THE SENSE OF BEAUTY

This paper proposes an integrative psychoanalytic model of the sense of beauty. The following definition is used: beauty is an aspect of the experience of idealisation in which an object(s), sound(s) or concept(s) is believed to possess qualities of formal perfection. The psychoanalytic literature regarding beauty is explored in depth and fundamental similarities are stressed. The author goes on to discuss the following topics: (1) beauty as sublimation: beauty reconciles the polarisation of self and world; (2) idealisation and beauty: the love of beauty is an indication of the importance of idealisation during development; (3) beauty as an interactive process: the sense of beauty is interactive and intersubjective; (4) the aesthetic and non-aesthetic emotions: specific aesthetic emotions are experienced in response to the formal design of the beautiful object; (5) surrendering to beauty: beauty provides us with an occasion for transcendence and self-renewal; (6) beauty's restorative function: the preservation or restoration of the relationship to the good object is of utmost importance; (7) the self-integrative function of beauty: the sense of beauty can also reconcile and integrate self-states of fragmentation and depletion; (8) beauty as a defence: in psychopathology, beauty can function defensively for the expression of unconscious impulses and fantasies, or as protection against self-crisis; (9) beauty and mortality: the sense of beauty can alleviate anxiety regarding death and feelings of vulnerability. In closing the paper, the author offers a new understanding of Freud'semphasis on love of beauty as a defining trait of civilisation. For a people not to value beauty would mean that they cannot hope and cannot assert life over the inevitable and ubiquitous forces of entropy and death.     

AESTHETIC JUDGEMENTS, ARTWORKS AND FUNCTIONAL BEAUTY

I offer an analysis of the role played by consideration of an item's functions when it is judged aesthetically. The account applies also to artworks, of which some serve extrinsic functions (such as the glorification of God and the communication of religious lore) and others have the function of being contemplated for their own sake alone. Along the way, I deny that aesthetic judgements fit the model of judgements either of free beauty or of dependent beauty, given how these two came to be described in the early twentieth century.     

THE PHENOMENOLOGY OF MATHEMATICAL BEAUTY

It has been observed that whereas painters and musicians are likely to be embarrassed by references to the beauty in their work, mathematicians instead like to engage in discussions of the beauty of mathematics. Professional artists are more likely to stress the technical rather than the aesthetic aspects of their work. Mathematicians, instead, are fond of passing judgment on the beauty of their favored pieces of mathematics. Even a cursory observation shows that the characteristics of mathematical beauty are at variance with those of artistic beauty. For example, courses in art appreciation are fairly common; it is however unthinkable to find any mathematical beauty appreciation courses taught anywhere. The purpose of the present paper is to try to uncover the sense of the term beauty as it is currently used by mathematicians.     

BEAUTY IN THE LIVING WORLD

Almost all admit that there is beauty in the natural world. Many suspect that such beauty is more than an adornment of nature. Few in our contemporary world suggest that this beauty is an empirical principle of the natural world itself and instead relegate beauty to the eye and mind of the beholder. Guided by theological and scientific insight, the authors propose that such exclusion is no longer tenable, at least in the data of modern biology and in our view of the natural world in general. More important, we believe an empirical aesthetics exists that can help guide experimental design and development of computational models in biology. Moreover, because theology and science can both contribute toward and equally profit from such an aesthetics, we propose that this empirical aesthetics provides the foundation for a living synergy between theology and science.     

ELEPHANTS, MICROSCOPES AND FREE BEAUTY: REPLY TO DAVIES

According to Stephen Davies, there is no such thing as free beauty. Using actual and imaginary examples, he tries to show that our aesthetic evaluations of objects inevitably pay heed to the kinds to which they belong or in which we judge them to belong. His examples are not as compelling as he thinks, however. Furthermore, nature looked at through a microscope (or a telescope) provides us with a particular class of counter-examples which have not been dealt with by Davies and which put considerable pressure on his account.     

