جستجوی مقالات مرتبط با کلیدواژه "aesthetic experience" در نشریات گروه "علوم انسانی"

Purpsoe:

 The present study was conducted to investigate the mediating effect of the quality of aesthetic experience on the relationship between spiritual intelligence and life satisfaction in teachers.

This study was practical in terms of purpose& in terms of method was descriptive-correlation with emphasis on structural equations. The statistical population of the research consisted of all teachers working in education in Qom province in the academic year of 1402-1401 in the number of (12549 people). To determine the sample size, Cochran's formula was used and 372 people were selected as a sample, which was selected using available sampling method. Data collection was based on three spiritual intelligence questionnaires, SISRI 24, King (2008), aesthetic experience questionnaire AEQ Wenzer (2018) and life satisfaction questionnaire (SWLS) Diener et al. (1985). Data analysis was done with SPSS25 and AMOS 26 software.

There is a positive and meaningful relationship between all the components of spiritual intelligence and the quality of aesthetic experience and life satisfaction. There is also a significant relationship between aesthetic experience and life satisfaction. The findings of the path analysis also confirm the mediation of the quality of aesthetic experience in the relationship between spiritual intelligence and life satisfaction.

Finally, it can be concluded that spiritual intelligence and the quality of aesthetic experience are important variables in teachers' life satisfaction.

The user experience is at a higher level than the user interface. Nielsen's checklist recommended in 1994, consists of ten factors, one of which is aesthetics, but the dimensions of beauty in the web environment, after thirty years, remain unknown and have not been accurately interpreted. The present study was designed in order to reduce the mentioned ambiguity. The current research aims to identify the aesthetic components of "one website" based on Leibniz's theory and rank them based on the importance of the criteria. Proposing a conceptual framework for the ''aesthetics of one website'', is done.

In this study, the systematic review method of meta-synthesis with Shannon's qualitative content analysis approach was used. A targeting keyword search was conducted in six databases: Google Scholar, Emerald, Web of Science, IRANDOC, ISC, and SID. The numbers of 1110 sources were retrieved. Then, the numbers of 64 documents were selected for meta synthesis study, according to the PRISMA statement. Leibniz's theory of aesthetics and two studies, aesthetic factors from Lavie and Tractinsky (2004) and website analysis from Guo and Hall (2009) used as the basis of qualitative coding. Then, for each aesthetic code identified, the importance coefficient was calculated based on Shannon's qualitative content analysis method introduced by Azar (2000). The mentioned method looks at each code in the sources as an exchanged message, and the resources are the interviewees or experts who answered the research question.

The number of 2 categories 4 concepts and 75 aesthetic codes were obtained by performing meta synthesis. Two general levels of "objective aesthetics" and "subjective aesthetics" were obtained as the main categories of website beauty. The subjective level is related to the user and his perception (subject) and the objective level is related to the website design (object). Two main concepts were obtained for each category including "semantic aesthetics" and "classical aesthetics". The coefficient of importance for the codes of "typography" and "order" in the concept of classical aesthetics and the category of objective aesthetics were ranked first and second. In the category of subjective aesthetics, based on priority, the codes of "having an attractive color combination", "easy navigation" and "moderate visual complexity " in the concept of classical aesthetics, were obtained at the top of importance. The numbers of forty-three aesthetic codes for a website were identified with an importance coefficient greater than zero. A conceptual framework based on Leibniz, proposing for ''aesthetics of one website''. A number of 43 codes with an importance coefficient greater than zero were identified, which were ranked from 1 to 16. The other 32 codes (out of a total of 75 identified codes) that had a zero Shannon entropy significance coefficient (the number of 1 repetition in previous studies) were placed in the 17th rank of Shannon's significance. The top 12 codes, in order of priority, were "observance of typography techniques in website content design", "orderliness and cleanliness of website content", "observance of symmetry in website content design", "non-visual complexity", "attractive website color combination" From the point of view of the web user's mind", "Unity in website content design", "Easy navigation in website content from the standpoint of the web user's mind", "Observance of the organization through order and sequence and compliance with hierarchy during website design", "Complexity in Average limit (not too little and not too much) from the website user'sstandpoint", "Arousing the feeling of richness and variety from the website user's standpoint", "Website design with the approach of having a variety website content ", "Attractive and interesting And the non-boringness of the website from the standpoint of the web user". Adherence to the Gestalt principle, and adherence to the golden ratio in website design, are among the other identified codes.

