LA study on the Emilejong of Ham Seduk from the perspective of art for art's sake

The 25 years of the post-Mao era of Chinese fiction is divided into two distinct stages: the pre-1989 period, and the post-1989 period. If this division is true about almost everything else in China, it is especially true with literature. This is because literature had been used as a lethal weapon for political struggle by Mao before and during his regime, and this tradition, though strongly challenged in the post-Mao era, still lingers, though in very different forms now and much watered down. Even the recent trends of art for art's sake, or for the sake of entertainment, or for the sake of religious consciousness, could also be read as political gestures, and are indeed treated as such by Chinese literary officialdom, and also by Western China experts. Despite the fact that Chinese fiction has been highly politicized, this paper will examine, as much as possible, the development of fiction as an art. Only the artistic quality can support my argument that recent novels from China deserve not only more scholarly attention but also more reader appreciation than they have hitherto received around the world.

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Art for art's sake

Physics World ◽

10.1088/2058-7058/31/3/29 ◽

2018 ◽

Vol 31 (3) ◽

pp. 26-26

Author(s):

Harvey A Buckmaster

Keyword(s):

Art For Art's Sake

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Aesthetic Censorship: Censoring Art for Art's Sake

Journal of Aesthetics and Art Criticism ◽

10.2307/429991 ◽

1984 ◽

Vol 43 (2) ◽

pp. 171 ◽

Cited By ~ 1

Author(s):

Richard Shusterman

Keyword(s):

Art For Art's Sake

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Art for Art's Sake Again?

Journal of Aesthetics and Art Criticism ◽

10.2307/428356 ◽

1975 ◽

Vol 33 (3) ◽

pp. 303

Author(s):

Van Meter Ames

Keyword(s):

Art For Art's Sake

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Facebook for Facebook's Sake

Stream: Interdisciplinary Journal of Communication ◽

10.21810/strm.v10i1.250 ◽

2018 ◽

Vol 10 (1) ◽

pp. 26-38

Author(s):

Kevin Jacobs

Keyword(s):

Artistic Expression ◽

Digital City ◽

Aesthetic Movement ◽

For Profit ◽

Take Back ◽

Facebook Usage ◽

The Aesthetic ◽

Art For Art's Sake ◽

Insight Into ◽

Central Claim

The affective labour debate has become mainstream in communications studies. In this paper, I The affective labour debate has become mainstream in communications studies. In this paper, I suggest the Aesthetic Movement of the late 19th century as inspiration for how users can use Facebook with the knowledge that their data is being used for profit. I present Facebook usage as art, creating an analog with aesthete Oscar Wilde’s essay, “the critic as artist” (1891/2010), where he presents critics as artists. Other theorists, especially Walter Benjamin provide grounding for making the argument that Facebook usage is an artistic expression. I then turn to my inversion of Walter Pater’s “art for art’s sake”, the seminal idea of Aestheticism and propose Facebook for Facebook’s sake as a method for Facebook use. While more advanced remuneration concepts have yet to arrive with such force that they could provide the proper payment to users, Facebook for its own sake is a way to appreciate Facebook’s beauty in the meantime. Baudelaire and Debord’s psychogeographic theories provide methods for navigating cities that I apply to examine Facebook as a digital city. The central claim of this paper is the following: By using Facebook for Facebook’s sake, users take back some of the dignity taken away from them in the exploitation of free labour. Finally, I turn to critiques of Aestheticism and how contemporary software might provide insight into using Facebook in an ethical manner. Users will have to consider each action differently; how would liking something affect users’ artistic expression of themselves? In this way, while the affective labour debate continues, users can use Facebook for its own sake.

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中國古代「詩用」語境中的「多重性讀者」

中正漢學研究 ◽

10.53106/2306036020200600350001 ◽

2020 ◽

Vol 35 (35) ◽

pp. 001-044

Author(s):

顏崑陽顏崑陽

Keyword(s):

Historical Linguistic ◽

Chinese Literature ◽

Chinese Poetry ◽

Linguistic Context ◽

May Fourth Movement ◽

Fourth Movement ◽

The Common ◽

The Ancient Chinese ◽

Art For Art's Sake ◽

True Intention

「五四」以降，學者普遍抱持著「為藝術而藝術」的「純文學」觀念，以詮釋、批判中國古代文學。這全是新知識分子反儒家傳統之文化意識型態的投射，不合中國古代文學的「動態性歷史語境」。其實，中國古代士人階層的生活中，詩無所不在，乃是他們社會文化行為所使用既普遍又特殊的言語形式，可稱它為「詩用」；因此本人從而系統化的建構「中國詩用學」。本論文題為〈中國古代「詩用」語境中的「多重性讀者」〉，就是在這一「詩用學」的理論基礎上，深入而全面探討中國古代在「詩用」語境中的「多重性讀者」，以及由此所獲致的文本「意義詮釋」，尤其「作者本意」之詮釋如何可能?更是重要問題。這個論點可以對顯現當代很多學者詮釋古代詩歌，由於缺乏「動態性歷史語境」的觀念，往往將文本從此一語境抽離出來，只做靜態性的詮釋，故而誤以為當代讀者是唯一的讀者，完全不了解在漫長的文本傳播過程中，實歷經多重性的讀者；因此，文本意義的詮釋也被現當代學者所簡化了。  After the May-Fourth Movement, "art for art’s sake" was a "pure literature" concept popular among scholars who interpreted and criticized classic Chinese literature based on this idea. Such a phenomenon was purely an ideological projection of anti-Confucianism by the new intellects, which failed to comply with the "dynamic historical linguistic context" of ancient Chinese literature. In fact, poetry was ubiquitous in the daily life of ancient Chinese intellects. Poetry was the common but unique language form, dubbed as "the use of poetry" as used by literati in sociocultural settings. I, therefore, construct the "the use of Chinese poetry theory" systematically. It is on the basis of the "use of poetry" theory that " ’Readers of plural identifications’ in the linguistic context of ’the use of poetry’ " of the ancient Chinese discusses extensively and profoundly on the "readers of plural identifications" and the "interpretation of meanings" retrieved from the texts, particularly the possibility of the interpretation of the "author’s true intention," which is the most important issue. The viewpoint may manifest the simplified interpretation of meanings by contemporary scholars due to their lack of the concept of "dynamic historical linguistic context"; as a result, contemporary scholars tend to estrange the text from its linguistic context and make static interpretations, mistaking contemporary readers as the only readers. They fail to understand that during the long process of dissemination, the texts have experienced readers of plural identifications.

