A Study of Character education for college students based on the philosophy of the body and the aesthetic experience

2016 ◽  
Vol 16 (9) ◽  
pp. 827-844 ◽  
Author(s):  
Bok-Cheol Jeong ◽  
◽  
Hyun-Min Lee ◽  
Keyword(s):  
College Students ◽  
Character Education ◽  
Aesthetic Experience ◽  
The Body ◽  
The Aesthetic

Embodied Aesthetics

2018 ◽  
pp. 890-910
Author(s):  
Barbara Gail Montero
Keyword(s):  
Aesthetic Experience ◽  
The Body ◽  
Traditional View ◽  
Bodily Experience ◽  
Aesthetic Pleasure ◽  
Embodied Aesthetics ◽  
The Aesthetic ◽  
Bodily Movements

Although great art frequently revers the body, bodily experience itself is traditionally excluded from the aesthetic realm. This tradition, however, is in tension with the experience of expert dancers who find intense aesthetic pleasure in the experience of their own bodily movements. How to resolve this tension is the goal of this chapter. More specifically, in contrast to the traditional view that denigrates the bodily even while elevating the body, I aim to make sense of dancers’ embodied aesthetic experience of their own movements, as well as observers’ embodied aesthetic experience of seeing bodies move.

scholarly journals The Role of Painting Activity as an Emotional Regulation in Children with Asperger Syndrome

2019 ◽  
Vol 8 (2S9) ◽  
pp. 666-672
Keyword(s):  
Asperger Syndrome ◽  
Character Education ◽  
Emotional Regulation ◽  
Aesthetic Experience ◽  
Self Confidence ◽  
Learning Programs ◽  
Research Findings ◽  
The Subject ◽  
The Aesthetic

Children with Asperger syndrome still need to be adjusted, in regulating their emotion, to their enjoyment in an activity that will be their emotional allocation. Art is able to improve their self-ability, to strengthen their self-confidence, and also to re-shape lack of knowledge about their own identity. This is because activity of art becomes a collection of inspiration, the aspect of imagination that is closely related to the aesthetic experience. This was a qualitative research as a study intended to understand the phenomenon of something that is experienced by the subject of research. For example: behaviour, perception, motivation, and action in holistic way and described in form of words and language, in a specific-natural context and by utilizing various methods. The research findings show that ability of emotional regulation is the ability of the subject in receiving and understanding a command, and then in minimizing tantrum, so that the subject is able to achieve a treatment therapy; including the subject's ability to identify and draw an object or other objects around them, to recognize some painting tools and to answer questions orally or in writing through the image media. The therapy can be packaged through art education based on painting activity which is the advantage of an area itself. Schools present learning programs that also support character education and the creative potential of the children, so that they can live independently later.

Historical Musicology and Philosophy

2020 ◽  
pp. 9-26
Author(s):  
Julian Johnson
Keyword(s):  
Aesthetic Experience ◽  
Contemporary Music ◽  
The Body ◽  
Musical Thought ◽  
Key Issues ◽  
The Aesthetic ◽  
Embodied Practice ◽  
Key Terms ◽  
Conceptual Language

This chapter begins from the failure of both musicology and philosophy to grasp the aesthetic experience afforded by music. It argues instead for an approach that explores the gap between the sensuous particularity of musical thought and the kinds of language brought to it. This hinges on recognising that key terms are not absolute but historically constructed – issues of musical beauty, taste, expression, representation, meaning, ontology – and that the aesthetic experience of music resists the generality of conceptual language. It proposes four key issues for rethinking the relation of music and philosophy: (1) the persistence of the aesthetic (what is not reducible in music to either history or philosophy); (2) the restoration of the body (music as an embodied practice that resists being the object of language); (3) the particularity of listening; (4) the challenge of contemporary music to ahistorical ‘normative’ ideas about music.

scholarly journals AESTHETICAL EXPERIENCE AS PATHOLOGICAL DISCOURSES OF ABJECTION AND MELANCHOLIA IN THE BEKSINSKI' ART

2020 ◽  
pp. 55-59
Author(s):  
H.O. Verbivska
Keyword(s):  
Aesthetic Experience ◽  
A Priori ◽  
The Body ◽  
Symbolic Order ◽  
Body Of Christ ◽  
Symbolic Space ◽  
The Common ◽  
The Aesthetic ◽  
Maternal Authority ◽  
First Time

