The Post-Human Society: Elemental Contours of the Aesthetic Economy of the United States

2016 ◽  
Vol 15 (3) ◽  
pp. 310-314
Author(s):  
Tung-Yi Kho
2021 ◽  
Vol 10 (2) ◽  
pp. 140-168
Author(s):  
Thomas Aiello

In 1959, Alan Abel began sending out a series of press releases to American media outlets credited to a new organization, The Society for Indecency to Naked Animals. Using the language of conservative moralists opposed to the changes in postwar society, he argued that ‘naked’ animals were scandalous and needed to be clothed. Pets, farm animals, and wildlife were all included, as the organization hued to slogans like ‘a nude horse is a rude horse’ and ‘decency today means morality tomorrow’. Abel employed comedian Buck Henry to play the organization’s president, G. Clifford Prout, who gave interviews and speeches covered widely by the mainstream press. Over the next four years, Prout and the group were featured on every major American newscast. The hoax was exposed in late 1962 after he gave an interview to Walter Cronkite. The following year, Time magazine officially debunked the existence of the group. It was an elaborate hoax, but it was also a satire, using animals to critique moralists attempting to ban books and music for indecency. In so doing, the group also unintentionally laid bare American contradictory thinking about animals, as clothing nonhuman animals and worrying about their ‘indecency’ assumed that they had some level of agency. The United States, for example, had always classified the killing of those wearing clothes as murder. Thus it was that while the satire of The Society for Indecency to Naked Animals was directed toward human moralists, the content of its crusade focused exclusively on nonhumans, raising clear questions about their role in human society.


2018 ◽  
Vol 32 (1) ◽  
pp. 78-87 ◽  
Author(s):  
Craig Hovey

By law, women seeking abortions in some US states must undergo compulsory ultrasound viewing. This article examines the moral significance of this practice, especially as understood by pro-life religious groups, in light of Foucault’s recently published lectures on ‘The Will to Know’ and the place of the aesthetic. How does the larger abortion-debate strategy of ‘showing’ and ‘seeing’ images—whether of living or dead fetuses—work as an aesthetic form of argument that intends to evoke a moral response in the absence of reason-giving? The article draws on recent, parallel debates regarding disgust before concluding with a theological response to the priority of will over knowledge and vision over action as commentary on the future of abortion debate and law, especially in the United States.


Author(s):  
Mark S. Massa

Historian John Higham once referred to anti-Catholicism as “by far the oldest, and the most powerful of anti-foreign traditions” in North American intellectual and cultural history. But Higham’s famous observation actually elided three different types of anti-Catholic nativism that have enjoyed a long and quite vibrant life in North America: a cultural distrust of Catholics, based on an understanding of North American public culture rooted in a profoundly British and Protestant ordering of human society; an intellectual distrust of Catholics, based on a set of epistemological and philosophical ideas first elucidated in the English (Lockean) and Scottish (“Common Sense Realist”) Enlightenments and the British Whig tradition of political thought; and a nativist distrust of Catholics as deviant members of American society, a perception central to the Protestant mainstream’s duty of “boundary maintenance” (to utilize Emile Durkheim’s reading of how “outsiders” help “insiders” maintain social control). An examination of the long history of anti-Catholicism in the United States can be divided into three parts: first, an overview of the types of anti-Catholic animus utilizing the typology adumbrated above; second, a narrative history of the most important anti-Catholic events in U.S. culture (e.g., Harvard’s Dudleian Lectures, the Suffolk Resolves, the burning of the Charlestown convent, Maria Monk’s Awful Disclosures); and finally, a discussion of American Catholic efforts to address the animus.


2003 ◽  
Vol 8 (1) ◽  
pp. 31-47 ◽  
Author(s):  
Elizabeth Hinkle-Turner

The origins of women's pioneering contributions to the repertoire and history of electroacoustic music can often be linked to the growth of academic and commercial electronic and computer music studios in North America. A signific ant number of early female composers in the medium received their initial training and experience in the United States and their accomplishments begin in the earliest decades of the twentieth century. Women's achievements in the educational and entertainment sectors have laid the foundation for subsequent generations who have influenced the aesthetic and technical path of electroacoustic music.Excerpted from several chapters of the author's historical series on women composers and music technology, the article outlines the contributions of several of the earliest women in the United States to the utilisation of music technology in creative work. Also discussed are research precedents in this area and issues regarding women and music technology in the United States today. With the creation of her book series outlining the achievements of women working with music technology, the author hopes to offer a valuable contribution to research on the history of electroacoustic music in general and women's representation in the genre in particular.


