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Copyright of Social Sciences Studies is the property of Social Sciences Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Previous studies have shown that the experience of beauty is dependent upon the co‐activity of field A1 of the medial frontal cortex and sensory areas. This leaves us with the question of ugliness; are the same neural mechanisms involved in this experience, including neural activity patterns, or are different mechanisms at play? This question arises because ugliness, although often regarded as the opposite of beauty, could possibly be a distinct aesthetic category. Subjects were asked to rate faces according to how ugly they found them to be while their brain activity was measured with functional magnetic resonance imaging. There was moderate agreement in the experience of ugliness of faces among subjects. Univariate parametric analyses did not reveal any brain regions with increasing activity as the declared intensity of the experience of ugliness increased. In contrast, increasing activity appeared in the striatum and posterior medial orbitofrontal cortex with decreasing levels of ugliness. As with studies on facial beauty, representational similarity analysis revealed distinct neural activity patterns with the experience of facial ugliness in sensory areas relevant for face processing and in the medial orbitofrontal cortex. Thus, similar neural mechanisms appear to be involved in the experience of facial beauty and ugliness, the difference being the level and distribution of activity within the neural network. This suggests that ugliness and beauty are on the same aesthetic continuum. [ABSTRACT FROM AUTHOR]

Copyright of Humanities Journal of University of Zakho (HJUOZ) is the property of Humanities Journal of University of Zakho and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Slavica Wratislaviensia is the property of Wroclaw University Press and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of İSTEM is the property of ISTEM and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The study proposes a cognitive-and-semantic approach to the study of the category ‘urodstvo’ (‘ugliness’). This approach allowed, using a component analysis of the meanings of words - denote main lexical representatives of the category of ugliness in the Russian language, and establish a set of features of the category relevant to the basic level. Several prototypical features of ugliness have been identified: ‘the carrier of the feature is a living organism (human, animal, plant)’; ‘abnormality in the structure’; ‘innate abnormality’; ‘its physical (anatomical) character’. An exemplary representative of a category has all the prototypical features in contrast to non-exemplary representatives. Blurring of prototypical features in non-ideal representatives of the category is carried out in the process of development and expansion of the semantics of the words urodstvo (‘ugliness’), bezobraziye (‘deformity’), nekrassivost’ (‘unattractiveness’) in Russian.

Philosophical aesthetics has recently been expanding its purview—with exciting work on everyday aesthetics, somaesthetics, gustatory aesthetics, and the aesthetics of imperceptibilia like mathematics and human character—reclaiming territory that was lost during the nineteenth and twentieth centuries, when the discipline begun concentrating almost exclusively on the philosophy of art and restricted the aesthetic realm to the distally perceptible. Yet there remains considerable reluctance towards acknowledging the aesthetic character of many of these objects. This raises an important question—partly made salient again by the ongoing expansion of the aesthetic domain, and partly by the fact that many still seem resistant to this aesthetic diversification—which aestheticians seem to avoid: what, if anything, constrains the scope of beauty or the aesthetic? I argue that form, construed as comprising a degree, however minimal, of experienceable complexity, is necessary and sufficient for an object's candidature for the possession of aesthetic properties. Such a condition serves to discriminate between attempts to expand the scope of the aesthetic that are legitimate and those that are not. If correct, my view suggests that the aesthetic realm, though not limitless, is very broad indeed—but this, I think, is as it should be. [ABSTRACT FROM AUTHOR]

Copyright of Logos: A Journal, of Religion, Philosophy Comparative Cultural Studies & Art (08687692) is the property of Logos and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

A substantial portion of produce harvested around the world is wasted because it does not meet consumers' shape expectations. Only recently has research begun investigating the causes underlying misshapen produce rejection by consumers. Generally, this limited research has concluded that misshapen produce is subject to an ugly penalty, leading consumers to form biased expectations regarding product attributes (e.g., healthiness, tastiness, or naturalness). In this research, we propose that this ugly penalty extends to the moral valuation of misshapen produce and that this moral penalty is rooted in the feelings of disgust evoked by the visual appearance of such produce. Across five studies and two pilot studies, we show that misshapen fruits and vegetables are disgust elicitors, and that felt disgust causes consumers to make negative moral associations with produce which, in turn, leads to decreased preference. We also show that pairing misshapen produce with a positive unconditioned stimulus (i.e., an image of attractive individuals) is an efficient solution to counteract the effect of this stereotype. This research contributes to the growing body of work demonstrating the link between consumption behaviors, consumer preferences, and morality. [ABSTRACT FROM AUTHOR]