This article tackles the issue of aesthetic experience from the pathologized everyday discourse viewpoint in the system of relations between I and symbolic order, where transgressed and close to symbolic death I is predominant. The stage, in which I, crossing the symbolic borders, stay readable, appears to be the process of continuous constituting the aesthetic experience and its transforming into the primordial a priori structure of everyday discourse. The problem lies deeply in the preserving of evanescent borders which are said to exist in the cultural palpability and simultaneously to be exiled from the system. The article exemplifies pathological discourses by referring to the Beksinski' works, namely his numerous ways of articulating the ineffable. However, articulated ineffable, similarly to such culturally conditioned reactions as abjection and melancholia, declares double death of the discursive subject: the first time when the separation from primordial presymbolic world takes place and the second time during problematizing the symbolic borders and paradoxical immortalization concerning postulated frontiers. The aim of this article is to dig out kaleidoscope of images and sub-images from Beksinski' works through the motive of crucifixion resulting in the specific value of Christ's body and chimerical things inside the dehumanized catastrophic space. It is demonstrated how pathological discourse of melancholia could be intertwined with the discourse of abjection in the common point of transgressing the limits, making the symbolic space full of details indicating the risk of Ego being disintegrated, staying inside the transgressed limits as constituting aesthetical experience. Inexplicability of terrible post-apocalyptic world is readable via symbolic coordinates insofar as the main primal object (the body of Christ) occurs to be banished. Appearing of aesthetic experience is paralleled to the stages of psychosexual development in the existence of symbolic being where in opposition to classical freudism maternal authority is accentuated. That's how Kristevan style of psychoanalytic ruminations looks like.

«Oj, skal vi gjøre dette i dag?» Lærerstudenter og lærerutdanneres meningsdanning i en estetisk workshop med fokus på skapende dans

2016 ◽  
Vol 7 (1) ◽  
pp. 28-41
Author(s):  
Birgitte Nordahl Husebye ◽  
Kristine Høeg Karlsen
Keyword(s):  
Student Teachers ◽  
Teacher Educators ◽  
Aesthetic Experience ◽  
The Body ◽  
Aesthetic Quality ◽  
Creative Processes ◽  
Bodily Expression ◽  
Physical Education Students ◽  
Group Interviews ◽  
The Aesthetic

Abstract This study aim to investigate the perceptions and experiences of student teachers and teacher-educators when participating in an interdisciplinary workshop in which they were to create and explore their own expressive movements and others’ bodily expression. The study employed a qualitative approach, and in order to acquire access to the informants’ lifeworld and their immediate and mediated experiences, open focus group interviews were conducted after the workshop. We base our analysis on inductive coding (Corbin & Strauss, 2015), which then were interpreted in the light of Dewey’s (1934) understanding of the aesthetic experience and Merleau-Ponty’s (1994) phenomenological notion of the body. Our analysis demonstrates that the informants are unfamiliar with using bodily expression, nor do they believe that they have the knowledge or skills needed to create movement and dance, which may explain why they struggle to engage with the creative process. By observing the dances others had created, the informants discovered that there was no right or wrong way of expressing movement. They became a little more open and the experience acquired what Dewey (1934) describes as an aesthetic quality. The music students and teacher-educators are inquisitive and open to using these kinds of creative processes in school. The physical education students have a more reserved attitude to the inclusion of dance, confirming findings in other studies. Based on these results there seems to be a need to create more room for processes that aim for aesthetic abilities in teaching-education.

scholarly journals Fenomenologia i performatyka gestu w tańcu współczesnym

2019 ◽  
Author(s):  
Teresa Fazan
Keyword(s):  
Aesthetic Experience ◽  
The Body ◽  
Postmodern Dance ◽  
The Aesthetic

The paper covers the problem of gestural expression and the role of the body in the aesthetic experience analysed in the Maurice Merleau-Ponty’s phenomenology of art and Erika Fischer-Lichte’s theory of performance. The author compiles these theorists’ conclusions and contextualizes them in the field of modern and postmodern dance. The ultimate goal is to analyse the artists’ statements in the context of formulated conclusions and syntheses. In summary, the author draws attention to current aesthetic research on dance and pinpoints the benefits of philosophical  phenomenological) interest in the modern and postmodern dance.