2016 ◽  
Vol 70 (2) ◽  
pp. 9-16 ◽  
Author(s):  
Manuel Betancourt

What do we talk about when we talk about Latin American cinema within the borders of the United States? Discussions of cinema from the region remain limited to the means of production: which films are produced and financed; how local filmmakers secure the money and access to make the films that then get tied to any given country's national cinema; the aesthetic and cultural movements that these films engender and replicate. But what of the distribution templates that circumscribe the kind of films and filmmakers that can make it to the United States, and under which circumstances? Looking at examples of film programming and distribution that are actively circumventing the established arthouse-release model that has become the de facto way of releasing Latin American cinema in the U.S., this article points to new efforts at defining cinemas of the region outside the bounds of an increasingly obsolete system.


Author(s):  
Douglas W. Shadle

An aesthetic conflict between advocates of abstract instrumental music (or “absolute music”) and advocates of instrumental music that tells stories (or “program music”) raged throughout Europe and the United States during the second half of the nineteenth century. American critics assessed Dvořák’s Sixth, Seventh, and Eighth Symphonies through the lens of this conflict as they premiered throughout the 1880s and 1890s. But listeners could not reach a consensus about where along the aesthetic spectrum his music fell. Which direction the composer’s new symphony might take therefore remained an open question until its 1893 world premiere in New York, when the results surprised everyone.


2012 ◽  
Vol 41 (1) ◽  
pp. 22-37
Author(s):  
PAUL JOSEPH CORNISH

ABSTRACT John Adams' approach to republican politics emphasizes the need to check and balance powers in a republican constitution, but also the need to check the power of the ‘aristocracies' that arise in society. The need for checks on power is explained in terms of the weakness of human reason relative to the passions, and in terms of the need for harmony and justice to promote happiness in society. Adams retains a Ciceronian view of the origins of human society and of republican government, and relies on Cicero's definitions of ‘people' and ‘republic' to help frame his Defense of the Constitutions of the United States of America. His approach is conservative in that part of his defense is to stress that the colonial governments that existed before Independence were republican, and that the institutions of the colonial governments were the primary models for the new state constitutions after Independence. The study suggests that historical interpretations of the ‘republican tradition' are better understood in terms of a ‘traditions of republicanism.’


2001 ◽  
Vol 2 (16) ◽  
Author(s):  
Ed Morgan

The following essay was written prior to the tragic events of September 11, 2001, in an effort to reflect on an aspect of international law\'s confrontation with violence, national identity, and adjudicated forms of justice. Since the attacks in the United States, numerous commentators have expressed the need to act within the rule of international law. This essay speculates on the meaning of that notion. It is neither prescriptive in terms of policy nor reformist in terms of doctrine. Rather, it is part of an ongoing effort to discern the aesthetic significance, if not the rationality, of international law.


2014 ◽  
Vol 8 (4) ◽  
pp. 501-537 ◽  
Author(s):  
DOUGLAS W. SHADLE

AbstractThe transnational character of the literate musical community in the United States created an environment in which language barriers, ideological biases, and other potential sources of misunderstanding caused print items to change shape quickly as they were transferred from one reader to the next. The aesthetic controversy between William Henry Fry and Richard Storrs Willis surrounding the 1853 premiere of Fry's Santa Claus: Christmas Symphony provides a rich case in point. The controversy at times seemed to draw from a parallel debate in Europe, often called “The War of the Romantics,” which concerned the future of symphonic composition and music's capacity for representation. At others, the controversy seemed to diverge from its European counterpart as central concepts were articulated in new intellectual contexts. The vagaries of print culture help explain these discrepancies. This article outlines the central arguments of the debate, situates them within their transatlantic contexts, and examines how print culture played a significant role in the controversy's unfolding as early as 1839, fifteen years before it took place. More broadly, it constructs a new framework for examining the function and meaning of nineteenth-century music periodicals by illustrating how an antislavery newspaper became an unlikely voice in a debate over program music.


Sign in / Sign up

Export Citation Format

Share Document