LEADERSHIP BEHAVIOR AND EFFECTIVENESS OF BEAUTY SALON MANAGERS

A field study was conducted in a chain of beauty salons to determine how the leadership behavior of salon managers is related to managerial effectiveness. Leadership behavior was measured with a new questionnaire that was filled out anonymously by subordinates. Strong correlations were found between some of the leadership scales and salon profits, sales increase, performance ratings, subordinate satisfaction, and role ambiguity. The results were consistent with managerial role requirements derived from an analysis of the leadership situation.     

TALKING BACK TO THE MEDIA IDEAL: THE DEVELOPMENT AND VALIDATION OF THE CRITICAL PROCESSING OF BEAUTY IMAGES SCALE

This article details the development of the Critical Processing of Beauty Images Scale (CPBI) and studies demonstrating the psychometric soundness of this measure. The CPBI measures women's tendency to engage in critical processing of media images featuring idealized female beauty. Three subscales were identified using exploratory factor analysis and confirmed using confirmatory factor analysis. The Fake subscale assesses women's tendency to critique media images of women as being too perfect to be real. The Questioning/Accusing subscale assesses women's tendency to produce direct accusations suggesting that these types of images are harmful to women. The Too Thin subscale assesses the tendency to think models are too thin or eating disordered. Scores on all subscales demonstrated strong internal consistency and test-retest reliability. Evidence of convergent, discriminant, and predictive validity are presented. The CPBI may be useful in assessing the outcomes of media literacy efforts and explicating relationships between critical processing of beauty images and body image–related concerns.     

APPEARANCE SELF-ATTITUDES OF AFRICAN AMERICAN AND EUROPEAN AMERICAN WOMEN: MEDIA COMPARISONS AND INTERNALIZATION OF BEAUTY IDEALS

African American (AA) women have reported less body image disturbance than European American (EA) women, but questions remain about the nature and extent of this difference. This study examined differences in the body image of 80 AA women and 89 EA women with an improved methodology that controlled for body size, distinguished between satisfaction with and importance of body features, and included nonweight (e.g., hair texture, skin color) as well as weight-related features. Results provide evidence that, in contrast to AA women, EA women (a) were more dissatisfied with both weight and specific appearance features, (b) compared themselves more often to media beauty figures and internalized Western beauty standards more, and (c) showed a significant relation between media comparisons and body dissatisfaction. Internalization of Western beauty ideals was related to body dissatisfaction in both groups of women.     

THE F WORD: IS FEMINISM INCOMPATIBLE WITH BEAUTY AND ROMANCE?

Three studies examined the predictive utility of heterosexual relationship concerns vis-à-vis support for feminism. Study 1 showed that beauty is perceived to be at odds with feminism, for both genders. The stereotype that feminists are unattractive was robust, but fully accounted for by romance-related attributions. Moreover, more attractive female participants (using self-ratings) showed decreased feminist orientations, compared with less attractive counterparts. Study 2 compared romantic conflict with the lesbian feminist stereotype and found more support for romantic conflict as a negative predictor of support for feminism and women's civil rights. Study 3 showed that beliefs about an incompatibility between feminism and sexual harmony negatively predicted support for feminism and women's civil rights. In concert, the findings indicate that a marriage between research on romantic relationships and the factors underlying sexism is overdue for understanding gender inequities.     

Li Zehou and Moritz Schlick on the Roots of Beauty

Beginning from the Enlightenment view that beauty or art is ＂useless,＂ the attempts to explain how aesthetic experience and judgment are possible presented by Moritz Schlick and Li Zehou are examined, compared and contrasted. The paper treats three main subjects, the anthropological origins of beauty, the origins of aesthetic judgments and the problem of the purpose or function of beauty or aesthetic experience. In the first--the historical-causal roots of beauty--the problem discussed is how to account for aesthetics in light of the practical needs and pursuits of human beings. For Schlick, the problem is couched in terms of how aesthetic experience can be made consistent with natural selection. The second main subject-the philosophical roots of beauty-is a discussion of the origin in the sense of justification of aesthetic judgments. And the third examines the problem of assigning some purpose to aesthetic feelings and attitudes. An apparent contrast is made, and perhaps resolved, between the respective views of Schlick and Li.     

