Aesthetics

By Florentin Smaradanche

Book Id: WPLBN0002096913
Format Type: PDF eBook:
File Size: 0.4 MB
Reproduction Date: 8/17/2011

Title:	Aesthetics
Author:	Florentin Smaradanche
Volume:
Language:	English
Subject:	Non Fiction, Fine Arts, Art History
Collections:	Authors Community, Art
Historic Publication Date:
Publisher:	American Research Press

Member Page:	PG Reading Room
Citation APA MLA Chicago Smaradanche, B. F. (n.d.). Aesthetics. Retrieved from http://gutenberg.us/

Description
In the history of thought and creation, the decisive events, the great and significant moments, the strongly affirmative stages - then the imposition of the optimizing novelties - have depended on the name and prestige of a personality. Referring to those, we personalize further on. The examples are extremely numerous, even in our nearest past. When we mention a creation - in the largest sense of the term - with the name of the personality who illustrates it most extensively at a given time, we state precisely the specific importance of it; we give it, with other words, the identity to which we can refer continuously with full knowledge and without causing any confusion among the receivers. The facts are called with the name of the man who produced them, and in this way we can compose a parallel onomastic dictionary, in which the work is included in the person’s space, keeping its content. The consecrated proper names evolve through quickly imposed habits, a large range of increments that announce the essential outline of their peak production. No space for ambiguity remains when we address to readers or listeners who are somewhat acquainted with the subject and we use such terms as Aristotelianism, Platonism, Kantianism, Hegelianism, Proustianism, Eminescianism, Barbianism, etc. We have even the advantage of a centered communication when we suggest with a sole notion the work as well as its dominant features, linked with the renown of the concerned author.

Excerpt
In aesthetics, the paradox means the apparent resolution of an enigmatic situation (the result of such a process is the satisfaction of a distention), the emotional moving force being the unforeseen, the unexpected (which generates and also perturbs a new tension). Therefore, the paradox is simultaneously a conclusion and a provocation, consisting in the concomitance of the opposites, which gives it a real specificity. The paradox is of the nature of an explosive nucleus resulting from the fusion of satisfaction and anxiety. The first situation, during an instant, is derived from the appearance of something with a convincing meaning; the second one, that comes immediately, is the perception of something concealed and absurd. Something, that is dissimulated under the level of the logical acceptance, jumps out abruptly in the main point to consider and constrains to acknowledgment. It looks as if it were an error, but not so big as to take alarm and not even to be clearly inhibited. It is a mechanism of exception in thought, that will accepted with the complicity of a total sympathetic tolerance. The aesthetic behaviour of the paradoxism characterized by the auto-suspension of the absurdity. In the table of distribution of the specific elements, it is collocated in the category of annihilators and perifractors of the convention (by the side of the comic, the ridicule, the grotesque, the absurd).