Adorno suggests that art is an essentially expressive language since it is the imitation of natural language. Adorno＇s language thought is derived from Benjamin＇s extensive language theory in which Benjamin claims t...Adorno suggests that art is an essentially expressive language since it is the imitation of natural language. Adorno＇s language thought is derived from Benjamin＇s extensive language theory in which Benjamin claims that all things including human being have languages. The telos of art＇s expression is expressing what the repressed things and human long for speaking. The authentic art preserves the trace of primordial human＇s instinct： mimesis. Through the subject miming the object in the expression of art, the real cognition is realized. According to this model, we can ascertain that artist is the real epistemological subject, the ＂collective subject＂ is factually the speaker of the expression and the epistemological objet which is primary in the production of art. Since art is a language, the standard of art is truth-false, and therefore, the truth content is the criterion of authentic art. Negativity is the core character of truth content.展开更多
The proposed paper focuses on art as a form of cultural expression and it presents data based on ethnographic information of famous Pakistani musical theatres in Lahore, Province of Punjab. Most description of the per...The proposed paper focuses on art as a form of cultural expression and it presents data based on ethnographic information of famous Pakistani musical theatres in Lahore, Province of Punjab. Most description of the performing arts is written by men with an exclusive male perspective. Little or no attempt has been made to explore women lives in performing theatre apart from their assigned role as physical crowd-pullers. This study presents how symbols are used to communicate, as each member of theatre community uses entire repertoire to convey messages, manual gesticulations, body gestures, facial expressions, dance patterns, a particular dress etc. at the cultural level. The central idea of this study is how artists use the body in performance to imagine and enact culture, values, humor, selfhood, and the complex relations among them. It discusses their real backstage life experiences and problems faced as well how and what type of contact they maintain with their audience and admirers. What are their moral values and what kind of social dilemmas they face, how the sexuality of theatre women is being controlled, their fears emotions, distress of theatre women etc. are the major research questions. In short, this anthropological inquiry takes into account all relevant social, cultural, political, economic, and religious dimensions of performing art.展开更多
Art composed of categories of the scale of beauty transmutes the aesthetic into eroticism, such that as an element of life it may be displayed as a love relationship between beauty and eros, the knowledge of which is ...Art composed of categories of the scale of beauty transmutes the aesthetic into eroticism, such that as an element of life it may be displayed as a love relationship between beauty and eros, the knowledge of which is referenced as early as Plato＇s philosophical contemplations. Plato characterizes eros in the Symposium and the Phaedrus as an invincible psychic force, capable, taking into account the fallibility of man, of compelling him toward the acquisition of that which will entail his completion. Eros, considered thusly, contributes to human ontogeny. Plotinus, who experiences beauty as eros and terror accompanied by pleasure, to the same degree will characterize it as the outcome and consequence of an intellectually and morally superior human soul. By this definition, the greatness of art lies in the fact that it compels the souls of men to eros for its spiritual content, the true nature of a work of art being the idea. As such, as long as it is not easy to know if this beauty exists as an ontologically, gnoseologically, and aesthetically idealized entity, so much the more we consider that we cannot entirely prove Freud＇s erotic theory of primordial and desirable phantasms, which seems to differ only slightly from the Platonic theory, or from Jung＇s theory of archetypes, as it seems not to recognize to an appropriate degree individual human experience. On the contrary and in agreement with the Lacanian theory on eros, in the environment of which eros is directed towards the other, so like it, it emerges in the life of the other, rupturing and reformulating it, we consider that each of us, in reality, in the erotic phenomenon, meets the other, and, behind him, our own self, which, enchanted by all that we sense that the other represents, rates all his characteristics as charmingly beautiful, because they have the privilege of coinciding, or at least of converging towards the aesthetic, entirely unique foundation of our self.展开更多
文摘Adorno suggests that art is an essentially expressive language since it is the imitation of natural language. Adorno＇s language thought is derived from Benjamin＇s extensive language theory in which Benjamin claims that all things including human being have languages. The telos of art＇s expression is expressing what the repressed things and human long for speaking. The authentic art preserves the trace of primordial human＇s instinct： mimesis. Through the subject miming the object in the expression of art, the real cognition is realized. According to this model, we can ascertain that artist is the real epistemological subject, the ＂collective subject＂ is factually the speaker of the expression and the epistemological objet which is primary in the production of art. Since art is a language, the standard of art is truth-false, and therefore, the truth content is the criterion of authentic art. Negativity is the core character of truth content.
文摘The proposed paper focuses on art as a form of cultural expression and it presents data based on ethnographic information of famous Pakistani musical theatres in Lahore, Province of Punjab. Most description of the performing arts is written by men with an exclusive male perspective. Little or no attempt has been made to explore women lives in performing theatre apart from their assigned role as physical crowd-pullers. This study presents how symbols are used to communicate, as each member of theatre community uses entire repertoire to convey messages, manual gesticulations, body gestures, facial expressions, dance patterns, a particular dress etc. at the cultural level. The central idea of this study is how artists use the body in performance to imagine and enact culture, values, humor, selfhood, and the complex relations among them. It discusses their real backstage life experiences and problems faced as well how and what type of contact they maintain with their audience and admirers. What are their moral values and what kind of social dilemmas they face, how the sexuality of theatre women is being controlled, their fears emotions, distress of theatre women etc. are the major research questions. In short, this anthropological inquiry takes into account all relevant social, cultural, political, economic, and religious dimensions of performing art.
文摘Art composed of categories of the scale of beauty transmutes the aesthetic into eroticism, such that as an element of life it may be displayed as a love relationship between beauty and eros, the knowledge of which is referenced as early as Plato＇s philosophical contemplations. Plato characterizes eros in the Symposium and the Phaedrus as an invincible psychic force, capable, taking into account the fallibility of man, of compelling him toward the acquisition of that which will entail his completion. Eros, considered thusly, contributes to human ontogeny. Plotinus, who experiences beauty as eros and terror accompanied by pleasure, to the same degree will characterize it as the outcome and consequence of an intellectually and morally superior human soul. By this definition, the greatness of art lies in the fact that it compels the souls of men to eros for its spiritual content, the true nature of a work of art being the idea. As such, as long as it is not easy to know if this beauty exists as an ontologically, gnoseologically, and aesthetically idealized entity, so much the more we consider that we cannot entirely prove Freud＇s erotic theory of primordial and desirable phantasms, which seems to differ only slightly from the Platonic theory, or from Jung＇s theory of archetypes, as it seems not to recognize to an appropriate degree individual human experience. On the contrary and in agreement with the Lacanian theory on eros, in the environment of which eros is directed towards the other, so like it, it emerges in the life of the other, rupturing and reformulating it, we consider that each of us, in reality, in the erotic phenomenon, meets the other, and, behind him, our own self, which, enchanted by all that we sense that the other represents, rates all his characteristics as charmingly beautiful, because they have the privilege of coinciding, or at least of converging towards the aesthetic, entirely unique foundation of our self.
