scholarly journals Facebook for Facebook's Sake

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.

Saintsbury and Art for Art's Sake in England

PMLA ◽  
1944 ◽  
Vol 59 (1) ◽  
pp. 243-260 ◽  
Author(s):  
Dorothy Richardson
Keyword(s):  
Aesthetic Movement ◽  
John Crowe Ransom ◽  
The Aesthetic ◽  
Art For Art's Sake

The aesthetic movement in England (1870–1900) now seems remote, yet since no history repeats itself more faithfully than that of criticism, the historian of ideas may well inquire what relation the Art for Art's Sake movement has to the mental, moral, and social confusion of today, especially when one hears a reviewer warning us that John Crowe Ransom, like other formal aesthetic critics of today, “often sounds like an aesthete of the 'nineties.“

Beardsley, Aubrey Vincent (1872–1898)

2018 ◽  
Author(s):  
Michael Johnson
Keyword(s):  
Art Nouveau ◽  
Aesthetic Movement ◽  
Progressive Group ◽  
Victorian Period ◽  
The Aesthetic ◽  
Art For Art's Sake

Aubrey Beardsley was an English illustrator of the late Victorian period. His fluid, sinuous illustrations were influenced by Japanese prints and by the curvilinear Art Nouveau style. Beardsley was a prominent member of the Aesthetic Movement, a progressive group of artists and writers who pursued the cause of art for art’s sake and rejected the repressive constraints of Victorian society.

The Artist as a Force for Change in W. B. Yeats

1978 ◽  
Vol 10 (1) ◽  
pp. 76-90
Author(s):  
Daniel S. Lenoski
Keyword(s):  
Fifth Century ◽  
Early Years ◽  
Human Beings ◽  
Aesthetic Movement ◽  
The Aesthetic ◽  
Art For Art's Sake ◽  
Race And Religion ◽  
The Relationship ◽  
Literary Experience ◽  
The Ideal

W. B. Yeats has often been accused of espousing the ideal of l'art pour l'art. For example in 1898 in an essay entitled “What Should be the Subjects of a National Drama” John Eglinton expressed fears that Yeats' interest in developing ideals of literary experience in Ireland would be corrupted by his association with the aesthetic movement. A.E., though he had defended Yeats earlier, soon found himself in agreement with Eglinton. Yeats, of course, publicly renounced any intimate intercourse with the principle of art for art's sake. On the other hand, he agreed with aesthetes such as Hallam, Wilde, and Pater when they cautioned the artist against contamination by the mores and concerns of society. He also knew that the artist's ideal of beauty affected his life in a very profound way and was therefore capable of having a similar effect upon the lives of other human be-beings. I should like, in this paper, to look at Yeats' ideas about the relationship between the artist and other human beings.To Yeats the artist and his art bore a crucial relationship to society. Certainly, Yeats did feel that society was a corrupting influence. It was certainly necessary for the artist to be in society but not of it, and to fly by the nets of family, race, and religion. Nevertheless, Yeats felt that such a separation was not ideal, neither was it the fault of the true artist. Ideally, the artist and his society should share a unity of culture and a unity of being. Even during the early years of his career, he thought that art should arise spontaneously out of society as the expression of soul, just has it had in the Renaissance, in the fifth century B.C., in the Byzantine civilization, and around the turf fires in the west of Ireland.

The Artist and the Man in “The Author of Beltraffio”

PMLA ◽  
1968 ◽  
Vol 83 (1) ◽  
pp. 102-108 ◽  
Author(s):  
Viola Hopkins Winner
Keyword(s):  
Personal Life ◽  
Aesthetic Movement ◽  
Realistic Theory ◽  
Psychological Conflict ◽  
The Aesthetic ◽  
Treat All ◽  
Child's Death ◽  
Art For Art's Sake ◽  
Aesthetic Ideas ◽  
Critical Writings

In the light of James's contemporary critical writings and of the precepts of the aesthetic movement, Mark Ambient emerges not as a Wildean aesthete but rather as James's spokesman on the art of fiction. In espousing a realistic theory of art, in stressing the artist's right to treat all of life without puritanical restrictions, and in his passionate concern for formal perfection, Ambient voices the ideals of the serious, literary side of the aesthetic movement. His sister represents its excesses and affectations; his wife, the Puritan- Philistine hatred and fear of art; and the narrator, the disciple who, until enlightened through his encounter with the artist, had naively subscribed to the art for art's sake formula. Though Ambient is artistically daring, in his personal life he is respectable and morally responsible. However, the fusion in the story between the aesthetic ideas and the moral, psychological conflict is imperfect. Though there is a suggestion that Ambient's imaginative openness to life has led to a culpable passivity in his role as husband and father, his responsibility for the child's death is inadequately related to his portrayal as an artist and the passages expounding his views on art seem incompletely assimilated to the action.

