scholarly journals ‘PSYCHICAL DISTANCE’ AS A FACTOR IN ART AND AN AESTHETIC PRINCIPLE

1912 ◽  
Vol 5 (2) ◽  
pp. 87-118 ◽  
Author(s):  
EDWARD BULLOUGH
Keyword(s):  
Psychical Distance ◽  
Aesthetic Principle

The Concatenate Poetics of Slavery and the Articulate Material of Dave the Potter

2018 ◽  
Author(s):  
Michael A. Chaney
Keyword(s):  
Aesthetic Principle ◽  
Sequential Nature

This essay suggests the trope of “catination” as a governing aesthetic principle in Drake’s work. It then reads the illegibility of several of Drake’s inscriptions as being central to that aesthetic principle. The concept of catination is tied to the sequential nature of Dave the Potter’s inscriptions, their status on the jars as public utterances. Finally, this chapter theorizes the commodity relations and communities that Drake’s work proposes. It compares Drake’s inscriptions to those of Romantic poets and his craft objects to the colonoware made by other slaves in order to register a more precise account of Drake’s work as well as skepticism for Drake’s status as a singular, neo-romantic individual.

The “Better Judgement” behind the “Walk on Air”

2021 ◽  
Vol 67 (1) ◽  
pp. 57-74
Author(s):  
Christopher Laverty
Keyword(s):  
Border Crossing ◽  
Elizabeth Bishop ◽  
Political Crisis ◽  
Aesthetic Principle

This essay examines the influence of Elizabeth Bishop on Seamus Heaney’s poetics in the 1980s and 1990s as he became a global poet. She stands as a unique and overlooked exemplar in Heaney’s poetic pantheon. His reading of Bishop’s work, for all its limitations, nonetheless enables some of his most celebrated poetry of “home.” Since the 1990s, Bishop’s reputation has grown considerably, and recent critical assessments of newly published work have led to new ways of reading her older collections, so that the “reticence” for which she was famed now appears less as an aesthetic principle—as Heaney understands it—than as a concession to a repressive environment. Through intertextual close-readings alongside an examination of Heaney’s literarycritical responses to her work, this essay argues Heaney’s view of Bishop is often refracted through the lens of his own concerns. Ultimately, however, that view helps Heaney develop a poetics where form itself—the essential border-making and border-crossing apparatus—is emblematic of a solution to political crisis, making his misreading a highly productive one.

Scott’s Momentaneousness

2017 ◽  
Vol 72 (3) ◽  
pp. 283-310
Author(s):  
Luke Terlaak Poot
Keyword(s):  
Processes Of Change ◽  
The Novel ◽  
Historical Time ◽  
Aesthetic Principle ◽  
Descriptive Language

Luke Terlaak Poot, “Scott’s Momentaneousness: Bad Timing in The Bride of Lammermoor” (pp. 283–310) This essay takes up the debate at the beginning of Walter Scott’s The Bride of Lammermoor (1819), noting that critics have generally treated one figure in this debate—Dick Tinto, the painter who advises our narrator to use less dialogue and more descriptive language—as a strawman. Critics have mostly overlooked the extent to which Tinto articulates the dynamics of “momentaneousness,” an aesthetic principle drawn from Scott’s contemporary, Henry Fuseli. Fuseli defined a momentaneous painting as one that represents a moment with a clear past and future. For Fuseli, paintings ought to select pregnant moments for representation, moments from which whole narrative sequences can be intuited. Implicit in this notion is the belief that some moments are particularly suited to representation because they are qualitatively different from others—more fully narrative, because more indicative of larger processes of change. Turning to Scott’s novel, I show how this assumption features prominently in The Bride of Lammermoor, where it repeatedly produces unforeseen, calamitous consequences. The moment’s disruptive potential culminates in an aptly novelistic take on momentaneousness: the cliffhanger. The cliffhanger draws the act of reading into a circuit of temporal interruption and delay, reproducing the bad timing endemic to the novel’s plot. When read as an instance of momentaneous representation, The Bride’s climactic cliffhanger can be said to incorporate the reader’s own interpretive activity into the bewildering experience of historical time that the novel depicts. This technique, I argue, helps to account for The Bride’s peculiar place in the Waverley canon—its pessimistic historical vision and fatalistic narrative logic.

