Psychopathology, Inner Space and the Automotive Death Drive: J.G. Ballard

2002 ◽  
Vol 32 (2) ◽  
pp. 55-60 ◽  
Author(s):  
James Sey
Keyword(s):  
Science Fiction ◽  
The Novel ◽  
Death Drive ◽  
Aesthetic Form ◽  
The Aesthetic ◽  
The Relationship ◽  
Aesthetic Expression

This paper uses a detailed reading of the 1973 novel Crash!, a work of dystopian science fiction by British author J.G. Ballard, to outline a new theory of psychopathology in a thoroughly technologised culture. The paper proposes that, in the light of the evidence of the novel, it may be possible to reconceptualise both trauma and the somatic relationship to pathology, through the mediation of a saturated technoculture, at least in the sense of a closer investigation of the relationship between perversity and aesthetic expression. The argument concludes that there is a privileged relationship between such extreme forms of pathological symptom as are presented in the novel, and the aesthetic form itself, which leads to a more productive understanding of psychopathology.

scholarly journals The Fleeting Moment: The Sacramental Universe of Music, from the Aesthetic Form to the Empathetic Event

2015 ◽  
Vol 7 (3) ◽  
pp. 301-312 ◽  
Author(s):  
Jordi-Agustí Piqué i Collado
Keyword(s):  
Men And Women ◽  
Experience Of God ◽  
Presence Of God ◽  
Aesthetic Form ◽  
The Aesthetic ◽  
The Relationship

Abstract Nowadays, the drama of the incommunicability of the experience of God is perhaps one of the greatest problems that theology must face if it wants to establish a sincere dialogue with contemporary thought. A visit to contemporary theological art, and concretely to music, is an exercise that should be taken into consideration when one wishes to offer a word about God to our world and to men and women of these days. Through this article author wants underline that the relationship between theology and music could reveal itself as a way to discover the mysterious-symbolic presence of God which reveals itself.

Dazzling Estrangement: Modernism, Queer Ekphrasis, and the Spatial Form of Nightwood

PMLA ◽  
2009 ◽  
Vol 124 (3) ◽  
pp. 749-763 ◽  
Author(s):  
Brian Glavey
Keyword(s):  
Queer Theory ◽  
The Novel ◽  
Spatial Form ◽  
High Modernism ◽  
Aesthetic Form ◽  
The Aesthetic

The reputation of Djuna Barnes's Nightwood as a work of “marginal” modernism is complicated by its affinities with the aesthetics of high modernism, a fact signaled by its role as the inspiration of Joseph Frank's theory of spatial form. At once emblematic and eccentric, the novel is devoted to both recognition and obscurity. Nightwood enacts this paradox through a strategy of queer ekphrasis that aestheticizes moments of loss, giving aesthetic form to experiences of stigma in order to “dazzle” them. Attending to Barnes's spatial form will forward debates about modernism and queer theory, suggesting a more useful vocabulary for both: an account of the aesthetic that is neither wholly subversive nor wholly conservative and a nuanced account of queerness that does not subscribe to either total negation or total affirmation.

scholarly journals Epistemologia e arte: a questão do conhecimento estético em Francis Ponge

2019 ◽  
Vol 24 (41) ◽  
Author(s):  
Cristiano Perius
Keyword(s):  
Cognitive Content ◽  
Francis Ponge ◽  
Aesthetic Form ◽  
The World ◽  
The Aesthetic ◽  
The Relationship ◽  
Direct Apprehension

Este ensaio analisa a relação entre arte e conhecimento a partir da obra poética de Francis Ponge. O teor cognitivo está na iniciativa de edificação de uma mathesis singularis a partir do contato com os objetos em sua apreensão direta. A emoção poética, como fato original e causa do poema, é conduzida à descrição do objeto até a forma de uma lei estética apta à configuração objetiva do mundo. A forma estética visa a adequação entre as palavras e as coisas a partir de um recuso semiótico da linguagem, a saber, a onomatopéia. No interior do projeto cognitivo e intencional de Francis Ponge, a onomatopéia é o recurso que define o objeto, seguido por uma descrição fiel aos objetos em sua manifestação concreta. À luz da experiência poética de Francis Ponge, que correlaciona explicitamente a relação entre arte e conhecimento, estão abertas as possibilidades de pensar o conhecimento estético a partir de outras artes e artistas, como a pintura de Cézanne, entre outros. AbstractThis essay analyzes the relationship between art and knowledge from the poetry of Francis Ponge. The cognitive content is in the initiative of building a mathesis singularis from the contact with the objects in its direct apprehension. Poetic emotion, as the original fact and cause of the poem, is led to the description of the object into the form of an aesthetic law apt to the objective configuration of the world. The aesthetic form aims at matching words and things through a semiotic refusal of language, namely onomatopoeia. Within Francis Ponge's cognitive and intentional project, onomatopoeia is the defining feature of the object, followed by a faithful description of the objects in their concrete manifestation. In the light of Francis Ponge's poetic experience, which explicitly correlates the relationship between art and knowledge, the possibilities of thinking aesthetic knowledge from other arts and artists, such as Cezanne's painting, among others, are open.

