Mark making or making a mark? Perversion and sublimation in the work of Estela Welldon, Martin Frishman, and Aubrey Beardsley

2020 ◽  
Vol 2 (1) ◽  
pp. 26-41
Author(s):  
Jessica Collier
Keyword(s):  
Nineteenth Century ◽  
Sexual Difference ◽  
Acting Out ◽  
Sexual Offence ◽  
Short Article ◽  
Sexual Perversion ◽  
The Creation ◽  
The Aesthetic ◽  
The Relationship ◽  
The Way

This short article explores the relationship between sexual perversion, as defined by Estela Welldon and illustrated by the late architect and author, Martin Frishman, and the work of the nineteenth-century artist, Aubrey Beardsley. It primarily argues that in both the acting out of sexual perversion and the creation of illustrations considered perverse, there is a shared desire to transform the experience of shame into the experience of fame. In the perpetrating of a perverse sexual offence, the assault can be regarded as an uncontrollable compelling urge for immediate action. Despite knowing this action is wrong, the offender cannot resist the impulse. The action of the assault offers immediate relief from unbearable anxiety and ultimately transfigures shame, however briefly, into fame. In the creation of sexualised and scandalous drawings, it is argued that the feeling of shame is sublimated, and the desire for fame is achieved without the destructive and perverse use of violence. It contemplates how Beardsley’s provocative drawings, in particular his illustrations for Aristophanes’ play Lysistrata, may have influenced the aesthetic of Frishman’s images explaining perversion as a manic defence against depression. Lastly, it considers the way in which unconscious societal prejudice may lead to confusion between sexual perversion and sexual difference.

Romancing the Interstitial

2017 ◽  
Vol 72 (3) ◽  
pp. 311-337
Author(s):  
Sheila Liming
Keyword(s):  
Nineteenth Century ◽  
Sexual Identity ◽  
Sexual Difference ◽  
Political Agenda ◽  
The Novel ◽  
The Social ◽  
The Aesthetic ◽  
The Way

Sheila Liming, “Romancing the Interstitial: Howe, Balzac, and Nineteenth-Century Legacies of Sexual Indeterminacy” (pp. 311–337) This essay links Julia Ward Howe’s infamous “lost” text, The Hermphrodite (first published in 2004), with Honoré de Balzac’s Sarrasine (1830), arguing that Howe rewrites Balzac’s figure of the “tragic hermaphrodite” with the intention of protesting nineteenth-century American assumptions regarding innate sexual difference. The Hermaphrodite tells the story of Laurence, a deeply contemplative, intelligent person whose sexual identity is disputed, but Howe never employs the term “hermaphrodite” outright. This situation encourages readers to judge Laurence’s hermaphroditism by his behavior and actions in the novel, not his biology, and this is furthermore consistent with the way the term “hermaphrodite” was used and understood by mid-nineteenth-century Americans. As such, this essay examines the claims that Howe makes about the social machinery of gender in The Hermaphrodite, arguing that while Laurence has much in common with Balzac’s Sarrasine, Howe uses her protagonist as a means of revising outdated arguments about biological “truth.” Howe’s Laurence revisits and updates nineteenth-century considerations of the aesthetic androgyne in the service of a modern, political agenda concerning sexual demarcation and difference.

scholarly journals Portrait of the artist as a philosopher

2021 ◽  
pp. 105971232199468
Author(s):  
Jeannette Pols
Keyword(s):  
Know How ◽  
The Past ◽  
Aesthetic Practice ◽  
The Creation ◽  
The Aesthetic ◽  
The Relationship

The response asks about the relationship between artist and audience in the RAAAF artworks. Is the artist an Autonomous Innovator who breaches the ties with the past and the environment? Or is the aesthetic practice located in the creation of relationships around these objects, hence expanding the artwork by using know-how, experiences and enthusiasm of the audience/users?

