Zoku as Aesthetic Criterion: Reforms for Poetry and Prose

2021 ◽  
pp. 60-79
Author(s):  
Atsuko Ueda
Keyword(s):  
Aesthetic Criterion

The leg-to-body ratio as a human aesthetic criterion

Body Image ◽  
2006 ◽  
Vol 3 (4) ◽  
pp. 317-323 ◽  
Author(s):  
Viren Swami ◽  
Dorothy Einon ◽  
Adrian Furnham
Keyword(s):  
Aesthetic Criterion

Accuracy, Authenticity, Fidelity: Aesthetic Realism, the “Deficit Model,” and the Public Understanding of Science

2018 ◽  
Vol 31 (1) ◽  
pp. 129-153 ◽  
Author(s):  
Fernando Vidal
Keyword(s):  
Policy Design ◽  
Public Understanding Of Science ◽  
Public Understanding ◽  
Deficit Model ◽  
The Public ◽  
Historical Film ◽  
Cinematic Adaptation ◽  
Aesthetic Realism ◽  
Understanding Of Science ◽  
Aesthetic Criterion

Argument“Deficit model” designates an outlook on the public understanding and communication of science that emphasizes scientific illiteracy and the need to educate the public. Though criticized, it is still widespread, especially among scientists. Its persistence is due not only to factors ranging from scientists’ training to policy design, but also to the continuance of realism as an aesthetic criterion. This article examines the link between realism and the deficit model through discussions of neurology and psychiatry in fiction film, as well as through debates about historical movies and the cinematic adaptation of literature. It shows that different values and criteria tend to dominate the realist stance in different domains:accuracyfor movies concerning neurology and psychiatry,authenticityfor the historical film, andfidelityfor adaptations of literature. Finally, contrary to the deficit model, it argues that the cinema is better characterized by a surplus of meaning than by informational shortcomings.

Adam Smith and Albert Einstein: The Aesthetic Principle of Truth

1989 ◽  
Vol 11 (2) ◽  
pp. 222-237 ◽  
Author(s):  
Elias L. Khalil
Keyword(s):  
Adam Smith ◽  
Albert Einstein ◽  
Aesthetic Principle ◽  
The Aesthetic ◽  
Aesthetic Criterion

I argue for an aesthetic criterion of truth through the explication of the epistemologies of Adam Smith and Albert Einstein–the progenitors of modern economics and physics [cf. Skinner, 1979:ch. 2; Holton, 1968, 1979]. The aesthetic criterion supersedes objectivist and relativist epistemologies.

scholarly journals Art of ancient Tuva (III – I millennium BC)

2019 ◽  
Author(s):  
Марина Евгеньевна Килуновская ◽  
Владимир Анатольевич Семенов
Keyword(s):  
Bronze Age ◽  
Middle Ages ◽  
Applied Art ◽  
Different Types ◽  
Cave Paintings ◽  
First Millennium ◽  
Ancient Civilizations ◽  
Stylistic Unity ◽  
The Bronze Age ◽  
Aesthetic Criterion

Искусство древней Тувы представлено разными типами памятников: наскальными рисунками, оленными камнями и каменными изваяниями (коже), предметами, найденными на поселениях и в погребениях, а также случайными находками. В основном они относятся к эпохе бронзы, скифскому времени и эпохе средневековья. Хронологическая граница между II и I тысячелетиями до н. э. может на полном основании называться рубежом эр. Во втором тысячелетии степи Центральной Азии представляли неразборчивый конгломерат различных племен, в которых носители духовных идей стремились выразить свои чувства и религиозные представления в тысячах наскальных изображений, в которых зачастую доминирует бык как носитель архаического мироздания, которое он держит или несет на своей спине. В первом тысячелетии до н. э. картина радикально меняется. На смену рассеянным и неупорядоченным представлениям в мире образов вырабатывается стилистическое единство, что не исключает свободы творчества, но, тем не менее, скифский звериный стиль становится основным эстетическим критерием как в монументальном, так и в прикладном искусстве. Он распространяется от Китайской стены до Венгерской Пушты, и оспаривать его значение как единого связующего звена кочевых народов Евразии бессмысленно. Даже влияние древних цивилизаций не может кардинально изменить идеологию и философию скифосибирского евразийского единства. The art of ancient Tuva is represented by different types of monuments: cave paintings, deer stones and stone sculptures, objects found in settlements and burials, as well as random finds. They mainly relate to the Bronze Age, Scythian time and the Middle Ages. Chronological boundary between the 2nd and 1st millennia BC may well be called the border of eras. In the second millennium, the steppes of Central Asia represented an indiscriminate conglomerate of various tribes, in which the carriers of spiritual ideas sought to express their feelings and religious ideas in thousands of cave paintings, in which the bull often dominates as a carrier of an archaic universe that he holds or carries on his back. In the first millennium BC the picture is radically changing. Instead of scattered and disordered ideas in the world of images, a stylistic unity is being developed, which does not exclude the freedom of creativity, nevertheless the Scythian animal style becomes the main aesthetic criterion in both monumental and applied art. It extends from the Chinese wall to the Hungarian Pushta, and it is pointless to dispute its importance as a single link between the nomadic peoples of Eurasia. Even the influence of ancient civilizations cannot radically change the ideology and philosophy of the ScythianSiberian Eurasian unity.