scholarly journals THE AESTHETICS OF PLACE IN THE ALCHEMIST'S NOVEL FOR PAULO COELHO

2021 ◽  
Vol 2 (1) ◽  
pp. 40-51
Author(s):  
Salwa Gerges SALMAN
Keyword(s):  
Open Space ◽  
The Novel ◽  
Third Place ◽  
Human Community ◽  
The Third ◽  
Real Place ◽  
The Aesthetic ◽  
Aesthetic Characteristics ◽  
Relationship Of ◽  
The Relationship

This paper aims to identify the aesthetic characteristics of the element of place in the novel (The Alchemist) through the process of influence, being affected, and revealing contradictions that existing in the human community. The plan involves an introduction and two chapters. The introduction came in two axes: the first: the place, linguistically and idiomatically, and the second axis: the summary of the novel. Whereas the first chapter, which is labeled (types of place), is based on four topics: - The first: the domesticated place - the non-domesticated place. - The second: the open space - the closed place - Third: Place of residence - place of relocation - Fourth: the real place - the imaginary place Moreover, the second chapter entitled (Description), it included three sections: - The first: the relationship of place to the character. - The second: the relationship of the place to the event. - The third: the relationship of the character to the event. At the end we conclude the conclusion of the paper with the most important results.

scholarly journals Research on the “Double” Motive in the Novel Blueprint

2019 ◽  
Vol 64 ◽  
pp. 323-333
Author(s):  
Wei WANG
Keyword(s):  
Human Nature ◽  
Science And Technology ◽  
The Novel ◽  
Dialectical Philosophy ◽  
The Aesthetic ◽  
The Relationship

The German female writer Charlotte Kerner has created a series of works on the theme of science and technology to explore the relationship between people and technology and nature. One of the most striking features of his work is the frequent appearance of the "double" motive. This phenomenon is most evident in the book Blueprint. This article explores the "double" motive in the novel Blueprint from the perspectives of "mother-daughter doubles" and "person-painting doubles". This paper analyzes the aesthetic effect of its performance, and then studies the relationship among the motive, the author's aesthetic strategy and the theme of the work. In addition, it is concluded that "double" is full of dialectical philosophy of opposition and unity. It not only highlights the author's aesthetic strategy of paying attention to the dual combination of character and dialectical movement in character shaping, which makes the character of the character more full and contradictory conflict more intense, but also endues the work with the depth of human nature.

scholarly journals Augmented Reality and Life in the Cyberspace in William Gibson’s Neuromancer

2021 ◽  
Vol 12 (4) ◽  
pp. 30
Author(s):  
Md. Shafiqul Islam
Keyword(s):  
Science Fiction ◽  
Literary Work ◽  
The Novel ◽  
Human Capabilities ◽  
Story Line ◽  
The Past ◽  
The Matrix ◽  
Fiction Writers ◽  
Different Dimensions ◽  
The Relationship

This paper attempts a cybercritical reading of William Gibson’s novel Neuromancer (1984) to explore the genesis of cyborgs in the novel, address issues pertaining to cyberpunks and scrutinize the portrayal of a cyberculture set in the futuristic dystopian city of Chiba. The relationship between humans and machines has gone through multiple phases of changes in the recent past. That is why instead of satirizing machinized-humans, science fiction writers have embraced different dimensions of man-machine relationships during the past few decades. ‘Cyborg’ is no longer represented as the ‘mutation of human capabilities’, but as ‘machines with Artificial Intelligence’. Gibson’s Neuromancer, a landmark piece of literary work in the sphere of Sci-Fi literature, specifically predicts a new height of man-machine relationship by employing both human and cyborg characters at the center of his story line. This paper shows how Gibson accurately prophesizes the matrix of machine-human relationship in his novel. It also explores Gibson’s depiction of female characters through the lens of cyberfeminist theories. In view of that, this paper uses contemporary critical and cultural theories including Donna Haraway’s idea of cyberfeminism, Baudrillard’s simulation and simulacra, Foucauldian discourse analysis, Jeremy Bentham’s concept of tabula rasa and other relevant theoretical ideas to examine and evaluate the transformative changes.

Why Leonard Bast Had To Be Killed

2019 ◽  
Vol 14 (3) ◽  
pp. 375-396
Author(s):  
Benjamin Poore
Keyword(s):  
Social Power ◽  
Aesthetic Education ◽  
Cultural Education ◽  
Middle Classes ◽  
Howards End ◽  
Aesthetic Form ◽  
The Aesthetic ◽  
Relationship Of ◽  
The Relationship

The misfortunes of the clerk Leonard Bast in E. M. Forster's Howards End have frequently been read as a symptom of modernism's disdain for the lower-middle classes and their aspirations for cultural education. But Howards End is better seen as an extended meditation on the relationship of art and labour, and a criticism of the aesthetic education that Bast receives from the wealthy Schlegel sisters. Using Jacques Rancière's idea that aesthetic form and social power alike distribute speaking and non-speaking roles, the article discerns in the foreclosure of Bast's life and experiences an educational and aesthetic failure which Forster's bourgeois narrator is too keen to reproduce. By offering the possibility of resisting its own narrator, Howards End opens up another form of modernist pedagogy which does not create the pupil in the image of the teacher.