In this exploration, we delve into the profound concept of beauty and its antithesis—ugliness—through the lens of the philosopher Suhrawardī. Renowned for his emphasis on Illuminationism and the boundless realm of imagination, Suhrawardī’s discourse extends beyond the luminous to encompass the very essence of ugliness. Our purpose is to unravel the enigma of what Shaikh-i-Ishraq truly meant by ugliness and how he articulated it within the framework of his philosophical tenets. Through meticulous analysis, we discern various facets of ugliness: the palpable, the perceptible, and the ethereal, all interwoven within Suhrawardī’s literary tapestry. Ultimately, we witness how ugliness, akin to darkness, stands in stark contrast to the radiant light—a symbol of beauty and virtue—pervading Suhrawardī’s profound philosophy. [ABSTRACT FROM AUTHOR]

Beauty is in fact fundamental to understanding of divine being. Beauty informs of God’s perfections. Within Qur’an, the principle of tawhid which is that God is the Creator of the heavens is one Islamic metaphysical basis for the integration of the Greek heritage and Islamic revelation The problem in ugliness, especially ugliness in God's creation, raises questions about God's ability to create beautiful things. This study aims to deepen the understanding of imperfections in God's creation, which emerge the idea of bridging the gaps that are not yet well connected between God's most beautiful statement and His creation which is not all beautiful. Using a theological approach, this paper describes three problems not to deny that God is beautiful and loves beauty. First, God is Most Beautiful, and His manifestations in His creation are limited. Second, the formal imperfections in His creation were not created not to confront one another but instead are in a straight gradient line. Third, the physical imperfection is not interpreted as a limitation of God (finitism) but a message to His creatures

Research has explored the role of capitalist markets in the configuration of society and as social determinants. However, some niche markets have been taken by a form of capital, conceptualized as “predatory”, that has sought maximum benefit without caring for the social consequences of their activity on beauty, ugliness, freedom, and the overcoming of gender violence. This study addresses this gap by examining how “predatory capital” exploits various aspects of human life, including relationships, art, and music, by promoting ugliness over beauty. Through historical examples such as the tobacco industry's manipulation of women's liberation to promote smoking, this article reveals the detrimental tactics employed by predatory capital. It explores how the nightlife industry coerces youth into harmful behaviors through coercive dominant discourse, perpetuating toxic relationship dynamics and limiting individual freedom. Additionally, the study presents how the music industry reinforces harmful stereotypes and behaviors. Finally, it exposes how pseudo-theories, like those promoted by Foucault, are utilized to justify and perpetuate sexual violence, hindering progress towards freedom, gender equality, and social justice. This interdisciplinary analysis sheds light on the negative impact of predatory capital on human relationships, culture, and society, emphasizing the importance of critical awareness and resistance against its exploitative practices.

This essay answers the question What good is anthropology? via a discussion of Susan Sontag's review of photographer Diane Arbus's 1972 retrospective exhibition at the Museum of Modern Art. Sontag asserts that Arbus, in depicting people whom Sontag smugly regards as "ugly," is necessarily exploiting them. I perceive an exact comparison between Arbus's photographs and anthropology as an epistemological project and a representational practice. Like Arbus's photographs, anthropology is good for subverting the privileged protocol articulated by critics like Sontag, who are prepared to contemplate "ugly" people, vastly different from themselves, but only through an optic of pity or of vicarious indignation at the supposedly unrelentingly grim conditions under which such people are imagined to live their lives. [ABSTRACT FROM AUTHOR]

Drawing on recent theories and debates concerning the everydayness of non-artistic and even private aesthetic experiences, this article aims at differentiating new ways of dealing with revulsion at the intersection of negative and everyday aesthetics, as another manner of extending or transcending the scope of traditional art-oriented aesthetics. The paradigms that I will trace in the history of negative aesthetics are not mere occurrences of disgust or repulsiveness in art and in everyday life, but ways of addressing the repulsive in relation to the culturally variable scope of art and aesthetics. Besides the classical paradigm that associates repugnant subjects with their pleasure-inducing imitations in art, and the transgressions of modern and contemporary art that increasingly shocked their audience, revulsion can also be regarded as a form of displeasure linked to the quotidian, yet aesthetically relevant forms of life. By virtue of this ordinary nature, which is not unfamiliar to other (non-Western) cultures, revulsion could be placed at the core of everyday aesthetics, since it confirms both the transition from contemplation to action in recent aesthetics, that is, the practical preoccupation with the aesthetic quality of living, and the broader redefinition of aesthetics in terms of sensory reactions.

