Wonder Is An Aesthetic Experience

expression of wonder, but also, it was a very smooth reading due to the coherent and organised manner in which the author expressed himself. “Malice in Wonderland” aims at explaining the military and political relationship leading to the destruction of the Yuanmingyuan perceived in the cultural and societal values enshrined in the aesthetic narrators’ accounts of the palace from the middle ages to the mid eighteenth century. Throughout, this historical analysis, Ringmar uses the language of wonder to characterise

In Nature & Landscape: An Introduction to Environmental Aesthetics, Allen Carlson proposes that scientific knowledge can enhance our aesthetic appreciation of the natural world. He draws a connection between technical know-how used in the context of natural landscapes and art history or criticism in the context of conventional art forms. In either case, the viewer would find relatively more meaningful experiences of aesthetic appreciation than if one looked at a painting or landscape without any

The sublime is a feature present in many art works. It is an aesthetics category that, unlike other categories such as beauty or the picturesque, examines great and awe-inspiring phenomena. The sublime is an aesthetic notion that describes the emotions of awe that people experience when they encounter the immense, powerful, and even terrifying forces of the natural world. Like all aesthetic notions, the sublime produces various emotions with the persons viewing a piece of art. Moreover, many

cannot be contained in rational attributions only and they also “in fact imply a non-rational or supra-rational”. For example, God is non-traditional which is conceptualized in many tradition including Protestant. For him, the root of all religious experiences and believes are coming from the unique state of mind which is called “numinous”. Numinous, which is characterized as holy according to him, is defined by moral and rational aspects. It goes beyond moral and conceptual understanding. It cannot be

tension between the idea that “beauty is in the eye of the beholder” and the reality of the way we as humans judge art. Kant called this specific tension “the antinomy of taste”, which he used as a jumping off point to develop a complex system of aesthetic judgment. However, an interesting solution was proposed by David Hume. Suppose people did disagree on whether E. L. James or William Shakespeare is a better writer. What would one do? Hume proposed that people should do the same thing they’ve always

Adorno’s conception and more in-line with the affirmative notions the aesthetic impulse. As such, the kind of aesthetics that I am eluded to here is not just a state of contemplation. It is much more. As Cramerotti describes in his aforementioned essay, ‘it is rather the capacity of an art form to put our sensibility in motion, and convert what we feel about nature and the human race into a concrete (visual or bodily) experience’. It is useful to introduce Deleuze’s categories of the ‘actual’ and

Assignment Cover Sheet School of Humanities and Communication Arts Student Name Samson Kocholatharayil James Student Number 17455451 Unit Name and Number 101295 - Aesthetics Tutorial Group Thursday 1pm - 2pm Tutorial Day and Time Thursday 1pm - 2pm Session / Semester Spring 2014 Lecturer/Tutor Michael Symonds Title of Assignment Assessment 1 Length 1,500 Due Date 8th September 2014 Date Submitted 8th September 2014 Campus Enrolment Bankstown DECLARATION I hold a copy of this assignment if the

When the Greek playwright Sophocles wrote Electra, one can assume he would never have anticipated that it would inspire the countless texts, plays and performances that have graced the stage.The story of Electra depicts the main heroine, Electra, and her revenge on her mother, who murdered her beloved father. This is just a sneak peak into the epic tragedy that is Electra. In fact, the story of Electra is so complicated that Sophocles would have probably enjoyed seeing someone attempt to re-create

I argue for an interpretation of Kant's aesthetics whereby the experience of the beautiful plays the same functional role in the invisible church of natural religion as Scripture does for the visible churches of ecclesiastical religions. Thus, I contend, the links that Kant himself implies between the aesthetic and the moral (in the third Critique and the Religion) are much stronger than generally portrayed by commentators. Indeed, for Kant, experience of the beautiful may be necessary in order

other renowned publications. His Kantian ethics, which revolve around the idea of a duty to moral law, is a concept which interested me greatly. For this reason, I wanted to further explore the writings of Kant, which involved studying his work on aesthetics. I will begin this essay I will first give a very brief outline of what Kant discusses at the beginning of the first book