It is appropriate for website administrators to pay attention to both the objective and subjective aspects of aesthetics to promote users. Several types of research have been conducted on the aesthetic factors of a website. But research such as the current one, which combines previous studies with a meta-synthesis approach and coding by Shannon’s entropy, is the first in Iran and also at the international level. In this field, interdisciplinary cooperation in the fields of computer sciences and social sciences is recommended.

The purpose of this research is to explain the role of the Islamic form and its relationship with meaning in Islamic art, from the perspective of thinkers in this field by citing examples of architecture in the Islamic era. In this qualitative research, the possibilities of form in the excellence of Islamic art, beauty criteria from the perspective of Islamic sages, and considering the formal elements in the architecture of the Tabatabaei family's house were described and analyzed. The results of this research can be summarized as follows; from the point of view of known Islamic philosophers, the importance of the form in the excellence of Islamic art is that the audience approaches the spiritual experience through this art. In comparing the position of the form in Islamic aesthetics with the concept of form in Western aesthetic thinking, it is evident that the role of the Islamic form is in discovering and recognizing mysteries in the phenomena, and the importance of this role can only be identified in the connection between the form and its meaning. Islamic formal elements such as centrism and geometry, symbol and code, light and color, and abstraction have clear evidence in artistic works such as carpet art, painting, calligraphy, and architecture in the Islamic era. In a case study of the Tabatabaei house, elements such as center and geometry, code and symbol, color and light, and abstraction connect sublime concepts such as unity, goodness, perfection, and beauty.

According to the views of education experts, aesthetic experience and understanding of art is a vital part of a flourishing life. The main purpose of this research is to investigate the role of aesthetic experience in children's education. To achieve this goal, the first step is to defend the necessity of aesthetic education for children based on the analysis of existing philosophical justifications. For this purpose, the descriptive-analytical research method has been used. Several philosophical justifications have been proposed for the necessity of aesthetic education, whose critical evaluation shows that the only answer is based on aesthetic experience, which makes it possible to defend art based on its distinctive value. Therefore, aesthetic education for children can be taken as justifiable and necessary independent of art's contribution to expression and its role in moral promotion. This is because the aesthetic experience and understanding of art is a vital component in flourishing life, and being exposed to the aesthetic experience opens up ways for human growth that no other type of experience can do. The findings of this research indicate that even if art education does not lead to innovation and improved skills that can be measured with quantitative methods, it should have an important place in schools and curricula. A curriculum without aesthetic training and proper appreciation for the arts ignores our goal of raising flourishing human beings worthy of meaningful aesthetic experiences. Also, aesthetic education should not be limited to people and subject-matters, but should cover the entire curriculum.

Moral education, as one of the most important elements of an educational system, has a major contribution in the direction of that system. The perspective based on which we choose to face moral issues, makes the educational system in a completely decisive way. Therefore, moral education is not only a specific field of education, but also shows the depth of the education system. In the meantime, virtuous ethics as an alternative to action-oriented moral systems can create a different perspective in our understanding of moral issues and make the foundation of moral education undergo a fundamental transformation. The purpose of this article is to analyze and formulate this role in the macro educational system to determine that quality moral education can be a different framework for the entire educational system. In this article, an attempt is made to first philosophically and theoretically address virtue ethics in relation to the impact on the educational system, and on the other hand, not only a specific aspect of this system should be considered, but the effect of ethics on the entire educational system should be investigated. The article finally ends with the approach that virtuous moral education will establish a different attitude to the field of moral education because many of the foundations of moral education in the formal education system are based on a rule-based and external approach that is allowed to form Internalization deprives educators of moral structures. In virtuous moral education, the goal of moral education will be to pursue moral perfection in various aspects of the life of educators, and not just to do their homework.

Whenever the architecture moves from the objective bases of the building to the intangible environment of human perception and experience, the experimental perception of the aesthetics becomes difficult since its intangible, transient, and emotional nature makes its internal evaluation by self-consciousness or external evaluation by observation and instruments difficult. Therefore, one of the possible ways to better understand this perception is to pay attention to the subject of identity in architectural works and its role in intensifying the human’s aesthetic experience of the space. Thus, the current study aims to recognize the aesthetic capabilities in Iranian architecture to respond to the users' needs, explore the relationship between their preferences, and adapt them to the identity subjects related to the emotional evaluations caused by the experience of space pleasantness. In this regard, the relationship arises between the determining components of space’s emotional evaluation and the sense of identity and adapting it to the user’s aesthetic preferences based on how the architectural works are experienced? Based on the components and their relevant criteria extracted from the theoretical literature, and using a statistical population including 40 female participants and a researcher-made questionnaire when visiting three select cultural buildings, the data obtained from the scores (Likert’s 5-scale) were analyzed by the regression analysis. The results indicated that the component determining the user’s emotional evaluation is first divided into two main dimensions: 1) emotional states and 2) emotional exchange. An emotional state includes the user's emotional and sensual experience, is determined by the perceptual, cognitive, and motivational components, and is most related to the sense of identity of the architectural works. The emotional exchange is also based on the user’s interaction with his/her spatial experience, which determines the role of sensory-motor and behavioral components as an effective factor in emotional interaction and evaluation resulting from it. This interaction is also indirectly effective on the intensity of space aesthetic preferences under the influence of cognitive components (identity symbol, rooted in tradition, cultural sign, etc.).

