELATIONSHIP BETWEEN ART AND WELL-BEING

Author(s): Anna Mundet-Bolos,Nuria Fuentes-Pelaez,Crescencia Pastor / Language(s): English / Issue: 56/2016

The aim of this review was to explore, through a systematic search of the literature, the relationship between art and well-being and the key elements involved. A relevant conclusion drawn from our findings is that participation in an artistic activity encourages personal well-being because it permits a direct and sincere connection with the individual’s emotions. Such a process implies a threedimensional strengthening: social (I am in a relationship); emotional (I am well); and cognitive (positive thinking). Another conclusion is that whilst many of the studies are relatively recent, the positive relationship between art and well-being is well supported by the literature. Further research is required, however, to provide greater validity to our findings.

A.G. BAUMGARTEN’DA DUYUSAL BİLGİNİN BİLİMİ OLARAK ESTETİK

Author(s): Nesrin ERTÜRK / Language(s): Turkish / Issue: 7/2016

A. G. Baumgarten grounds the aesthetics of which he was the founder on widely poetic and rhetoric in his “Aestetica” (1750/58). Nevertheless, what is significant here for him is to validate the individualist right of “sensitive knowledge.” The word “aesthetics” (αíσυŋгηικόç) here is strictly attached to its basic meaning which is “related to sense and perception,” and “sensually understandable.” The aesthetics of Baumgarten is the philosophy of sensual knowledge and perception, and its sensitivity cannot be perceived as the material of outer stimulation and logic; contrarily, it sincerely sees it as a special genre of the knowledge. Hence, the aesthetics is defined as the “science of sensitive knowledge.” With this study, it has been targeted to draw a general outline of Baumgarten’s aesthetics understanding by discussing the basic chapters of “Aestetica.”

ABBASQULU AĞA BAKIXANOVUN YARADACILIĞINDA CƏLALƏDDİN RUMİ İRSİNİN ƏKSİ

Author(s): Vüqar Ism?t TEYMURXANLI / Language(s): Azerbaijani / Issue: 3/2009

Makale, ünlü sufi ve düşünür Celalaeddin Rumi’nin XIX yüzyıl Azerbaycan düşünürü A. Bakıxanov’la ilgili edebi konuların ilmi tahlilini konu edinir. Yazıda, Azerbaycan’dakı ilim adamları ve eleştirmenlerin konu ile ilgili düşünceler üzerinde durulmuş, A. Bakıxanov’un eserlerinde Mevlana’dan yapılmış alıntılar tespit edilmiştir. Her iki düşünürün eserlerinde konu, yapı ve didaktik amaç bakımından benzerlikler araştırılmıştır. Manevi sansür karşısında Bakıxanov’un Mevlana sanatından nasıl faydalandığı üzerinde durulmuştur.

ABİDİN ELDEROĞLU RESİMLERİNDE ESTETİK VE DENEYSEL AÇIDAN BOŞLUK DOLULUK

Author(s): Mustafa Cevat Atalay,Mustafa Digler / Language(s): Turkish / Issue: 19/2016

The aim of this study is to analyze the paintings which belong to Abidin Elderoğlu since 1950 and to render by assessing the rate of Vide Et Plein in the selected works. Abidin Elderoğlu is one of the prominent artists of Turkish Painting Art with an innovative and distinctive point of view in his period. The artist, who stands for and indicates that the primary concern of art thinking is invariably the innovation, has made many significant contributions concerning intellectual and application of Contemporary Turkish Painting Art by leading his life in bringing out works of art. In an attempt to provide abstractness in his paintings, Elderoğlu has based upon and composed the effectiveness of plastic constituents such as color, style, clear obscure, half-opasity in parallel with application according to the functions. The artist, who has been influenced by the works of art produced earlier in the places where he has lived, has come up with innovative works of art by representing the syntheses of East and West in his own painting style. The painter, notable to be influenced by the art of Far East and Asia, has put through composition in which he has made a reference to art of calligraphy and lyric abstraction resembling patterns. Adopting an abstract expression in painting art, Elderoğlu has organized the rhythmic form of music and the roles of plastic constituents according to his intellectual design. Abidin has comprised works not directly influenced by the plastic form of calligraphy but put together in novice. In this study as a method, the artist Abidin Elderoğlu will be analyzed in terms of literature. Besides, the design properties of his five works which he produced after 1950 and which represent the abstract form of calligraphy will be explained. In the other part of this study, the rates of Vide Et Pleinof the compositions in the selected works will be analyzed by means of digital photogrametri and the findings will be interpreted by way of data set concerning the aesthetics and schematic aspects.

