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 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.

Russian documentary at the turn of the 21st century

2019 ◽  
Vol 11 (2) ◽  
pp. 21-32
Author(s):  
Galina S. Prozhiko
Keyword(s):  
21St Century ◽  
Documentary Film ◽  
Human Existence ◽  
Film Production ◽  
Human Beings ◽  
Psychological Reality ◽  
Human Material ◽  
The Aesthetic ◽  
The Relationship

The essay analyzes creative problems of the screen language of Russian documentaries at the turn of the 21st century in the context of the changed system of film production and promotion, as well as the changed paradigm of relations between the author and the hero and the evolution of the expressive methods of the documentary film which took place in that period. The essay reflects on the problems of the development of Russian documentaries at a crucial time when the issues of the survival of the documentary, so acute in the 1990s, have been overcome and are now bringing to the fore creative searches exploring essential contemporary phenomena. The author sees these innovations in the new concept of the documentary hero and in the formation of other authorial tasks and techniques aimed at capturing the uniqueness of the philosophy of human existence in the circumstances of a new social and psychological reality. Analysis of such films as Passengers of the Last Century, Solzhenitsyn. Life Is Not a Lie, Starling, David, Sorry for Living, Just Life, Live and Rejoice and others reveals the problems of the homo historicus, the relationship between the author and the hero, the new interrelationship between the ethical and the aesthetic, and the specifics of a human beings self-realization in a dialogue with the author. At the same time, the essay emphasizes the continuity of the creative searches by documentary filmmakers of different generations in mastering the "human material" of the new reality.

Performative Change

2020 ◽  
Author(s):  
Thomas Duschlbauer
Keyword(s):  
Ludwig Wittgenstein ◽  
Paradigm Shift ◽  
The Other ◽  
Language Games ◽  
Human Beings ◽  
Organisational Theory ◽  
Other Hand ◽  
Recent Developments ◽  
The Relationship ◽  
The Ideal

Due to the phenomena of digitalisation, a new inventory regarding fundamental questions of organisation and communication has taken place, which has ultimately led to a plea for a paradigm shift. For if one follows recent developments in organisational theory and rethinks it radically, the relationship between the means and the purpose—that is, between production and the product and between creation and the artefact—is also reversed. With that relationship seen in this manner, it is not necessarily the organisation and socialisation of human beings that enables them to create artefacts, but it is rather the artefact that may serve to bring people together, enable them to acquire new skills and knowledge, and finally bring organisation to the level that we are now familiar with. Transferred to communication, this would also call into question the ideal of a consensus and, on the other hand, give more prominence to the idea of language games—as first formulated by Ludwig Wittgenstein.

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.

Swami Vivekananda Teaching using Tradition of Valuing the Early years of the Child’s life, and a Rich Heritage of Practices for Stimulating Development and Inculcating “Sanskaras” or basis Values and Social Skills in Children in Icds in India

2018 ◽  
Vol 3 (2) ◽  
Keyword(s):  
Human Life ◽  
Great Influence ◽  
Social Philosophy ◽  
Early Years ◽  
The Political ◽  
Human Beings ◽  
Practical Realization ◽  
Life Activity ◽  
Philosophical Consideration ◽  
Economic Philosophy

Philosophy is a search for a general understanding of values and reality by chiefly speculative rather than observational means. It signifies a natural and necessary urge in human beings to know themselves and the world in which they live and move and have their being. Hindu philosophy is intensely spiritual and has always emphasized the need for practical realization of Truth. Philosophy is a comprehensive system of ideas about human nature and the nature of the reality we live in. It is a guide for living, because the issues it addresses are basic and pervasive, determining the course we take in life and how we treat other people. Hence we can say that all the aspects of human life are influenced and governed by the philosophical consideration. As a field of study philosophy is one of the oldest disciplines. It is considered as a mother of all the sciences. In fact it is at the root of all knowledge. Education has also drawn its material from different philosophical bases. Education, like philosophy is also closely related to human life. Therefore, being an important life activity education is also greatly influenced by philosophy. Various fields of philosophy like the political philosophy, social philosophy and economic philosophy have great influence on the various aspects of education like educational procedures, processes, policies, planning and its implementation, from both the theoretical and practical aspects. In order to understand the concept of Philosophy of education it is necessary to first understand the meaning of the two terms; Philosophy and Education.

