Beautiful

My senior thesis, written in order to graduate from Thomas Aquinas College, on the relation between Thomas Aquinas’s notion of beauty to art and knowledge. Passed written examination and oral defense “With Distinction” - highest honors possible.

This article explores the surprisingly decisive role that Kant's "incongruity theory" of laughter plays in his aesthetic and broader critical philosophy. First, laughter constitutes a highly specific form of aesthetic judgment in Kant. Laughter involves a discordant relation between the cognitive faculties characteristic of the sublime, but this relation obtains between the understanding and the imagination, the two faculties at play in judgments of taste on the beautiful. Second, laughter is the transcendental condition of possibility for both the beautiful and the sublime. While most commentators dismiss laughter as an afterthought of Kant's aesthetics, laughter in fact constitutes the most basic aesthetic judgment in Kant. Third, an account of aesthetic judgment that begins with laughter transforms how we understand Kant's argument that judgment unites nature and freedom. Namely, it reveals how an empirical world at odds with the subject's purposes can nevertheless advance the subject's rational vocation to think and act beyond the empirical. I conclude by arguing that Kantian critical philosophy is itself a philosophy of laughter.

… this is a book for the ladies who want to be women;
the beautiful ladies who want to be sexy women; and
the sexy women who do not know they are sexy.
the sexy woman comes in different sizes, but her style is sexy;
her moves are sexy-moves; she has seventy-7 moves;
the seventy-7 of a sexy woman.

The “relation between art and knowledge” in Kant’s and Schopenhauer’s notion of art, which is the main subject in this study includes scrutinizing of opinion that genuine works of art can provide “a kind of” knowledge and distinguishing this kind of knowledge from other kinds of knowledge. The kind of knowledge attained from works of art that Kant and Schopenhauer define is the knowledge of the “Ideas”. The knowledge of the Ideas, unlike the conceptual knowledge, is the knowledge of the essence of things, of intuitions that certain concepts are incapacity to explain them. Ideas are similar to concepts as that both are related to universality. However there is a crucial distinction: ideas are intuitive, whereas concepts are abstract. The works of art created by genius artists as distinct from explaining the facts or things with concepts as in sciences, but can transmit of ideas by setting forth the intuitional expression of objects or facts of their subject matter. Emphasizing the knowledge attained through works of art, which is the knowledge of ideas, is crucial for demonstrating that art can acquire knowledge by conducing to revive in human mind the ideas which is intiutional, not by giving abstract or “ready – at – hand” knowledges via transmission the concepts.

Considering art as a way of attaining the knowledge of ideas as can be helpful in solution for discussions of art about what of art and evaluation of works of art, can provide the potentiality of altering even points of view to the world syn enhance people’s “cultures” by demonstrating ideas. In this study, an answer is sought to the question of how this potentiality can be realized.

This study examines the sources that could inspire Joseph Addison’s influential ‘aesthetic’ triad of ‘great’, ‘uncommon’, and ‘beautiful’, as elaborated in his essay-series The Pleasures of the Imagination in 1712. After identifying a philological problem in the interpretative tradition which gives rise to Addison’s triad from a section of Ps Longinus’ Peri Hypsous, further three seventeenth-century texts – Thomas Burnet’s Telluris theoria sacra, Dominique Bouhours’ Les entretiens d’Ariste et d’Eugène, and Baltasar Gracián’s El Criticón – are presented in order to reconstruct a ‘reading glass’ through which Addison could peruse and understand the Longinian section, and then could create his ‘aesthetic’ triad. As a result of this reconstruction, the possible connection between Gracián’s allegorical novel and Addison’s essay can cast more light on the complex and insufficiently discussed relationship between theology or devotional literature and the emerging modern aesthetic discourse. From this angle, Addison’s ‘man of polite imagination’, that is, the homo aestheticus in the modern sense of the adjective, seems to be the heir of Gracián’s ‘first man’ who has the privilege of regarding the created world in a new light, and, as Addison’s aesthete, of discovering its greatness, novelty and beauty in ‘innocent pleasures’.

Thiên chức làm mẹ là một điều tuyệt vời mà thượng đế đã trao cho chị em phụ nữ. Và đã là phụ nữ thì luôn luôn có quyền đòi hỏi mình được đẹp hơn và hoàn hảo hơn. Rất nhiều chị em đã và đang băn khoăn, tìm hiểu về cách giảm béo bụng dưới sau sinh con để giúp cho bản thân được đẹp hơn và lấy lại vóc dáng sau thời kỳ sinh nở.