Acting for Aesthetic Reasons

Author(s): Maria Alvarez,Aaron Ridley / Language(s): English / Issue: 1/2017

It seems natural to think that there are aesthetic reasons for action and that an artist must be guided by such reasons as he or she begins work on the canvas or poem or symphony or marble. This latter supposition seems at odds, however, not only with classical inspiration theory but also with the views of one of the last century’s most important philosophers of art, R. G. Collingwood. We propose an account of acting for an aesthetic reason inspired by G. E. M. Anscombe’s Intention, specifically by her concept of ‘practical knowledge’, which we believe can accommodate Collingwood’s reservations about the sort of knowledge of their ends, and of the means to those ends, which artists have as they engage in their creative activity.

Action for Art’s Sake: Rethinking Jean Genet’s Political Turn

Author(s): Karl ÅGERUP / Language(s): English / Issue: 2/2018

When recapitulating the career of the French writer Jean Genet, critics and biographers have gathered around the idea of a pivotal moment in the 1960s when Genet abandoned literature and turned to political activism. However, Genet continued to write and publish texts, many of which appear to be literary, up to his death in 1986. In this article, Genet’s late works are reviewed and the notion of the turn is questioned. It is argued that the construction of a political turn in Genet’s career unjustifiably reduced the weight of his late works and neglected their pioneering hybridity. Rather than abandoning literature, the late Genet enhanced his aesthetics of subversion by developing a more referential style.

Activist Philosophy and the Occurent Arts

Author(s): Brian Massumi / Language(s): English / Issue: 3/2013

This text deals with a number of interrelated concepts – from something doing to the bare fact of activity, from bare activity to event and change, from change to potential and the production of the new, from production of the new to process as becoming. But process of becoming is also self-creation, and as such is double. It consists of relational and qualitative dimensions, which are also in their turn political and aesthetic, that is aesthetico-political and speculative-pragmatic. Practices we call politics and practices we call art are all integrally aesthetico-political, and every aesthetico-political activity is integrally speculative-pragmatic, and as such can be approached through the concept of techniques of existence. They are inventive of subjective forms in the activist sense – dynamic unities of events unfolding – so they qualify whatever domain in which their creativity is operative as an occurrent art.

Activity and Passivity in the Creation of Art: Heidegger and Later Philosophers

Author(s): Ruta Marija Vabalaite / Language(s): English / Issue: 1/2017

The article deals with the consideration that in spite of the fact that artistic creation is firstly an active work, the artist sometimes is not the only determinant factor of the value of the artwork, therefore some senses of the work that have not been predicted or consciously embodied by the artist might emerge. Creative inspiration, which creates the conditions for the appearance of something unpredicted, has been usually explained as the highest form of the creativity of the artist. We reconstruct Heidegger’s innovative thought about the creativity as a partly passive attitude of the artist in the first chapter of the article. The second part deals with the development of the ideas of creation as a specific form of inactivity of the artist in the works of Hans-Georg Gadamer, Maurice Merleau-Ponty, Theodor Adorno and later French philosophers Gilles Deleuze, Felix Guattari, and Alain Badiou. We look into their concepts that are formulated on purpose to explain the possibilities of the artistic creation, which might interrupt the standardized, stereotypical life, to promote the appearance of something unplanned and unforeseen.