Given the positive bias toward attractive people in society, online sellers are justifiably apprehensive about perceptions of their profile pictures. Although the existing literature emphasizes the "beauty premium" and the "ugliness penalty," the current studies of seller profile pictures on customer-to-customer e-commerce platforms find a U-shaped relationship between facial attractiveness and product sales (i.e., both beauty and ugliness premiums and, thus, a "plainness penalty"). By analyzing two large data sets, the authors find that both attractive and unattractive people sell significantly more than plain-looking people. Two online experiments reveal that attractive sellers enjoy greater source credibility due to perceived sociability and competence, whereas unattractive sellers are considered more believable on the basis of their perceived competence. While a beauty premium is apparent for appearance-relevant products, an ugliness premium is more pronounced for expertise-relevant products and for female consumers evaluating male sellers. These findings highlight the influence of facial appearance as a key vehicle for impression formation in online platforms and its complex effects in e-commerce and marketing. [ABSTRACT FROM AUTHOR]

This book comprises two primary objectives. First, it seeks to curate an extensive exhibition showcasing diverse African art forms sourced from public museums and private collections in the United States and Europe. The exhibition, featuring about 300 works of art from different countries in Sub-saharan Africa, focuses mainly on the sculptural tradition of Africa. However, a few other works, such as textiles, were featured in the publication supporting the landmark exhibition. Divided into eight thematic sections, the essays by seven authors advocate for an aesthetic appreciation of the arts of Africa based on concepts, criteria and vocabularies of the cultures who made them. The book adopted a contextual or anthropological approach to present cultural case studies and analyse thematic examples from sub-Saharan Africa. The final pages of the book acknowledged pioneers, the ‘fieldwork generations’ who paved the way for the scholarly study of African arts and laid the foundation for analyses of African aesthetics from African perspectives from the 1930s to the present.

Copyright of Ḥawliyyaẗ Kulliyyaẗ Al-Adāb: Ǧāmiʿaẗ Binī Sūwaīf is the property of Beni Suef University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Akofena is the property of Universite Felix Houphouet Boigny and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article analyses the vision of the devil in the selected tales of the Vie des peres, a collection of pious tales from the thirteenth century, freely inspired by patristic literature and medieval exempla. The period in which the collection was written, the thirteenth century, bridges the gap between the early and late Middle Ages: it is a time when the perception of the devil is changing, and he is becoming increasingly feared. The analysis focuses mainly on four stories in which the devil is at the centre of the story, and in which his very image is a source of fear and a key element of the story: ‘Devil’s Mouth’, ‘Devils Vision’ and two versions of ‘Devil’s Image’. The vision of the devil in these stories coincides with the teratological vision that is dominant in the iconography, to which the stories directly allude. The message of these stories is generally positive: the protagonists almost always manage to overcome their fears and free themselves from the power of the devil. In this way, the authors avoid the trap of Manichaeism: the devil, despite his cunning and sophistication, is in the end only a caricature of an angel, unable to oppose God effectively. The fear of the devil appears several times on the pages of Vie des peres, but it is the message of hope that dominates.

