Vernon Lees Theorie der ästhetischen Erfahrung: Grenzgänge der Empathie

2004 ◽  
Vol 22 (2) ◽  
Author(s):  
Renate Brosch
Keyword(s):  
Art History ◽  
Visual Art ◽  
Subjective Experience ◽  
Aesthetic Theory ◽  
Subjective Responses ◽  
Vernon Lee ◽  
Recent Developments ◽  
Current Shift ◽  
Opening Up ◽  
A Current

AbstractThe enormously prolific and diverse writer Vernon Lee (Violet Paget) has recently been rediscovered in English literary and cultural studies. However, her elision from art history remains to be corrected. This article reconsiders Lee’s theory of the beautiful which she referred to as »psychological aestheticism«. In the light of recent developments in aesthetic theory Lee’s ideas unfold considerable potential: their utilization of a concept of empathy inherent in subjective responses to art ties in with a current shift towards processual and performative evaluations of art rather than static and normative ones. Lee came very close to today’s understanding of visual art by locating symbolic meaning in subjective experience and thus opening up an entire range of spatial, psychological, emotional and communicative aspects of spectatorship pertinent to analysis. These aspects she developed in a more playful manner in her literary works. My article reads the ekphrastic encounter in one of Lee’s fantastic stories from her collection Hauntings as a negotiation of Lee’s aesthetic theory, concluding that her advanced ideas deconstructed an idealistic and implicitly hierarchical understanding of art.

Resonance in Dhvani Aesthetics and the Deleuzian Logic of Sensation

2018 ◽  
Vol 12 (1) ◽  
pp. 29-44
Author(s):  
Srajana Kaikini
Keyword(s):  
Art History ◽  
Visual Art ◽  
Normative Theory ◽  
Close Reading ◽  
Literary Interpretation ◽  
Sanskrit Poetics ◽  
Comparative Framework ◽  
Time Image

This paper undertakes an intersectional reading of visual art through theories of literary interpretation in Sanskrit poetics in close reading with Deleuze's notions of sensation. The concept of Dhvani – the Indian theory of suggestion which can be translated as resonance, as explored in the Rasa – Dhvani aesthetics offers key insights into understanding the mode in which sensation as discussed by Deleuze operates throughout his reflections on Francis Bacon's and Cézanne's works. The paper constructs a comparative framework to review modern and classical art history, mainly in the medium of painting, through an understanding of the concept of Dhvani, and charts a course of reinterpreting and examining possible points of concurrence and departure with respect to the Deleuzian logic of sensation and his notions of time-image and perception. The author thereby aims to move art interpretation's paradigm towards a non-linguistic sensory paradigm of experience. The focus of the paper is to break the moulds of normative theory-making which guide ideal conditions of ‘understanding art’ and look into alternative modes of experiencing the ‘vocabulary’ of art through trans-disciplinary intersections, in this case the disciplines being those of visual art, literature and phenomenology.

Art, History, and Postwar Fiction

2018 ◽  
Author(s):  
Kevin Brazil
Keyword(s):  
Visual Arts ◽  
Art History ◽  
Visual Art ◽  
New Left ◽  
Doris Lessing ◽  
William Gaddis ◽  
Continuity And Change ◽  
Historical Developments ◽  
The Cold War ◽  
The Relationship

Art, History, and Postwar Fiction explores the ways in which novelists responded to the visual arts from the aftermath of the Second World War up to the present day. If art had long served as a foil to enable novelists to reflect on their craft, this book argues that in the postwar period, novelists turned to the visual arts to develop new ways of conceptualizing the relationship between literature and history. The sense that the novel was becalmed in the end of history was pervasive in the postwar decades. In seeming to bring modernism to a climax whilst repeating its foundational gestures, visual art also raised questions about the relationship between continuity and change in the development of art. In chapters on Samuel Beckett, William Gaddis, John Berger, and W. G. Sebald, and shorter discussions of writers like Doris Lessing, Kathy Acker, and Teju Cole, this book shows that writing about art was often a means of commenting on historical developments of the period: the Cold War, the New Left, the legacy of the Holocaust. Furthermore, it argues that forms of postwar visual art, from abstraction to the readymade, offered novelists ways of thinking about the relationship between form and history that went beyond models of reflection or determination. By doing so, this book also argues that attention to interactions between literature and art can provide critics with new ways to think about the relationship between literature and history beyond reductive oppositions between formalism and historicism, autonomy and context.

Conditions of Visibility

2019 ◽  
Keyword(s):  
Art History ◽  
Visual Art ◽  
Fundamental Question ◽  
Ancient World ◽  
Work Of Art ◽  
History Of Art ◽  
Shared Objects ◽  
History Of ◽  
Modern Prejudice ◽  
Historical Past

We often assume that works of visual art are meant to be seen. Yet that assumption may be a modern prejudice. The ancient world - from China to Greece, Rome to Mexico - provides many examples of statues, paintings, and other images that were not intended to be visible. Instead of being displayed, they were hidden, buried, or otherwise obscured. In this third volume in the Visual Conversations in Art & Archaeology series, leading scholars working at the intersection of archaeology and the history of art address the fundamental question of art's visibility. What conditions must be met, what has to be in place, for a work of art to be seen at all? The answer is both historical and methodological; it concerns ancient societies and modern disciplines, and encompasses material circumstances, perceptual capacities, technologies of visualization, protocols of classification, and a great deal more. The emerging field of archaeological art history is uniquely suited to address such questions. Intrinsically comparative, this approach cuts across traditional ethnic, religious, and chronological categories to confront the academic present with the historical past. The goal is to produce a new art history that is at once cosmopolitan in method and global in scope, and in doing so establish new ways of seeing - new conditions of visibility - for shared objects of study.

