Practices of Aesthetic Self-Cultivation: British Composer-Critics of the ‘Doomed Generation’

2013 ◽  
Vol 138 (1) ◽  
pp. 85-128 ◽  
Author(s):  
Sarah Collins
Keyword(s):  
Twentieth Century ◽  
Literary Criticism ◽  
Historical Inquiry ◽  
The Creation ◽  
The Aesthetic ◽  
Scholarly Attention ◽  
Literary Circles

AbstractThe spectre of music as a transcendent artistic ideal figures prominently in the literary criticism of Victorian aestheticism, though the extent to which aestheticism of the movement actually influenced the thinking of British composers has received only marginal scholarly attention. By the first decades of the twentieth century, aestheticism had become decidedly unfashionable even in literary circles, so it is unsurprising that composers of the time would choose to distance themselves from its rhetoric. The prevalence of a certain type of metaphysical conception of the creative act of the artist and intuitive act of the critic, however, may suggest an important remnant of aesthetic influence. Drawing from new critical trends which themselves mirror those of aestheticism, this article posits a revised conception of aesthetic discourse as an activity of self-cultivation, and examines its role in shaping the lives of selected British composer-critics from the early part of the twentieth century. By casting the aesthetic ethos not as a doctrine but as a set of internal practices that inform the creation and subversion of doctrine, the article demonstrates how a ‘relational musicology’ can act as a tool for historical inquiry.

Bemerkungen zum ‚argentinischen‘ Borges

2020 ◽  
Vol 71 (1) ◽  
pp. 332-350
Author(s):  
Joachim Küpper
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Short Stories ◽  
Conceptual Framework ◽  
David Hume ◽  
Literary Fiction ◽  
Philosophical Position ◽  
Basic Assumptions ◽  
The Aesthetic ◽  
Scholarly Attention

AbstractThis essay focusses on two short stories pertaining to that part of the Borgesian œuvre, which has attracted less scholarly attention than his world-famous fantastic stories (La biblioteca de Babel, El inmortal, El Aleph). The ‘Argentinian’ stories – such as El muerto, or Tema del traidor y del héroe – impress readers with their laconic diction and cynicism. Ultimately, however, they may seem to be limited to a sort of nineteenth-century mimeticism. Considering these texts in detail, it turns out that the elements conveyed by the narrator insinuate different versions of the respective story—all of which are compatible with the ‘real’ events they refer to. Consequently, the author’s mimetic tales share a conceptual framework with his fantastic yarns – precisely one that is committed to the basic assumptions of skepticism. In what follows, the essay relates Borges’ twentieth-century version of this noetic edifice to its Ancient foundations, as well as to the first ‘wave’ of Skepticism in European Modernity (Descartes; Calderón). The last section addresses the aesthetic dimension of the Borgesian short stories: how does philosophy (and epistemology especially) relate to literary fiction – that is, to a textual genre, whose primary function appears to be entertainment, based on fantasizing? Resuming the discussion of Borges’ philosophical position, the essay concludes by quoting some remarks by David Hume, which seem to give expression to an attitude towards skepticism that is shared by the Argentinian author.

Introduction

2017 ◽  
Author(s):  
James Whitehead
Keyword(s):  
Twentieth Century ◽  
Literary Criticism ◽  
Cultural History ◽  
Intellectual History ◽  
Historical Sociology ◽  
Cultural Representations ◽  
History Of ◽  
Television Film ◽  
Popular Image

The introductory chapter discusses the popular image of the ‘Romantic mad poet’ in television, film, theatre, fiction, the history of literary criticism, and the intellectual history of the twentieth century and its countercultures, including anti-psychiatry and psychoanalysis. Existing literary-historical work on related topics is assessed, before the introduction goes on to suggest why some problems or difficulties in writing about this subject might be productive for further cultural history. The introduction also considers at length the legacy of Michel Foucault’s Folie et Déraison (1961), and the continued viability of Foucauldian methods and concepts for examining literary-cultural representations of madness after the half-century of critiques and controversies following that book’s publication. Methodological discussion both draws on and critiques the models of historical sociology used by George Becker and Sander L. Gilman to discuss genius, madness, deviance, and stereotype in the nineteenth century. A note on terminology concludes the introduction.

Two Centuries of Excavating Merovingian-Era Cemeteries In France

2020 ◽  
pp. 76-95
Author(s):  
Bonnie Effros
Keyword(s):  
Twentieth Century ◽  
Ethnic Identity ◽  
Central Place ◽  
State Funding ◽  
Formal Training ◽  
Negative Consequences ◽  
Private Funding ◽  
Research Questions ◽  
The Creation

The excavation of Merovingian-period cemeteries in France began in earnest in the 1830s spurred by industrialization, the creation of many new antiquarian societies across the country, and French nationalism. However, the professionalization of the discipline of archaeology occurred slowly due to the lack of formal training in France, weak legal protections for antiquities, and insufficient state funding for archaeological endeavors. This chapter identifies the implications of the central place occupied by cemeterial excavations up until the mid-twentieth century and its impact on broader discussions in France of national origins and ethnic identity. In more recent years, with the creation of archaeological agencies such as Afan and Inrap, the central place once occupied by grave remains has been diminished. Rescue excavations and private funding for new structures have brought about a shift to other priorities and research questions, with both positive and negative consequences, though cemeteries remain an important source of evidence for our understanding of Merovingian society.

