Hate being made to feel small? Or unable to put up with being humbled‚ or reminded of our own insignificance‚ thus getting affronted and resentful? Edmund Burke1 explored the sublime with regard to physiological related responses to phenomena‚ denoting as an inherent tendency of self-preservation: Whatever is fitted in any sort to excite the idea of pain‚ and danger‚ that is to say‚ whatever is in any sort terrible‚ or is conversant about terrible objects‚ or operates in a manner analogous
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atherine Mansfield’s experiences growing up in colonial New Zealand heightened her awareness of the discontinuities‚ lacunae‚ and tensions of modern life. She was born in 1888 in Wellington‚ a town labeled “the empire city” by its white inhabitants‚ who modeled themselves on British life and relished their city’s bourgeois respectability.[1] At an early age‚ Mansfield witnessed the disjuncture between the colonial and the native‚ or Maori‚ ways of life‚ prompting her to criticize the treatment of
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spirituality. Yeats’ poetry thus speaks beyond the confinement of a certain context and confronts the timeless yet unresolvable tensions between love and loss‚ and beauty and destruction‚ whilst illuminating the path from the imperfection of reality to the aesthetic perfection of art. In ‘Amongst School Children’ Yeats confronts and enlightens our understanding of the stages of youthful‚ maternal and religious love‚ which he found to be inextricably attached to loss due to his acute awareness of the certainties
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believes art attracts attention and elicits an aesthetic-related response.2 This definition is over-inclusive; if anything that attracts attention is art then is a traffic cone art? According to Haselberger‚ works of art are objects produced with the intention that they be aesthetically pleasing and not merely pragmatically functional.3 This definition is under inclusive‚ limiting art to solely be “pleasing”. Art attracts attention and elicits an aesthetic-related response but it is beyond functionality
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in the fascination of the natural aesthetics‚ which is widespread throughout the letter. The admiration and passion for aesthetic beauty is portrayed In Walton’s letter‚ providing an idealistic representation of the romantics. ”There is a love for the marvellous‚ a belief in the marvellous‚ intertwined in all my projects‚ which hurries me out of the common pathways of men‚ even to the wild sea and unvisited regions”. The emotions associated with natural aesthetics are characteristic of the romantic
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Values and Ethical Communication Behaviors Values The subjective assessments made about the relative worth of a quality or object. Therefore‚ values become part of complex attitudes sets that influence our behavior and the behavior of all those with whom we interact. Organizational Value Systems Values are part of the shared realities generated through organizational communication. These shared values are reflected in organizational myths‚ stories‚ mission statements‚ physical surroundings
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Working within a Marxist framework‚ social theorist Fredric Jameson links the emergence of particular art aesthetics with the development of a specif ic Western economic system in his text‚ Postmodernism‚ or‚ the Cultural Logic of Late Capitalism (1990). With latecapitalism as the current economic environment‚ Jameson demonstrates how these economic conditions bear on cultural and artistic production. According to Jameson‚ cultural production in late-capitalism is identif iable through a use of pastiche
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and swirls. In contrast‚ Puppy is by far less simplistic‚ in fact exaggerated. The overall shape is more specific to a dog and it holds a tremendous amount of variety of plants all in a wide variety of hues. Overall‚ all these works have both high aesthetic as well as artistic value. Weather the sculptures are making commentary on current cultures materialistic‚ luxurious taste‚ as Puppy does‚ or emphasizing the beauty of the surroundings‚ as Cloud Gate does‚ or simply leaving people puzzled at the
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Art After Philosophy (1969) Joseph Kosuth The fact that it has recently become fashionable for physicists themselves to be sympathetic toward religion . . . marks the physicists’ own lack of confidence in the validity of their hypotheses‚ which is a reaction on their part from the antireligious dogmatism of nineteenth-century scientists‚ and a natural outcome of the crisis through which physics has just passed. –A. J. Ayer. . . . once one has understood the Tractatus there will be no temptation
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and technology‚ about time and motion/dynamism‚ introduction of typography as art. - Began with published Italian manifesto in Italy 1909 - Glorification /romantic view of war as a means of cleansing society‚ machine age‚ speed‚ modern life. - Aesthetic harmony/tradition rejected in favour of velocity‚ sound and the diagonal line. - Russian futurism‚ introduction of typography to art/ as an expressive form in dynamic‚ non linear composition‚ dispersal of sound and silence on a page. Union of poetry
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