Moving Pictures and Renaissance Art History

2021 ◽  
Author(s):  
Patricia Emison
Keyword(s):  
Twentieth Century ◽  
Mass Media ◽  
Art History ◽  
Visual Art ◽  
Renaissance Art ◽  
Word And Image ◽  
Visual Composition ◽  
Moving Pictures ◽  
And Gender

Film, like the printed imagery inaugurated during the Renaissance, spread ideas---not least the idea of the power of visual art---across not only geographical and political divides but also strata of class and gender. Moving Pictures and Renaissance Art History examines the early flourishing of film, 1920s-mid-60s, as partly reprising the introduction of mass media in the Renaissance, allowing for innovation that reflected an art free of the control of a patron though required to attract a broad public. Rivalry between word and image, narrative and visual composition shifted in both cases toward acknowledging the compelling nature of the visual. The twentieth century also saw the development of the discipline of art history; transfusions between cinematic practice and art historical postulates and preoccupations are part of the story told here.

Exploration of Role of Economic Globalization on Human Longevity

2021 ◽  
Vol 3 (2) ◽  
pp. 223-239
Author(s):  
Bakhtawar Ijaz ◽  
Noman Arshed ◽  
Zamin Abbas ◽  
Uzma Hanif ◽  
Kamran Hameed
Keyword(s):  
Economic Growth ◽  
Social Development ◽  
Quadratic Function ◽  
Economic Globalization ◽  
Human Longevity ◽  
Kuznets Curve ◽  
Long Run ◽  
Recent Developments ◽  
Opening Up

Recent developments which were coined to the opening up of borders have attracted interest of many researchers from many disciplines. A lot of work can be observed regarding the role of globalization / internationalization on economic growth and social development, this study specifically explores the implications of globalization on the ultimate goal that is life longevity. Adapting from the Kuznets curve, this study proposed a quadratic function of economic globalization and life longevity. The results using panel the ARDL model for the SAARC region, it can be seen that expansion of trade globalization de jure and management of financial globalization de facto and de jure may help them to increase longevity in the long run.

Possibility of Fractal Aesthetics

2013 ◽  
pp. 235-259
Author(s):  
Ljubiša M. Kocic
Keyword(s):  
Art History ◽  
Computer Aided Design ◽  
Visual Art ◽  
Computer Art ◽  
Computer Networking ◽  
Natural Objects ◽  
Computer Aided ◽  
Fast Development ◽  
Complex Patterns ◽  
Aided Design

Fast development of computer networking contributes to the global spreading and popularizing of the notion of fractals and complex patterns in their use in computer-aided design and computer art. This chapter looks for answers to the following questions: How are fractals perceived? Are fractals predominantly man-made or natural objects? How do fractals relate to the overall visual art experience of mankind? What are the main problems in using fractals in arts? What are the experiences from the visual art-history? Do Nature and artists use the same algorithm? What fractal experts can do to help artists?

Proletarian Modernism: Film, Literature, Theory

PMLA ◽  
2019 ◽  
Vol 134 (5) ◽  
pp. 1056-1075
Author(s):  
Benjamin Kohlmann
Keyword(s):  
Twentieth Century ◽  
Literary Texts ◽  
Aesthetic Theory ◽  
Alternative Route ◽  
Modernist Literature ◽  
Literary Works ◽  
Recent Scholarship ◽  
The Aesthetic ◽  
Literature Theory ◽  
Opening Up

This article identifies a body of work—films, literary texts, and theories of the aesthetic—that can help us reopen the question of what it means for an artwork to project a vision of classlessness. The article begins by focusing on early-twentieth-century proletarian modernism, in particular in the cinematic work of Sergey Eisenstein and in British literary works that repurposed Woolfian and Joycean styles during the later interwar years. Proletarian modernism, I argue, highlights an alternative route taken by modernist literature and art: unlike the late modernists feted in much recent scholarship, proletarian modernists aimed to retool modernism, opening up new and global political futures for it rather than anticipating its end. The article concludes by showing that the cultural genealogy of proletarian modernism mapped out here doubles as a prehistory of contemporary aesthetic theory: it enables us to recognize the significant political and theoretical erasures that structure recent accounts of art's democratic potential.

Visible light-mediated organophotocatalyzed C–H bond functionalization reactions

2019 ◽  
Vol 17 (22) ◽  
pp. 5475-5489 ◽  
Author(s):  
Mustafa Uygur ◽  
Olga García Mancheño
Keyword(s):  
Visible Light ◽  
Bond Functionalization ◽  
Recent Developments ◽  
A Current

This review provides a current overview of the recent developments in the visible light mediated organophotocatalyzed C–H bond functionalization methodologies.

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