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. [ABSTRACT FROM AUTHOR]

Originating in a critical examination of Vernon Lee's perceived ugliness and her excessive talking among her acquaintances, this essay situates historically a series of portraits in which she features as a sitter, subject of comment and commentator, to suggest that the interweaving of voices and faces can be useful to resist the elision of seeing and knowing on which art historians often base their understanding of gender and sexuality in portraiture. As an art critic, Lee maintained an ambivalent position with regard to portraits. Her familiarity with the new psychology informed a response whereby resonance could shift the sensorial boundaries of the genre beyond its function as likeness. By engaging with Lee's interrogation of the voice of portraits, both in art writing and fiction, the essay examines a series of queer attempts to challenge the authority of the look to identify, define or consume the subject of portraiture. As the late nineteenth century also saw the emergence of talking styles as audible articulations of the queer self, contemporary representations of Lee and her loquacity may be read as queer propositions at a time when dominant discourses around 'female inversion' and the 'speaking woman' were being fixed by sexologists. [ABSTRACT FROM AUTHOR]

Against the backdrop of the COVID‐19 pandemic, which restricted our daily (visual) experiences, we asked people to take an ugly and beautiful photograph from within their homes. In total, 284 photographs (142 ugly and 142 beautiful) and accompanying statements were submitted and brought to light an intimate portrait of how participants were experiencing their (lockdown) home environment. Results revealed an aesthetic preference for (living) nature. Beauty and ugliness were also connected to good versus bad views, mess versus cosiness, unflattering versus flattering portraits and positive versus negative (COVID‐19) emotions. In terms of photography strategies, editing and colour were important for beautiful photographs, whereas a lack of effort and sharpness showed up relatively more in ugly photographs. A follow‐up study revealed that other viewers' (n = 86) aesthetic judgements of the photographs were largely in line with the original submissions, and confirmed several of the themes. Overall, our study provides a unique photographic window on our everyday aesthetic experiences at home during the COVID‐19 lockdown. [ABSTRACT FROM AUTHOR]

Ugliness, a philosophical concept, has been scrutinized throughout history from different vantage points. Some consider ugliness merely the lack of aesthetic, rejection of aesthetic, fundamental evil, valueless, and formless. At the same time, some believe that ugliness is the other side of the aesthetic coin, part of our existence that explicates new facets of our being. This study investigated the essential role of ugliness theory in literary studies within a systematic paradigm. The rhetorical and philosophical concept of beauty has been studied, and the reasons for the lack of ugliness studies in the literature have been investigated. Furthermore, the benefits and applications of studying ugliness theory have been delineated, and it has been applied to one poem of Hafez. Applying ugliness theory to one poem revealed that ghazals (short lyric poem) of Hafez are not inconsistent and incoherent, as has been claimed by some literary critics. The study has demonstrated consistency and coherence in ghazals of Hafez which necessitates using ugliness theory in the revision studies of literary works such as Hafez’s. Extended Abstract This study aims to provide a helpful solution to the aesthetic criticism of the text with a fresh approach. Despite the increasing interest in Hafez studies and the efforts of Hafez scholars, an array of approaches to interpreting Hafez lyric poetry remains understudied. Even though Hafez poetry and other Persian literary texts have been extensively studied, no analysis has been made of the philosophical concept of ugliness and its sub-branches. This study examines how Hafez uses literary tricks to highlight ugliness through the use of Karl Rosenkrantz's aesthetic theory of ugliness in a lyric. The aesthetics of ugliness argues that ugly is defined by negating beauty, rather than by connecting it to any conventional concept associated with condemnation, such as evil or materialism. Rosankranz, like Walter Benjamin, emphasized the ugly nature of aesthetic canons and their active role in the metropolis. His collection of caricatures and popular prints is extensive. Living and teaching in Koenigsberg, Rosenkranz simultaneously reacted to and illuminated urban phenomena from afar. "Aesthetics of Ugliness", published four years before Baudelaire's Fleurs du Mal makes a significant contribution to both modernist experiments and the theory of beauty in the twenty-first century. First published in English, “Aesthetics of Ugliness” analyzes the concept of ugliness through modernist aesthetics and literature studies. Rosencrantz's ugliness aesthetics theory was used to further explore the aesthetic aspects of Hafez poetry, and after applying and reviewing a lyric by Hafez, it was concluded that theory fits perfectly to analyze Hafez work. One of the most effective ways to express oneself is through literature. A ghazal, for example, was found to have a form and structure that are harmonious, despite its apparent incoherence, and the poet applies seemingly distant artistic structures to convey a single and coherent subject, as well as its beauty and ugliness. If the reader applies the cited theory and takes into consideration the identification of the single form present in each text, she or he will be unable to advocate personal opinions, but can instead present a theory based solely on the structure and texture of the text. Each text is analyzed according to this theory on four levels (form, style, inferiority, and ugliness). To achieve an objective examination of each text, the theory can be used as an efficient and appropriate tool to find its essence outside of the highlights and contradictory views of its artistic appearance. As a result, the reader is liberated from confusion. This theory helps readers comprehend literary texts through the use of the form of each text and the explanation of the highlights. As a result, it provides theoretical and practical tools for the criticism of any text as well as qualitative criteria for measuring the quality of literary works. It was found that by identifying precise relationships between contradictory and reciprocal artistic structures, one can gain a deeper understanding of the text's internal components and dark areas, which are demonstrated by the correlation of these contradictions and contrasts within the text's overall harmony and coherence. Because Hafez methods of using symmetry, contrast, contradiction, proportion, balance, humor, and ugliness create harmony and unity in the text, which finally reveals another aspect of Hafez artistic creations to the reader, the use of contradictions in the text paves the way for the emergence of a special artistic order that can in no way be regarded as incoherent or disturbing. A theoretical analysis is provided in this article utilizing the library technique. In this examination, Hafez words and thoughts are examined from the standpoint of ugly aesthetic theory, which leads to a system of techniques and solutions for better understanding of literary texts. Among other artistic devices, the authors illustrate how the poet used comedy, absurdity, confrontation, and ambiguity to represent some of society's most unappealing aspects during this period.