MEDIA CONTRIBUTIONS TO AFRICAN AMERICAN GIRLS' FOCUS ON BEAUTY AND APPEARANCE: EXPLORING THE CONSEQUENCES OF SEXUAL OBJECTIFICATION

The media are dominated by images of women as sex objects whose value is based on their appearance. These portrayals can potentially limit girls' self-perceptions and influence their attitudes regarding the importance of appearance. However, relatively little is known about how African American adolescent girls are affected by these images. Using data from a survey of 176 African American adolescent girls (mean age = 15), this project examined associations between Black media use and African American girls' focus on beauty and appearance. Results suggest that both exposure to and identification with portrayals of Black women as sex objects contribute to African American adolescent girls emphasizing the importance of appearance in their own lives and for girls in general. When all the media variables were tested together in hierarchical regression analyses, identification with favorite television character, identification with more objectifying female music artists, and identification with less objectifying female artists emerged as the more consistent predictors of the outcomes examined. Findings are discussed in terms of their implications for girls' overall development.     

Why Does the Risen Christ Have Scars? Why God did not immediately create the Eschaton: Goodness,Truth and Beauty

Abstract: A consideration of God's providential activity suggests that there is room for co‐operating human activity. This is particularly so with acts that might be considered ethically neutral, and so undetermined by God, which category will, eschatalogically, include all human acts. A consideration of the classical transcendentals suggests that, whilst truth and goodness may coincide, beauty is something separate, so the ethically neutral acts of human beings can be considered as contributing to the world's eschatological beauty.     

Mathematical Beauty and Perceptual Presence

This paper discusses the viability of claims of mathematical beauty, asking whether mathematical beauty, if indeed there is such a thing, should be conceived of as a sub‐variety of the more commonplace kinds of beauty: natural, artistic and human beauty; or, rather, as a substantive variety in its own right. If the latter, then, per the argument, it does not show itself in perceptual awareness – because perceptual presence is what characterises the commonplace kinds of beauty, and mathematical beauty is not among these. I conclude that the reference to mathematical beauty merely expresses the awe in the mathematician about the intricate complexities and simplicity of certain proofs, theorems or mathematical “objects.”     

Birkhoff revisited: beauty as a function of effect and means

The beauty of visual patterns is quantified, starting from the assumption that beauty is maximal when a maximum of effect is attained with a minimum of means applied. Birkhoff has based his theory of beauty on this assumption, but his specification of means and effect differs from the one presented here. In our conception, effect is specified as the number of independent regularities (R) of a pattern not accounted for by the simplest interpretation of the pattern. This variable is closely allied to the concept of conjunctive ambiguity. The irregularities of a pattern that are not constrained by additional regularities (P) make up the means term of the means-effect analogy. An index of beauty (M) is defined, M = R - P. It is shown that there is substantial correlation between M and preference judgments for a set of Birkhoff's polygons. It is further demonstrated that M has relevance to describe properties of the relation of beauty to complexity, data of experiments on the aesthetic attractivity of combinations of patterns, and preferences for certain proportions of simple figures above others.     

Evolutionary-derived anatomical characteristics and universal attractiveness

Hominid fossils illustrate how modern humans have evolved anatomically. Included in the fossils are traits no longer phenotypically prevalent in humans (primitive) and phenotypic traits that have become increasingly prevalent (derived). In this study, published paleontological information about the anatomical evolution of humans was used to create line drawings of human form. Survey data were accumulated by having 759 individuals evaluate more than 40 anatomical traits. Each anatomical trait was presented as a panel of three line drawings intended to express the trait in a primitive, intermediate, and derived form. For each panel of three drawings, subjects were instructed to select the drawing they considered most attractive and then select the drawing they considered least attractive. The survey data indicate that males and females of diverse ages, races, cultures, and from varied geographical regions show commonality in their judgements of beauty of human form. The individuals surveyed appeared to have a strong aversion to primitive traits, preferring proportions and characteristics that are intermediate or more derived. In many instances, the evaluators preferred drawings that were exaggeratedly derived. The data may have relevance to the ongoing debate of whether averageness or atypicality is the essence of human beauty. Also, there was high agreement in judging the attractiveness of shapes and proportions in line drawings that were not immediately recognized to be representations of human form. These data could indicate that our general aesthetic sense for art, architecture, and fashion may be based on a subliminal reference to derived anatomical shapes and proportions. Overall, the data support the hypothesis that derived traits that are universally shared by anatomically modern humans may be the standard for our innate sense of beauty of human form.     

