philosophy
Abdollah Amini
Abstract
John Dewey is one of the most important experts in the field of education in the contemporary period, and some of his teachings have become a part of the body of educational systems in the world today. Since education is an integral part of the structure of any society, any weakness in it will weaken ...
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John Dewey is one of the most important experts in the field of education in the contemporary period, and some of his teachings have become a part of the body of educational systems in the world today. Since education is an integral part of the structure of any society, any weakness in it will weaken the culture of that society. The past educational systems mainly emphasized the intellectual, moral, and religious aspects of education, but nowadays attention to other dimensions, including the aesthetic, critical, and creative dimensions, is seen as a necessity. The reason is that the aesthetic and artistic approach, along with other approaches, can represent the world and its phenomena in a different way for us and provide us with the possibility of experiencing them in a different way. Therefore, in addition to developing intellectual and moral fields, emphasis is also placed on "aesthetic education". The main issue regarding this type of education is that some have only seen it based on the perspective of genius and some based on the perspective of taste; while the aesthetic education of Taaman includes both views. As a result, every successful educational system should pay attention to the development of imagination and the creative dimension of the child's mind, as well as the development of taste to perceive and evaluate beautiful things and works. In the book "Art as an experience" Dewey's work shows attention to both perspectives, on this basis, while reviewing the topics related to aesthetics and the components of aesthetic education, we specifically reread a part of the said work focusing on aesthetic education (based on the perspective of genius and We will discuss the view of taste.
Arsalan Aghakhani; Seyed Mohammadreza Hoseini Beheshti; shamsolmolouk Mostafavi
Abstract
Immanuel Kant's aesthetics in Critique of Judgment has always been the subject of discussions and the discovery of many points about the anatomy of the faculty of Taste and its judgments. Because of contemporary aesthetic issues, the inquiry concerning the possibility of the reflective perception ...
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Immanuel Kant's aesthetics in Critique of Judgment has always been the subject of discussions and the discovery of many points about the anatomy of the faculty of Taste and its judgments. Because of contemporary aesthetic issues, the inquiry concerning the possibility of the reflective perception of dissatisfaction and following that the position of ugliness in Kant’s aesthetics has been considered by commentators. Ugliness and its judgments have different places in Kant's pre-critical philosophy in comparison with his ideas in the framework of the critical system. Before writing triple critiques, he has taken note of Ugliness in the format of sensorial perceptions and anthropological concepts as the object of merely empirical positive displeasure perception. But the query about Ugliness as a reflective judgment is impossible on his critical aesthetic horizon because the possibility of such a judgment would be contradictory with the systematic purposes and methodology of the third critique. In order to clarify the position of Ugliness in Kant's aesthetic horizon, while the present article examines his view on Ugliness in the pre-critical horizon, it explains the reasons for the absence of the Ugly as a reflective judgment in Kant's critical considerations and proves the impossibility of realizing the reflective judgment on Ugliness in transcendental philosophy.
Monireh Naderi; Mohammad Javad Safian; Hossin Ardalani
Abstract
Freud's approach toward understanding art is limited to some factors. He overemphasizes the neural aspects of artistic experience. His analysis of artists, to a great extent, depends on his need to expand and indicate the psychoanalytic theory he was working on. He confessed that he failed to confront ...
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Freud's approach toward understanding art is limited to some factors. He overemphasizes the neural aspects of artistic experience. His analysis of artists, to a great extent, depends on his need to expand and indicate the psychoanalytic theory he was working on. He confessed that he failed to confront art's official and technical aspects, and psychoanalysis has not yet been able to realize the artist's intrinsic "secret" and "mysterious ability" in creating a work of art. Freud investigated the artist's individual unconscious for the origin of creating a work of art. Freud's view of art can be seen as a continuation of the modern aesthetic view of art and at the same time expresses its criticality. We are faced with a different approach to art and the beginning of a work of art. In this approach, Heidegger sees the beginning of the work of art as separate from the artist and his personal life and tries to connect art with the truth. On this basis, he gives a new interpretation of art. This study explored the foundations, components, and assumptions of psychoanalytic interpretation of art. According to Heidegger, one of the places where truth is realized is in art. Moreover, based on Heideggerian thought on art and poetic thought, this study examined the strengths and weaknesses of psychoanalytic interpretation of art and attempted to explore the relationship between art and truth in psychoanalytic interpretation and Heidegger's interpretation of art.
