scholarly journals Poetizing Everyday Life in the Works by Wilhelm Genazino

2021 ◽  
pp. 108-125
Author(s):  
Svitlana Macenka
Keyword(s):  
Everyday Life ◽  
Close Reading ◽  
Cultural Significance ◽  
Everyday Objects ◽  
Underlying Principle ◽  
Inner World ◽  
The Subject ◽  
Narrative Skill ◽  
The Aesthetic ◽  
Everyday Reality

Increased interest in everyday life and routine explains a new and relevant perception of the creative agenda of contemporary German writer Wilhelm Genazino (1943-2018), known as “poetizing everyday life”. The article, thus, aims to offer a comprehensive view into the poetics of the German novelist to identify ways in which everyday life is poetized, which is an example of linguistic mastery, narrative skill, and philosophical generalization. A close reading method is used to analyze specific scenes from the novels (An Umbrella for One Day, Happiness in Unhappy Times, The Foolishness of Love, If We Were Animals), in which the characters actively practice the “extended gaze”, theoretically validated in W. Genazino’s essay, to reveal a system of special ties important to their inner world behind the routine situations and worn clothes. The writer believes that in such a way, characters experience an epiphany, which provokes further musing about art and the mystery of everyday life. In this connection, it is established that Genazino’s characters manage to avoid the negative influences of society by distancing from it via self-invented aesthetic processes. They are constantly searching for individual vision. It is also noted that the writer focuses on prolonged disappearance scenes, works with time accumulated in objects, and projects distancing from one’s own self to clothes. The extended gaze which the protagonists use to watch their own portrayals helps them overcome identity crisis and generate art, which promises salvation, through simple observance. It is concluded that W. Genazino talks about the aesthetic link between the subject and object perceived as individual “cultural significance”. It enables the protagonists to discard the routine and enter a space outside the limits they have themselves created. Everyday objects and familiar situations have the capacity to stimulate memories and boost creative perception. Their fleeting nature provides for compensatory narration, which means dropping the inessential and petty and is, consequently, perceived as a productive narration. Everyday reality emerges as something that may be perceived as visible existence, which upon some consideration may reveal unique dimensions and gain particular significance based on intermediary space between what is perceived by the eye and the invisible, actualized by the inner vision. Such reflexive vision transcends the limits of things, transforming them and constituting new reality. Such is the underlying principle that the writer used to recreate everyday life in his works.

The Royal Sign and Visual Literacy in Eighteenth-Century London

2016 ◽  
Vol 55 (1) ◽  
pp. 24-56 ◽  
Author(s):  
Stephanie Koscak
Keyword(s):  
Eighteenth Century ◽  
Visual Culture ◽  
Party Politics ◽  
Urban Spaces ◽  
Political Debate ◽  
Art And Politics ◽  
Everyday Objects ◽  
The Subject ◽  
Early Eighteenth Century ◽  
The Aesthetic

AbstractThis article argues that the commercialization of monarchical culture is more complex than existing scholarship suggests. It explores the aesthetic dimensions of regal culture produced outside of the traditionally defined sphere of art and politics by focusing on the variety of royal images and symbols depicted on hanging signs in eighteenth-century London. Despite the overwhelming presence of kings and queens on signboards, few study these as a form of regal visual culture or seriously question the ways in which these everyday objects affected representations of royalty beyond asserting an unproblematic process of declension. Indeed, even in the Restoration and early eighteenth century, monarchical signs were the subject of criticism and debate. This article explains why this became the case, arguing that signs were criticized not because they were trivial commercial objects that cheapened royal charisma, but because they were overloaded with political meaning. They emblematized the failures of representation in the age of print and party politics by depicting the monarchy—the traditional center of representative stability—in ways that troubled interpretation and defied attempts to control the royal image. Nevertheless, regal images and objects circulating in urban spaces comprised a meaningful political-visual language that challenges largely accepted arguments about the aesthetic inadequacy and cultural unimportance of early eighteenth-century monarchy. Signs were part of an urban, graphic public sphere, used as objects of political debate, historical commemoration, and civic instruction.

