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Motywy folklorystyczne w przestrzeni artystycznej opowiadania Herberta Georga Wellsa Piękny strój

100%
Jankowska T.
Acta Neophilologica
|
2012
|
issue XIV/2
129-140
EN
The elements of symbiosis between a literary work and fable are clearly reflected in the structure of Herbert George Wells short story The Beautiful Suit that was published originally as A Moonlight Fable. The distinct allusion of the author about the title as well as the fact of two titles indicates similarity to folkloristic genre and gives posibility to perceive the story in two ways: literary work and fable. The typical semantics of folkloristic works is introduced by a number of constant formulas and motifs. They are conditioned by the function of moonlight topos that creates the opposition man – moon. The determining character of this antithesis implies the main division of the text and provides the paradigmatic sequence man – earth – mortal life versus moon – heaven – eternity that constitutes the fundamental element to model the basic relationships of the space and time structure. As well as in the sources of mythology and folklore the motif of the moon in the Wells’s short story introduces the aspect of duality of the depicted world, has an allegorical effect on the protagonist’s fate that touches the secret of existence and happiness.
2
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Lo Bello y la belleza en el comentario Tomasino al De Divinis Nominibus

86%
Costarelli Brandi H.
Studia Gilsoniana
|
2016
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vol. 5
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issue 3
545-560
EN
While St. Thomas Aquinas has not written any separate treaty on beauty, the theme of beauty regularly appears in his writing from its very beginning as that which corresponds with the Platonic doctrine presented by Dionysius the Areopagite in his De Divinis Nominibus. The article is focused on three essential elements in Aquinas’ doctrine on beauty: 1) its identity with the subject, 2) its difference from the reason, and 3) its difference from the good.
3
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Agalmatophilic Pygmalions: Burke and Winckelmann on the Beautiful and the Sublime

86%
Antal É.
Eidos. A Journal for Philosophy of Culture
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2024
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vol. 8
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issue 1
39-68
EN
There is a good chance that “each critic becomes a Pygmalion” (as Leo Curran put it) when they bring the work of art to life in their narcissistic (and almost amorous) attention, unfolding its meaning so that they should be able to write their own interpretation. The starting point of the present text is the perfection of sculptural forms, and the author discusses “traditional” aesthetic concepts: the beautiful and the sublime along with the difference and interplay of the two qualities, bearing in mind their variations and relations. The framework is provided by the occurrence of these two in the discourses on the self and taste in the eighteenth-century while the focus is on subjective criticism concerning the beautiful versus the sublime in the artistic and sensual experience of statues. Within the given framework, the author is planning to force Edmund Burke, stiffened by the experience of the sublime, and Winckelmann, softened by the sight of the Greek statues, into a dialogue on individual taste.
4
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Is There Beauty in Physics?

72%
D’Antuono M.
Studia Gilsoniana
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2021
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vol. 10
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issue 2
227-253
EN
Given how often physicists talk about beauty, the author tries to understand what they are talking about, what they mean, and whether or not there is any truth to what they are saying. The main questions he addresses are: When discussing the nature and beauty of physics, are we doing physics, science, psychology, or philosophy? And, does the meaning of the physicists’ acclamations actually line up with the true nature of beauty? The author concludes that there can be truth in the statement that there is beauty in physics, and the physicists themselves would be able to say most authoritatively which theories are beautiful and which are not.
5

Burkean Beauty in the Service of Violence

44%
Emmer C. E.
Dialogue and Universalism
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2017
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issue 3
55-64
XX
Examining the images of war displayed on front pages of the New York Times, David Shields makes the case that they ultimately glamorize military conflict. He anchors his case with an excerpt on the delight of the sublime from Edmund Burke’s aesthetic theory in A Philosophical Enquiry. By contrast, this essay considers violence and warfare using not the Burkean sublime, but instead the beautiful in Burke’s aesthetics, and argues that forming identities on the beautiful in the Burkean sense can ultimately shut down dialogue and feed the lust for violence and revenge.
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