Abstract The article examines the reorientations of the appreciation of ugliness within different national contexts in a comparative and relational frame, juxtaposing the Australian, American, British and Italian milieus. It also explores the ways in which the transformation of the urban fabric and the effect of suburbanization were perceived in the aforementioned national contexts. Special attention is paid to the production and dissemination of how the city’s uglification was conceptualized between the 1950s and 1970s. Pivotal for the issues that this article addresses are Ian Nairn’s Outrage: On the Disfigurement of Town and Countryside, Robin Boyd’s The Australian Ugliness, Donald Gazzard’s Australian Outrage: The Decay of a Visual Environment, and the way the phenomenon of urban expansion is treated in these books in comparison with other books from the four national contexts under study, such as Ludovico Quaroni’s La torre di Babele and Reyner Banham’s The New Brutalism: Ethic or Aesthetic?. Particular emphasis is placed on Boyd’s articles in The Architectural Review between 1951 and 1970. At the core of the article is the analysis of the debates around ugliness between the 1950s and 1970s within the British, Italian, American and Australian contexts.

Immanuel Kant's aesthetics in Critique of Judgment has always been the subject of discussions and the discovery of many points about the anatomy of the faculty of Taste and its judgments. Because of contemporary aesthetic issues, the inquiry concerning the possibility of the reflective perception of dissatisfaction and following that the position of ugliness in Kant’s aesthetics has been considered by commentators. Ugliness and its judgments have different places in Kant's pre-critical philosophy in comparison with his ideas in the framework of the critical system. Before writing triple critiques, he has taken note of Ugliness in the format of sensorial perceptions and anthropological concepts as the object of merely empirical positive displeasure perception. But the query about Ugliness as a reflective judgment is impossible on his critical aesthetic horizon because the possibility of such a judgment would be contradictory with the systematic purposes and methodology of the third critique. In order to clarify the position of Ugliness in Kant's aesthetic horizon, while the present article examines his view on Ugliness in the pre-critical horizon, it explains the reasons for the absence of the Ugly as a reflective judgment in Kant's critical considerations and proves the impossibility of realizing the reflective judgment on Ugliness in transcendental philosophy.

Copyright of Ḥawliyyaẗ Kulliyyaẗ Al-Adāb: Ǧāmiʿaẗ Binī Sūwaīf is the property of Beni Suef University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Ḥawliyyaẗ Kulliyyaẗ Al-Adāb: Ǧāmiʿaẗ Binī Sūwaīf is the property of Beni Suef University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Lookism refers to discrimination based on physical attractiveness or the lack thereof. A whole host of empirical research suggests that lookism is a pervasive and systematic form of social discrimination. Yet, apart from some attention in ethics and political philosophy, lookism has been almost wholly overlooked in philosophy in general and epistemology in particular. This is particularly salient when compared to other forms of discrimination based on race or gender which have been at the forefront of epistemic injustice as a topic of research. This paper argues that lookism is associated with various forms of epistemic injustice. In the specific case of lookism, hermeneutic injustice takes the shape of the taboo of acknowledging that unattractive people are unattractive. This, on the one hand, results in a hampered understanding of one's own situation insofar as one is deterred from seeing one's looks as one major factor for one's social position. On the other hand, this hermeneutic injustice serves as the backdrop of instances of a special kind testimonial injustice in which the ugly person's burgeoning realization that their looks influence their social standing detrimentally is discounted due to the pejorative nature of ascribing someone the property of being unattractive or ugly. [ABSTRACT FROM AUTHOR]