Imagining the King’s Death: Figurative Treason, Fantasies of Regicide, 1793–1796, John Barrell, Oxford: Oxford University Press, 2000

2013 ◽  
Vol 21 (1) ◽  
pp. 196-208
Author(s):  
Danny Hayward
Keyword(s):  
Social Relations ◽  
Review Essay ◽  
Samuel Taylor Coleridge ◽  
The Other ◽  
Close Reading ◽  
Second Line ◽  
Oxford University ◽  
The Subject ◽  
The Aesthetic ◽  
The One

Abstract This review essay has two divisions. In its first division it sets out a brief overview of recent Marxist research in the field of ‘Romanticism’, identifying two major lines of inquiry. On the one hand, the attempt to expand our sense of what might constitute a ruthless critique of social relations; on the other, an attempt to develop a materialist account of aesthetic disengagement. This first division concludes with an extended summary of John Barrell’s account of the treason trials of the middle 1790s, as set out in his book Imagining the King’s Death. It argues that Barrell’s book is the most significant recent work belonging to the second line of inquiry. In its second division the review responds to Barrell’s concluding discussion, in which the aesthetic consequences of the treason trials are established by means of a close reading of some of the poetry of Samuel Taylor Coleridge. The division finishes with some more general remarks on the subject of a materialist aesthetics of disengagement.

scholarly journals Estetiska dimensioner i svenskämnets kursplaner från Lgr 69 till Lgr 11

2019 ◽  
pp. 152-182
Author(s):  
Katharina Dahlbäck ◽  
Anna Lyngfelt
Keyword(s):  
Fine Arts ◽  
Written Language ◽  
Close Reading ◽  
Full Potential ◽  
Not Given ◽  
School Subject ◽  
Multilingual Students ◽  
Sign Systems ◽  
The Subject ◽  
The Aesthetic

The possibilities young pupils have to express themselves by using verbal, written and aesthetic languages depend on the multilingual discourse at school. In this presentation, multilingualism is defined as languages with roots in different nations and cultures, linked to aesthetic languages (music, fine arts, literature, theatre, film and dance). The term multimodality is used to highlight the variety of communicative forms used by people to utilize and develop knowledge (Selander & Kress, 2010). Although people increasingly communicate by the use of different modalities in today’s society (Kress, 2003), the written language holds a unique position in Swedish as a school subject, and the aesthetic means of expression could be said to be marginalized. The study presented is a qualitative, comparative study based on close reading of curricula for the subject Swedish from 1969 (Lgr 69) to 2011 (Lgr 11). The purpose is to make clear how aesthetic perspectives of Swedish appear in the different curricula, starting with the didactic questions on what students are expected to learn, how this is told to be executed and why. Among the analysed curricula, the curriculum from 1980 (Lgr 80) represents an empirical, multimodal, communicative, democratic and creative approach to the subject Swedish, where aesthetic forms of expressions are emphasized. The analysis shows that the importance of these communicative forms is reduced in later curricula, leaving the aesthetical aspects in the background. The possibilities represented by a variety of modalities and sign systems decrease. Instead a skill oriented school subject increase that weakens the bridges between different expressions of multilingual language. The discussion, has a focus on the problems that the curriculum implicates, when young, multilingual students are not given the possibilities to use their different sign systems and communicative capacity, and therefore not the possibility to learn with their full potential.

scholarly journals The menopause – a new chapter giving women a lust for life

2019 ◽  
pp. 126-132 ◽  
Author(s):  
O. V. Yakushevskaya
Keyword(s):  
Reproductive Function ◽  
Well Being ◽  
Mental Maturity ◽  
History Of ◽  
Inner World ◽  
Sense Of Satisfaction ◽  
The Aesthetic ◽  
The One ◽  
Everyday Reality

Many women equate the word menopause primarily with decline of life. On the one hand, the aesthetic component of the delicate age makes negative contributions to the dissatisfaction with this state; on the other hand, the growing pool of somatic health problems does not improve the quality of life in the best way. The woman’s path of life is unique and consists of chapters of beginnings and endings, losses and gains. A person, who develops harmoniously and consistently, reaches their creative climax by the age of 50. This is the age, when a person is able to plunge into their inner world more deeply, and the perception of what is happening in the outer world weakens. Mental maturity, accumulated experience, well established social connections allow a person to feel confidently in everyday reality. However, the physiological changes associated with menopause and the reproductive function failure affect the personal history of each of the fair sex in one way or another. Not a simple, but at the same time a very significant period begins after 50 years, when it is necessary to conquer new peaks and overcome new distances. Only a thoughtful and successful start of menopause can provide a sense of satisfaction and a cloudless horizon in physical well-being.

