reaches of human nature. New York: The Viking Press. Melchionne, K. (2002). Front yards. In A. Berleant (Ed.), The Environment and the Art. VT: Ashgate Press. Merleau-Ponty, M. (1962). Phenomenology of perception (C. Smith, Trans.). New York: Routledge. (Original work published 1945). Merriam, S. B. (2002). Qualitative research in practice: Examples for discussion and analysis. San Francisco: Jossey-Bass Publishers. Pałęga, A. (2011). Everyday aestheticexperiences. Ann Arbor, MI: ProQuest LLC. Saito, Y. (2001). Everyday aesthetics. Philosophy and Literature, 25 (1), 87
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The article is an attempt to describe three biographical motifs of H. Keller, referring to aesthetic experiences (R. Ingarden) caused by various experiences: tactile in contact with sculpture, haptic in contact with music, and literary. The starting point to consider, however, is the category of humanity in the sense of M.S. Archer. The reflexivity characteristic of humanity, combined with the aesthetic experience, makes the themes describe the non-aesthetic experiences of H. Keller. In the analysis, the author used H. Keller’s correspondence, her works, biographical sources, photographs and video recordings.
Gadamer’s Concept of AestheticExperience
as a Possibility
for the Orthodox Biblical Theology
Zdenko Š Širka**
This article finds its inspiration in the new interpretations of Gadamer’s
hermeneutics, which underline the turn in his later period, and which focus on the
conception of aestheticexperience as an experience of transcendence. The main thesis is
that the understanding of artworks, as Gadamer describes them in contrast to the Kantian
subjectification of aesthetics, can be paralleled with the way Orthodox biblical theology
struggles to approach
The concept of nature changed over time, modifying the relationship between nature and man: in some cultures man and nature are considered as deeply connected, in others definitely separated. The leading ideas about nature are reflected in work pertaining to the legal, musical and educational fields. This study provides insights into these issues, trying to highlight specific analogies which connect the concept of nature and its application in the cited fields.
Art can help handle difficult experiences. Art therapy sessions (healing through art) have been recognised for years as a well-known and efficient method of treatment. At the same time, one can observe people’s tendencies – apparently inefficient in terms of their well-being (emotions, mood) – to create or experience art (e.g. watching horror movies, listening to sad songs, expressive writing about one’s ordeals). Many authors have described the way negative emotions are regulated. Their research has not, however, exhausted the subject in relation to art. In this paper I discuss the regulation of emotions through art. I am interested in the process of regulating affective experiences, particularly through expressive writing, and in the impact this way of regulation has on task-oriented functioning, especially cognitive functioning.
). Bias in grading: A meta-analysis of experimental research findings. Australian Journal of Education , 60 (3), 245-256. Mastandrea, S., & Crano, W. D. (2019). Peripheral factors affecting the evaluation of artworks. Empirical Studies of the Arts , 37 (1), 82-91. https://doi.org/10.1177/0276237418790916 Millis, K. (2001). Making meaning brings pleasure: The influence of titles on aestheticexperiences. Emotion, 1 (3), 320-329. https://doi.org/10.1037/1528-3518.104.22.1680 Muth, C., & Carbon, C.-C. (2013). The Aesthetic Aha: On the pleasure of having insights into
According to Gestalt theory the impact of arts is not adequately described as a transfer of an artist’s message into a recipient’s state of mind. As a matter of fact (and effect) art represents complex fields of meaning (figurations) rooting in the specific conditions of art creation and proceeding to the concrete effects of art reception. From a psychological point of view artefacts cannot be reduced to static objects, nor are the recipients to be seen as passive spectators of the scenery. Aesthetical experience is an action field from which the material of art and its reception emerge. In my contribution the relationship of subject and object in art is modelled in terms of Victor von Weizsäcker’s Gestaltkreis of perception and action. For this purpose, I will refer to the favourite subject of art coaching: the Moses of Michelangelo in Rome.
The article discusses Nicolas Winding Refn’s film Only God Forgives (2013), and focuses on questions of artistic representation and reception in relation to such cinematic elements as genre film, style, mise-en-scène, graphic violence and art experience. The arguments for the analyses are supported by John Dewey’s theory of art as experience where he claims that aesthetic experience is essentially infused with emotions that provide for a unifying quality cementing diverse constituent parts of the artwork. The article also takes into consideration Refn’s standpoint on the use of violence in art. While violence is a way of externalizing emotions, as Refn claims, it may not necessarily be the real experience viewers want to entertain; however, through an art experience, which is integral and complete as Dewey asserts, they are able to perceive and detect meanings that were “scattered and weakened in the material of other experiences”.
This study aim to investigate the perceptions and experiences of student teachers and teacher-educators when participating in an interdisciplinary workshop in which they were to create and explore their own expressive movements and others’ bodily expression. The study employed a qualitative approach, and in order to acquire access to the informants’ lifeworld and their immediate and mediated experiences, open focus group interviews were conducted after the workshop. We base our analysis on inductive coding (Corbin & Strauss, 2015), which then were interpreted in the light of Dewey’s (1934) understanding of the aesthetic experience and Merleau-Ponty’s (1994) phenomenological notion of the body. Our analysis demonstrates that the informants are unfamiliar with using bodily expression, nor do they believe that they have the knowledge or skills needed to create movement and dance, which may explain why they struggle to engage with the creative process. By observing the dances others had created, the informants discovered that there was no right or wrong way of expressing movement. They became a little more open and the experience acquired what Dewey (1934) describes as an aesthetic quality. The music students and teacher-educators are inquisitive and open to using these kinds of creative processes in school. The physical education students have a more reserved attitude to the inclusion of dance, confirming findings in other studies. Based on these results there seems to be a need to create more room for processes that aim for aesthetic abilities in teaching-education.