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Aesthetic experience and its role in educationHumber, Nancy Gwen. January 1986 (has links)
No description available.
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Augustine's De musica 6.12.34-6.14.48 an ontology of music which saves the soul /Maxwell, David R. January 2005 (has links)
Thesis (S.T.M.)--Concordia Seminary, St. Louis, Mo., 1998. / This is an electronic reproduction of TREN, #020-0180. Includes bibliographical references (leaves 101-103).
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Augustine's De musica 6.12.34-6.14.48 an ontology of music which saves the soul /Maxwell, David R. January 1998 (has links)
Thesis (S.T.M.)--Concordia Seminary, St. Louis, Mo., 1998. / Includes bibliographical references (leaves 101-103).
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Aesthetic experience and its role in educationHumber, Nancy Gwen. January 1986 (has links)
No description available.
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An archaeology of the aesthetic examination of the güzel tas from Fıstıklı Höyük /Job, Jayme L. January 2009 (has links)
Thesis (M.A.)--State University of New York at Binghamton, Department of Anthropology, 2009. / Includes bibliographical references.
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Krása jako unitas multiplex u Plótína / Beauty as Unity in Multiplicity in PlotinusGál, Ota January 2019 (has links)
The thesis investigates Plotinus' concept of beauty. Chapter 1 focuses on two methodological issues: development in Plotinus' thought and topics of the concerned Enneads. Since Plotinus wrote two Enneads directly devoted to this topic which were numbered and named by Porphyry I.6 On beauty and V.8 On intellectual beauty, these two treatises are addressed first in the context of other relevant Enneads (chapters 2 and 3). The outcome of these chapters is that beauty is primarily to be found in Intellect and that it is closely linked with unity in multiplicity, so this topic is further investigated in more detail. Five mutually interconnected perspectives Plotinus assumes to describe the unity in multiplicity specific to the Intellect, are outlined. Two of them that are related to the nature of intellection and intelligible objects are discussed in chapters 2 and 3. The one related to Intellect's genesis is analysed throughout the thesis. Therefore, most of chapter 4 focuses on the remaining two perspectives which are connected with Intellect's hierarchical (Ennead VI.2) and structural (Ennead VI.6) unity in multiplicity. In chapter 5, Ennead VI.7 is analysed in order to deepen the concept of beauty and refine its relation to the Good, life and other predicates. The last chapter presents a systematic...
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'Training the soul in excellence' : musical theory and practice in Plato's dialogues, between ethics and aestheticsLynch, Tosca January 2013 (has links)
This thesis offers a technically informed examination of Plato's pervasive, though not innocent, use of musical theory, practice and musical concepts more generally within the ambitious ethical project outlined in many of his dialogues: fostering the ‘excellence' of the soul. Starting from Republic 3, Chapter 1 will focus specifically on music stricto sensu in order to assess Plato's interpretation of the basic ‘building blocks' of musical performances, creating a core repertoire of musical concepts that will prepare the way to analyse Plato's use of musical terms or categories in areas that, at first sight, do not appear to be immediately connected to this art, such as politics, ethics and psychology. Chapter 2 examines a selection of passages from Laws 2 concerning the concept of musical beauty and its role in ethical education, demonstrating how Plato's definition is far from being moralistic and, instead, pays close attention to the technical performative aspects of dramatic musical representations. Chapter 3 looks first at the harmonic characterisation of the two central virtues of the ideal city, sophrosyne and dikaiosyne, showing how their musical depictions are not purely metaphoric: on the contrary, Plato exploited their cultural implications to emphasise the characteristics and the functions of these virtues in the ideal constitution. The second half of Chapter 3 analyses the Platonic portrayal of musical παρανομία, studying both its educational and psychological repercussions in the dialogue and in relations to contemporary Athenian musical practices. Chapter 4 looks at how different types of music may be used to create an inner harmonic order of passions in the soul in different contexts: the musical-mimetic education outlined in the Republic, the musical enhancement of the psychological energies in the members of the Chorus of Dionysus in the Laws, and finally the role of the aulos in the Symposium.
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Réception et création des images chez PlatonSekimura, Makoto 08 December 2006 (has links)
L’objet de ce travail consiste à étudier systématiquement le rôle de l’image platonicienne en mettant surtout en relief les modalités des actions des hommes qui reçoivent et créent les apparences. Platon intègre la fonction de l’image dans son propre système de pensée qui porte sur la relation du sensible et de l’intelligible. Ce philosophe est très sensible à la modalité par laquelle les phénomènes apparaissent dans le champ de notre perception et oppose deux types d’apparence :l’image et le simulacre. L’image est une apparence qui invite le spectateur à saisir le modèle et à mesurer la proportion de l’apparence par rapport au modèle, tandis que le simulacre est une apparence qui trompe le spectateur en lui faisant prendre une illusion pour une réalité. L’opposition entre ces deux types d’apparence constitue l’ensemble de la motivation philosophique de Platon qui s’engage dans la lutte contre l’illusionnisme. C’est dans le Phédon que l’on peut découvrir la scène où émerge la conviction platonicienne à l’égard de cette stratégie fondée sur la mise en rivalité du simulacre et de l’image par la promotion de celle-ci. L’émergence de sa théorie innovatrice des images n’est pas indépendante de la formulation de l’idée selon laquelle les choses sensibles participent aux réalités intelligibles. C’est sans doute dans la République qu’il se préoccupe le plus de la mise en œuvre de cette idée en développant les questions qui concernent la réception et la création des images. Dans ce dialogue, ces deux actions sont étroitement reliées et synthétisées, pour former le système original de Platon, dans lequel le fondement de la théorie des Idées relève d’un certain dynamisme de l’action humaine qui crée et qui reçoit les images. Ce dynamisme se fonde notamment sur la fonction conductrice du tupos qui, comme principe, réglemente la perception et la création des images. On peut ainsi soutenir que la réflexion esthétique de Platon sur la fonctionnalité des images va de pair avec le mouvement intellectuel pour établir et développer la théorie des Idées. / Doctorat en philosophie et lettres, Orientation philosophie / info:eu-repo/semantics/nonPublished
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