Mohammad Hasan Emami; amir nasri
Abstract
Berlean's approach to the aesthetics over the past two centuries is based on the traditional view of aesthetic appreciation. This attitude is based on: "Disinterestedness" and "Reflection". Disinterestedness releases human from everyday life and the possibility of his free presence next to the object ...
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Berlean's approach to the aesthetics over the past two centuries is based on the traditional view of aesthetic appreciation. This attitude is based on: "Disinterestedness" and "Reflection". Disinterestedness releases human from everyday life and the possibility of his free presence next to the object or its representation, which leads to attention to beauty.By revealing some of the ills of beauty art in traditional aesthetics, Berleant addresses the question, why does understanding art in traditional aesthetics become a model for appreciation of nature? objects in traditional aesthetics can be easily controlled, while objectifying the environment is much more difficult than art. To this end, another question arises, can it be concluded that we need a separate aesthetic science for nature?Berleant argues how many interests experienced in real life are set aside by the single source of disinterestedness. Because our experience in appreciation of nature goes beyond the boundaries of an object of reflected and refrains from limiting to specific boundaries. Berleant, arguing for the sublime to recognize the distinct aesthetics of nature, argues that the direction in which the aesthetics of nature leads us is to engagement with it. However, the need to overcome disinterestedness in engagement aesthetics remains questionable.This definition of aesthetic boundaries provides another opportunity for the consumer-oriented human being to experience nature, which is experiencing climate change affected by the dual subject-object world. The works of environmental art of Christo-Jean-Claude, as the utility of this possibility, further reveal the empathy with the aesthetics of engagement.
philosophy
Mohammad hasan Emami; AMIR NASRI
Abstract
By focusing on sensory experience in Aesthetics, which is not always associated with positive feelings, Arnold Berleant analyzes the question of why and how Aesthetic values are negative, so that the scope of Aesthetics goes beyond "Beauty" and its application in the field of art. And because Aesthetics ...
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By focusing on sensory experience in Aesthetics, which is not always associated with positive feelings, Arnold Berleant analyzes the question of why and how Aesthetic values are negative, so that the scope of Aesthetics goes beyond "Beauty" and its application in the field of art. And because Aesthetics is an experimental thing for Breleant, in order to open up this domain, he does not categorize the Aesthetic moods (positive and negative) and deals with identifying the Aesthetic moods. Therefore, Brerleant names sensory experiences that do not have a positive value as the "underside of beauty". By introducing the characteristics of negative criticism in the field of art, Brerleant reveals the extent of negative Aesthetics and its various forms in relation to art criticism. One of these types is what is commonly called "Bad Taste". By explaining the relationship between ethics and negative Aesthetics, the possibility of social and moral evaluation of artistic objects and environmental pollution is presented to the audience, and by passing positive Aesthetics, a new topic under the title "negative Aesthetics beyond art" is provided for study.
philosophy
seyedeh Melika Sefidari; Amir nasri
Abstract
In Confessions, Rousseau is looking for his representation with all its true and natural characteristics. He claims that his true and natural self can only be understood by considering the chain of his feelings, understanding the origin of these feelings and distinguishing between them in terms of being ...
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In Confessions, Rousseau is looking for his representation with all its true and natural characteristics. He claims that his true and natural self can only be understood by considering the chain of his feelings, understanding the origin of these feelings and distinguishing between them in terms of being genuine or inauthentic. Rousseau leaves the conclusion about who he is to the readers in order to clear the charge of deception and self-deception. . In addition, Rousseau believes that the only valid reading is for readers to pay attention to the chain of his feelings instead of the chain of events. In this article, by using Ricoeur's analysis of the structure and design of the narrative, the narrative identity and the art of Aristotle's poetry, it is determined that the events in Confessions are configured in the form of discordant harmony and the genre of tragedy. This narrative structure imposes a form of reading on the reader that is different from Rousseau's intended reading. In the sense that based on Ricoeur's analysis of narrative identity, Rousseau's character is formed for the audience of Confessions based on the chain of narrative events and not based on the chain of Rousseau's feelings.
seyed rahman mortazavi; Amir Nasri
Abstract
This paper is about Corbin's investigations in aesthetics. These investigations are a part of his universal project named "comparative theology". Corbin's comparative aesthetics is founded on his perception of phenomenology; the one he calls "tawil". So in a successful comparative effort, all phenomena ...
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This paper is about Corbin's investigations in aesthetics. These investigations are a part of his universal project named "comparative theology". Corbin's comparative aesthetics is founded on his perception of phenomenology; the one he calls "tawil". So in a successful comparative effort, all phenomena must be compared to its sources. So for a comparative aesthetics, we should search for common sources, and these common sources can only be reached by esoteric tawil. This esoteric tawil based on a special perception on time and truth. And this perception makes real understanding, i.e. "Waai" possible. Henry Corbin contents only with this esoteric tawil, we can compare tow works of art with extreme geographical distance. A task Corbin claims to do. We try to find out that pattern which Corbin's comparative aesthetics is based on; so this paper begins, presenting methodological elements of this comparative aesthetics and is to be ended by Corbin's analysis in this field.