Copyright of Cuadernos de Información y Comunicación is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article examines a selection of Maria Pawlikowska-Jasnorzewska's poems inspired by the Baroque imagination. In her last volume of poetry published by the interwar poet before the Second World War (Szkicownik poetycki) she pays tribute to the late Baroque poet, Józef Baka. Pawlikowska-Jasnorzewska analyses the imagery, mood and language of his work, which encourages the reader to look at the sources of her poetic outlook. From the very beginning of her poetic development, Pawlikowska-Jasnorzewska was fascinated by the natural world, both its beauty and ugliness, the latter involving the processes of decay, decomposition and death in their various forms. The analysed poems show a sense of the duality of the world, awe, and absurdity of existence, reflect in the complexity of all phenomena. This attitude is built on the base of the original poetic technique of Pawlikowska-Jasnorzewska, and at the same time demonstrates associations with the Baroque poetry. [ABSTRACT FROM AUTHOR]

Pathologizing ugliness refers to the use of disease language and medical processes to foster and support the claim that undesirable features are pathological conditions requiring medical or surgical intervention. Primarily situated in cosmetic surgery, the practice appeals to the concept of "aesthetic pathology", which is a medical designation for features that deviate from some designated aesthetic norms. This article offers a two-pronged conceptual analysis of aesthetic pathology. First, I argue that three sets of claims, derived from normativist and naturalistic accounts of disease, inform the framing of ugliness as a disease. These claims concern: (1) aesthetic harms, (2) aesthetic dysfunction, and (3) aesthetic deviation. Second, I introduce the notion of a hybridization loop in medicine, which merges the naturalist and normative understanding of the disease that potentially enables pathologizing practices. In the context of cosmetic surgery, the loop simultaneously promotes the framing of beauty ideals as normal biological attributes and the framing of normal appearance as an aesthetic ideal to legitimize the need for cosmetic interventions. The article thus offers an original discussion of the conceptual problems arising from a specific practice in cosmetic surgery that depicts ugliness as the disease. [ABSTRACT FROM AUTHOR]

Copyright of Anadolu University Journal of Art & Design / Sanat & Tasarım is the property of Anadolu University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

I argue that the main existing accounts of the relationship between the beauty of environmental entities and their moral standing are mistaken in important ways. Beauty does not, as has been suggested by optimists, confer intrinsic moral standing. Nor is it the case, as has been suggested by pessimists, that beauty at best provides an anthropocentric source of moral standing that is commensurate with other sources of pleasure. I present arguments and evidence that show that the appreciation of beauty tends to cause a transformational state of mind that is more valuable than mere pleasure, but that leads us to falsely represent beautiful entities as being sentient and, in turn, as having intrinsic moral standing. To this extent, beauty is not, then, a source of intrinsic moral standing; it's a source of a more important anthropocentric value than has hitherto been acknowledged. [ABSTRACT FROM AUTHOR]

The late modernist architectural heritage of Central and Eastern Europe has undergone a peculiar transformation in the last couple of years. I consider this transformation from the perspective of the taming of ugly late modernist buildings into harmless miniatures as embedded in the grander phenomenon of architectural reconstructivism, concomitant with the demolition of late modernist building stock. This article aims to explore the current trend for reconstructivism in architecture by applying a two-fold conceptual framework, projection as a discursive method and Mark Cousins's theory of ugliness to inspect the interwovenness of diverse socio-cultural factors by unraveling the manifold ways in which late modernist architectures are perceived with unease and discomfort in post-socialist contexts. These hyoptheses are tested in the case of the Electrical Power Distribution Station by architect Csaba Virág in Budapest. [ABSTRACT FROM AUTHOR]