Dewey's book "Art as Experience", can be considered as a manifesto of pragmatist aesthetics, in which Dewey uses the insights of Darwinian theory of evolution and his pragmatist principles through focusing on the concept of "experience" and aesthetic experience, to bring art back to the everyday life of human beings in today's world. Although, Dewey's view of experience in its general sense, as an interaction between human and his/her environment, has a Darwinian basis, but as Dewey's analysis shows, especially in his describing about the aesthetic experience, the concept of experience goes beyond the Darwinian conception and takes cultural and social dimensions. In this article, meanwhile reviewing the meaning of experience in Dewey's thinking and the relationship between aesthetic experience and the experience in its general sense, we try to show the connection between art and life by relying on Dewey's views in "Art as Experience". In addition, we attempt to demonstrate, most of the examples that Dewey cites as the basis of aesthetic experiences are positive life experiences, and by doing so, he unintentionality ignores negative experiences and reduces the circle of aesthetic experience to pleasant experiences.

One of the issues studied by Muslim philosophers is the effect and emotions in response to various forms of artwork. The nature of these experiences and specifically how emotions in the arts are perceived and represented on a subjective, bodily, and evaluative level is a heavily debated issue.To arouse emotions and imagination are the main features that define an artwork in Avicennian philosophy. Thus, through a comparative- descriptive study, we aim to address the raised questions: what kinds of emotions aroused in facing a work of art? What factors evoke emotions? How emotions interact with the perception and judgment of the artworks and their beauty? In his works, Ibn Sina mentions different types of emotion that work of art can elicit e.g. positive experience including joy and pleasure and negative emotions negative emotions of fear, anger or disgust as well as confusion and bewilderment, happiness, etc. Studying his works reveals that the collaboration of the three factors of form, imagination, and human nature evokes emotions. Moreover, emotions in the arts affect us on a subjective and bodily level which influences aesthetic evaluations emotions in concert with cognition are ways to understand the meaning and judge the beauty and value of a work of art.

As the founder of phenomenology, Husserl himself did not use phenomenology to analyze art and works of art. Except for a few hints in Encyclopedia Britannica's article, he did not write anything in this area. However, he paved the way for the phenomenology of art and led many post-Husserlian phenomenologists to look at art from a phenomenological perspective. This article aims to show the application of the phenomenological method in aesthetics and analysis of works of art. To achieve this, we will first refer briefly to the ideas of M.Dufrenne (who is somewhat faithful to Husserl's intellectual tradition) to reveal to him how the phenomenology of aesthetic experience. Then according to Heidegger's views (which are further from Husserl's tradition), we will examine in the phenomenological analysis of art to see how Hermeneutic phenomenology can re-establish the neglected relationship between truth and art.

In modern times, with the avant-garde movement, recognizing the aesthetics object from a non- aesthetics object is difficult or impossible. Beardsley is one of the formalist philosophers who seeks to define the aesthetic object in order to make a difference between art and non-art. He first of all distinguishes aesthetic object from other aspects, such as paying attention to the artist''s intention or the author''s intention and audience’s perception, that the aspects are considered to be false inputs in the functionalist pattern and disrupt the aesthetic experience. According to this theory, the function of art is the make of aesthetic experience, which is characterized by features such as unity, complex and intensity. These features are followed by artistic value, the value that is the subject of the recognition of an artistic object, and the critic must be know it to use them in the evaluation of artwork that is content-centered. Because the aesthetic experience in art is its value and the only necessary condition for the work of art and is formed on the basis of a positive verdict, the purpose of this study is to identify the aesthetic object from the Beardsley view which can be defined by art. Our methodology, in terms of the nature of the research, is to collect materials through a library study and Internet search, then we examine and analyze them in order to obtain Beardsley’s definition of the aesthetic object and its status in art criticism

