George Eliot’s Promise of More

Author(s):  
Elaine Auyoung

This chapter recovers the aesthetic significance of a reader’s mediated relation to the objects and experiences represented in realist fiction. When George Eliot’s intrusive narrators in Adam Bede, The Mill on the Floss, and Middlemarch cue readers to form impressions that are as distinct as possible, they expose the indeterminacy that persists in the most concrete passages of literary description, alerting us to the limits of how much we can ever know about a fictional world. By drawing on the aesthetics of indeterminacy advanced by Edmund Burke, this chapter reveals that Eliot’s commitment to narratives of disillusionment exists in tension with a surprisingly Romantic aversion to finitude, and that literary realism enchants ordinary things by freeing them from the solidity and determinacy they possess in everyday life.

2021 ◽  
Vol 66 (Special Issue) ◽  
pp. 144-144
Author(s):  
Raphaël Pfeiffer ◽  
◽  

"In a clinical context, the communication of genetic information is an event that can give rise to unexpected situations for health professionals. Several empirical studies have shown that, despite being presented with “good” presymptomatic test results, some patients develop negative feelings, depression, which can in extreme cases lead to suicide attempts. Here, genetic information takes full meaning when considered in a personal narrative. In this presentation, we would like to look at the specificities of this narrative experience in the light of works on the aesthetics of everyday life, with a particular focus on the works of John Dewey. For Dewey, the aesthetic experience is possible in all aspects of people’s daily lives, including clinical experience. In this case, “aesthetics” appears in the sensitive character of an experience rather than in a specific type of object. Through the examination of this thought, we will ask to what extent we can speak of an aesthetic experience when thinking of the communication of genetic information, and how this consideration can help ethical reasoning. We will begin by examining how the moment of the communication of genetic information to patients by the clinician can constitute a process of defamiliarization of everyday life. This will lead us to look at patients’ accounts of genetic information reception and to analyse how these appear to be more than mere testimonies about the experience of pathologies, but a means by which the patient is confronted with difficult experiences in order to reformulate them. "


Author(s):  
Simon Gikandi

This chapter presents two instances of how slave money shaped the moment of taste in both pragmatic and conceptual terms. It provides a substantive exploration of the cultural traffic between Britain and its colonial outposts in order to show how the experience of slavery was turned into an aesthetic object that was woven into the fabric of everyday life. It then seeks to connect slave money and the power and prestige of art by focusing on the aesthetic lives of William Beckford and Christopher Codrington, famous heirs to slave fortunes, who sought to remake their social standing through the patronage of art and the mastery of taste.


2015 ◽  
Vol 7 (2) ◽  
pp. 9-26
Author(s):  
Arnold Berleant

The aesthetic analysis of everyday life has developed an important body of work whose significance extends beyond the academy. Because of its ubiquity in experience, aesthetic sensibility has many manifestations, both overt and concealed. This paper examines some largely hidden ways in which taste and aesthetic judgment, which are manifested in sense experience, have been subtly appropriated and exploited. I identify and describe such procedures as the cooptation (or appropriation) of aesthetic sensibility, a phenomenon that has consequences damaging to health, to society, and to environment. These practices are a form of negative aesthetics that distorts and manipulates sensible experience in the interest of mass marketing and political control. Such practices have great ethical significance and carry social and political implications that suggest another role for aesthetics, a critical one: aesthetics as an instrument of emancipation in social analysis and political criticism.


Anthropology ◽  
2019 ◽  
Author(s):  
Colin Hoag

The term "bureaucracy" refers broadly to administration and official procedure in states, corporations, and other complex organizations. However, the term has a much more complicated set of connotations related to delays and overwrought procedural protocols, emanating from critiques of socialism, the state, and modernity. The figure of the bureaucrat stands at the center of discourse about bureaucracy: at once listless and nefarious, the bureaucrat embodies the inscrutability and absurdity of modern institutional power: impersonal, ubiquitous, and charged with executing law and regulation dispassionately. Bureaucracy represents an ideal of state-enforced equality before the law that is in endless deferral. Anthropologists are well placed to sort through these contradictions and how they manifest in the everyday life of clients, bureaucrats, and others who engage with bureaucracy. The study of bureaucracy has a shallow scholarly history in the discipline of anthropology relative to sociology and political science. For much of the 20th century, bureaucracy was seen as strictly a “Western” phenomenon and therefore outside the purview of anthropologists, who tended to focus on “non-Western” phenomena in other parts of the world. This disciplinary territoriality began to shift in the mid-1990s, and anthropologists increasingly turned an eye toward the everyday life of organizations, including the documents, protocols, and forms of sociality that configure it. This shift was a result of several intellectual currents, notably anthropologists’ interest in understanding how the lives of the subaltern peoples they study are shaped by political institutions and projects. These include the state—a crucial site for the development of the anthropology of bureaucracy—but also humanitarian aid organizations and environmental conservation programs. As anthropologists began asking questions about bureaucrats as ethnographic subjects rather than merely executors of official policy, a greater sensibility for the signs and affective qualities of bureaucratic life opened up new insights into the diversity of positions within bureaucratic institutions, as well as the many kinds of bureaucratic work subsumed under the category of “bureaucracy.” Anthropologists of bureaucracy today train their focus on research funding committees, meetings in corporate board rooms, the aesthetic form of paperwork stamped by civil servants at municipal planning offices, the protocols of environmental impact assessments, interactions between asylum applicants and immigration officials, and beyond.


