ESTETIKA DWILOGI NOVEL SAMAN DAN LARUNG KARYA AYU UTAMI

ABSTRACT Abstract : Aesthetics as theory have expanded along with the developing it, especially in literature and generally in cultural. Modernist aesthetics have rounded into the postmodernist aesthetics. Besides that, aesthetics which is emphasizing at feminism view also expand, that is usually called the feminist aesthetics. These postmodernist aesthetics feminist aesthetics are made as the basis for theory to explain the social phenomena, cultural, and political that can be found on dwilogi Saman and Larung novels by Ayu Utami

The Fear of Aesthetics in Art and Literary Theory

Is aesthetics, as has recently been claimed, now able to meet the accusations often levelled against it? This essay examines counters to three of the most common: that aesthetics is based around overly narrow conceptions of "art" and "the aesthetic"; that aesthetics is politically disengaged; and that aesthetics fails to engage with actual art objects and their histories

Garden as Symbol: Nature/City

My approach .to environmental aesthetics here begins with reflections on previous encounters with the subject, focusing initially on aesthetics of the city. Then follows a brief look at current theories of environmental aesthetics as they relate to nature aesthetics. The final section will consider garden as a symbolic link of nature/city. Nelson Goodman \u27s theory of exemplification will serve as an account of garden as a symbol linking nature and city

The primitivism debate and modern art

Supposedly ‘primitive’ works of art in their various forms always had a great appeal in Western culture. Since the eighteenth century (and also before) there has been a consistent tendency in European Art and Literature to attribute superior virtue to primitive people. In this paper I will introduce first the notion of primitivism and the theoretical aspects presented by two American scholars, Arthur O. Lovejoy and George Boas who became the pioneers of the history and theorisation of primitivism when they published their seminal work on Classical literature and philosophy, Primitivism and Related Ideas in Antiquity, (1935). I will also discuss the central question why modern artists turned to primitive art for inspiration. And I will be referring to the seminal work published by Robert Goldwater in 1938, Primitivism in Modern Art. Although Goldwater seemed to be more concerned with the thematic approach, he stressed a common characteristic of primitivism in modern art, namely the search for ‘simplicity’. The controversial exhibition, “Primitivism” in 20th Century Art: Affinity of the Tribal and the Modern held at the Museum of Modern Art in New York in 1984 helps us to understand better the difference between works created by the ‘primitives’ and the works made by modern artists within a different context. The ‘Primitive’ is not only found in modern art but also traced in other categories like the art of children, peasants, and the insane and even women.peer-reviewe

Why Does Feminism Matter To Aesthetics?

Peter Lamarque recently reported on current trends in aesthetics in the Postgraduate Journal of Aesthetics. Noticeably absent from his list, however, is the emergence and acceptance of feminist approaches in aesthetics, especially among analytic philosophers. Yet feminism is an important movement, one that should have been included among those he discusses. Indeed, my goal is to convince you that feminism should have made it onto Lamarque’s list. Rather than criticize him, however, I want to use his oversight to ask why feminist philosophers working in analytic aesthetics have trouble getting the recognition they deserve. My suggestion will be that the specificity of feminist critiques in aesthetics is often what makes it difficult for philosophers to appreciate their significance. I will also argue that it is precisely because of this specificity that feminism is a uniquely important movement in contemporary aesthetics

Re-Discovering Aesthetics

The beginning of the 21st century has seen the renewed use of aesthetics as a critical and interpretive method within various discursive spheres. Particularly, and unsurprisingly, this move has been most pronounced in the discursive systems of philosophy and the artworld. It is to this more specific re-discovery that the authors in this journal address their arguments

Empirical Challenges in Organizational Aesthetics Research: Towards a Sensual Methodology

Despite growing scholarly interest in aesthetic dimensions of organizational life, there is a lack of literature expressly engaging with the methodological mechanics of 'doing aesthetics research'. This article addresses that gap. It begins with an overview of the conceptual idiosyncrasies of 'aesthetics' as a facet of human existence and maps out the challenges these pose for empirical research methodology. A review of methodological approaches adopted to date in empirical studies of organizational aesthetics is then presented. The remainder of the article draws on the author's experiences and suggests methods and techniques to address both conceptual and practical challenges encountered during the execution of an organizational aesthetics research project. The article calls for a firmer focus on the aesthetic experiences of organizational members in addition to those of researchers and concludes with some suggestions as to the future of such 'sensual methodologies' </jats:p