Sentence examples for aesthetic discourses from inspiring English sources

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.

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.

It could well be argued that this is all that Shaftesbury originally meant when he introduced the concept of disinterestedness into modern moral and aesthetic discourse.

Dismissing these experiences from aesthetic discourse because they do not fit the expected format of analysis and cannot be subjected to a verdict-oriented discourse unduly impoverishes the rich content of our aesthetic life.

Erotic desires, sexuality, and bodily sensation in general are increasingly central elements both of art and of aesthetic discourse, and feminist investigators have been among the important contributors to this movement (Grosz 2008).