Aesthetic Criterion

Politeia ◽  
2019 ◽  
Vol 1 (3) ◽  
pp. 123-136
Author(s):  
D.Z. Andriopoulos ◽  
Keyword(s):  
Aesthetic Criterion

scholarly journals Renaming of modern Ukrainian oikonyms

2018 ◽  
pp. 135-151
Author(s):  
Liudmyla Kravchenko
Keyword(s):  
Word Formation ◽  
Linguistic Landscape ◽  
Party Leaders ◽  
Before And After ◽  
The Creation ◽  
The City ◽  
Aesthetic Criterion

The active nominating processes, caused by the necessity of renaming oikonyms and town objects, have started in the linguistic landscape of cities and villages of Ukraine. This article is dedicated to 32 names of Ukrainian cities before and after the decommunization process. Among the astionyms of the Soviet era, which were to be renamed, seven contained the component Krasny or Chervony, two of them contained the component Komsomol (Chervonopartyzansk, Krasny Lyman, Krasnoarmiysk, Komsomolsk), other names were based on pseudonyms or the names of party leaders and communist ideologues. In general, they were not distinguished by the variety of names neither in terms of the lexical base nor in the aspect of word-formation formants. As a result of the analysis of renamed oikonyms, two main directions of motivational processes were revealed: the first of them was the return of former (old) names to cities (20 units, 62,5%), and the second was the creation of new names (12 units, 37,5%). Returning the historical names, inhabitants, as a rule, took as the basis the names of former towns, villages, small villages, and sometimes microtoponyms and ergonyms, which denoted objects that had existed before, and around which the cities were formed (Kamyanske, Bakhmut, Snovsk, Kadiivka, Golubivka, Gorishni Plavni, Kypuche). New names were chosen for two reasons. The first reason was that the historical name of the city was inconceivable, alien and irrelevant for contemporary inhabitants, and the second reason was that there was no historical name. The new names were chosen primarily according to orientation-spatial and physical-geographical principles of the nomination. They were based on hydronyms, ergonyms and oikonyms, which were somehow tangent to renamed settlements (Kalmiuske, Podilsk, Dovzhansk, Pokrovsk, Zavodske). Only one name represents the memorable principle of the nomination (Kropyvnytsky) and one name represents an aesthetic criterion (Myrnograd). For further research, it is promising and relevant to study renamed comonyms (village names), as well as other classes of onyms, primarily urbanonyms and ergonyms.

scholarly journals El criterio artístico

2021 ◽  
Vol 18 ◽  
Author(s):  
Fernando Infante del Rosal
Keyword(s):  
Aesthetic Theory ◽  
Stanley Cavell ◽  
The Aesthetic ◽  
Aesthetic Criterion

La disciplina estética se ha interesado frecuentemente por el criterio estético –aquel por el que se discrimina o se determina qué es y qué no es el arte, o bien si algo es o no arte– pero raras veces se ha preguntado qué son y cómo operan los criterios artísticos, aquellos que están implicados en la creación o la crítica. Este artículo pretende ofrecer una caracterización de tales criterios a partir de su relación con la regla y con el juicio, elementos que remiten al pensamiento de Hume y de Kant respectivamente. Se presenta también una revisión de las ideas de autores como Stanley Cavell o Yves Michaud acerca del criterio. The aesthetic theory has often been interested in aesthetic criterion – that one that discriminates or determines what art is and what is not, or whether if something is art or not – but it has rarely asked what are the artistic criteria and how they operate (understanding by artistic criteria those that are involved in creation or criticism). This article aims to provide a characterization of such criteria starting from their relationship with standard and judgement, elements that refer to the thought of Hume and Kant respectively. A review of the ideas of authors such as Stanley Cavell or Yves Michaud about the criteria is also presented.