scholarly journals THE CHARACTER CONFRONTING THE AUTOR: TOWARD THE ISSUE OF AN UNDESCRIBDED METALITERARY PLOT

2021 ◽  
Vol 6 (3) ◽  
pp. 96-113
Author(s):  
Olga N. Turysheva
Keyword(s):  
Miguel De Unamuno ◽  
The Novel ◽  
Modernist Literature ◽  
Equal Rights ◽  
Fictional World ◽  
Contemporary Novels ◽  
Mass Literature ◽  
The Subject ◽  
The Aesthetic ◽  
The Relationship

The article examines a specific metaliterary motif of the confrontation between ‘the author’ and the character. In this motif, both ‘the author’ and the character are portrayed as characters of the plot of the fictional world. The article analyses the emergence of the motif in modernist literature which subverts the realist poetics of the author’s omniscience. The author of the article employs the term ruman to refer to the novel genre where the author and the character enjoy equal rights. The term was first introduced by Miguel de Unamuno whose Mist (1914) was the first example of this version of metareflexive narrative. The article traces the development of the motif in modernist, postmodernist, and recently published contemporary novels. The differences in depicting of the relationship between the author and the character are explicated by reconstruction of the aesthetic and philosophical context of the time and the polemics with the dominating concepts of the Subject. Additionally, the article examines variations of the motif both in highbrow and mass literature focusing on such rumanistic pieces as novels by K. Vaginov, J. Fowles, V. Pelevin, L. Binet.

scholarly journals Stripping the Body in Contemporary Popular Media: The Value of (un)dressing in American Telefantasy

2012 ◽  
Vol 5 (2) ◽  
Author(s):  
Manjree Khajanchi
Keyword(s):  
Science Fiction ◽  
The Body ◽  
Popular Media ◽  
Academic Literature ◽  
Research Perspectives ◽  
Dress And Identity ◽  
The Aesthetic ◽  
The Relationship ◽  
Influence Perceptions ◽  
Prime Case

Research perspectives on identity and the relationship between dress and body have been frequently studied in recent years (Eicher and Roach-Higgins, 1992; Roach-Higgins and Eicher, 1992; Entwistle, 2003; Svendsen, 2006). This paper will make use of specific and detailed examples from the television programmes Once Upon a Time (2011- ), Falling Skies (2011- ), Fringe (2008- ) and Game of Thrones (2011- ) to discover the importance of dressing and accessorizing characters to create humanistic identities in Science Fiction and Fantastical universes. These shows are prime case studies of how the literal dressing and undressing of the body, as well as the aesthetic creation of television worlds (using dress as metaphor), influence perceptions of personhood within popular media programming. These four shows will be used to examine three themes in this paper: (1) dress and identity, (2) body and world transformations, and (3) (non-)humanness. The methodological framework of this article draws upon existing academic literature on dress and society, combined with textual analysis of the aforementioned Telefantasy shows, focussing primarily on the three themes previously mentioned. This article reveals the role transformations of the body and/or the world play in American Telefantasy, and also investigates how human and near-human characters and settings are fashioned. This will invariably raise questions about what it means to be human, what constitutes belonging to society, and the connection that dress has to both of these concepts.

scholarly journals David Jones's ‘Barbaric-Fetish’: Frazer and the ‘Aesthetic Value’ of the Liturgy

2017 ◽  
Vol 12 (3) ◽  
pp. 439-462
Author(s):  
Jamie Callison
Keyword(s):  
Religious Culture ◽  
Creative Potential ◽  
Aesthetic Value ◽  
Aesthetic Form ◽  
Human Creativity ◽  
Imaginative Thinking ◽  
The Aesthetic ◽  
The Relationship ◽  
The Church ◽  
Critical Interest

Much recent critical interest in the relationship between modernism and religion has concerned itself with the occult, spiritualism, and theosophy as opposed to institutional religion, relying on an implicit analogy between the experimental in religion and the experimental in art. I argue that considering Christianity to be antithetical to modernism not only obscures an important facet of modernist religious culture, but also misrepresents the at-once tentative and imaginative thinking that marks the modernist response to religion. I explore the ways in which the poet-painter David Jones combined sources familiar from cultural modernism – namely Frazer's The Golden Bough – with Catholic thinking on the Eucharist to constitute a modernism that is both hopeful about the possibilities for aesthetic form and cautious about the unavoidable limitations of human creativity. I present Jones's openness to the creative potential of the Mass as his equivalent to the more recognisably modernist explorations of non-Western and ancient ritual: Eliot's Sanskrit poetry, Picasso's African masks, and Stravinsky's shamanic rites and suggest that his understanding of the church as overflowing with creative possibilities serves as a counterweight to the empty churches of Pericles Lewis’ seminal work, Religious Experience and the Modernist Novel.

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