Questioning territories and identities in the precolonial (nineteenth-century) Lake Kivu region

Africa ◽  
2021 ◽  
Vol 91 (3) ◽  
pp. 493-515
Author(s):  
Gillian Mathys
Keyword(s):  
Nineteenth Century ◽  
Political Power ◽  
Lake Kivu ◽  
Territorial Claims ◽  
The Relationship ◽  
The Way

AbstractThroughout Africa, contemporary boundaries are deemed ‘artificial’ because they were external impositions breaking apart supposedly homogeneous ethnic units. This article argues that the problem with the colonial borders was not only that they arbitrarily dissected African societies with European interests in mind, but also that they profoundly changed the way in which territoriality and authority functioned in this region, and therefore they affected identity. The presumption that territories could be constructed in which ‘culture’ and ‘political power’ neatly coincided was influenced by European ideas about space and identity, and privileged the perceptions and territorial claims of those ruling the most powerful centres in the nineteenth century. Thus, this article questions assumptions that continue to influence contemporary views of the Lake Kivu region. It shows that local understandings of the relationship between space and identity differed fundamentally from state-centred perspectives, whether in precolonial centralized states or colonial states.

Is God Really in History?

1979 ◽  
Vol 15 (3) ◽  
pp. 379-390
Author(s):  
Frederick Sontag
Keyword(s):  
Nineteenth Century ◽  
Human Life ◽  
History Of ◽  
The Relationship ◽  
As If ◽  
The Way

For some time it seemed as if Christianity itself required us to say that ‘God is in history’. Of course, even to speak of ‘history’ is to reveal a bias for eighteenth- and nineteenth-century forms of thought. But the justification for talking about the Christian God in this way is the doctrine of the incarnation. The centre of the Christian claim is that Jesus is God's representation in history, although we need not go all the way to a full trinitarian interpretation of the relationship between God and Jesus. Thus, the issue is not so much whether God can appear or has appeared within, or entered into, human life as it is a question of what categories we use to represent this. To what degree is God related to the sphere of human events? Whatever our answer, we need periodically to re-examine the way we speak about God to be sure the forms we use have not become misleading.

Revisiting the relationship between art and industry in nineteenth-century Britain from the manufacturer’s perspective

2021 ◽  
Vol 30 (1) ◽  
pp. 31-52
Author(s):  
Ann Compton
Keyword(s):  
Nineteenth Century ◽  
Industrial Sector ◽  
Critical Discourse ◽  
Drawing Board ◽  
Public Exposure ◽  
Production Practices ◽  
The Aesthetic ◽  
The Relationship ◽  
Two Sectors

The mid-nineteenth century critical discourse compartmentalized art and industry by crediting each with specific powers. Manufacturing was identified with the development of technologically advanced processes, materials and products, while fine artists were given authority over the aesthetic aspects of industrial design. The idea that the two sectors had separate areas of responsibility has proved extremely enduring, and continues to influence our perceptions of Victorian manufacturing. This article contributes to the wider task of re-evaluating the relationship between art and industry in nineteenth-century Britain by examining the role of design in potteries and art metalworking firms from the manufacturer’s perspective. It shows that contrary to the picture painted by Victorian critics, design was central to the ambitions and commercial operations of manufacturing businesses. Crucially, decisions about the recruitment of design staff were shaped by the close connection between the creation of new products at the drawing board, and their fabrication in the workshop. Since each branch of manufacturing had its distinctive characteristics, there were significant practical, aesthetic and commercial advantages for manufacturers in employing experienced designers who knew the trade, and were fully conversant with production practices. Unless a professional sculptor joined a firm, they were unlikely to have this inside knowledge, which made commissioning one-off designs from artists a riskier proposition. Manufacturers found that one of the best ways to get around this was to make reductions of sculptures, and initial demand for statuettes in Parian suggested they would be profitable for all concerned. In the end, the market did not live up to its early promise, but the publicity given to Parian statuettes compensated manufacturers and sculptors. Overall, it was this increased public exposure for art manufactures that was the prime benefit of the mid-nineteenth century critical discourse for the industrial sector.