The ontological turn revisited: Theoretical decline. Why cannot ontologists fulfil their promise?

2021 ◽  
pp. 146349962110506
Author(s):  
Martin Palecek
Keyword(s):  
Careful Evaluation ◽  
Pragmatic Analysis ◽  
Evolutionary Science ◽  
Ontological Turn ◽  
Aesthetic Criterion

Holbraad and Pedersen have revisited the ontological turn, suggesting that it is strictly concerned with methodology only. Holbraad goes even further, accepting an aesthetic criterion for ethnography only. This is a sign of theoretical decline. In my paper, I claim that ontologists’ tendency to overestimate the significance of ethnographic experience causes theoretical confusion. I claim that neo-pragmatic analysis can eliminate this confusion. I also argue that there is only one remaining issue from the ontological turn that is not entirely lost. A careful evaluation of all folk categories, with all its possible consequences, can boost the robustness of all competitive theories, Cognitive Evolutionary Science included.

Toward an Understanding of "Ashé" as an Aesthetic Condition

2020 ◽  
Vol 8 (1) ◽  
Author(s):  
Arturo Lindsay
Keyword(s):  
African Diaspora ◽  
Faculty Members ◽  
Theory And Practice ◽  
Innovative Teaching ◽  
Spelman College ◽  
Works Of Art ◽  
Emory University ◽  
Morehouse College ◽  
Principles Of Design ◽  
Aesthetic Criterion

As an artist and cultural investigator specializing in contemporary art theory and practice, my area of research is centered on African spiritual and aesthetic retentions, rediscoveries and reinventions in the African diaspora. As an educator, my pedagogical interest is in constructing new and innovative teaching methods to critically analyze works of art. I was therefore eager to introduce the concept of ashé as an aesthetic criterion to my students and colleagues but needed to test my hypothesis. To that end I created a research project to assess the viabilityof my hypothesis. The results of my investigation led to the creation of a series of four weekly workshops that challenge participants to conduct critical analyses of works of art using ashé as a criterion along with the accepted formal elements of art and principles of design. To date, I have conducted these workshops with a diverse population of students from Spelman College, Morehouse College, Clark Atlanta University, Emory University and Colgate University. Spelman College’s African Diaspora and the World program (ADW)1 has embraced my project and a number of faculty members have used it in the classroom with promising results. The primary purpose of this essay is to introduce the project to a broader audience of students, educators, and scholars.

scholarly journals POINT SET LABELING WITH SPECIFIED POSITIONS

2002 ◽  
Vol 12 (01n02) ◽  
pp. 29-66 ◽  
Author(s):  
SRINIVAS R. DODDI ◽  
MADHAV V. MARATHE ◽  
BERNARD M. MORET
Keyword(s):  
Fixed Point ◽  
Computer Graphics ◽  
Best Approximation ◽  
Maximum Size ◽  
Map Labeling ◽  
Combinatorial Properties ◽  
The Best Approximation ◽  
Point Set ◽  
Set Of Points ◽  
Aesthetic Criterion

Motivated by applications in cartography and computer graphics, we study a version of the map-labeling problem that we call the k-Position Map-Labeling Problem: given a set of points in the plane and, for each point, a set of up to k allowable positions, place uniform and non-intersecting labels of maximum size at each point in one of the allowable positions. This version combines an aesthetic criterion and a legibility criterion and comes close to actual practice while generalizing the fixed-point and slider models found in the literature. We present a general heuristic that given an ∊ > 0, runs in time O(n log n + n log (R*/ ∊) log (k)), where R* is the size of the optimal label, and guarantees a constant approximation for any regular labels. For circular labels, our technique yields a (3.6 + ∊)-approximation, improving in the case of arbitrary placement over the previous bound of approximately 19.5 obtained by Strijk and Wolff.28 We then extend our approach to arbitrary positions, obtaining an algorithm that is easy to implement and also substantially improves the best approximation bounds. Our technique combines several geometric and combinatorial properties, which may be of independent interest.

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