In chivalry books some giants and dwarfs break with the paradigm of ugliness in which they are pigeonholed. These characters have a process of physical and moral transformation visible in their clothes, actions and words. It seeks to relate the accessories of the dress with their behavior. [ABSTRACT FROM AUTHOR]

The objective of this essay is a holistic view of aesthetics, ethics, and neuroaesthetics. After a few introductory case studies, aesthetics is systematically introduced as a philosophical subdiscipline. This perspective is then expanded from aesthetics to neuroaesthetics. Using various art forms as well as current media formats, the aspects of beauty and ugliness are discussed, and aesthetic properties are expanded to include ethical implications. These can be expressed through ideals of beauty and the compulsion for body transformation. This perspective is then expanded from aesthetics to neuroaesthetics. From this point of view of art, the so-called golden ratio will play a central role. It will be shown how representations affect people and what ethical implications are associated with the effects. Therefore, this essay first has to look at art from the perspective of neuroaesthetics, and then consider the ethical aspects of the beautiful and the ugly. The considerations lead to a brief discussion of Socrates’s three sieves. [ABSTRACT FROM AUTHOR]

The paper deals with an analysis of the controversial novel Truismes by Marie Darrieussecq. In this work, the author sensitively maintains an oscillation between the plausibility of truth, hidden behind metaphors and symbols, and the implausibility of the whole story in its individual components. The occurrence of ugliness as a decisive aesthetic dimension is continual, graded into almost all its shapes and forms, until it finally fills in the entire space and time of the fictional story. The astonishing horror of the author’s aesthetic world does not lie in the brutality of the language she uses, but rather in the similarity of the real and the imaginary, in the way she makes cruelty appear visible though the fictional narrative. The paper thus shows that classical aesthetic views fail when used as tools for understanding the nature of the aesthetic world modelled by Darrieussecq.

In folk psychology experiences of ugliness are associated with the negation of beauty and disorder, but empirical evidence is remarkably rare. Here, participants (called informed) took 102 photographs of ugly landscapes and urban scenes and reflected on their experiences. Later, participants naïve to the intentional ugliness in the photographs rated landscapes higher than informed participants. The ratings for urban scenes were similar in the two cohorts. Reflective notes revealed that emotional experiences with visual ugliness could overlap (e.g. decay), but ugliness was associated more frequently with fear and death in landscapes, and with sadness and disgust in urban scenes. The findings uncovered a complex layer of associations. Experiences triggered by perceived ugliness were contingent on a composite of socio-cultural, emotional, and evolutionary factors. Rather than being the endpoint on an aesthetic scale culminating with beauty, ugliness seems to be experienced as an independent aesthetic experience with its own processing streams. [ABSTRACT FROM AUTHOR]

The article examines the reorientations of the appreciation of ugliness within different national contexts in a comparative and relational frame, juxtaposing the Australian, American, British and Italian milieus. It also explores the ways in which the transformation of the urban fabric and the effect of suburbanization were perceived in the aforementioned national contexts. Special attention is paid to the production and dissemination of how the city's uglification was conceptualized between the 1950s and 1970s. Pivotal for the issues that this article addresses are Ian Nairn's Outrage: On the Disfigurement of Town and Countryside, Robin Boyd's The Australian Ugliness, Donald Gazzard's Australian Outrage: The Decay of a Visual Environment, and the way the phenomenon of urban expansion is treated in these books in comparison with other books from the four national contexts under study, such as Ludovico Quaroni's La torre di Babele and Reyner Banham's The New Brutalism: Ethic or Aesthetic?. Particular emphasis is placed on Boyd's articles in The Architectural Review between 1951 and 1970. At the core of the article is the analysis of the debates around ugliness between the 1950s and 1970s within the British, Italian, American and Australian contexts. [ABSTRACT FROM AUTHOR]

The article draws attention to the ethical and pastoral dangers associated with the theological subordination of ugliness to other purposes, such as universal harmony and order, the search for the immutable, or divination. It also traces the tendency to conflate moral and aesthetic ugliness, which has led to the marginalisation or even persecution of others on the basis of their outward appearance. As a counterpoint to these tendencies, the article emphasises the idea of the ugly suffering servant Christ, which contains pastoral and countercultural potential. [ABSTRACT FROM AUTHOR]

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