In the early centuries(A.H), Persian Muslim thinkers were proceeding(Their Philosophy) through inauguration some sort of mysticism in order to grasp an appreciation a Persian perception from religious concepts, and in that respect Imam Mohammad Al Ghazali was one of the most influential among those philosophers. One of the mystical experiences that he accounts which shall be a way in which the truth is taken is samaa,(singing and dancing) which he later talks in detail about the conditions, types, states of the listeners and its levels in his book Ahya al-Uloom al-Din. However This particular and mystical experience which to some extent is a way of perceiving truth is different and far away from the course of Western discipline;yet, Hans George Gadamer, a contemporary philosopher who critiques subjectivism in order to give presentation of a new approach to ancient philosophy, by delivering an expressivity of what will be happened when art is going to be understood tries to explain how art can be figured out through the art of theater. Though the concept of art in the modern sense has not been a problematic matter to sixth century Muslim jurists, but the purpose of this essay, which is based on Gadamer's hermeneutic account and performed in a descriptive and analytical comparison of these aesthetic experiences with each other, is to try to grasp a new reading of one of the most prominent Persian thinkers Compared to a contemporary philosopher; Because fulfillment of cognition is always based on analogy and comparison.

Studying the intersection between religious experience and aesthetic experience can shed more light on the relationship between religion and art. Do similarities determine whether they have the same origin? Can we expect the same result from both? The present article has used library method in collecting information and descriptive-analytical method in inference. Common contexts such as philosophical and literary movements have played a role in shaping religious experience and aesthetic experience. Kant's subjectivism has had a serious impact on both, and they have very close epistemological similarities. After Kant's subjectivism and the reduction of religion to religious experience and beauty to aesthetic experience, many scholars felt that the relationship between religion and art had been severed altogether, and that modern thought has been able to break this close connection with the classical period; But after studying the commonalities between religious experience and aesthetic experience, it can be felt that despite Kant's project in the separation of religion and beauty, the two are so close that some consider the aesthetic experience to be a continuation of religious experience through different mediums. And after Kant, the link between beauty and religion has not disappeared.

One of the points of strength of the approach of Dewey to art lies in the fact that he has a dynamic vision of the nature of art. The current essay seeks to provide an appropriate answer regarding the question of the diversity of forms of artistic forms in contemporary era based on the explication of creation of work of art focusing on the notion of aesthetic experience in the ideas of John Dewey. The nature of art it has a better capability as regards the explication of the diversity and evolutions of the forms of artistic expression in the contemporary era. What makes the meaning of the works with this extension understandable for the audience is the artist's taking advantage of the historical and cultural element called emotion. By changing the primary crude emotion into a refined emotion the artist takes advantage of the symbolic and meaningful systems and invites the audience to experience the life world. The work of art is an extra-real object in the world. In aesthetic experience selection and taking advantage of the past meanings and symbols enriches the form. Form unites the emotion, act of expression, media, and system of symbols, knowledge and interaction. Degrees of collection and connectivity of these factors and also communicative and contextual factors that constitute a spectrum of the forms and it is in this way that the form of work of art in the contemporary world goes beyond its material form

For Hutcheson, the pleasure of beauty has a natural source like virtue. An aesthetic experience is a kind of intrinsic experience that has nothing to do with academic education, but reflection is a necessary condition for it. This view provides a way of getting rid of the objective tradition, for a kind of inner sense is responsible for the judgment of beauty which there is no specific organ for it. It is as real as the external senses. This sensation has nothing to do with cognitive and useful indicators. Good ear (or good taste) is necessary, most people have a good sense of hearing whiles they all do not enjoy the symphony. It shows that a healthy ear isn’t sufficient condition but we need a good ear. This research is a philosophical explanation for aesthetic pleasure, of course by explaining and expanding Hutcheson’s comment with considering Cage’s Silence. The purpose of this research is to identify the share of the audience and artwork in aesthetic pleasure through studying the basis of aesthetic pleasure by describing and analyzing the collected data through a library study and internet search.

Leibniz’s account of perception for understanding of German rationalistic aesthetic tradition in 18 century is very crucial and important. His account of sense qualities has a Cartesian framework and it is so central to his views on aesthetic experience. He explains the concept of perfection and pleasure based on the clear but confused nature of perception. Accordingly, he defines beauty as follows: perfection is the ability or power to unite multiple properties into one; pleasure is feeling perfection in things. Beauty, for him, is the contemplation or reflection upon the pleasurable, or perfection of things. Having investigated the importance of Leibniz in German aesthetics, we intend to figure out the nature of perfection and its relationship to aesthetic experience, perfection, and beauty in his aesthetics.

