The Significance of Lamia

PMLA ◽  
1935 ◽  
Vol 50 (2) ◽  
pp. 550-561
Author(s):  
John Hawley Roberts
Keyword(s):  
The Self ◽  
Creative Imagination ◽  
Creative Genius ◽  
The Aesthetic

In an article Poetry of Sensation or of Thought? I attempted to show how Endymion and Hyperion: A Fragment are related to the æsthetic problem that Keats first analyzed in Sleep and Poetry. At that time I suggested that the Odes and Lamia, following as they do the abandoning of Hyperion: A Fragment, are the outpourings of a mind released at last from the self-imposed duty of writing a poetry of humanitarian philosophy and allowed to indulge its creative genius for the poetry of sensation. It was my contention (and still is) that Keats had been trying to force himself, like his own Apollo, to accept “Knowledge enormous” as Beauty—knowledge “of the agony and strife of human hearts”; whereas at least one half of his being was affirming passionately that Feeling, particularly that which passes through the refinery of the creative imagination, is Beauty. It was his acceptance of this side of his nature that produced most of the poems written in the spring of 1819. But during the summer of 1819 Keats plunged once more into the old conflict. It will be the purpose of this paper to show how Lamia and The Fall of Hyperion are related to it.

‘Because I’m a wild animal’: Nature Versus Nurture in Wes Anderson’s Fantastic Mr. Fox

2019 ◽  
pp. 121-143
Author(s):  
Michelle Devereaux
Keyword(s):  
Human Nature ◽  
Cultural History ◽  
Henry David Thoreau ◽  
Natural World ◽  
Wild Animal ◽  
The Self ◽  
Creative Genius ◽  
Children's Book ◽  
Nature Versus Nurture ◽  
The Aesthetic

This chapter analyses the ideological framework of Wes Anderson’s Fantastic Mr. Fox, an adaptation of Roald Dahl’s beloved children’s book. This film addresses various Romantic conceptions of childhood, personal and cultural history, and the natural world in relation to the self and subjectivity. In his reimagining of Dahl’s story, Anderson exhibits a disdain for the mechanization of the societal landscape and the beings inhabiting it, similar to a course charted by Henry David Thoreau in Walden, while also optimistically suggesting that animal/human ‘nature’ can still survive through aesthetic and ideological compromise and creative genius. Anderson creates a brand of ideological pastoralism to match the aesthetic pastoralism/picturesque of many of his film worlds. While the anxiety portrayed in his earlier films remains, it is somewhat defused by an anarchic yet collaborative spirit.

XL—Troilus and Criseyde, a Study in Chaucer's Method of Narrative Construction

PMLA ◽  
1896 ◽  
Vol 11 (3) ◽  
pp. 307-322
Author(s):  
Thomas R. Price
Keyword(s):  
The Self ◽  
Human Vision ◽  
Narrative Construction ◽  
Troilus And Criseyde ◽  
Creative Genius ◽  
Classical Poetry ◽  
Self Knowledge ◽  
To Come ◽  
The Aesthetic ◽  
The Mind

It has been among the results of Dr. Lounsbury's noble work on Chaucer to make the mind of the poet for us, as never for any generation before us, discoverable in his poetry. Since that work appeared, each of Chaucer's poems, read now through the light of that illumination, seems to kindle into fresh meaning in its revealed association with the mind and purpose of the writer. And from the union of all the poems into one image, there seems to come a somewhat clear revelation of the poet's range of human vision and of his method of poetry. This revelation reaches, I think, its highest point of truth in that eighth chapter which forms the crown of Dr. Lounsbury's book, the chapter on Chaucer as Literary Artist. “About Chaucer's method of work,” he says, “there is nothing of that blind creative inspiration, which, acting without reflection, characterizes, or is supposed to characterize, the poets of the earliest periods. He has all the self-consciousness of the creative genius that has mastered his art” (Lounsbury, Studies in Chaucer, III, 324). “He knows precisely what he is aiming to accomplish.” Here is, I think, the true word spoken about Chaucer's mental character, about his poetical method, and, by inference, about his rank and special place among the classical poets. For the essence of classical poetry is self-knowledge and self-restraint, the artistic calculation of proportions, and the aesthetic calculation of effects. It is my purpose, therefore, to show in the Troilus and Criseyde, which I take to be Chaucer's most perfect poem, the evidence of Dr. Lounsbury's summary of Chaucer's poetical character, the evidence of deliberate and careful calculation, of cool, self-conscious, almost infallible skill.

scholarly journals Metal Oxide-Related Dendritic Structures: Self-Assembly and Applications for Sensor, Catalysis, Energy Conversion and Beyond

Nanomaterials ◽  
2021 ◽  
Vol 11 (7) ◽  
pp. 1686
Author(s):  
Ruohong Sui ◽  
Paul A. Charpentier ◽  
Robert A. Marriott
Keyword(s):  
Metal Oxide ◽  
Energy Conversion ◽  
Self Assembly ◽  
Hierarchical Structures ◽  
The Self ◽  
Assembly Process ◽  
Electronic Noses ◽  
Dendritic Nanostructures ◽  
Energy Conversion And Storage ◽  
The Aesthetic

In the past two decades, we have learned a great deal about self-assembly of dendritic metal oxide structures, partially inspired by the nanostructures mimicking the aesthetic hierarchical structures of ferns and corals. The self-assembly process involves either anisotropic polycondensation or molecular recognition mechanisms. The major driving force for research in this field is due to the wide variety of applications in addition to the unique structures and properties of these dendritic nanostructures. Our purpose of this minireview is twofold: (1) to showcase what we have learned so far about how the self-assembly process occurs; and (2) to encourage people to use this type of material for drug delivery, renewable energy conversion and storage, biomaterials, and electronic noses.