Acutum Ingenium

Asteiologiczny motyw w estetyce i sztuce

Author(s): Kazimierz Piotrowski / Language(s): Polish / Issue: 1/2012

How to read out the work of A.G. Baumgarten after Duchamp’s anesthesia? The author of this interpretation of aesthetics as asteiology (Greek: asteidzomai – to be witty) seeks to reconstruct the foundations of aesthetic thinking as the art, science and paideia of wit, and he proves that the category of acutum ingenium occupies the central role in Baumgarten’s aesthetics. From Quintilianus to Kant wit (ingenium) was comprehended as a form of invention, cognition, expression and a talent for social communication, and in Baumgarten’s asteiology as the ideal (habitus) of arts and sciences. Raising the issue of asteism (Greek: asteísmos) as a mental process in the Polish art, starting with – nomen omen – the wit of Witkacy, we have to make use of a normative model of asteic intelligence. This is the author’s answer to the wit – often without asteism – of the contemporary post-art, post-aesthetics or post-philosophy.

Ad Parnasum или среща на музите

Author(s): Valentina Ganeva / Language(s): Bulgarian / Issue: 2/2003

Adorno i savremena umjetnost

Author(s): Josef Hlavacek / Language(s): Bosnian / Issue: 06/1996

Često se navodi poznati Adornov stav da je svaka umjetnost poslije Auschwitza neuvjerljiva i besmislena. Moglo bi se prigovoriti da umjetnost ipak nije iščeznula, nego je nastavila da postoji. No, Adorno je to imao u vidu; znao je da će svako djelo koje se još pojavi morati platiti gorku cijenu. "Budući da je svijet preživio svoj vlastiti kraj, još mu je potrebna umjetnost kao njegova nesvjesna povijest", pisao je .

Aesthetic and Artistic Verdicts

Author(s): James R. Hamilton / Language(s): English / Issue: 56/2019

In this article I propose a way of thinking about aesthetic and artistic verdicts that would keep them distinct from one another. The former are reflections of the kinds of things we prefer and take pleasure in; the latter are reflections of other judgments we make about the kinds of achievements that are made in works of art. In part to support this view of verdicts, I also propose a way of keeping distinct the description, the interpretation, and the evaluation of works of art. (And along the way, I worry about whether we offer the same kinds of interpretations of the objects of our aesthetic pleasures, properly considered, that we clearly do offer with respect to works of art.) The thesis I propose—the achievement model—is not original with me. What is original, perhaps, is that it is posed as an alternative to two other views of artistic evaluation, namely the appeal to “ideal critics” and the appeal to one way of understanding our preferences with regard to works of art. I do not attempt to show that each of these alternatives meets with insuperable problems; but I do indicate what I take to be the substantive content of those problems. In the end, in order to flesh out the thesis I propose, I borrow some material from the literature on human well-being concerning how we determine what an achievement is.

Aesthetic Attention

A Proposal to Pay It More Attention

Author(s): Kathrine Cuccuru / Language(s): English / Issue: 2/2018

Whether it is consciously focusing on a painting’s intricate layers of pigment or spontaneously being drawn to new layers of voices in a choral performance, attention appears essential to aesthetic experience. It is surprising, then, that the actual nature of attention is little discussed in aesthetic theory. Conversely, attention is currently one of the most vibrantly discussed topics in the philosophy of perception and in cognitive science. My aim is to demonstrate the need for and the value of aestheticians considering such philosophical accounts in order to establish a clear understanding of ‘aesthetic attention’. I assess the existing aesthetic candidates against Wayne Wu’s characterization of attention as ‘selection for a task’. Finding that these candidates lack full explanatory force, I make the novel proposal that aesthetic attention is best characterized as ‘selecting for the sake of selection’. Finally, I suggest that both aesthetics and, more broadly, the philosophy of attention would benefit from paying aesthetic attention more attention.