Levantine Art in the “Orientalizing” Period

2019 ◽  
pp. 369-383
Author(s):  
Marian H. Feldman
Keyword(s):  
Twentieth Century ◽  
Cultural Relations ◽  
Ancient Greek ◽  
The West ◽  
False Dichotomy ◽  
First Millennium

The “Orientalizing period” represents a scholarly designation used to describe the eighth and seventh centuries bce when regions in Greece, Italy, and farther west witnessed a flourishing of arts and cultures attributed to contact with cultural areas to the east—in particular that of the Phoenicians. This chapter surveys Orientalizing as an intellectual and historiographic concept and reconsiders the role of purportedly Phoenician arts within the existing scholarly narratives. The Orientalizing period should be understood as a construct of nineteenth- and twentieth-century scholarship that was structured around a false dichotomy between the Orient (the East) and the West. The designation “Phoenician” has a similarly complex historiographic past rooted in ancient Greek stereotyping that has profoundly shaped modern scholarly interpretations. This chapter argues that the luxury arts most often credited as agents of Orientalization—most prominent among them being carved ivories, decorated metal bowls, and engraved tridacna shells—cannot be exclusively associated with a Phoenician cultural origin, thus calling into question the primacy of the Phoenicians in Orientalizing processes. Each of these types of objects appears to have a much broader production sphere than is indicated by the attribute as Phoenician. In addition, the notion of unidirectional influences flowing from east to west is challenged, and instead concepts of connectivity and networking are proposed as more useful frameworks for approaching the problem of cultural relations during the early part of the first millennium bce.

Hegel's Conception of the Study of Human Nature

1970 ◽  
Vol 4 ◽  
pp. 32-47
Author(s):  
H. B. Acton
Keyword(s):  
Twentieth Century ◽  
Human Nature ◽  
Dialectical Materialism ◽  
Philosophy Of History ◽  
Formal Logic ◽  
Human Society ◽  
Royal Family ◽  
Dialectical Method ◽  
English Speaking ◽  
The Creation

It is easy to understand why Hegel's philosophy should be little studied by English-speaking philosophers today. Those who at the beginning of the twentieth century initiated the movement we are now caught up in presented their earliest philosophical arguments as criticisms of the prevailing Anglo-Hegelian views. It may now be thought illiberal to take much interest in this perhaps excusably slaughtered royal family, and positively reactionary to hanker after the foreign dynasty from which it sometimes claimed descent. Hegel was a systematic philosopher with a scope hardly to be found today, and men who, as we say, wish to keep up with their subject may well be daunted at the idea of having to understand a way of looking at philosophy which they suspect would not repay them for their trouble anyway. Furthermore, since Hegel wrote, formal logic has advanced in ways he could not have foreseen, and has, it seems to many, destroyed the whole basis of his dialectical method. At the same time, the creation of a science of sociology, it is supposed, has rendered obsolete the philosophy of history for which Hegel was at one time admired. In countries where there are Marxist intellectuals, Hegel does get discussed as the inadvertent forerunner of historical and dialectical materialism. But in England, where there is no such need or presence, there do not seem to be any very strong ideological reasons for discussing him. In what follows I shall be asking you to direct your thoughts to certain forgotten far-off things which I hope you will find historically interesting even if you do not agree with me that they give important clues for an understanding of human nature and human society.

scholarly journals Portrait of the artist as a philosopher

2021 ◽  
pp. 105971232199468
Author(s):  
Jeannette Pols
Keyword(s):  
Know How ◽  
The Past ◽  
Aesthetic Practice ◽  
The Creation ◽  
The Aesthetic ◽  
The Relationship

The response asks about the relationship between artist and audience in the RAAAF artworks. Is the artist an Autonomous Innovator who breaches the ties with the past and the environment? Or is the aesthetic practice located in the creation of relationships around these objects, hence expanding the artwork by using know-how, experiences and enthusiasm of the audience/users?

