Must it evoke an emotion? Must it have a message enshrined in its intricacies? These questions cannot be answered without understanding what is ‘aesthetics’, and the role it plays in making art appreciable. When these questions are asked however it goes back to one fundamental question, that is; what counts as Art? Before these questions are ultimately answered it’s important to get a few definitions out of the way.
As a further definition, Mackie posits that an objective moral value has the quality of ‘ought-to-be-pursued-ness’, it is something one should or ought do because it contains an inherently normative aspect. If Mackie’s argument is to succeed, it must prove that this supposed normative aspect has no existence within any act in itself, but has its origin in the agent of said act, and as such, all moral claims are false. Mackie’s exposition of moral relativism comes in the form of two main arguments, the first being his ‘argument from relativity’, the second, his ‘argument from queerness’. It is with the argument from relativity that I shall be here concerned. The argument from relativity is based around the purely ‘descriptive’ idea that it is an empirically observable fact that there seems to be
The manner in which this denotative, literal level is coded ‘prepares and facilitates’ (Barthes, 1977.p.43) our reading of the connotative level. Barthes first defines the root of image as being close to the word "imitari" which translates as an imitation or a re-presentation. Barthes goes on to say that ‘all images are polysemous’ [Barthes, 1977.p.38] meaning that there are multiple possible meanings held within an image. These two points pose the central question of Barthes’ essay; can images truly function as conveyers of meaning given that they are essentially imitations (or direct analogical representations) of something else, and if they can, how does meaning get into the image? For his argument, Barthes analyses an advertising image from ‘Panzani.’ He only focuses on the advertising image because, as he states, ‘In advertising the signification of the image is undoubtedly intentional.’ (Barthes, 1977.p.33) Meaning that everything in the frame, no matter how natural it seems, has been heavily coded and mediated with easily recognizable, culturally specific signs.
Overall, the importance of authenticity can be shown through a variable human self that is determined by the adjustment of natural or artificial identities. The individual identities that each of us conveys are subject to change at any given moment. The simple reason is that we all have the choice to display what we want of ourselves. Deciding whether or not we want to “cover” or “tone down a disfavored identity to fit into the mainstream” (Yoshino 245) complicates our authenticity. It is the two identities
Rhetorical Strategies and Stylistic Devices Allusion – An association to a person, place, event or something derived from the story that has no exact explanation to its meaning. It makes the reader infer or connect ideas to understand what is being said. Aphorism – A brief remark of a truth, an opinion, or a statement of a principle. (Ex: less is more) Diction – The choice of words in a piece of literature, that makes it different and gives it its own style. There’s a reason why the author chose to use certain vocabulary.
A Brief Explanation of the Ritual View of Communication James Carey states “Communication is a symbolic process whereby reality is produced, maintained, repaired and transformed.” Primarily when it comes to communication, it is important to be able to spot the difference between the Transmission View and the Ritual View. The Ritual View focuses more so on the depths of communicating, rather than what is portrayed on the surface. Ritual View is less obvious, and it requires us to think critically as to why we do the things we do, and what effect it is having on the world around us. In simpler terms, it is basically the idea that our reality is determined by our communication. Rather than our actions or beliefs playing into the standards or ‘norms’ of modern day society, it is believed that we are creating modern day society by these actions.
Beliefs are whatever an individual is willing to accept without direct verification by experience or without the support of evidence, resulting in assumption which is taken for a basis of action or non action. A belief system is an organised way of trying to explain the world around us. It is something that distinguishes human beings, and becomes an integral part of culture. examples include humanism, religion, capitalism, science and feminism. Values are essential components of belief systems.
Psychoanalytic criticism judges art “as the product of individuals who are shaped by their pasts, unconscious urges and social histories.” Structuralism judges artwork based on how all of its formal components are put together. Last is post-structuralist, which still judges artwork by its formal parts but takes many meanings out of it. I find psychoanalytic criticism to be most valuable. This is because the viewer can assign any meaning to the artwork. It allows the people to escape reality and find out the deeper meaning of the piece of art.
A look at symbolism sym•bol•ism (s?m’b?-l?z’?m) n. 1. The practice of representing things by means of symbols or of attributing symbolic meanings or significance to objects, events, or relationships. An understanding of symbolism is a critical part of graphic design. Designers use symbols in both obvious and subtle ways to communicate something about the design. Symbolism is a profound, complex subject.
On the contrary, they unfold in all kinds of multimodal forms of discourse. A dynamic view on metaphor assumes that “establishing, creating and finding metaphors is regarded as a process in which one domain of experiences is seen and felt in terms of another domain of experiences” (Mueller and Schmidt 2015, p. 313). The dynamic view inherently addresses the multimodal nature of metaphoric meaning making in communication as it involves an actual experiencing of metaphoricity and not only a potential emergence of discourse metaphor. This study therefore differs from the idea of collecting potential metaphoric verbal articulations (compare f.eg. Cameron and Malsen 2010) and claims that activated metaphoricity appears in a communicative effort (Mueller and Tag 2010).