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Art, the Artist and Ethics in Wilde's Picture of Dorian Gray

European Journal of Interdisciplinary Studies ◽

10.26417/ejis.v3i4.p18-21 ◽

2017 ◽

Vol 3 (4) ◽

pp. 18

Author(s):

Zrinka Frleta

Keyword(s):

The Novel ◽

Work Of Art ◽

Picture Of Dorian Gray ◽

Dorian Gray ◽

Art For Art's Sake ◽

Art And Ethics

This paper examines ideological and philosophical premises of aestheticism, presented in Wilde's critical essays (The Critic as Artist and The Decay of Lying), and epigrams in the preface to the novel The Picture of Dorian Gray, which both offer a philosophical context to the novel. Aestheticism emphasized that art can not be subordinated to moral, social, religious and didactic goals, because its ultimate goal is art itself, l'art pour l'art (art for art's sake). „Art never expresses anything but itself.“ „All bad art comes from returning to Life and Nature, and elevating them into ideals.“ „Life imitates Art far more than Art imitates Life.“ „Lying, the telling of beautiful untrue things, is the proper aim of Art.“ (Wilde, 1891). The relations between art and reality (concealment of reality) and art and ethics (an ethical function of art) have been explored through the interaction of the characters of Basil Hallward and Sibyl Vane with Dorian Gray. The paper also examines the role of the artist, his morality in the process of creating and experiencing the work, and the influence of the work of art on the artist himself/herself.

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Art for Art's Sake?

10.1787/9789264180789-en ◽

2013 ◽

Cited By ~ 85

Author(s):

Ellen Winner ◽

Thalia R. Goldstein ◽

Stéphan Vincent-Lancrin

Keyword(s):

Art For Art's Sake

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The concept «reality» in John Berger’s essay about Vincent Van Gogh as an instrument of fine artworks interpretation

Vìsnik Marìupolʹsʹkogo deržavnogo unìversitetu. Serìâ: Fìlologìâ ◽

10.34079/2226-3055-2019-12-21-141-147 ◽

2019 ◽

Vol 12 (21) ◽

pp. 141-147

Author(s):

Tetyana Lunyova ◽

Keyword(s):

Cognitive Linguistics ◽

Conceptual Metaphor ◽

Critical Discussion ◽

Cognitive Mechanisms ◽

Vincent Van Gogh ◽

The Third ◽

Artistic Representation ◽

The World ◽

Art For Art's Sake ◽

World Image

The article investigates the interpretative function of the concept REALITY in John Berger’s essay about Vincent van Gogh’s art by applying the methodology of cognitive linguistics. Following Nikolay N. Boldyrev, the interpretative function of the language is considered in the article as the third main linguistic function. The theoretical and methodological foundations of the study are further developed with the idea, which is expressed by several researchers (V. V. Feshchenko, Ye. A. Yelina, U. A. Zharkova), that discourse about art performs an interpretative role. The aim of the study is to reveal the linguo-cognitive mechanisms that enable the concept REALITY to operate as a means of interpretation of van Gogh’s art in Berger’s essay. The research has demonstrated that before the concept REALITY is applied to the analysis of van Gogh’s paintings and drawings, this concept is explicitly interpreted in the essay. The following linguo-cognitive mechanisms are employed to make the content of the concept REALITY clear to the reader: actualization of the commonly known sense «reality is opposed to imagination», critical discussion of this sense, introduction of the conceptual metaphor REALITY IS THE OBJECT THAT SHOULD BE SALVAGED, and actualization of the selected fragments of the philosophical world image as well as scholarly world image, especially the conception of art for art’s sake and the conceptual metaphor REALITY IS SOMETHING THAT LIES BEHIND THE SCREEN CREATED BY THE CULTURE. Thus, having been thoroughly interpreted in the essay, the concept REALITY is used as an instrument of the interpretation of van Gogh’s artistic principles and artworks. The following linguo-cognitive mechanisms support the concept REALITY in its interpretative function: applying the conceptual metaphor REALITY IS SOMETHING THAT LIES BEHIND THE SCREEN CREATED BY THE CULTURE to read van Gogh’s letters, using the conceptual metaphor REALITY IS THE OBJECT THAT SHOULD BE SALVAGED to analyse the facts from the painter’s life, introducing the conceptual metaphor REALITY IS THE CONSUMING ITSELF PHOENIX, actualizing of the concepts WORK and PRODUCTION as the key concepts in the artist’s world image, utilizing the concepts WORK and PRODUCTION to interpret several of van Gogh’s paintings, applying the actualized conception of art for art’s sake to reveal van Gogh’s artistic principles, constructing the conceptual metaphors VAN GOGH’S ART IS APPROACHING THE WORLD and VAN GOGH’S ARTISTIC REPRESENTATION OF REALITY IS DISSOLVING IN REALITY, and constructing the conceptual metaphor VAN GOGH’S PAINTINGS ARE LASERS.

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