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51.
Elena Mareyeva 《Studies in East European Thought》2005,57(3-4):277-287
E. V. Il’enkov proceeded from the classical philosophical notion of Beauty considered in organic unity with Truth and Good.
Following Marx, he regarded the sense of Beauty, the supreme mental feeling, as a product of history. Il’enkov insisted on
the universal character of this feeling, for its basis is an activity of imagination which also lies at the root of any creative
work. His criticism of modern art rested on analysis of the process of disintegration of personality, its capabilities within
industrial civilisation to break the natural tie between Truth, Good and Beauty. 相似文献
52.
Kutte Jönsson 《Sport, Ethics and Philosophy》2017,11(2):224-237
Two years before the opening of the Paralympic Games in London in 2012, the British TV network Channel 4 launched a campaign called Freaks of Nature. As part of the campaign they produced the short film Meet the Superhumans by director Tom Tagholm. The film became an immediate success, but was also criticised for portraying the Paralympians as ‘freaks’ and for reducing the Paralympics to a ‘freak show’. But was it wrong to describe the Paralympics as a ‘freak show’? Is there even a point of using the term ‘freak show’ in relation to sports? There might be, and that is what I am discussing in this paper. To be more specific, I am proposing that the term ‘freak show’ can challenge and destabilise common aesthetic views in sport, simply by the adding of abject dimensions to the athletic performances. From this one can claim that the Paralympics reconnects to the freak show-tradition of the past. And that, in itself, can have a moral and political impact. 相似文献
53.
ELLIOT L. JURIST 《The International journal of psycho-analysis》2006,87(5):1315-1334
Freud's view that art satisfi es psychic needs has been taken to mean that art has its source in the unconscious and that it unifi es pleasure and reality. The author argues that there is a third point that Freud repeatedly emphasizes, which should not be overlooked, that art infl uences our emotions. The author examines what Freud means by this claim, in particular, his reading of Michelangelo's Moses. Freud's focus here on emotions as fundamental to subjective experience, as subject to regulation and as potentially healthy forms of communication serves to supplement and even challenge what he says in his theory of affect. The author concludes by making inferences about a contemporary psychoanalytic theory of affects: that it ought to be inclusive of science (more receptive to neurobiology and less bound to Freud) as well as art (preserving the focus on subjective experience, especially the processing of complex emotions), which is illustrated with the concept of mentalized affectivity. 相似文献
54.
Qingping Liu 《Frontiers of Philosophy in China》2006,1(1):33-40
Through comparisons between traditional Chinese and Western aesthetics, this article tries to explain the worldwide significance
of Chinese aesthetic tradition in the twenty-first century. In contrast to cognitive-rational spirit and the tendency to distinguish
the subjectives and objectives of traditional Western aesthetics, traditional Chinese aesthetics shows a distinctive practical-emotional
spirit and a tendency to harmoniously unite human beings with nature, and believes that beauty is, first and foremost, a free
state or way (Dao) of human life; the most important thing for human beings is how to make their own lives and existence beautiful. Therefore,
it puts forward some persuasive and valuable insights into beauty and art, thus playing an independent and constructive role
in intercultural aesthetic dialogues of the twenty-first century.
Translated from Journal of Xiaogan College, 2004:5 相似文献
55.
George Hagman 《The International journal of psycho-analysis》2002,83(3):661-674
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. 相似文献
56.
In this paper I examine a controversy ongoingwithin current Deweyan philosophy of educationscholarship regarding the proper role and scopeof science in Dewey's concept of inquiry. Theside I take is nuanced. It is one that issensitive to the importance that Dewey attachesto science as the best method of solvingproblems, while also sensitive to thosestatements in Dewey that counter a wholesalereductivism of inquiry to scientific method. Iutilize Dewey's statements regarding the placeaccorded to inquiry in aesthetic experiences ascharacteristic of his method, as bestconceived. 相似文献
57.
对希波克拉底警句的深层解读--审美修养是从医之必需 总被引:5,自引:0,他引:5
郭照江 《医学与哲学(人文社会医学版)》2004,25(7):69-70,75
试图透过医学与艺术的联系,深入到医学与美学关系的层面,进而发掘希波克拉底关于"医学的艺术乃是一切艺术之中最为卓越的艺术"这一论断的深刻内涵,指出希波克拉底警句蕴涵着:医学是美的职业,它具有崇高地位和独特的重要性;医学所追求的是健康而美好的人生,医学所创造的是健康之美、生命之美、至善之美、仁爱之美.既然医学是最为卓越的艺术,医务工作者就应该重视美学修养,并让医学审美意识牢牢植根于自己的医学实践之中.换句话说,审美修养是从医之必需. 相似文献
58.
The idea of efficient coding in the visual brain allows for predictions for the processing of various types of images, including certain artworks, natural images and uncomfortable images. Efficient processing is thought to result in lower responses compared to less efficient processing. The efficiency of the processing is suggested to depend on the architecture of the visual system and the properties of the input image. In this study, neural responses were estimated using EEG across the categories of a set of five images of abstract artworks, a set of five photographs of natural images and a set of five computer-generated uncomfortable images. EEG responses to contrast-matched images were found to be lower for the set of five abstract artworks used in the study compared to the set of photographs of natural images, lending preliminary support for the idea that certain abstract artworks, for example the work of Pollock, may be processed efficiently. 相似文献
59.
Uku Tooming 《Canadian journal of philosophy》2018,48(5):684-706
When we are invited to imagine an unacceptable moral proposition to be true in fiction, we feel resistance when we try to imagine it. Despite this, it is nonetheless possible to suppose that the proposition is true. In this paper, I argue that existing accounts of imaginative resistance are unable to explain why only attempts to imagine (rather than to suppose) the truth of moral propositions cause resistance. My suggestion is that imagination, unlike supposition, involves mental imagery and imaginative resistance arises when imagery that one has formed does not match unacceptable propositions. 相似文献
60.
Tamara Nicoleta Gheorghes Mai Galatsidas 《British journal of psychology (London, England : 1953)》2016,107(1):154-178
Humans have a preference for curved over angular shapes, an effect noted by artists as well as scientists. It may be that people like smooth curves or that people dislike angles, or both. We investigated this phenomenon in four experiments. Using abstract shapes differing in type of contour (angular vs. curved) and complexity, Experiment 1 confirmed a preference for curvature not linked to perceived complexity. Experiment 2 tested whether the effect was modulated by distance. If angular shapes are associated with a threat, the effect may be stronger when they are presented within peripersonal space. This hypothesis was not supported. Experiment 3 tested whether preference for curves occurs when curved lines are compared to straight lines without angles. Sets of coloured lines (angular vs. curved vs. straight) were seen through a circular or square aperture. Curved lines were liked more than either angular or straight lines. Therefore, angles are not necessary to generate a preference for curved shapes. Finally, Experiment 4 used an implicit measure of preference, the manikin task, to measure approach/avoidance behaviour. Results did not confirm a pattern of avoidance for angularity but only a pattern of approach for curvature. Our experiments suggest that the threat association hypothesis cannot fully explain the curvature effect and that curved shapes are, per se, visually pleasant. 相似文献