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Attfield (2000) suggests understanding culture through objects ‘acknowledges the physical object in all its materiality and encompasses the work of design, making, distributing, consuming, using, discarding, recycling and so on. But above all it focuses on how things have gone through all those stages as part of the mediation process between people and the physical world at different stages in their biographies’ (1-7). From this it is clear that objects can have multiple meanings. For example, a shaver may hold numerous positions in society. It holds its place in history as a social and cultural object, its history can trace the development of technology, there are now male and female versions of the shaver in most of its manifestations (manual, electric, etc.) and it has been designed to suit the lifestyle of the person that uses it as it is either plugged into the wall, carries a battery pack, is designed for travelling or is given a more aesthetic appearance for display on the bathroom counter. Advertising, design and materials have been constructed to suit a particular market and durability has also been taken into account. All these factors are what make this and thousands of other objects what they are. How these elements function together to appeal to the individual’s personal sense of function and appearance is what is referred to as aesthetics. This term is most often used in the art world to designate important works of art. To understand these concepts better, I applied what I have learned about aesthetics to a specific photographic print entitled ‘Smutty’.
In looking at photographs or other works of art, it is important to remember that what I may see as beautiful may appear quite different to another person. It is true that beauty lies in the eye of the beholder, as John Armstrong suggests. He says aesthetics is the process that ‘enables one person to
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However, the aesthetics also create a different determination with the meaning and understanding of the piece. Even though the anthropology of art is one which is defined by examining various pieces, it is not the same as the anthropology of aesthetics. The differences between the two arise with the defining and interpretation of the artwork as well as the expectations which come from various ethnographic samples and understanding.
Accordingly, this particular analysis will focus upon the way in which the aesthetics of the theater are portrayed within these two determinants within Shakespeare’s Hamlet by emphasizing the parallels and shades of meanings that the aesthetic approach belies.
To agree in the judgment that the music is sad is not to agree in a belief, but in something more like a response or an experience" (Eldridge 145: 2003).It has long been recognized that human beings find a variety of visual and auditory appearances to be extremely fascinating.
In the eighteenth century there was significant development pertaining to judgments of aesthetic value. At one stage aesthetics was relegated entirely to the realm of subjectivism, but soon adherents to objectivism were up in arms against their detractors.
Without question, the mere meaning of the word art is subject to interpretation, especially considering the mystifying world of twentieth-century art. Nonetheless, the purpose of this paper is an effort to demonstrate that art is definable.
Author indicated that 18th century witnessed development of wild romanticism in art and literature that enabled appreciation of a significant aesthetic notion, ‘Sublimity.’ In addition, Burke showed closer connection of
The globalization of aesthetic experience is propagated by the popular culture, such as in music and movies. A good example is how young people idolize their celebrities, mainly American celebrities. This can be observed in the way they dance to
This cannot be connected with any determinate concept. He holds that such notions are an equivalent to rational thoughts. These ideas are, as he argues, vital in clarifying how we observe works of art, as they facilitate between
In order to build the argument, the scholar begins from the fact that there is visibly very little critical discourse on art and aesthetics in the Islamic world. According to the scholar, the reason why there is little critical discourse on art and
The above definition is enhanced and modified by George Dickie who defines art work as artificact which has had conferred on it the status of candidate for appreciation by some person or persons acting in behalf of a certain social institution otherwise referred as the artworld (Dickie, 1995)
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