Beauty, aesthetics and perceptions:
No discussion of beauty would be comprehensive without including aesthetics, sometimes synonymous with our concept of beauty.  In fact it is "our" sense of perceptions that really concerns us.  To what are we responsive?  What is relevant to our place and time?  (1.0)John Dewey believed that a truly aesthetic experience is one where a person is unified with activity.  (1.1)It is an experience that is so engaging and fulfilling that there is no conscious distinction between self and (1.2)object.  An aesthetic experience is one in which the attributes of both the individual and the environment or the internal and external are in harmony.  Our experience with physics, nature, society, politics, religion, geography, etc. of our time and place are the elements of our "potential" metaphors.  (1.3)They are potential until we exert the effort to either reify, exude or manifest these into a form.  It is our way of claiming this time and place.  To gain our identity in this time and place we are compelled to create and perceive from our encounters with things of the present with extent reality.  Our metaphors belong to us and superceed, parallel or subordinate to others.  Their relevance and embroilment into our context makes the difference.

Béo bụng là trường hợp béo dễ hình thành nhất và cũng khó khăn nhất để loại bỏ, đặc biệt là với phụ nữ sau khi sinh, do lượng mỡ quang vùng bụng tăng lên rất nhiều trong thời gian mang thai.  Dưới đây là những lời khuyên về việc làm thế nào giảm mỡ bụng sau sinh có hiệu quả và an toàn.

Manfaat temulawak sangat beragam. Anda bisa menggunakannnya untuk kecantikan maupun untuk kesehatan pada umumnya. Sebelumnya, penting untuk Anda ketahui bahwa temulawak adalah tanaman yang biasa ditemukan di Indonesia. Ini adalah kerabat tanaman jahe.

Realm of Beauty and Truth is my latest collection of poems that can be enjoyed travelling through the world of beauty, truth, love, spirituality, patriotism, peace and universal brotherhood, and sometimes halting for having some glimpses of growing diversity of the modern age.

Birds are nature’s most amazing and fascinating creatures. Can you imagine a world without birds? I am sure the answer would be a sure no. The birds give us a reason for joy while Watching and even listening to them. They have been an inspiration to numerous poets, writers, and musicians since time immortal. Every sane human being with a tender heart is a bird lover. So when you gift someone with anything related to birds like binoculars for birding through which they can watch the birds closely or a dress with a bird print they would love you for that.

Vừa được chuyên gia hàng đầu thế giới trực tiếp thăm khám miễn phí và điều trị, vừa được ưu đãi các gói chăm sóc da mặt cao cấp lại kèm thêm bảo hành. Đây là cơ hội hiếm có mà Thẩm mỹ Quốc tế Bally dành tặng cho quý khách hàng sử dụng dịch vụ xóa nhăn Thermage, giảm béo Liposonix nhân chuyến công tác của chuyên gia Boris Kunsevitsky tại đây vào 2 ngày cuối tuần 25-26/7 sắp tới.

"Στο παρόν άρθρο επιχειρείται να αναδειχθεί μια σχετικά παραμελημένη πτυχή του θεωρητικού έργου του Poe. Ενώ στη βιβλιογραφία για το εν λόγω δοκίμιο υπάρχουν αρκετές αναφορές για επιδράσεις που δέχτηκε ο Poe από Άγγλους φιλοσόφους και θεωρητικούς της λογοτεχνίας, δεν έχει ανιχνευθεί επαρκώς η επίδραση που δέχτηκε από την καντιανή θεωρία, ώστε να διατυπώσει με τον συγκεκριμένο τρόπο τις απόψεις του για το αισθητικό αντικείμενο και την έννοια του ύψιστου.
Ο καθορισμός των a priori αισθητικών αρχών (principles) με υποκειμενικά οικουμενική ισχύ αποτελεί μία από τις θέσεις του Kant στο προαναφερθέν έργο του. Η πρακτική εφαρμογή της στο δοκίμιο αυτό φαίνεται από την αρχή του ήδη, όταν επισημαίνει ότι το «εκτενές ποίημα» δεν υπάρχει και ότι η ίδια η φράση είναι από μόνη της μια αντίφαση. Με τη διατύπωση αυτής της αρχής ο Poe συνδέει συνάμα το δοκίμιο με την προηγούμενη χρονικά «Φιλοσοφία της σύνθεσης» [Philosophy of Composition], αλλά και με το επόμενο και τελευταίο θεωρητικό έργο του, το Eureca.
Η διαπραγμάτευση εννοιών όπως ο ενθουσιασμός, το μαθηματικό και το δυναμικό ύψιστο (σε σχέση με την αναλογία ως καθοριστικού παράγοντα αρμονικής συνύπαρξης ή μη των αντιθέτων), η σχέση Φαντασίας με τη Διάνοια ή της Αλήθειας με την Ηθική κλπ., αποτελούν μερικές από τις επιμέρους επισημάνσεις στο πλαίσιο του συσχετισμού. Η βασικότερη τριάδα-κλειδί του Πόε, που αναδεικνύει τη σχέση με τον Kant είναι, εντούτοις, η διάκριση σε Καθαρή Διάνοια (Pure Intellect), Καλαισθησία (Taste) και Ηθική ή Ηθικό (Συν)αίσθημα (Moral Sense).
Ο Poe προσεγγίζει πολλές από τις καντιανές κατηγορίες και χαρτογραφεί τον κόσμο του πνεύματος και την κριτική ικανότητα, με βάση την προαναφερθείσα καντιανής προέλευσης τριάδα, η οποία καθορίζει τις διακρίσεις για τη θέση της κριτικής στο πνεύμα (υποκειμενικό – αντικειμενικό – αρμονική τους συνένωση), τις αντίστοιχες αιτίες που την ενεργοποιούν (Καθαρός Λόγος – Πρακτικός Λόγος – Κριτική Δύναμη με σκοπό το Κάλλος και βίωμα το Ύψιστο), τα αποτελέσματα (Αλήθεια – Φαντασία ή Διδακτισμός – Αίσθημα του Ωραίου) και, τέλος, τα μέσα με τα οποία διατυπώνεται (μάθημα – ερέθισμα ή επιταγή – γέφυρα των δύο άλλων).
Τέλος, η ομοιότητα που έχει η σκέψη του Poe με την καντιανή είναι και η προσπάθεια να κρατηθούν ίσες αποστάσεις ανάμεσα στην ακραία ρομαντική υποκειμενικότητα και τον λογικοκρατούμενο διδακτισμό της συντηρητικής παράδοσης στην πατρίδα του."