Marjaneh Souzankar; Mohammadreza Rikhtegaran; Shamsolmolouk Mostafavi
Abstract
Heidegger believed that the essence of Art is the manifestation of unconcealment and he believed that what makes possible Art as Genuine Art is the essence of Art. He believed that Art in ancient Greece was linked to the realization of unconcealment and possessed by the possibility of existence, but ...
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Heidegger believed that the essence of Art is the manifestation of unconcealment and he believed that what makes possible Art as Genuine Art is the essence of Art. He believed that Art in ancient Greece was linked to the realization of unconcealment and possessed by the possibility of existence, but with the onset of the metaphysical age and over several stages, its connection with its essence has been disrupted and strayed from the possibility of existence. In other words, Heidegger considers the separation of Art from its essence, not suddenly, but slowly and gradually. This process began from Mimesis in Plato’s and Aristotelian ideas and continued to the concept of Aesthetics Experience in the early modern era. But he attributes the complete separation of Art from its essence to the later era of the modern age, a period when art has diminished to Artistic Occupations and has found itself as Technic. In his view, driving art into the realm of Technic has caused that genuine art departs from the possibility of existence.
hesam hajmomen; Majid Salehbek
Volume 11, Issue 42 , July 2015, , Pages 37-54
Abstract
According to the common sense, literature as a collection of literary works is considered as a conventional concept. However, in this regard, we face some questions like what distinguishes a literary text from a non-literary one? how is it possible for a heterogeneous collection of text to be included ...
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According to the common sense, literature as a collection of literary works is considered as a conventional concept. However, in this regard, we face some questions like what distinguishes a literary text from a non-literary one? how is it possible for a heterogeneous collection of text to be included under the category of literature? what does the literariness of a text depend on? and how can we analyze the literariness? Such questions indicate that studying literature faces many challenges. In addition, lack of a well-structured approach to literature and its contents and concepts have resulted in a situation where scientific study and exegesis of literary works are not but a weak collection of research studies with instable criteria that do not facilitate the study of literature properly and fruitfully. Regarding the questions and the necessity mentioned, in the present paper, presenting a definition of literature, we intend to come up with the fundamental elements of literariness. Afterward, these elements shall be investigated and the manifestation of them in literary works shall be identified. In doing so, our approach to literary elements shall be aesthetical and they shall be studied from Aesthetical Experience Theory point of view. Finally, we shall deal with the outlets of the manifestation of these elements in literary texts in order to identify the organization governing such a phenomenon. The main intention of this study is exploring the recurring structure of the motifs in literary texts on the basis of a homogenous theoretical approach to literature.
mehdi mo'in zadeh; hamidreza ayatollahi
Abstract
Gadamer’s preoccupation with the nature of understanding led him to devote special attention to human sciences. While believing in Dilthey’s verstehen, he claimed that Dilthey is captivated with the myth of method. Gadamer, thus, questioned the method and did not necessarily seek the truth ...
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Gadamer’s preoccupation with the nature of understanding led him to devote special attention to human sciences. While believing in Dilthey’s verstehen, he claimed that Dilthey is captivated with the myth of method. Gadamer, thus, questioned the method and did not necessarily seek the truth in its framework. Therefore, Dilthey’s belief in “hermeneutics as the bedrock of all human sciences” was adopted but redefined by Gadamer who introduced aesthetics as the guiding principle of human sciences.
mohammad fanai ahkevari; ali karimian seyghalani
Abstract
The most important question ever posed in the realm of Art Studies investigates the relationship between aesthetic principles and artistic discourse. Taking note of the fact that schools base their definition of aesthetic principles on their intellectual frameworks, the authors of the present paper seek ...