Symbolization in Art as an Aesthetic Principle

2012 ◽  
Vol 51 (1) ◽  
pp. 64-79
Author(s):  
Victor V. Bychkov
Keyword(s):  
Aesthetic Principle

scholarly journals Idealism and the Aesthetics of Instrumental Music at the Turn of the Nineteenth Century

1997 ◽  
Vol 50 (2-3) ◽  
pp. 387-420 ◽  
Author(s):  
Mark Evan Bonds
Keyword(s):  
Nineteenth Century ◽  
Eighteenth Century ◽  
Instrumental Music ◽  
Turn Of The Century ◽  
Work Of Art ◽  
New Approach ◽  
Musical Thought ◽  
Absolute Music ◽  
The Arts ◽  
Aesthetic Principle

The growing aesthetic prestige of instrumental music in the last decades of the eighteenth century was driven not so much by changes in the musical repertory as by the resurgence of idealism as an aesthetic principle applicable to all the arts. This new outlook, as articulated by such writers as Winckelmann, Moritz, Kant, Schiller, Herder, Fichte, and Schelling, posited the work of art as a reflection of an abstract ideal, rather than as a means by which a beholder could be moved. Through idealism, the work of art became a vehicle by which to sense the realm of the spiritual and the infinite, and the inherently abstract nature of instrumental music allowed this art to offer a particularly powerful glimpse of that realm. Idealism thus provided the essential framework for the revaluation of instrumental music in the writings of Wackenroder, Tieck, E. T. A. Hoffmann, and others around the turn of the century. While this new approach to instrumental music has certain points of similarity with the later concept of "absolute" music, it is significant that Eduard Hanslick expunged several key passages advocating idealist thought when he revised both the first and second editions of his treatise Vom Musikalisch-Schönen. The concept of "absolute" music, although real enough in the mid-nineteenth century, is fundamentally anachronistic when applied to the musical thought and works of the decades around 1800.

Michel Butor’s “Improvisations sur Rimbaud”: interpretation of the poet’s works and language

2021 ◽  
pp. 44-49
Author(s):  
Olga A. Vasileva ◽  
Keyword(s):  
Literary Criticism ◽  
Classical System ◽  
Mathematical Structure ◽  
Literary Forms ◽  
The Arts ◽  
French Writer ◽  
Aesthetic Principle ◽  
The City ◽  
Experimental Prose

This article discusses one relatively unknown aspect of the French writer and philosopher, Michel Butor’s works — his literary criticism through the example of “Improvisations sur Rimbaud”. Poet’s works are investigated by Butor unattainable apart from the stages of his life, and the most significant poems — in the context of the epistolary heritage of Rimbaud. Most attention is paid to the chapter “Improvisations”, dedicated to the collection of Rimbaud’s “Illuminations”: to the development of the theme of the city and its transformation, the role of structural rhyme and reprise at the beginning of the line overturning the classical system of versification, the appearance in the texts of Rimbaud mathematical structure. The new poetic language, the innovative artistic techniques of the poet , which are used in the composition of a number of texts in the collection, comprehensively explored by Butor, had an undeniable influence on the direction of the research for new literary forms in the works of Butor: his novel “Degrès”, which uses the numerical structure as a method of total description of reality as well as a number of texts written in the genre of experimental prose in which fragmentation is elevated to an aesthetic principle, the idea of synthesizing the arts is implemented and endless intertextual interactions are created.

The Aesthetic Principle

Art Journal ◽  
1966 ◽  
Vol 25 (4) ◽  
pp. 372-375
Author(s):  
Milton D. Heifetz
Keyword(s):  
Aesthetic Principle ◽  
The Aesthetic
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