scholarly journals California and Irony in Mad Men

2012 ◽  
Vol 18 (2) ◽  
Author(s):  
Rodney Taveira
Keyword(s):  
Visual Rhetoric ◽  
Soap Opera ◽  
The Self ◽  
Television Series ◽  
The Past ◽  
Mad Men ◽  
Intimate Relations ◽  
The Aesthetic

The combination of melodramatic and art cinematic techniques and influences in AMC’s television series Mad Men (2007¬–) reveals how a melodramatic televisuality can image novel modes of social and intimate relations and an alternative to the archetypal American narrative of the self-made man. Set in 1960s’ America, the series uses a contemporaneous and cosmopolitan California to triangulate the formal and narrative insistence of the past on the present. This triangulation is played out by Don Draper’s relations with his family, women, and his former identities and by the representation of homosexuality throughout the series. The application of Lee Edelman’s concept of “sinthomosexuality” and Richard Rorty’s “liberal ironist” reveal a queer, visual rhetoric to the show’s narrative and formal structures, forming a queer irony that allows the show to straddle the aesthetic extremes of “quality TV” (Jane Feuer) and soap opera, which, in turn, queers the exemplary American heterosexuality of Don Draper.

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.

Vicarious gestures of participation

2018 ◽  
pp. 99-114
Author(s):  
Sruti Bala
Keyword(s):  
The Self ◽  
The Social ◽  
Collective Processes ◽  
The Aesthetic ◽  
Performance Projects ◽  
As If

Chapter IV follows two conceptually inspired performance projects by the Amsterdam-based Lebanese artist Lina Issa, Where We Are Not (2009) and If I Could Take Your Place? (2010 – ongoing). These works explore the question of what it means to take someone else’s place, to participate in someone’s life by doing something on their behalf, in the mode of ‘as if’. By analysing how this vicarious participation unfolds, the chapter foregrounds the spectatorial parameters of participation. The theorization of participation calls for an interweaving of the aesthetic with the social or political. Issa’s playful performances of standing in for others point to larger questions of what it means to participate in collective processes of imagining selfhood. The chapter suggests that the solidarity in the gesture of vicarious participation lies not so much in recognizing the so-called ‘other’ or in celebrating differences, but rather in being willing to dispossess oneself of the fixity of one’s ideas of the self, a potentially transformative gesture.

The Kantian Sublime and Greatness of Mind

2019 ◽  
pp. 197-214
Author(s):  
Emily Brady
Keyword(s):  
Virtue Ethics ◽  
Natural World ◽  
The Self ◽  
Moral Thought ◽  
Human Exceptionalism ◽  
The Sublime ◽  
The Aesthetic ◽  
Other Regarding

This chapter explores Kant’s discussion of the sublime in the Critique of the Power of Judgment (1790), in which the aesthetic subject becomes aware of a certain kind of greatness of mind. Kant’s scheme emphasizes respect for the moral capacities of the self as part of humanity, as well as admiration for greatness in the natural world. More broadly, his views show how ideas about greatness—if not magnanimity in the narrower sense—flow into philosophical approaches that lie beyond virtue ethics, moral thought, and human exceptionalism. The chapter argues that a comparative relation between self and sublime phenomena is central to understanding greatness of mind. Drawing out this comparative relation supports a deeper understanding of how both self-regarding and other-regarding attitudes feature within sublime experience, and just how this greatness might express itself within an aesthetic context.

Constructing the digital self in the Global South

2020 ◽  
Vol 9 (1) ◽  
pp. 1-13 ◽  
Author(s):  
Baird Campbell ◽  
Nell Haynes
Keyword(s):  
Special Section ◽  
Global South ◽  
Gender And Sexuality ◽  
The Self ◽  
Discursive Practices ◽  
Wide Range ◽  
Online Spaces ◽  
Global North ◽  
The Aesthetic ◽  
Self Formation

Abstract The papers in this special section examine how people in various contexts of the Global South “construct the self” in online spaces. With examples from Chile, Senegal, and Trinidad, the papers show the wide range of discursive practices, encompassing the textual and the aesthetic, which individuals use to enact gendered and sexual selves online. By privileging gender and sexuality as central components of selfhood, we draw from the longstanding attention paid to gender and sexuality in linguistic studies of identification (see Bucholtz & Hall 2004). In placing this concept within digital worlds, we pay attention to the ways in which daily life is now lived and experienced online. Authors in this issue think critically about practices of self-formation and the performance of gender and sexuality that differ from those that have normalized in the Global North, considering both revolutionary possibility, and re-entrenchment of constraint.

‘Salute to Radio’: The self-reflexive artistry of Betty Comden and Adolph Green in Fun with the Revuers

2020 ◽  
Vol 14 (2) ◽  
pp. 149-161 ◽  
Author(s):  
Sahoko Tsuji
Keyword(s):  
The Self ◽  
Linguistic Expression ◽  
Verbal Expression ◽  
Sound Recordings ◽  
Artistic Style ◽  
New Perspective ◽  
The Aesthetic

Betty Comden and Adolph Green are well-known librettists and lyricists of stage musicals and musical films; their artistic style and verbal expression are considered to bear urban witness to a period understanding of the 1940s and 1950s. Nonetheless, previous studies have scarcely investigated the aesthetic features of their dramaturgy, especially with regard to linguistic expression. This article focuses on the radio comedy Fun with the Revuers, for which they wrote scripts and lyrics. Through a close look at the scripts and sound recordings, it analyses the ‘interruptive sound and voice’ functions that construct the show, and examines how these satirize the conventions of the format, as well as the essential features of the medium. This article will offer a new perspective on the generational dynamics of Comden and Green’s artistry.

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