God's Beauty‐in‐Act: An Artful Renewal of Human Imagining

This article seeks to contribute to the ongoing renaissance in theological discourse that strives to heed Karl Barth's call to stop perpetuating the gap in our knowledge of God by integrating beauty into our theological discourse. In this way, God's beauty, understood as the fittingness of the incarnate Son's actions in the Spirit to the Father's will that radiates the splendor of God's triune love to the world, is seen to renew human imagining, which is essential not only of human being but also for creative expression and ethical action.     

面孔审美加工的神经机制及个体差异

外显和内隐的面孔审美加工的脑成像研究表明,美的面孔比不美的面孔导致眶额皮层、伏隔核、杏仁核等奖赏脑区更大的激活。脑电研究则发现了与面孔审美加工有关的早期负波和晚期正成分。面孔审美加工有关的脑区活动也受到性别、生理周期等个体因素的调节。未来的研究需要比较美的面孔与其它奖赏刺激加工的神经机制,探讨面孔审美加工的不同阶段及时间进程,在面孔知觉的框架下形成合理的面孔审美加工的神经模型。     

Beautiful Bodhisattvas: The Aesthetics of Spiritual Exemplarity

The world’s spiritual traditions incorporate a variety of types of exemplar, persons who exemplify a life of aspiration to, or attainment of, spiritual goods. Within Buddhism, the range of exemplars includes monastics, bodhisattvas, the Zen masters and the Buddha himself. Spiritual exemplars are typically described as having a distinctive form of bodily beauty, closely related to their ethical and spiritual qualities, that manifests as a form of radiance, luminosity or charisma. Drawing on recent work on beauty, virtue and the body in the Buddhist tradition, I propose an aesthetics of spiritual exemplarity, arguing that certain spiritual traditions – including Buddhism – are distinctive by virtue of their capacity to generate new forms of experiences of embodied moral beauty.     

论易儒道交融的中国古代和谐美思想

中国古代美学属于古典主义美学,在美的形态上主张和谐美。这同儒道两家的哲学思想、伦理思想和美学思想的互相离异和互相吸收密切相关。从儒家早期的经典文本《周易》和先秦儒家各大流派的相关论述中可以看到,儒家偏重人的哲学,突出人的主动性,着眼于人对社会的认识,强调善与美的统一。而从老子到庄子的道家学派代表人物的相关言论中则可以看出,道家则偏重于自然哲学,突出自然的合规律性,着眼于人对自然的认识,强调真与美的统一。儒道两家各有偏重又相互补充,相反相成地融合为共同的和谐美的思想。     

动态性对简笔画动物审美的影响及其神经机制

运用行为和fMRI技术, 通过比较动态刺激与静态刺激审美判断的行为和脑机制的异同探讨动态性对简笔画动物审美的影响, 包括两个实验。结果发现, 动态简笔画动物的美观程度评分和喜欢程度评分都显著高于静态简笔画动物。同时, 动态简笔画动物审美判断激活的区域基本涵盖了静态简笔画动物审美所激活的区域, 二者都激活了枕叶区等视觉加工区域、额叶区等认知加工区域、眶额叶皮层等奖赏区域以及海马、脑岛、扣带回、杏仁核等情绪加工区域。与静态简笔画动物的审美相比, 动态简笔画动物的审美显著激活了双侧舌回、双侧MT。本研究结果表明, 动态性影响了对简笔画动物的审美, 动态简笔画动物比静态简笔画动物被判断为更加美观。