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The most important question ever posed in the realm of Art Studies investigates the relationship between aesthetic principles and artistic discourse. Taking note of the fact that schools base their definition of aesthetic principles on their intellectual frameworks, the authors of the present paper seek to extract and organize the aesthetic principles which are based on the Islamic Mysticism. This paper addresses mystical aesthetic-epistemological principles since the existence and appreciation of beauty constitute the main foundations of aesthetics. Although this paper is not intended to compare the aesthetic principles of the Islamic Mysticism and contemporary art, it sheds light on the fact that the Islamic Mysticism owns some fundamental principles in aesthetics which could attract the attention of the researchers working in the Philosophy of Beauty and contemporary art.
ahmad rahmanian; shamsol moluk mostafavi
Abstract
While the ancient Greek never had a specific term for what we know today as art, they used poiesis and techne to refer to concepts broader than contemporary fine arts. Poiesis meant "to make" and "to bring forth". It was a verb, an action that transformed and continued the world. This transformation ...
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While the ancient Greek never had a specific term for what we know today as art, they used poiesis and techne to refer to concepts broader than contemporary fine arts. Poiesis meant "to make" and "to bring forth". It was a verb, an action that transformed and continued the world. This transformation was done through techne and physis. In physis, now translated as nature yet having a broad connotation then as it covered the gods, the creatures came into being by themselves. In techne, they were, however, created by technites. Plato changed not only the Greek thinking but also its attitudes towards the art. According to Heidegger, eidos (idea) is innate and equal to ekphanes and ekphanestaton (what properly shows itself as the most radiant of all is the beautiful). By way of the idea, a work of art comes to appear in the designation of the beautiful as ekphanestaton. Heidegger goes on to consider this a main component of the aesthetic attitude towards the art. One would also recognize two other events in Platonic thinking which could be considered the origins of other components of aesthetics: separation of art and truth as well as separation of beauty and truth. As to on should necessarily be divided into aletheia (truth) and phainomenon (image), the artist is an on phainomenon, and the art and truth become separated. Following his ancestors, Plato draws similarities between to kalon (beauty), to agathon (good) and to alethes (truth) and considers beauty to belong to the realm of on phainomenon and truth to the realm of alatheia in Phaedrus. Therefore, the three mentioned aesthetic components are all rooted in the Platonic Idealism.
khosro bagheri nowparast; mohammad zahir nowparast
Abstract
It seems necessary to introduce the basic concepts used in this article i.e. formalism, anti-formalism and moderate formalism. Formalists believe that the aesthetic appreciation of an artwork generally involves an attentive awareness of its sensory or perceptual qualities and does not require knowledge ...
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It seems necessary to introduce the basic concepts used in this article i.e. formalism, anti-formalism and moderate formalism. Formalists believe that the aesthetic appreciation of an artwork generally involves an attentive awareness of its sensory or perceptual qualities and does not require knowledge about its non-perceptual properties. Anti-formalists on the other hand hold that none of the aesthetic properties in a work of art are formal. A number of philosophers have recently advocated a more moderate formalism. According to this view, although not all aesthetic qualities are formal, many are, and some artworks possess only formal aesthetic qualities. The quarrel among these three rival views concerns what sort of knowledge, if any, is required for appropriate aesthetic appreciation of an artwork. In what follows, we will give a brief exposition of these three viewpoints. Subsequently, we will give our preferred position with regard to these views.
ahmad ali heydari
Abstract
In this paper, it is tried to consider the characteristics of the artistic understanding and to propound a proper answer to the question that “what is the art?” Since, this answer involves the element of value, the status of this element in the views of thinkers such Kant, Hegel, Adorno and ...
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In this paper, it is tried to consider the characteristics of the artistic understanding and to propound a proper answer to the question that “what is the art?” Since, this answer involves the element of value, the status of this element in the views of thinkers such Kant, Hegel, Adorno and Heidegger are considered. The main conclusion of the paper is that Heidegger’s artistic conception enjoy characteristics relying on which we can prepare an area for conjoining different philosophical views about the value of the art and the works of art that gathering them together may seem very problematical.
