scholarly journals Contradiction and ambivalence : Virginia Woolf and the aesthetic experience in "The Duchess and the Jeweller"

2002 ◽  
Vol 3 ◽  
pp. 115
Author(s):  
Laura María Lojo Rodríguez
Keyword(s):  
Short Story ◽  
Virginia Woolf ◽  
Aesthetic Experience ◽  
The Other ◽  
Race And Class ◽  
Three Guineas ◽  
The Aesthetic ◽  
The One ◽  
Art For Art's Sake

In the midst of the terror waged on Europe by Nazi demonstrations of power and racial extermination Virginia Woolf published a most contrevorsial short story -"The Duchess and the Jeweller" (1938)- which was originally entitled "The Duchess and the Jew" but was changed at the request of Woolf's American publisher for its racist connotations. The story has been neglected by the critics on account of two major reasons: on the one hand, it does not partake of those innovative narrative devices that most of Woolf's fiction presents; on the other such an apparently Anti-Semitist piece of work is inconveniently at odds with the oeuvre of a writer who so ardently and energetically rejected Fascism in her pamphlet Three Guineas which was curiously simultaneous in date of composition and publication to "The Duchess and the Jeweller". Despite the fact that Woolf may have been airing her personal prejudices of race and class in the characters of Oliver Bacon and the Duchess of Lambourne, the present paper does not aim to do away with such incoherence, ambivalence and contradiction, but rather focuses on the jewel imagery which structures the narrative and which addresses questions such as the 'art for art's sake' doctrine versus the material commodity of beauty

Introduction

2019 ◽  
pp. 1-29
Author(s):  
Johannes Riquet
Keyword(s):  
Aesthetic Experience ◽  
The Other ◽  
Material World ◽  
Global Space ◽  
Age Of Discovery ◽  
The Common ◽  
The Aesthetic ◽  
Modern Experience ◽  
The One ◽  
Fictional Representations

Drawing on (post-)phenomenological and geopoetic perspectives, the introduction explains the book’s interest in considering islands at the intersection of material and poetic production on the one hand, and aesthetic experience of the phenomenal world on the other. It suggests that the modern experience of islands in the age of discovery went hand in hand with a disintegration of received models of understanding global space, and that fictional and non-fictional representations of islands negotiate these perceptual challenges. It thereby explains how The Aesthetic of Island Space complicates the common account of islands as discrete shapes, geometrical abstractions, and easily understandable images. Instead, it foregrounds the importance of water, mobility, and a range of dynamic geo(morpho)logical and poetic processes in the figuration of islands. The introduction ends by discussing the significance of considering islands in relation to an ‘aesthetics of the earth’ (DeLoughrey and Handley) and a poetics of the material world.

Erroneous Gazes: Lucretian Poetics in Catullus 64

2016 ◽  
Vol 106 ◽  
pp. 1-20
Author(s):  
Ábel Tamás
Keyword(s):  
Aesthetic Experience ◽  
The Other ◽  
De Rerum Natura ◽  
Other Hand ◽  
The Aesthetic ◽  
The One ◽  
The Universe

ABSTRACTThis article argues for a ‘reciprocal intertextuality’ between Catullus 64 and Lucretius anticipating the poetic interplays of Augustan poets with theDe Rerum Natura. Catullus’ wedding guests (proto-readers), Ariadne (proto-Narcissus), and Aegeus (proto-Dido) are interpreted here aserrantesin the Lucretian sense: through their erroneous gazes presented in Poem 64, they all exemplify hownotto gaze at the structure of the universe. In the Lucretio-Catullan intertextual space — generated, as it seems, by the Catullan text — a reciprocal way of reading emerges: while, on the one hand, ‘Catullus’ uses ‘Lucretius’ to show that the aesthetic experience he offers is dependent upon an erroneous, unLucretian gaze/reading which deprives us of the external spectator position, ‘Lucretius’, on the other hand, uses ‘Catullan’ characters as deterrent examples in order to teach us hownotto submerge in ‘Catullus’ poetics of illusion’.

Woolf’s Three Guineas, Antigone, and Peace

2020 ◽  
pp. 171-182
Author(s):  
Angeliki Spiropoulou
Keyword(s):  
Virginia Woolf ◽  
The Other ◽  
Social Structures ◽  
Ancient Text ◽  
Three Guineas ◽  
The One

Virginia Woolf evokes Sophocles’ tragedy Antigone in several of her private and published writings. However, the ancient play can be argued to be the intertext of Three Guineas (1938) in ways that go far beyond the few references to it in Woolf’s text. The tragic heroine is famously invoked as inspiration for Woolf’s proposal of the formation of a female ‘Society of Outsiders’ which would provide a resisting alternative to exclusive and unjust social structures and man-made laws that generate war. This chapter examines the references to Antigone by Woolf in the 1930s and set them against the ancient text itself, on the one hand, and Woolf’s allusion to the character of Antigone as a paradigm of resistance to totalitarian law, on the other.

scholarly journals Decisions about the Beauty of Lithuania in Jean Mauclère’s 'Sous le ciel pâle de Lithuanie'