Naturalizing Aesthetic Experience

Projections ◽  
2018 ◽  
Vol 12 (2) ◽  
pp. 50-59 ◽  
Author(s):  
Vittorio Gallese
Keyword(s):  
Aesthetic Experience ◽  
The Body ◽  
Third Culture ◽  
Embodied Simulation ◽  
New Model ◽  
The Third ◽  
The World ◽  
The Aesthetic ◽  
The Brain

The naturalization of the aesthetic experience of film and art can benefit from the contribution of neuroscience because we can investigate empirically the concepts we use when referring to it and what they are made of at the level of description of the brain-body. The neuroscientific subpersonal level of description is necessary but not sufficient, unless it is coupled with a full appreciation of the tight relationship that the brain entertains with the body and the world. In this article, I will discuss aspects of Murray Smith’s proposal on the aesthetic experience of art and film as presented in his Film, Art, and the Third Culture against the background of a new model of perception and imagination: embodied simulation.

scholarly journals A Mixed Study on the Somatic Mindfulness Meditation of College Students －Focused on Mindfulness, Body Awareness, and Ego-resilience

2021 ◽  
Vol 15 (3) ◽  
pp. 207-223
Author(s):  
hwa Kang ◽  
anna Kim
Keyword(s):  
College Students ◽  
Character Education ◽  
Everyday Life ◽  
Mindfulness Meditation ◽  
Body Awareness ◽  
The Body ◽  
Control Group ◽  
College Level ◽  
School Work ◽  
Ego Resilience

This study examined the effects that a somatic mindfulness course had upon the body awareness, ego-resilience and mindfulness of college students. The participants included 91 students attending C college, located in Gyeonggi-do. 51 students were assigned to a somatic mindfulness meditation course, and 40 students (the control group) were assigned to a humanities course, without any mindfulness and body awareness training involved. The results of mindfulness, body awareness, and ego-resilience upon the two groups were assessed in week 1, and again when the course was over after 14 weeks. Homogeneity using a variance test, the mean, the standard deviation, and a mixed ANOVA were performed using the SPSS 2.0 program. In parallel with this, a focus group interview was conducted with eight students in order to evaluate their personal experience of the somatic mindfulness meditation course, along with their experience of practicing the course’s techniques at home. Finally, the study assessed any changes that the students might have felt as a result of taking this course. The students were selected based on their attitude toward the course, their attendance record, and their home practice rate.The quantitative data results showed that in all mindfulness (F=10.531, p<.01), body awareness (F=19.867, p<.001), and ego-resilience (F=4.349, p<.05), the interaction effects between the groups, and the time of assessment, were statistically significant. Based on the qualitative analysis, the results were classified into four areas: 1) physical, 2) emotional, 3) cognitive, and 4) everyday life, as well as into 15 subcategories. The subcategories included ‘decrease of mind-body discomfort’ in the physical area, ‘being able to maintain some distance from negative emotions’, ‘reduced frustration’ in the emotional area, ‘being aware of differences between thoughts and reality’, ‘becoming generous with myself’ in the cognitive area, and ‘choosing a meditation method for myself’ in the everyday life area.The findings indicated that the students managed the stress they experienced from their school work and in their personal lives using what they learned from the course. Based on these results, the use of mindfulness as a way of educating self-care for mental health, and as a tool for future character education at the college level, is further discussed.

scholarly journals Pengalaman Fenomenologis Pertunjukan Reog Ponorogo dan Relevansinya terhadap Pendidikan Karakter

LOKABASA ◽  
2020 ◽  
Vol 11 (1) ◽  
pp. 38-49
Author(s):  
Fina Yuni Sriana ◽  
Trisakti Trisakti ◽  
Setyo Yanuartuti
Keyword(s):  
Character Education ◽  
Cultural Transmission ◽  
Aesthetic Experience ◽  
Phenomenological Approach ◽  
The Body ◽  
The Public ◽  
Education Data ◽  
History Of ◽  
Traditional Arts ◽  
Cultural Skills

