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.

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.

scholarly journals How to Overcome the Crisis of Symbolism with the Help of ‘Populist Ideas’? V.F. Chodasevič’s Critical Essays of the Early 1910s and the Article Nadson

2021 ◽  
pp. 67-85
Author(s):  
Daria Alekseevna Lugovskaia
Keyword(s):  
Similar Pattern ◽  
Aesthetic Movement ◽  
Literary Context ◽  
Political Views ◽  
Radical Critique ◽  
Civic Virtues ◽  
The Aesthetic ◽  
Social Views ◽  
Aesthetic Ideas

This paper analyses V.F. Chodasevič’s early 1910s critical essays and his article Nadson, read in 1912 in the Literary and Artistic Club. Although the article did not play an important role in the critic’s work, because it was only during the exile period that Chodasevič criticized Nadson’s poetry, yet it represents the first example of Chodasevič’s appeal to the aesthetic model proposed by the utilitarian critics and the ideas of patriotism and civic virtues (graždanstvennost’), which were important in his poetry and later critic works. Chodasevič delivered a speech at the Club’s anniversary meeting which conveys his views on how to possibly overcome the crisis of symbolism. According to the poet, literature should restore and fully embody the ideals of the early Aesthetic Movement. The aim of the present research is to analyse the concepts, aesthetic ideas, and quotations used by Chodasevič in Nadson, and ascertain which sources influenced the author and how they relate to the literary context of the time (early 1910s). I argue that Chodasevič’s text echoes, to some extent, symbolist aesthetics while also reflecting elements of radical critique of early Aestheticism. Chodasevič only reproduces politically radical intentions that were present in the texts written by symbolists after 1907. Chodasevič’s article and his social views correspond to the evolution of Blok’s thought during the so-called ‘synthesis’ period; he, in fact, employs Blok’s ideas and introduces indirect quotations from his essays. Chodasevič’s speech at the Literary and Artistic Club was received as advancing principles which were seen too eclectic and old-fashioned, and which, most importantly, did not fit into the established literary context. Notwithstanding Chodasevič’s strategy of turning to Belinskij’s and Pisarev’s literary views was unsuccessful, since his intentions were misunderstood by the audience, he followed a similar pattern in several essays from the early 1910s. Chodasevič used symbolist aesthetic ideas in a number of texts written at the end of the exile period, where it can be seen that his approach and social and political views changed.

The Power of Everyday Aesthetics in World-Making

2017 ◽  
Author(s):  
Yuriko Saito
Keyword(s):  
Quality Of Life ◽  
Social Responsibility ◽  
Interpersonal Relationships ◽  
Daily Life ◽  
Personal Life ◽  
Moral Virtues ◽  
Everyday Aesthetics ◽  
The World ◽  
The Aesthetic

This chapter argues for the importance of cultivating aesthetic literacy and vigilance, as well as practicing aesthetic expressions of moral virtues. In light of the considerable power of the aesthetic to affect, sometimes determine, people’s choices, decisions, and actions in daily life, everyday aesthetics discourse has a social responsibility to guide its power toward enriching personal life, facilitating respectful and satisfying interpersonal relationships, creating a civil and humane society, and ensuring the sustainable future. As an aesthetics discourse, its distinct domain unencumbered by these life concerns needs to be protected. At the same time, denying or ignoring the connection with them decontextualizes and marginalizes aesthetics. Aesthetics is an indispensable instrument for assessing and improving the quality of life and the state of the world, and it behooves everyday aesthetics discourse to reclaim its rightful place and to actively engage with the world-making project.

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).

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