Author(s):  
Yuriko Saito

Art is the most effective vehicle for unearthing and highlighting the aesthetic potentials of the everyday life that generally do not garner attention because of their ubiquitous presence and ordinary familiarity. Recent art projects, termed ‘sky art’ for the purpose of discussion in this chapter, illuminate the aesthetics of the sky and celestial phenomena. This chapter analyzes several examples of ‘sky art’ by utilizing the notion of ‘emptiness,’ deriving an inspiration from the identical Chinese character used for both ‘sky’ and ‘emptiness,’ as well as the Buddhist notion of ‘emptiness.’ Despite the connotation of ‘emptiness’ that is devoid of any content or substance, different ways in which sky art facilitates the act of ‘emptying’ enrich the aesthetic experience of the sky and sky art. Sky art thus illustrates how art helps turn the otherwise ordinary into the extraordinary and facilitates its aesthetic appreciation.


Author(s):  
Keith Newlin

The Oxford Handbook of American Literary Realism offers thirty-five original chapters with fresh interpretations of the artistic and political challenges of representing life accurately. Organized by topic and theme, the chapters draw on recent scholarship in literary and cultural studies to offer an authoritative and in-depth reassessment of major and minor figures and the contexts that shaped their work. One set of chapters explores realism’s genesis and its connection to previous and subsequent movements. Others examine the inclusiveness of representation, the circulation of texts, and the aesthetic representation of science, time, space, and the subjects of medicine, the New Woman, and the middle class. Still others trace the connection to other arts—poetry, drama, illustration, photography, painting, and film—and to pedagogical issues in the teaching of realism.


2020 ◽  
pp. 26-67
Author(s):  
Lindsay V. Reckson

“Reconstructing Secularisms” describes how turn-of-the-century arguments over the boundaries of literary realism were inextricably linked to the politics of secularism. This chapter follows tropes of religious excess as they circulate throughout realist fiction, from William Dean Howells’s interlocking diagnoses of racial and religious hysteria in An Imperative Duty (1891) to W. E. B. Du Bois’s more ambivalent description of the “frenzy” of the black church in “Of the Coming of John,” his early experiment with realist narrative in The Souls of Black Folk (1903). Resonating through such descriptions is a question about the aesthetic and political function of ecstasy in the aftermath of Reconstruction. While Howells depicts the black church as a site of emotional and bodily excess, Anna Julia Cooper’s A Voice from the South (1892) and Frances E. W. Harper’s Iola Leroy (1892) radically challenge this formation, offering an important take on the uses of ecstatic collectivity. They also gesture to the imminent secularism of literary history, which has largely omitted these texts from the boundaries of realism, perhaps in part because they articulate a critical relationship to secularism as a silent but hegemonic force in the Jim Crow era’s hysterical regulation of racial difference.


Transilvania ◽  
2021 ◽  
pp. 1-11
Author(s):  
Christian Ferencz-Flatz

The present paper analyses the emergence of a novel field of interest in the philosophical aesthetics of the 1960s in Romania: the aesthetics of everyday life. As such, it first starts by drawing out an overview of the aesthetic discussions in 1950s Romania by closely reading several articles from the main philosophical journal of the period: Cercetări filozofice. In this regard, I focus on two main aspects, namely the theory of reflection, which was the guiding principle of Marxist-Leninist aesthetics, and the theory of the social function of art. Further on I will sketch out how these two aspects defined the main traits of the local aesthetics of everyday life, a topic which took the center fold of aesthetic interest for almost a decade, and which has ever since the early 2000s found renewed interest.


2003 ◽  
Vol 30 (2) ◽  
pp. 63-67
Author(s):  
Mihály Szilágyi-Gál

AbstractThese words of Victor Burgin serve as the motto of the first issue of the Review. In fact, the very same sentences can be taken as the motto also of this review of the Review. One of the authors in Idea's first issue, Boris Groys recalls Greenberg's words, that the avant-gard imitates art, and art imitates the world itself - the avant-gard imitates art because art is part of the world. Idea leaves the impression of a report of an avant-gard renaissance in the present art of the East-Central European and Balkan regions. It does not commit itself to any particular artistic current: its foci are the aesthetic phenomena of everyday life, and the concordant relationship between art and society.


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