தேவாரப் பாடல்களில் நடன வடிவங்களும் அழகியலும்: பக்தி இலக்கியம், தத்துவக் கோட்பாடுகள் மற்றும் கலை மரபுகளின் ஒருங்கமைப்பு

Throughout the Platonic, rationalist, and empiricist traditions in philosophy, art and poetry have been relegated to a position either excluded from, or subordinate to, the highest of human aspirations. Until recently (and perhaps even now), in the ‘‘ancient quarrel between philosophy and poetry’’ to which Plato referred in the Republic, philosophy has predominated, in its attempt to free thought from rhetoric and from the unreflective influence of the senses. The inheritance of the Platonic view – despite its complexities, and the oft-pointed out literary quality of Plato’s own writings – has survived in some dominant strains of contemporary philosophy, where aesthetics is a secondary operation of epistemology, metaphysics, or semiotics, or where it is as ripe for deconstruction as any other set of cultural signs. One scholar notes that despite the ubiquity of efforts at defining aesthetic criteria, ‘‘aesthetics today is at a loss for words . . . a loss of understanding and a dearth of strategies for understanding artistic practice. . . . Aesthetics has lost its sense of how to read a text, how to interpret a painting, how to experience a poem.’’1 From one perspective, Anglo-American aesthetics has suffered most from the absence of a fundamental theory of aesthetic practice and experience, despite the carefulness of its arguments about criteria for beauty, its debates, particularly in the light of contemporary art, for ontological criteria for the art-object, or its understanding of art institutions and their role in our appreciation of art. In all of these cases, art remains a privileged object for observation, but is subordinate to a philosophy itself wholly undetermined by the aesthetic; and it lacks a sensitivity to the more profound connections between art and life. One notable exception remains Dewey’s classic work, Art as Experience, where aesthetic experience is regarded as a culmination or consummation of experience as such; aesthetic experience, he writes, ‘‘is experience in its integrity,’’ it is ‘‘pure experience . . . freed from the forces that impede and confuse its development as experience; freed, that is, from factors that subordinate an experience as it is directly had to something beyond itself.’’ Art and poetry unify the elements of experience – doing and undergoing, perceiving and making, matter and method – thus correcting the haphazardness or one-sidedness of other kinds of human endeavors. For this reason, Dewey claims, it is

Les troubles du récit: pour une nouvelle approche des processus narratifs

Since the 1970s, the emergence of digital works of art has broken the medium restrictions of traditional works of art, and has also subverted the creation methods of traditional works of art. In the context of contemporary art, the unique media and technologies possessed by digital artworks not only enrich the forms of artistic expression, but also have multiple creative methods, multi-media and multi-field performance capabilities, and help creators to become more diversified and convey humanistic creative ideas. Such works can not only trigger the audience’s aesthetic experience, but also stimulate the audience’s thinking on issues such as self-identity, self-worth and social identity. The psychological healing function of digital art works created with digital media art provides new possibilities for experiences that traditional art works cannot bring. Today, with the rapid development of science and technology, digital media art is also becoming more and more mature, but due to technical and cultural constraints, digital art works have not fully exerted their psychological healing functions. With the resolution of technical and cultural issues, digital media art will have more room for development in psychological healing.

Immersive Dramaturgy. Aesthetic Dance Experiences Embodied Through Virtual Reality

Kathleen Parth offers the first comprehensive examination of the controversial literary movement Russian Village Prose. From the 1950s to the decline of the movement in the 1970s, Valentin Rasputin, Fedor Abramov, and other writers drew on luminous memories of their rural childhoods to evoke a thousand-year-old pattern of life that was disappearing as they wrote. In their lyrical descriptions of a vanishing world, they expressed nostalgia for Russia's past and fears for the nation's future; they opposed collectivized agriculture, and fought to preserve traditional art and architecture and to protect the environment. Assessing the place of Village Prose in the newly revised canon of twentieth-century Russian literature, Parth maintains that these writers consciously ignored and undermined Socialist Realism, and created the most aesthetically coherent and ideologically important body of published writings to appear in the Soviet Union between Stalin's death and Gorbachev's ascendancy. In the 1970s, Village Prose was seen as moderately nationalist and conservative in spirit. After 1985, however, statements by several of its practitioners caused the movement to be reread as a possible stimulus for chauvinistic, anti-Semitic groups like Pamyat. This important development is treated here with a thorough discussion of all the political implications of these rural narratives. Nevertheless, the center of Parth's work remains her exploration of the parameters that constitute a code of reading for works of Village Prose. The appendixes contain a translation and analysis of a particularly fine example of Russian Village Prose--Aleksei Leonov's Kondyr.

Even though as of late there has been a renewed interest in the aesthetic ideals in early Medieval England, the conceptualisation and experience of ugliness in Old English sources has been largely neglected. Drawing on the recent research carried out on aesthetic emotions and folk aesthetics, and despite the lack of academic materials on artistic and literary canons of ugliness, the purpose of this paper is to look into the terms that rendered the experience of ugliness and its closest emotional response, aesthetic horror, in order to examine how these are employed in poetic texts. The findings from this study evidence a lack of use of terms for negative aesthetic experience in Old English poetry that suggests that the lexical domain of ugliness and related emotional responses were not fundamental constituents of the Old English formulaic style, while the lexical domain of beauty and its responses were. Additionally, this study highlights the fundamentally moral character of the idea of ugliness.