Literatūra ◽  
2020 ◽  
Vol 62 (4) ◽  
pp. 46-53
Author(s):  
Genovaitė Dručkutė
Keyword(s):  
Aesthetic Experience ◽  
Fine Arts ◽  
Small Towns ◽  
Local History ◽  
The Other ◽  
Men And Women ◽  
French Culture ◽  
The Aesthetic ◽  
The One ◽  
Physical Type

Drawing on the theoretical premises of imagology and geocriticism, the article analyzes the aesthetic experience of the traveler who traverses Lithuanian cities (Vilnius, Kaunas, Klaipėda), walks across small towns, stops over in villages, and makes his way to the seaside. The local aesthetic identity of the newly discovered country, i.e. its beauty and/or loathsomeness, is revealed by the author Jean Mauclère through a few perspectives: on the one hand, it is the beauty of nature, folk and professional art (architectural exteriors and interiors, fine arts, music), the physical type of Lithuanian men and women. This identity, as Mauclère suggests, reveals itself in the contexts of local history, traditions and culture. Although the author seeks to remain objective in his description of his new aesthetic experience in Lithuania, he remains a representative of his own French culture and its traditions nonetheless. On the other hand, he underlines the otherness of the novelty of his experience.

Becoming fertile in the land of organic milk: Lesbian and queer reproductions of femininity and motherhood in Sweden

Sexualities ◽  
2017 ◽  
Vol 21 (7) ◽  
pp. 1021-1038 ◽  
Author(s):  
Ulrika Dahl
Keyword(s):  
Popular Culture ◽  
Family Formation ◽  
The Other ◽  
Same Sex ◽  
Organic Milk ◽  
Race And Class ◽  
Lesbian Motherhood ◽  
The One ◽  
The Relationship

This article draws on popular culture, ethnographic materials and mainstream commercials to discuss contemporary understandings of the relationship between fertility, pregnancy and parenthood among lesbians and other queer persons with uteruses. It argues that, on the one hand, same-sex lesbian motherhood is increasingly celebrated as evidence of Swedish gender and sexual exceptionalism and, on the other, queers who wish to challenge heteronormative gender disavow both the relationship between fertility and femininity, and that of pregnancy and parenthood. The author argues that in studying queer family formation, we must move beyond addressing heteronormativity and begin studying how gender, sexuality, race and class get reproduced in queer kinship stories.

Contraste, Dissonanzen, Missklänge: Zum Verhältnis von Idylle und Tourismus in literarischen Schweiz-Reisen des 19. Jahrhunderts (Ida Hahn-Hahn, Hans Christian Andersen)

2021 ◽  
Vol 50 (1) ◽  
pp. 34-56
Author(s):  
Christian Schmitt
Keyword(s):  
19Th Century ◽  
The Other ◽  
Hans Christian Andersen ◽  
The Aesthetic ◽  
The One ◽  
The 19Th Century ◽  
The Relationship

Abstract The discrepancy between common temporary expectations of Switzerland as idyll on the one hand, and the reality of its industrially organized tourism on the other, imposes irritations upon the touristic gaze. This article, then, traces the origins of this discrepancy and examines the relationship between Swiss idyll and tourism in the 19th century. The analyses of Ida Hahn-Hahn’s Eine Idylle and Hans Christian Andersen’s Iisjomfruen showcase different ways of relating idyll and tourism to one another as well as the aesthetic merit produced by this constellation.

PRAGMATIC, LINGUAL CULTURAL SENSES AND ETHNIC SYMBOLS IN ARTISTIC TRANSLATION

2021 ◽  
Vol 2021 (32) ◽  
pp. 130-148
Author(s):  
Oleh Tyshchenko
Keyword(s):  
Short Story ◽  
Speech Acts ◽  
Narrative Structure ◽  
The Other ◽  
Grammatical Structure ◽  
Expressive Speech ◽  
Other Hand ◽  
English Translations ◽  
The One ◽  
The Master And Margarita

The article considers performative speech acts (expressives, commissives, wishes, curses, threats, warnings, etc.) and generally exclamatory phraseology in the original and translation in terms of the function of the addressee, the specifics of the communicative situation, the symbolism and pragmatics of the cultural text. Through cultural and semiotic reconstruction of these units, their semantic and grammatical structure and features of motivation in several linguistic cultures were clarified. Collectively, these verbal acts, on the one hand, mark the semiotic structure of the narrative structure of the text, and on the other hand, indicate the idiostyle of a particular author or characterize the speech of the characters and the associated range of emotions (curses, invectives, cries of indignation, dissatisfaction, etc.). Several translated versions of M. Bulgakov’s novel «The Master and Margarita» (in Ukrainian, Polish, Slovak and English) and English translations of M. Kotsyubynsky’s novel «Fata Morgana» and Dovzhenko’s short story «Enchanted Desna» constitute the material for the study. The obtained results are essential for elucidating the specifics of the national conceptual sphere of a certain culture and revealing the types of inter lingual equivalents, idiomatic analogues in the transmission of common ethno-cultural content. This approach can be useful for a new understanding of domestication and adaptation in translation, translation of culturally marked units, onyms, mythological concepts, etc. as a specific translation practices. There was further developed the theory of phatic and performative-expressive speech acts in lingual cultural comprehension.