scholarly journals DEKONSTRUKSI BENDA SEHARIHARI DALAM KARYA SENI LUKIS

INVENSI ◽  
2018 ◽  
Vol 2 (2) ◽  
pp. 61-71
Author(s):  
Anton Budi Setyawan
Keyword(s):  
Everyday Life ◽  
Subject Matter ◽  
Still Life ◽  
Value System ◽  
Equipment Usage ◽  
Everyday Objects ◽  
A Value ◽  
Livelihood Systems ◽  
The Social ◽  
The Subject

Kebudayaan selain sebagai sebuah tatanan nilai, bahasa, ilmu pengetahuan, religi dan sistem mata pencaharian juga merangkum persoalan mekanisme penggunaan peralatan hidup berupa benda-benda yang dipergunakan dalam keseharian sekelompok masyarakat. Kebudayaan juga bicara soal benda/objek/artefak. Setiap kelompok dan lapisan masyarakat telah memahami bagaimana benda-benda tersebut bergerak pada wilayah fungsi dan simbol. Persoalan narasi dalam benda-benda keseharian akan menjadi menarik bila dijadikan sebagai subject matter penciptaan karya seni rupa. Sebagai sebuah upaya untuk melepaskan diri dari genre seni lukis still life yang melukis objek benda sehari-hari dengan pendekatan estetika formalistik, penulis kemudian memilih mendekonstruksi benda-benda keseharian tersebut dengan tujuan untuk memaknai ulang narasi kebendaan agar kontekstual dengansituasisosialdankulturalsaatini. Culture than as a value system, language, science, religion and livelihood systems also summarizes the problems of life equipment usage mechanism in the form of objects used in everyday life of a people. Culture is also about things/objects/artifacts. Each groups and walks of life have to understand how these objects moving in the area of the function and symbol. The issue of narration in everyday objects will become attractive when used as the subject matter of the creation of works of art. As an effort to break away from the genre of still life paintings, which is painted everyday objects with formalistic aesthetic approach, the authors then chose to deconstruct objects daily with the aim to redefine the narrative material to be contextual with the social and cultural situation today.

The Aesthetic versus the Political

2017 ◽  
Author(s):  
Weijie Song
Keyword(s):  
Cold War ◽  
Everyday Life ◽  
Urban Landscape ◽  
The Political ◽  
Modern Times ◽  
Everyday Objects ◽  
Material Basis ◽  
Industrial Civilization ◽  
The Aesthetic ◽  
The City

This chapter addresses how Lin Huiyin, a female poet and architect, carries out modernist, impressionist, and urbanist mappings of Beijing’s everyday objects, imperial relics, and socialist sites from the post-Warlord Era to the high Cold War years. In her literary writings of the 1930s and her failed project of urban planning of the socialist capital in the 1950s (against Maoist and Stalinist propaganda), Lin deliberately juxtaposes the pastoral and the counterpastoral, the threatening and disturbing images of modern industrial civilization and the lyrical and aesthetic items in everyday life. Imperial palaces and other grand buildings still dominate the urban landscape of Beijing. However, in Lin’s poetics and politics of daily objects, the sensuous, superfluous, and aestheticized things constitute the cultural texture and material basis of the city, which outlive historical transformations and political turbulence and protect Beijing from the “gust and dust” of modern times.

scholarly journals Defining Art and its Future

2017 ◽  
Vol 6 (6) ◽  
pp. 84
Author(s):  
Zachary Isrow
Keyword(s):  
Everyday Life ◽  
Artistic Expression ◽  
Easy Task ◽  
The Future ◽  
Art Forms ◽  
Suitable Definition ◽  
The Subject ◽  
The Aesthetic ◽  
Definition Of