JAPANESE AESTHETICS IN AMERICAN SILVER MASTERPIECES

2021 ◽  
Vol 1 (2) ◽  
pp. 79-88
Author(s):  
I. A. Peremislov ◽  
◽  
L. G. Peremislov ◽  
Keyword(s):  
The United States ◽  
Decorative Arts ◽  
Japanese Culture ◽  
Aesthetic Movement ◽  
Xixth Century ◽  
Man And Nature ◽  
The Usa ◽  
The Aesthetic ◽  
Unique Style ◽  
Jewelry Industry

Japanese culture with its unique monuments of architecture, sculpture, painting, small forms, decorative and applied arts, occupies a special place in the development of world art. Influenced by China, Japanese masters created their own unique style based on the aesthetics of contemplation and spiritual harmony of man and nature. In the context of "Japan's inspiration" the work refers to the influence of the art of the Land of the Rising Sun on American decorative arts and, in particular, on the silver jewelry industry in trends of a new aesthetic direction of the last third of the XIXth century, the "Aesthetic movement". The article provides a brief overview of the history of the emergence and development of decorative silver art in the United States. The important centers of silversmithing in the USA and the most important American manufacturers of the XIXth century are described in more detail. The article also touches on the influence of Japanese aesthetic ideas on European creative groups and on the formation of innovative ideas in European decorative arts. At the same time, an attempt is made to trace the origin, development trends, evolution and variations of "Japanesque" style in American decorative and applied art, in particular, in the works of Edward Moore and Charles Osborne (Tiffany & Co jewelry multinational company).

Profaning the Sacred: The Unorthodox Financial Activities of Catholic Clerics During the Napoleonic Period, 1796–1814

2021 ◽  
Vol 51 (4) ◽  
pp. 523-542
Author(s):  
Christopher Korten
Keyword(s):  
Precious Metals ◽  
Religious Communities ◽  
Critical Periods ◽  
For Profit ◽  
Sacred And Profane ◽  
The Rich ◽  
The Times ◽  
First Time ◽  
Insight Into

This article reveals for the first time how Catholic clerics survived financially during the Napoleonic period in Italy (1796–1814). Despite the very rich, 200-year historiography on one of the Church's most critical periods, there is almost nothing on how religious clerics coped at this time. Their institutions had been despoiled by the French, often in collaboration with locals, negating traditional forms of clerical income, such as alms or rental income from non-ecclesiastical properties. This caused clerics to search out unorthodox – at times, non-canonical – ways of eking out a living, either for themselves, their religious communities or both, as such distinctions were often blurred. Masses were monetized and traded; ecclesiastical paraphernalia composed of precious metals were smelted and commodified, and relics were sold for profit. The uncovering of these controversial acts by men who in normal times were upstanding reveals the desperation of the times and provides insight into the rich discussion on determining the degrees of separation (and overlap) between the sacred and profane.

scholarly journals Is There a Transmedial Dispositif? Aesthetic Epistemes and the Question of Disciplinarity

2012 ◽  
Vol 23 (42) ◽  
Author(s):  
Asbjørn Grønstad
Keyword(s):  
Central Question ◽  
The Aesthetic ◽  
Insight Into

In this article, I argue that one has yet to acknowledge the extent to which the notion of the aesthetic and its content is institutionally negotiated. A central question that we ought to bear in mind is: does the organization of “aesthetic knowledge” that the traditional disciplines facilitate promote or prevent insight into meta-aesthetic and transaesthetic concerns?

scholarly journals The Aesthetic Interior as Incubator of Health and Well-Being

2017 ◽  
Vol 60 ◽  
pp. 277-301
Author(s):  
Richard W. Hayes
Keyword(s):  
Interior Design ◽  
Well Being ◽  
Walter Pater ◽  
Theophile Gautier ◽  
Aesthetic Movement ◽  
Domestic Interiors ◽  
Victorian Britain ◽  
Aesthetic Autonomy ◽  
The Aesthetic ◽  
Dress Reform

ABSTRACTDomestic interiors created during the Aesthetic Movement have often been interpreted in terms of the ideas of aesthetic autonomy associated with Théophile Gautier, Walter Pater and Joris-Karl Huysmans. This essay takes a different tack by analysing the aesthetic interior in light of concerns with health reform. It focuses on the writings and designs of architect E.W. Godwin (1833–86) who pursued interior design as part of an effort to foster a healthy life, one that consisted of hygiene, relief from urban stress, and an enlargement of the aesthetic responsiveness of his clients. He conceived of spare and calm interiors that were healthful alternatives to dust-infested Victorian clutter while concomitantly offering psychological respite from the ‘high-pressure, nervous times’ endemic to metropolitan life. This goal accords with Godwin's related interest in dress reform, a preoccupation that led to his participation in the Health Exhibition of 1884. By unpacking Godwin's specific contribution to the sanitary discussions that prevailed in Victorian Britain, I align the aesthetic interior with the central imperative of sanitary reform: promoting health through ameliorating Britain's urban environment.

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