IMPROVEMENT AND ADAPTATION OF THE FAYOUMI CHICKEN

1994 ◽  
Vol 14 ◽  
pp. 33-39 ◽  
Author(s):  
M. A. Hossaryl ◽  
E. S. E. Galal
Keyword(s):  
Genetic Material ◽  
Research Station ◽  
Cooperative Society ◽  
Tropical Conditions ◽  
The Usa ◽  
The Creation ◽  
The Uk ◽  
The 19Th Century ◽  
Actual Prevalence

SUMMARYThe Fayoumi (Oasis/Province of Fayotimi) or Ramadi (village of Dar-el-Ramad) breed of chicken is said to have been introduced into this area in the early part of the 19th century; phenotypically it recalls the Silver Campine from which it is reputed to descend. A hardy and well adapted breed it was saved through the creation of the Fayoumi Poultry Research Station in 194é, which also assured an active improvement policy of the breed. The creation in 1958 of the Fayoumi Poultry Cooperative Society further strengthened the conservation of the breed and its use through distribution of genetic material to farmers and smallholders of the Fayoumi province. Since the early é0's the breed is reported to have been successfully introduced to countries as different as the UK and the USA, Vietn@ Iraq, Pakistan and India. Its adaptability and resistance to the problems of xyrotherrnic tropical and sub-tropical conditions is confirmed by its actual prevalence in Southern Egypt.

Motorcycling in a Repair Society: A Maintenance and Repair–Centered Approach to Automobility

2020 ◽  
pp. 088832542095080
Author(s):  
Gabriel Jderu
Keyword(s):  
Additional Material ◽  
Maintenance And Repair ◽  
Mass Tourism ◽  
Administrative Personnel ◽  
Lower Ranking ◽  
The Creation ◽  
Material Engagement ◽  
The 1950S ◽  
The Aesthetic ◽  
Car Driving

In a departure from car-centered analyses of the automobility systems, this article highlights the importance of motorcycles and motorcycling in the mobility practices of socialist countries. For at least half of the existence of socialist mobility systems, and especially during the 1950s and 1960s, there were more motorcycles on the roads than cars. Motorcycling was important in commuting, for the mobility of lower-ranking administrative personnel in the countryside, and for mass tourism and leisure. Although in that era maintenance and repair practices were equally central to motorcycling and car-driving, the distinction between user-owner and mechanic was much more fluid in the case of motorcyclists. As a result, the centrality of maintenance and repair to socialist-era motorcycling offers an ideal opportunity to enrich current interdisciplinary conversations about breakdown, maintenance, and repair. Building on the car-centered research into maintenance and repair activities, I add additional material on the nature, types, and complexity of such practices for motorcycling. I outline nine forms of material engagement with motorcycles that reference, but transcend, the current dichotomies between necessity and pleasure, the formal and the informal, the technical and the aesthetic, and the repair of existing objects and the creation of new ones.

THE FREEDOM OF THE AESTHETIC: MONTSERRAT ROIG’S USE OF THE CITY IN RAMONA, ADÉU

2007 ◽  
Vol 21 (1) ◽  
pp. 87-99
Author(s):  
Caragh Wells
Keyword(s):  
Literary Criticism ◽  
Urban Space ◽  
Critical Analysis ◽  
Urban Spaces ◽  
Female Characters ◽  
The Social ◽  
Catalan Literature ◽  
The Aesthetic ◽  
The City

This article suggests that over recent decades Catalan literary criticism has paid too little attention to the aesthetic attributes of Catalan literature and emphasised the social, political and cultural at the expense of discussions of narrative poetics. Through an analysis of Montserrat Roig’s metaphorical use of the city in her first novel Ramona, adéu, I put forward the view that the aesthetic features of Catalan literature need to be re-claimed. This article provides a critical analysis of the aesthetic importance of Roig’s representation of the city in her first novel and argues that she uses Barcelona as a critical tool through which to explore questions of both female emancipation and aesthetic freedom. Following a detailed discussion of Roig’s descriptions of how her female characters interact with particular urban spaces, I examine how Roig makes subtle shifts in her semantic register during these narrative accounts when her prose moves into the realm of the poetic. I conclude that this technique enables us to read her accounts of urban space as metaphors for aesthetic freedom and are inextricably linked to her wider concerns on the importance of liberating Catalan literature from the discourse of political nationalism.

The Labour of Laziness in Twentieth-Century American Literature

2019 ◽  
Author(s):  
Zuzanna Ladyga
Keyword(s):  
Twentieth Century ◽  
American Literature ◽  
Ernest Hemingway ◽  
Gertrude Stein ◽  
Value System ◽  
John Barth ◽  
The Status ◽  
Twentieth Century American Literature ◽  
The Aesthetic ◽  
Historical Moment

The Labour of Laziness in Twentieth-Century American Literature focuses on the issue of productivity, using the figure of laziness to negotiate the relation between the ethical and the aesthetic. This book argues that major twentieth-century American writers such as Gertrude Stein, Ernest Hemingway, John Barth, Donald Barthelme and David Foster Wallace provocatively challenge the ethos of productivity by filtering their ethical interventions through culturally stigmatised imagery of laziness. Ladyga argues that when the motif of laziness appears, it invariably reveals the underpinnings of an emerging value system at a given historical moment, while at the same time offering a glimpse into the strategies of rebelling against the status quo

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