This study discusses the relevance of character education through traditional arts in Indonesia, in this case, Reog in Ponorogo Regency. Furthermore, this research also explores character education through the phenomenology of the body and the transformation of experience into character education that occurs when individuals appreciate the performance of Reog Ponorogo. This research method uses naturalistic qualitative, with a phenomenological approach to the Reog Ponorogo phenomenon and its relationship to character education. The limitations of this research are asphalt in this study are Ponorogo Regency, temporal limits in July-December 2019, and the content limit lies in the aspect of aesthetic experience and transformation that occurs in its relevance to character education. Data obtained from observations, interviews, and subsequent documentation studies were analyzed descriptively about the history of Reog Ponorogo, its performances, experiences, and its relevance to character education. The results show that the phenomenological experience of the Reog Ponorogo show has relevance to character education and cultural education through education which plays a major role in cultural transmission. The education of local wisdom nationalism can also be well explained by the Reog Ponorogo show through the metaphors in the show as a symbol of aspects that will be explained to the public. There is character education in the Reog Ponorogo performance which creates an atmosphere of the transformation of cultural arts and culture towards character education by developing an environment in which cultural approaches are highly considered and prepared with cultural skills and practices as supporting the learning media of the younger generation. AbstrakPenelitian ini membahas tentang relevansi pendidikan karakter melalui seni tradisi di Indonesia, dalam hal ini adalah Reog di Kabupaten Ponorogo. Lebih lanjut, penelitian ini juga mengeksplorasi pendidikan karakter melalui fenomenologi penubuhan dan transformasi pengalaman ke dalam pendidikan karakter yang terjadi ketika individu mengapresiasi pertunjukan Reog Ponorogo. Metode penelitian ini menggunakan kualitatif naturalistik, dengan pendekatan fenomenologis terhadap fenomena Reog Ponorogo dan keterkaitannya dengan pendidikan karakter. Batasan penelitian ini aspasial dalam penelitian ini adalah Kabupaten Ponorogo; batasan temporal pada bulan Juli-Desember 2019; dan batasan isi terletak pada aspek pengalaman estetik dan transformasi yang terjadi dalam relevansinya terhadap pendidikan karakter. Data yang didapatkan dari observasi, wawancara, dan studi dokumentasi selanjutnya dianalisis secara deskriptif tentang kesejarahan Reog Ponorogo, pertunjukannya, pengalaman-pengalaman, dan relevansinya terhadap pendidikan karakter. Hasil menunjukkan bahwa pengalaman fenomenologis atas pertunjukan Reog Ponorogo memiliki relevansi terhadap pendidikan karakter dan pendidikan budaya melalui pendidikan yang memainkan peran utama dalam transmisi budaya. Pendidikan nasionalisme kearifan lokal juga dapat dijelaskan dengan baik oleh pertunjukan Reog Ponorogo melalui metafor-metafor dalam pertunjukannya sebagai simbol aspek yang akan dijelaskan kepada masyarakat. Terdapat pendidikan karakter di dalam pertunjukan Reog Ponorogo yang menciptakan suasana transformasi seni budaya menuju pendidikan karakter dengan mengembangkan lingkungan di mana pendekatan budaya sangat dipertimbangkan dan dipersiapkan dengan keterampilan serta praktik budaya sebagai pendukung media belajar generasi muda.

Toward an Aesthetical Approach to Screendance

2016 ◽  
pp. 498-514
Author(s):  
Susana Temperley
Keyword(s):  
Aesthetic Experience ◽  
The Body ◽  
Aesthetic Appreciation ◽  
Work Of Art ◽  
Aesthetic Object ◽  
Starting Point ◽  
The Aesthetic

Technological objects which materialize the permanent emergence of the new and define one of the manifestations of present-day screendance need to be revalued in terms of aesthetic approach. Considering as a starting point Immanuel Kant’s opposition to any standards of taste—that is to say to any criteria of beauty considered as an objective foundation for the aesthetic appreciation—the chapter examines the notion of aesthetic behavior, which involves rediscovering the question of the pleasure connected with the reception of the work of art, as well as the notion of the aesthetic object as a substitute for a work of art, thus judging art in terms of strength and not institutional acceptability. Examining aspects of the piece such as the body, the movement of the camera, and the place of the narrative and fiction, the chapter then inquires into the resulting status of the aesthetic experience.

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