The phrase "aesthetic discourse" is correct and usable in written English.
It can be used in discussions related to art, philosophy, or cultural studies, particularly when analyzing or critiquing aesthetic theories or practices.
Example: "The conference focused on aesthetic discourse, exploring how different cultures interpret beauty and art."
Alternatives: "artistic dialogue" or "aesthetic discussion".
She addresses the desire for certainty and the timeliness of doubt and concludes with a meditation on the intersection of aesthetics and ethics, arguing that ethical issues are very much implicated in aesthetic discourse.
One of the most charged and polymorphous five-letter words in aesthetic discourse on a good day, craft has become especially slippery.
Informative communication deals largely with narrative aspects of meaning; dynamic discourse concerns the transaction of dispositions such as opinions and attitudes; the emotive employment of language involves the evocation of feeling states in others in order to impel them to action; and aesthetic discourse, usually regarded as a poetic quality in speech, conveys stylistic aspects of expression.
Examining his paradoxical status within aesthetic discourse, this analysis of Michelangelo's Romantic afterlife reconstructs the ways in which he simultaneously functioned as an object of both identification and disavowal for French artists such as Horace Vernet, Jean-Dominique Ingres, and Jean-Léon Gérôme. Jean-Léon Gérôme
A distinctive notion in Japanese aesthetic discourse is that of the "cut" (kire) or, "cut-continuity" (kire-tsuzuki).
This stems from his reflection on the word "correct" in aesthetic discourse, and he mentions the case of being drilled in harmony and counterpoint.
But his critique of the classicist formula 'art imitates nature' was accompanied by a careful analysis of the different meanings the term 'nature' had come to assume within aesthetic discourses.
Fashions, categorizations or the latest aesthetic discourses do not alter Fan Zeng's serenity, when, at 76, he handles the brush, he simply re-interprets Chinese classical themes, and by reconnecting with Wang Xizhi (303-361) and Bada Shanren (1626-1705) he lives, stronger than ever, full of the life of the Chinese art.
The following response dominates everyday aesthetics discourse: the aesthetic appreciation of everyday life requires defamiliarization, making strange, or casting an aura.
If Dewey's aesthetics can be considered as the classic for everyday aesthetics discourse, Arnold Berleant's early works on aesthetic field and engagement continue the trajectory.
Blazwick says the "emerging non-aesthetic discourses" in anthropology, psychoanalysis, feminism and literary theory provided innovative insights into both the art and the wider culture.