The Germans and their Jewish Neighbors on the Ukrainian Areas at the Second Half of the 19th Century

2020 ◽  
pp. 17-27
Author(s):  
D. Meshkov
Keyword(s):  
Everyday Life ◽  
19Th Century ◽  
Russian Empire ◽  
Early Years ◽  
Criminal Cases ◽  
South West ◽  
Multiethnic Population ◽  
The Russian Empire ◽  
The 19Th Century ◽  
The Relationship

The article presents some of the author’s research results that has got while elaboration of the theme “Everyday life in the mirror of conflicts: Germans and their neighbors on the Southern and South-West periphery of the Russian Empire 1861–1914”. The relationship between Germans and Jews is studied in the context of the growing confrontation in Southern cities that resulted in a wave of pogroms. Sources are information provided by the police and court archival funds. The German colonists Ludwig Koenig and Alexandra Kirchner (the resident of Odessa) were involved into Odessa pogrom (1871), in particular. While Koenig with other rioters was arrested by the police, Kirchner led a crowd of rioters to the shop of her Jewish neighbor, whom she had a conflict with. The second part of the article is devoted to the analyses of unty-Jewish violence causes and history in Ak-Kerman at the second half of the 19th and early years of 20th centuries. Akkerman was one of the southern Bessarabia cities, where multiethnic population, including the Jews, grew rapidly. It was one of the reasons of the pogroms in 1865 and 1905. The author uses criminal cases` papers to analyze the reasons of the Germans participation in the civilian squads that had been organized to protect the population and their property in Ackerman and Shabo in 1905.

KONSTRUKSI ISLAM DALAM KEKUASAAN NEGARA

1970 ◽  
Vol 6 (2) ◽  
Author(s):  
Nurul Aini Musyarofah
Keyword(s):  
Islamic Law ◽  
Social Condition ◽  
The Other ◽  
Good Society ◽  
Ideal Form ◽  
Other Hand ◽  
Islamic Politics ◽  
The Relationship ◽  
The Ideal

The relationship between Islam and state raises a controversy that includes two main groups;formalists and substantialists. Both of them intend to achieve a good social condition which is inaccordance with Islamic politics. The ideal form of good society to be achieved is principallydescribed in the main source of Islamic law, Al Qur’an and As Sunnah, as follows. A form of goodsociety should supprot equality and justice, egalitarianism, and democracy in its social community.The next problem is what the needed methods and instruments to achieve the ideal Islamic politicsare. In this case, the debate on the formalization and substance of Islamic teaching is related to therunning formal political institution.Each group claims itself to be the most representative to the ideal Islam that often leads to anescalating conflict. On the other hand thr arguments of both groups does not reach the wholeMuslims. As a result, the discourse of Islam and state seems to be elitist and political. As a result,Both groups suspect each other each other and try to utilize the controversy on the relationshipbetween Islam and state to get their own benefit which has no relation with the actualization ofIslamic teaching.

MAKOTO AS THE INITIAL PRINCIPLE OF THE ETHICAL AND AESTHETIC BELIEFS OF THE JAPANESE

2020 ◽  
pp. 126-138
Author(s):  
M. P. Gerasimova ◽  
Keyword(s):  
Moral Obligation ◽  
Driving Factors ◽  
Chinese Characters ◽  
Spiritual Values ◽  
Conceptual Apparatus ◽  
Hieroglyphic Writing ◽  
The Aesthetic ◽  
The Relationship ◽  
Aesthetic Ideal

Makoto (まこと, lit.: truth, genuineness, reality, “realness”) is an element of the conceptual apparatus of the traditional worldview of the Japanese. In Japan, it is generally accepted that makoto is a philosophical and aesthetic concept that underlies Japanese spirituality, involving among other principles understanding of the order and laws of the truly existing Universum (shinrabansho̅; 森羅万象) and the universal interconnectedness of things (bambutsu ittai; 万物一体), the desire to understand the true essence of everything that person meets in life, and, unlike other spiritual values, is purely Shinto in origin. After getting acquainted with the Chinese hieroglyphic writing three Chinese characters were borrowed for the word makoto. Each of these characters means truthfulness, genuineness, but has its own distinctive nuances: 真 means truth, authenticity, truthfulness, 実 signifies truth, reality, essence, content, and 誠 again means truthfulness, sincerity, and truth. Makoto (“true words”) and makoto (“true deeds”) imply the highest degree of sincerity of words and honesty, correctness of thoughts, actions, and deeds. The relationship “true words — true deeds” can be seen as one of the driving factors of moral obligation, prompting everyone in their field, as well as in relations between people, to strive to be real. This desire contributed to the formation of a heightened sense of duty and responsibility among the Japanese, which became a hallmark of their character. However, makoto has not only ethical connotation, but aesthetic one as well, and can be considered as the basis on which were formed the concept of mono no aware (もののあ われ、 物の哀れ) and the aesthetic ideal of the same name, that became the first link in the chain of japanese perceptions of beauty. Each link in this chain is an expression of a new facet of makoto, which was revealed as a result of certain elements of the worldview that came to the fore in the historical era.

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