<p class="FirstParaofSectionTextStyle" align="left"><span class="DroppedCaseChar"><span>Art is a creative phenomenon which changes constantly, not just insofar as it is being created continually, but also in the very meaning of ‘art.’ Finding a suitable definition of art is no easy task and it has been the subject of much inquiry throughout artistic expression. This paper suggests a crucial distinction between ‘art forms’ and ‘forms of art’ is necessary in order to better understand art. The latter of these corresponds to that which we would typically call art such as painting, singing, etc. The former corresponds to the form out of which these take shape, movement, speech, etc. With this distinction set out, it becomes clearer that art and the aesthetic is rooted in the properties of the ‘thing’ such as the color, shape, and the texture, rather than the product of creation itself. Thus, the future of art will bring a new aesthetic in which these properties become recognized as art and as such there will be an aesthetic of everyday life.</span></span></p>

Dionysius, Lucian, and the Prejudice against Rhetoric in History

2001 ◽  
Vol 91 ◽  
pp. 76-93 ◽  
Author(s):  
Matthew Fox
Keyword(s):  
Rhetorical Theory ◽  
Close Reading ◽  
Aesthetic Theory ◽  
Moral Issues ◽  
Dionysius Of Halicarnassus ◽  
The Subject ◽  
The Aesthetic ◽  
The Relationship ◽  
Do So ◽  
Historical Theory

This article will explore the familiar polarity between history and rhetoric by comparing two rather different accounts from the early Empire. The treatment of history in the rhetorical theory of Dionysius of Halicarnassus and the curious work of historical theory by Lucian will be contrasted to open up some new areas of debate. Although the relationship between rhetoric and history has been the subject of numerous studies, none have given much weight to one central aspect of the juxtaposition: the dialectic between rhetoric and aesthetics, and the place of that dialectic in ancient historical theory. Since scholars generally agree that ancient historiography exists, like all other forms of ancient writing, within a culture where rhetoric provides all educational resources, and thus acts as a substitute for aesthetic theory, this is not in itself surprising. A close reading of these particular texts, however, produces a more differentiated view of what rhetoric might mean to those seeking to define historiography. Dionysius and Lucian are both concerned with the relationship between rhetoric and wider issues of moral and social education. But because rhetoric is not philosophy, but rather a system concerned above all with the formal qualities of spoken utterance, these moral issues become closely implicated with aesthetic concerns. More startlingly, they do so in each author in a significantly different way. The interweaving of moral and aesthetic may at first sight seem strange; we are accustomed to think of the aesthetic and the moral as operating in rather different spheres, at least when it comes to literary production.

George Eliot’s Promise of More

2018 ◽  
Author(s):  
Elaine Auyoung
Keyword(s):  
Everyday Life ◽  
Edmund Burke ◽  
Literary Realism ◽  
Fictional World ◽  
Adam Bede ◽  
Mill On The Floss ◽  
Literary Description ◽  
The Aesthetic

This chapter recovers the aesthetic significance of a reader’s mediated relation to the objects and experiences represented in realist fiction. When George Eliot’s intrusive narrators in Adam Bede, The Mill on the Floss, and Middlemarch cue readers to form impressions that are as distinct as possible, they expose the indeterminacy that persists in the most concrete passages of literary description, alerting us to the limits of how much we can ever know about a fictional world. By drawing on the aesthetics of indeterminacy advanced by Edmund Burke, this chapter reveals that Eliot’s commitment to narratives of disillusionment exists in tension with a surprisingly Romantic aversion to finitude, and that literary realism enchants ordinary things by freeing them from the solidity and determinacy they possess in everyday life.

scholarly journals ‘Dirt’ in Dialect

English Today ◽  
2021 ◽  
pp. 1-16
Author(s):  
Manfred Markus
Keyword(s):  
Everyday Life ◽  
Dominant Role ◽  
Spoken Language ◽  
Large Majority ◽  
Middle Classes ◽  
The Common ◽  
Everyday Reality ◽  
Late Modern

Given today's general bias towards euphemisms (cf. Arif, 2015), the topic of this paper may seem embarrassing and ill-chosen. However, it makes sense to find out to what extent the spoken language of dialects in former centuries correlated with one of the dark sides of everyday reality. In Britain up to the second half of the 19th century, traditional dialect was the common linguistic medium of the large majority of people (the lower and middle classes), just before the norm of ‘King's English’ and, in linguistics, of système, started playing a dominant role. We may assume that the English dialects of the Late Modern English (LModE) period (1700–1900) were a correlative of people's everyday life.

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