Cream Penghilang Jerawat – Acne night Pratista atau krim malam jerawat terdapat anti bakteri yang sangat efektif untuk menghilangkan berbagai macam jenis jerawat pada wajah Anda. Lagi-lagi jerawat sebagai momok tersendiri bagi mereka yang memang ingin bisa tampil maksimal di depan umum tetapi jerawat membuatnya tidak berdaya, kehilangan kepercayaan diri atau istilahnya PD dan tidak bisa berbuat banyak. Jika Anda mengalami masalah seperti itu, tenang saja ya say. Karena kami dengan komitmen yang tinggi selalu melayani dan aka memberikan solusi yang terbaik. Kini telah hadir cream malam jerawat, merupakan salah satu rangkaian paket dari penghilang jerawat lainnya, seperti sabun, obat totol, acne day cream dan lain sebagainya. Mengapa begitu banyak obat-obat untuk jerawat? Karena Pratista menyesuaikan dengan kulit Anda, jadi tidak serta merta langsung PLEK memberikan atau memukul rata semua kulit sama. Jadi kami memberikan produk dan dosis yang cocok untuk Anda semua sesuai kebutuhan kulit, misalnya bagi mereka yang meliki kulit super sensitif, maka berbeda bagi mereka dengan kulit yang biasa saja atau normal. Kulit sensitif akan kami berikan produk anti iritasi dan cream penghilang jerawat malamnya dengan dosis Knol. Acne night Pratista memiliki lima grade dosis, untuk penggunaan pertama kalinya sangatlah dianjurkan supaya customer memakai dosis yang terendah supaya kulit bisa sesuaikan terlebih dulu serta untuk hindari terjadinya iritasi. Di bawah ini penjelasan tingkat dosis cream malam jerawat pratista (acne night krim) : Dosis Acne Night Pratista : Cream Penghilang Jerawat Malam 1. Dosis Knol : Customer baru dianjurkan untuk memakai Knol terlebih dahulu. Knol juga disarankan dipakai untuk type kulit yang sensitif serta untuk customer dengan umur di bawah 16 th.. dan Knol ini aman untuk ibu hamil serta menyusui. 2. Dosis K25 : dipakai bila customer butuh untuk menaikan dosis supaya hasil treatment jerawat lebih efisien. Tak dianjurkan untuk ibu hamil serta ibu menyusui. 3. Dosis K50 : dipakai bila sesudah memakai K25 hasil belum optimal. Untuk kode K50 tidak bisa dipakai untuk ibu hamil serta menyusui. 4. Dosis K50Q : Bila jerawat pada customer telah sangatlah menyusut serta untuk menangani noda-noda hitam sisa jerawat. Cuma bisa dipakai bila terlebih dahulu sudah memakai dosis K50. Tidak bisa dipakai untuk ibu hamil serta menyusui. 5. Dosis K100 : bila sesudah memakai K50 hasil treatment belum efisien jadi bisa dinaikan jadi K100. Untuk kode K100 juga tidak bisa dipakai untuk ibu hamil serta menyususi. Itulah lima dosis dari cream malam jerawat Pratista, jadi kami tidak sama ratakan semua kulit. Dengan menyesuaikan masing-masing kulit, kami harapkan masalah jerawat Anda akan hilang sampai tuntas dan tanpa efek samping apapun.

Much has been written about Schopenhauer’s use of Kant’s aesthetics as well as Schopenhauer’s adherence to and departures from Kant’s theoretical philosophy, not least by Schopenhauer himself. The hypothesis I propose in this paper combines these two research trajectories in a novel way: I wish to argue that Schopenhauer’s main theoretical innovation, the doctrine of the will, can be regarded as the development of an aspect of Kant’s aesthetic theory, specifically that the intransitive, goalless striving of the will in Schopenhauer is the intellectual heir to Kant's understanding of the mental processes required for the appreciation of beauty as 'conforming to law without a law'.