Vegan attendance: reading Gibbons’s animals

2020 ◽  
Vol 29 (3) ◽  
pp. 379-394
Author(s):  
Emelia Quinn
Keyword(s):  
The Other ◽  
Other Hand ◽  
Aesthetic Pleasure ◽  
Simone Weil ◽  
The Aesthetic ◽  
The One ◽  
Embodied Presence

When we encounter the work of Grinling Gibbons, we find ourselves in the presence of multiple non-human animals. However, it is unclear how one should address these presences. On the one hand, for ecofeminist scholars such as Josephine Donovan, the aestheticization of animal death is to be vehemently resisted and the embodied presence of animals recovered by looking beyond the surface: a mode of looking that Donovan terms ‘attentive love’. On the other hand, a re-reading of the philosophical ideas of Simone Weil, upon which Donovan premises her argument, suggests that attention to others requires a mode of radical detachment. These two positions speak in important ways to the dilemmas faced by a vegan spectator. Drawing on Jason Edwards’s previous work on ‘the vegan viewer’, this article seeks to reconcile a vegan resistance to Gibbons’s depictions of animal death, in their spontaneous falling under human dominion, with the aesthetic pleasure generated by Gibbons’s craftmanship. I therefore propose ‘vegan camp’ as a means of reconciling oneself to insufficiency and complicity in systems of violence without renouncing pleasure. Vegan camp is detailed as an aesthetics that acknowledges the violence of humanity and one’s inescapable place within it, dissolving the subjective idea of the beautiful vegan soul to pay attention to the pervasive presence of an anthropocentrism that, in the case of Gibbons, decoratively adorns the sites at which animals might be eaten, worn, or offered up for sacrifice.

scholarly journals Computer Gameplay and the Aesthetic Practices of the Self: Game Studies and the Late Work of Michel Foucault

2018 ◽  
Vol 3 (3) ◽  
Author(s):  
Feng Zhu
Keyword(s):  
Michel Foucault ◽  
Computer Games ◽  
The Self ◽  
Game Studies ◽  
The Other ◽  
Late Work ◽  
Practices Of The Self ◽  
The Aesthetic ◽  
The One ◽  
The Way

This paper aims to critically introduce the applicability of Foucault’s late work, on the practices of the self, to the scholarship of contemporary computer games. I argue that the gameplay tasks that we set ourselves, and the patterns of action that they produce, can be understood as a form of ‘work on the self’, and that this work is ambivalent between, on the one hand, an aesthetic transformation of the self – as articulated by Foucault in relation to the care or practices of the self – in which we break from the dominant subjectivities imposed upon us, and on the other, a closer tethering of ourselves through our own playful impulses, to a neoliberal subjectivity centred around instrumentally-driven selfimprovement. Game studies’ concern with the effects that computer games have on us stands to gain from an examination of Foucault’s late work for the purposes of analysing and disambiguating between the nature of the transformations at stake. Further, Foucault’s tripartite analysis of ‘power-knowledge-subject’, which might be applied here as ‘game-discourse-player’, foregrounds the imbrication of our gameplay practices – the extent to which they are due to us and the way in which our own volitions make us subject to power, which is particularly pertinent in the domain of play.

scholarly journals La estética modal como herramienta de análisis cinematográfico

2020 ◽  
Author(s):  
Jesús Ramé López
Keyword(s):  
Aesthetic Experience ◽  
The Other ◽  
Other Hand ◽  
The Aesthetic ◽  
Fundamental Categories ◽  
Film Aesthetics

Modal aesthetics emerges from Nicolai Hartmann’s ontology, whose modal distribution has three fundamental categories: the Repertorial, the Dispossitional and the Landscape which diverse dynamic equilibriums articulate both the artwork and the aesthetic experience. In this way, movies and our responses to them would appear as manifestations of diverse “modes of relation”, which organize the cinematographic work along with the sensitivities coupling with it, while integrating them both within the technological-historical development.As a result of the different modal equilibriums available, film poetics can eventually be better understood in their dependence to repertorial aesthetics. Such is the case with classic American which following the logics of the mode of the necessary, has been able to produce and consolidate a series of aesthetic patterns based on invisibility and that have come to us as a collection of filmic forms. On the other hand, the dispositional aesthetics deploy the mode of the possible. This is the case of the film vanguards, where new ways of doing things are built against what was previously considered necessary. Other film aesthetics can put the focus on the mode of effectiveness: this could be the proper focus to understand the character of werewolf, whose iconography comes to a full crystallization in the cinema, while being the object of dispute between a number of differente efectivities that are happening and that change both the man and the werewolf that emerges from the metamorphoses.Of course nothing here happens in isolation, since modal aesthetics categories are dynamic devices which describe different modal tensions and processes.

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