THE IMPORTANCE OF LINES: THE MODERN CALLIGRAPHY OF WANG DONGLING AND QIU ZHENZHONG

<p>The scarcity of aesthetic study of traditional arts has evoked my intention to promote a model of aesthetic study in dance performance. The focus of this research is the aesthetics of Prajuritan dance in Semarang regency. The aesthetics were founded on dance choreography and cultural value systems, which grow and develop in the community of Semarang regency. Dances choreography includes dance background, form, shape, theme, number and formation of dancers, moves, musical accompaniment, make-up and costume, and dance floor patterns. Cultural value systems include communicating stories, expressed symbols, function and meaning of Prajuritan dance for its supporting community. The stories were derived from the heroic tale of Prince Sambernyawa (KGPAA, king Mangkunegara I in Mangkunagaran royal palace, Surakarta) when he rebelled against the arbitrary Dutch colonialists, with his famous spell, “<em>tiji tibeh </em>(<em>mukti siji mukti kabeh</em> – being prosperous for one and all)” and Three Dharma of soldiers, namely “<em>rumangsa melu handarbeni, melu hangrungkebi, mulat sarisa hangrasa wani</em>, which means having sense of belonging, protection, and awareness to bravely do whatever to defend his nation and country. Therefore, Prajuritan dance brings the mission to evoke sense of courage, discipline, and responsibility for the young generation. </p>

This study aims to develop creativity and appreciation of art in learning dance for students of UIN Sunan Ampel Surabaya PIAUD. Learning dance is very useful for PIAUD students because it can improve the ability to learn dance in art appreciation activities. Creativity in this research is to create a new thing in individual learning. In general, creativity and appreciation lead to the process of moving that drives someone in an action. Desires that must continue to be fostered for the process of learning dance one of them with a form of appreciation, because in the form of appreciation of art contains a beauty or aesthetic dance moves, as well as expression in learning dance know that dance creation also contains a beauty. The process of dance work will be an aesthetic experience for students who are in line with their educational interests through learning dance. This process is carried out continuously so that the appreciation of PIAUD students towards dance as expected and will increase and have creativity towards learning dance when they become kindergarten teachers.

With the development of computer technology, the digitization of traditional painting has accelerated. Artificial intelligence–generated content (AIGC) and virtual reality (VR) are reshaping the production, dissemination, and aesthetic experience of traditional art, yet a systematic understanding of how they interact with core artistic principles—such as brush–ink logic, spatial conception, and aesthetic intentionality—remains limited. Adopting a systematic and thematic review approach, this paper examines: (1) the technological, aesthetic, and cultural dimensions of digital transformation, showing how digital change extends beyond medium substitution to shifts in viewing logic and meaning construction; (2) how AIGC advances brushstroke simulation, style transfer, and artistic conception but continues to struggle with deeper principles such as spiritual vitality and intention-before-brush; and (3) how VR reconstructs spatial logic and viewing modes in classical painting, revealing tensions between embodied immersion and traditional contemplative, multi-perspective viewing. Drawing on 32 representative studies, this review synthesizes developments in GAN- and diffusion-based generative models as well as VR-based reconstruction and exhibition methods. While AIGC and VR broaden participation by enabling technically trained researchers to engage with traditional culture, the literature also indicates a persistent risk of reproducing surface stylistic features while overlooking essential cultural and spiritual connotations. The paper concludes by identifying key conceptual gaps and proposing future research directions, including mechanism-level modeling of brush-and-ink aesthetics, VR presentation strategies aligned with scattered perspective, and culturally grounded frameworks for human–machine co-creation.

The pictorial Gond style of artwork has its roots in the tribal Gond art tradition adopted for narrativising fiction Bhimayana: Experiences of Untouchability (2012), life writings of Bhimrao Ramji Ambedkar. The Pradhan Gond artists Subhash Vyam and Durgabai Vyam interweave historical events with contemporary incidents using the Digna pattern of the Gond style visualising the stories with immense nuances and dynamics. The novel Bhimayana adopted Gond art to visualise and narrate the life of Ambedkar in a new way of seeing and corresponding to post-millennial trends in visual culture and comical creativity. This graphic novel Bhimayana is named after the hero for the comic version of the graphic narrative, sorrowful and miserable accounts of Bhimrao Ramji Ambedkar. The tribal Gond art and paintings had been contextualised in this fiction for interweaving the plot by bringing back story telling, symbolism, animal imageries, colours, patterns, figurative elements, and sequence of images etc. to constitute the novel, a narrative of comic and graphic strips. This paper will emphasise how this graphic novel Bhimayana juxtaposes past, present and future spatially on the page, linearly emphasising personal and historical modes while positioning itself on the high-brow of the literary canon of life narrative and Indian comics.

The wave of the Bhakti movement significantly affected India for over a period of twelve centuries. Considering that it left inerasable impressions on the history and culture of the land, this research paper argues that what only imbibed the feeling of pure devotion also became a tool in the hands of those who were desirous of radical religious, political and social changes. To prove this, the paper undertakes the translation of Dadu Dayal’s Sanskrit compositions. Additionally, the paper also questions the very model of Bhaktikal (the Age of Devotional Literature), propagated by the scholars of Hindi Literature, which divides it into two distinct theological categories, Sagun and Nirgun. By examining the devotional poetry of Jayadeva Goswami and Dadu Dayal, and their sectarian positions, it demonstrates that the proponents of the two diametrically opposite schools of Bhakti did not always honour such a distinction for bhakti’s spirit is above such schisms.