Aesthetic Desire: Edgar Allan Poe, Nikolaos Episkopopoulos and the Death-of-a-Beautiful-Woman Motif

Author(s): Eleftheria Tsirakoglou / Language(s): English / Issue: 04/2015

The purpose of the present paper is twofold: firstly, it aims to shed light on the influence Edgar Allan Poe exerted on the work of Nikolaos Episkopopoulos by providing evidence of the Greek writer having read Poe’s short fiction. Specific attention is given to the development of the aesthetic tradition in Greece, a tradition to which both Poe and Episkopopoulos are closely tied. Secondly, it explores the possible intertextual relations and parallels between Poe’s female ideal and Episkopopoulos’ fictional representation of women as this is exemplified in the latter’s Ut Dièse Mineur (1893). The side-by-side examination of the female heroine appearing in Ut Dièse Mineur reveals significant links between Episkopopoulos’ tales and Poe’s, highlighting the similar manner in which both writers develop the image of a sensuous female persona.

Aesthetic Experience and the Emotional Content of Paintings

Author(s): Slobodan Markovic / Language(s): English / Issue: 1/2010

In this study we investigated the relationship between aesthetic experience and other emotional qualities judged in paintings. Aesthetic experience was defined as an exceptional state of mind in which a person is focused on a particular object, transcending its everyday uses and meanings and losing the awareness of surroundings and even of himself/herself. In this state a person has an exceptional emotional experience, that is a feeling of unity with the object. Our basic idea is that aesthetic experience is not reducible to pleasure or a positive hedonic tone, but a person can equally be fascinated with both pleasant and unpleasant objects. In preliminary studies we specified the stimulus set of figural and semi-figural paintings, and a set of descriptors of emotions, feelings and aesthetic experience. Participants judged the paintings on descriptors (seven-point scales). Factor analysis revealed two large factors: the bipolar factor Affective Tone (descriptors on the positive pole: lovely, charming, cheerful, etc; descriptors on the negative pole: scary, disgusting, hateful etc.) and Aesthetic Experience (descriptors: exceptional, profound, unique, etc.). Additional analyses have shown no significant correlation between the two factors. These findings confirmed our idea that aesthetic experience is independent of pleasure or affective attraction, and that it can be induced by both pleasant and unpleasant paintings.

Aesthetic Experience of Dance Performances

Author(s): Maja Vukadinovic,Slobodan Markovic / Language(s): English / Issue: 1/2012

In this study the aesthetic experience of dance performances is investigated. The study includes construction of an instrument for measuring the aesthetic experience of dance performances and an investigation of the structure of both dancers’ and spectators’ aesthetic experience. The experiments are carried out during eight different performances of various dance forms, including classical ballet, contemporary dance, flamenco and folklore. Three factors of aesthetic experience of dance performances are identified: Dynamism, Exceptionality and Affective Evaluation. The results show that dancers’ aesthetic experience has a somewhat different factorial structure from that of the spectators’. Unlike spectators’ aesthetic experience, dancers’ aesthetic experience singles out the Excitement factor. The results are discussed within the context of dancers’ proprioception and spectators’ exteroception since these findings confirm the idea of a significant role of proprioception in dancers’ aesthetic experience.

Aesthetic Experience, Aesthetic Value

Author(s): Jane Forsey / Language(s): English / Issue: 2/2017

This paper offers a critical analysis of Robert Stecker’s account of aesthetic experience and its relation to aesthetic and artistic values. The analysis will demonstrate that Stecker’s formulation of aesthetic experience as it stands is incompatible with his arguments for nonaesthetic artistic values. Rather than multiplying the values associated with aesthetic experience, a deeper understanding of that experience will best serve to clarify problems at the core of the discipline.

Aesthetic Experts

Author(s): Tereza Hadravová / Language(s): English / Issue: 1/2019

In the 1990s and early 2000s, researchers in the field of so-called neuoaesthetics recruited research subjects who had been untrained in arts and did not have any pronounced interest in aesthetic matters for their laboratory experiments. The prevalent choice of research subjects has recently changed. Currently, a great number of studies uses subjects who are professionally engaged in the art world. In my paper, I describe, analyze, and critically discuss the two research paradigms regarding the subjects involved in the experiments in neuroaesthetics. I claim that although the more recent one can be generally regarded as an improvement of the research framework, it underestimates the difficulties brought by the notion of expertise in aesthetic perception.