John Dewey, the American pragmatist philosopher, was an experimentalist when he introduced the pragmatic foundations of his thought. For him, experience is a key that opens the gates of aesthetics to him and all else. The telling title of his famous work, Art as Experience (1958), is evidence that for Dewey art is an experience while beauty is an event happening in the context of human life experiences. Focusing on Art as Experience, which is analytic in form and romantic in content, this paper seeks to explain how the experience of art developed and transformed in Dewey's thought. Then we illustrate how an aesthetic experience, by drawing on the possibilities the natural world and everyday life offer, can become accessible to human beings. Thus Dewy, as the philosopher of life, turns into a source of expression about art and beauty.

James Alfred Martin, a contemporary philosopher and thinker of religion, seeks to illustrate the connection between religious and aesthetic experiences in different centuries by reviewing these experiences in historical periods and proposing different theories. This connection is discussed in a discursive context. In addition to addressing the concepts of art and religion, this discourse deals with the extent to which religion can play a key role in determining aesthetic criteria and creation of works of art as well as the decisive role of art in human religious experiences. This study also examined the existing theories, including the thoughts of the German philosopher, Schleiermacher, and his various definitions of religion, the religious experience, art, and the discourse between these concepts by reviewing the history of the discussion.
To answer the aforementioned question, this study discussed that, according to James Alfred Martin, this discourse ultimately leads to a single goal, which is a perception of the true reality. The reason is, as much as aesthetic experiences are derived from participatory-sensory perception of beauty between the audience and the work of art, religious experiences of human beings have deep sensory foundations.

The present study attempts to investigate this concept through a phenomenological study of the lived experience of the visitors of Naghsh-e-Jahan monuments at summer time of 1393. Apart from a comprehensive review of literature on qualitative research methodology, and the architecture of the period, the theoretical foundations of phenomenology and its application in architecture were thoroughly reviewed. Using the phenomenological observation method of Max-Vanen & a semi-structured interview plan, 58 visitors of the historical monuments of Naghsh-e-Jahan were chosen as participants and were interviewed in depth. Then the recorded data were transcribed and analyzed and the findings indicated that 16 components were significantly effective in forming the esthetic perception of the participants. Therefore, as the result of the investigation, the following conclusions may be stated: The concept of beauty is not an absolute entity. The different concepts of beauty are formed on the basis of the lived experiences of the people.

Religious experience is the most distinctive experience among human existential experiences, and this is due to a transcendental relation which has its origin in an extraterrestrial and immaterial truth. The main problem here is how the relationship between religious experience and aesthetic experience (Artistic). Artistic language as a visible and understandable language to every human being, therefore, it how can within the aesthetic experience help to religious experience? Religious truth is an existential phenomenon; thus, its language is Revealing of Being. Since religious truth is expressed in coded language, not understandable for all human beings. Gadamer assume that truth is represented for audience in a pictorial frame or on display Scene and other artistic examples in a naked form regardless of linguistic complexities (written language) and the deepest and broadest range of understanding is achieved accordingly. So, Where complex and symbolic language of religion become heavy, artistic language (poetry, literature, theater, music, imaging, etc.) compensate that loss and paved the way for transferring religious concepts. The work of art receives richness and depth by religious content and therefor, the religious and aesthetic experience in the field of hermeneutics, establishes mutual interactivity that leads to an extension of existance.

The aim of this study was to analyze Maxine Greene's (1981-1917) views in three areas of significant experience, imagination and aesthetic education. It was a descriptive study with a qualitative approach. After reviewing the available sources, Greene’s seminal views about developments in the field of curriculum and aesthetic education were collected and then analyzed . The results showed that Green's idea of releasing imagination has brought about a new approach to aesthetic education. In this approach, she emphasizes that imagination which was often neglected in the mainstream educational system, should be employed in the learning process as a means to transfer perceptions, a lived experience and an opportunity for creativity. Her idea is based on giving freedom to the students in the imagination of possible opportunities, making a curriculum meaningful based on individual experiences and accessing new areas. These aesthetic experiences will result in a comprehensive awareness to see the phenomena from a different perspective. Greene advocates a phenomenological approach to aesthetic experience because it is an interpretation based on a particular territory of the world .Therefore, aesthetic education is a specific educational function which results in the learners’ aesthetic literacy that is a comprehensive ability to understand, interpret, and judge.