Search results for "AESTHETICS"
showing 10 items of 552 documents
The Logical Foundations of Peirce's Aesthetics
1962
(RE)PREZENTĀCIJA ATTĒLĀ: PĒTĪJUMS FENOMENOLOĢISKĀS ATTĒLA APZIŅAS KONCEPCIJĀS
2012
Anotācija. Darbā tiek realizēti divi, savstarpēji papildinoši mērķi. Viens vēsturisks, otrs filozofisks. Vēsturiskais paredz izsekot fenomenoloģiskām attēla apziņas koncepcijām, kas salīdzinoši tieši seko fenomenoloģijas dibinātāja Edmunda Huserla uzstādītajai pētniecības programmai. Savukārt filozofiskais mērķis ir saprast fenomenoloģiska attēla apziņas skaidrojuma iespējas un robežas iepretim atsevišķu semiotikas pārstāvju attēlu teorijām. Darbā tiek pierādīta hipotēze, ka noteiktos gadījumos attēls nevis reprezentē, bet gan prezentē attēloto lietu, turklāt tai piešķirot savdabīgu materialitāti. Pētījumā ieturētā metode ir fenomenoloģiska, lielākoties Edmunda Huserla formulētajā nozīmē. A…
«Evo-devo meets the Mind». La questione dell’esperienza estetica e l’evoluzionismo contemporaneo, dall’ipotesi degli adattamenti modulari all’interpr…
2013
Is it achievable to read aesthetic experience as a modular adaptation, and what would be its implication on the image of man, on aesthetics and on evolutionary theory itself? An alternative path is offered by evolutionary morphology, starting from the elaboration of a biologic concept of organism and from the notion of homology of function as a system of interconnections organized in a hierarchy. We deduce the possibility of thinking the peculiar innovation of aesthetic experience in an evolutionary way.
Neuroestetica e fenomenologia della percezione pittorica e musicale
2008
Neuroaesthetics aims at working out a neurobiological theory of aesthetic experience that accounts for neural invariants of perceptual properties fo artworks. In this paper, arguments are proposed that deal with the specification of the intended domain of application, its implications for neurobiological evidence that qualifies as explanans, the contribution that a rigorous phenomenological explanation of the perceptual variety in visual and musical arts can give to an evolutionary account of the cognitive skills underlying arts.
Musicologie historique, ethnomusicologie, analyse: une musicologie générale est-elle possible?
2010
The subject this article is about dates back to a long teaching experience in Montreal. I taught in a so called "research" seminar, similar to what is called, in German and English speaking countries a Proseminar, where I ask students of the master and doctorate in musicology, to read all or part of the great compositions that have marked the development of our discipline in each of its major sectors: the history of music, musical analysis, ethnomusicology, the study of pop music, sociology, cognitive psychology and the aesthetics of music. I never deal the acoustic music in an incompetent way. However, I have found over the years perplexity in students due to the disciplinary diversity, Th…
From Fantasy to Magic Realism
1998
Much use has been made of the term ‘magic realism’ to refer to texts which introduce an important ‘imaginary’ dimension into ‘realistic’ evocations of the world. The Cuban Alejo Carpentier has also coined the phrase to real maravilloso (marvellous reality) which he applies to a vision characteristic of Central and South America.
Mirror, Mirror on the Wall
2014
Our man stands with his face turned towards bygone times. He must spin around to catch a glimpse of the new days waiting to rise. The tornithologist has also arrived at the very essence of his own being, the point of embarkation, from which he can set off in search of the roots of each present moment. For the Torni, being a tower involves a twin-layered perceptual dimension. The height of the tower allows views to far-off places. From the top the gaze of an observer can pick out distant landscapes. Rising into the heavens also means standing out from one’s surroundings and this makes it impossible for a tower to conceal itself. In other words, it is gazed from and gazed upon. Even though th…
Are Distinctions Between Genres Still Relevant?
1998
Why do readers — and especially literary critics — feel the need to classify works of art into categories which one often calls genres? On the one hand fashionable ideas lead some commentators to argue that, in this infinitely innovative world, genres have become irrelevant because traditional rules have been subverted. The ineffable text (sacralized in italics) is all that counts. Yet, on the other, their description of works of literature inevitably resorts to such terms as ‘fantasy’, ‘allegory’, ‘realism’, ‘tragedy’, even if they carefully place these in inverted commas. As the ‘reception’ school of criticism has convincingly shown, a novel, poem or play takes on its full meaning when it…
Listening to the Literary: On the Novelistic Poetics of the Podcast
2020
In comparing the 300-year-old form of the novel and the more recent one of the podcast, Patrick Gill contends that there are indeed parallels between the two. In concentrating on the central ideas of scope, focus, affect, and narration, the essay argues that both the novel and the podcast exploit similar affordances to make their consumers feel actively engaged and emotionally involved in the media experience. Gill then analyses in how far the emphasis placed on these parallels by cultural commentators and podcast producers alike is due to essential similarities and in how far it derives from a desire to use the idea of the novel as a shorthand for an artefact that is somehow deemed more va…
Sonnets for a City on a Hill
2012
One factor – one among many – that lends a work of art dynamism and interest is tension. Both the making and the reading of poems can be thought of as dynamic processes. Processes that begin with the gradual discovery of their own obstacles and, in finding satisfactory ways to overcome them, achieve completion by integrating resolved conflicts into an expanded field of understanding.