Telling refugees’ stories: Testimony and hospitality in graphic novel L’Odyssée d’Hakim by Fabien Toulmé

2021 ◽  
Vol 12 (1) ◽  
pp. 301-313
Author(s):  
Jennifer Boum Make
Keyword(s):  
Mediterranean Region ◽  
The Other ◽  
Graphic Novel ◽  
Bearing Witness ◽  
Visual Narratives ◽  
Ethical Implications ◽  
Testing Zone ◽  
The Creation ◽  
The Aesthetic ◽  
The Relationship

Following the increase in migratory flows since 2015, in the Euro-Mediterranean region, bandes dessinées are mobilized to stir up compassion and prompt engagement with marginalized biographies. It begins with the premise that aesthetic approaches of bandes dessinées reveal a testing zone to juxtapose modalities of representation and expression of refugees and ways to interact with otherness. To interrogate the relationship between aesthetic devices and the formation of solidarity, this article considers the first volume of Fabien Toulmé’s trilogy, L’Odyssée d’Hakim: De la Syrie à la Turquie (2018). How does Toulmé’s use of aesthetic devices make space for the other, in acts of dialogue and exchange? What are the ethical implications for the exercise of bearing witness to migrant and refugee narratives, especially in the transcription and translation in words and drawing of their biographies? This article argues that visual narratives can provide for the creation of a hospitable testimonial space for migrants and refugees’ voices. The article outlines the aesthetic methodology deployed in graphic storytelling, reflects on what it means for the perception of refugees, and questions the use and ethical appeal of visual narratives as a form to curate hospitality.

scholarly journals Aesthesis decolonial y los tiempos relacionales Entrevista a Rolando Vázquez

2016 ◽  
Vol 11 (18) ◽  
pp. 76
Author(s):  
Rolando Vazquez ◽  
Miriam Barrera Contreras
Keyword(s):  
Contemporary Art ◽  
The Arts ◽  
Palabras Clave ◽  
The Creation ◽  
The Senses ◽  
The Difference ◽  
The Aesthetic ◽  
Arte Contemporáneo ◽  
The Way

RESUMEN Hay que pensar la decolonialidad en relación a las artes. En esta entrevista exploramos cómo las artes decoloniales se diferencian de la estética moderna/colonial. La decolonización de la estética conlleva la liberación de a la aiesthesis, es decir de las formas de relacionarnos con el mundo y de hacer mundo a través de los sentidos. La aiesthesis decolonial se distingue de los principios del arte contemporáneo y en particular de su sujeción a la temporalidad moderna, abriéndonos hacia las temporalidades relacionales. Los artistas decoloniales ejercen una temporalidad distinta que conlleva no sólo una crítica radical al orden de la representación y de la visualidad modernas sino que también nos dan la posibilidad de entender a la decolonialidad cómo un movimiento cargado de esperanza, cargado de la posibilidad de nombrar y vivenciar los mundos interculturales que han sido negados. PALABRAS CLAVE Decolonialidad, tiempo relacional, esperanza, cuerpo, interculturalidad KAI SUTI AESTHESIS ÑAGPAMANDA KAUSAKUNA TUKUIKUNAWA TAPUCHI SUG RUNATA ROLANDO VÁSQUEZ SUTITA SUGLLAPI Kaipi kawachinakumi iska ruraikuna ñugpamanda chasallata kunaurramanda. Kai suti aiesthesis, kawachiku imasami pai kawa kawachimanda ukusinama paipa iuaikunawa. Aiesthesis kame tukuikunamanda sugrigcha.Lsx artistxs kawachinakumi ñugpamanda kausikuna munankuna kawachingapa charrami kausanakunchi parlanakumi ñugpata imasami mana lisinsiaskakuna allí ruraikuna tukuikunamanda. IMA SUTI RIMAI SIMI: Ñugpamanda, parlaikuna sullai, nukanchi kikin, tukuikuna. DECOLONIAL AESTHESIS AND THE RELATIONAL TIMES. INTERVIEW WITH ROLANDO VÁSQUEZ ABSTRACT We have to hink the decoloniality in relation with the arts. This interview explores the difference between the modern/colonial aesthetic and the decolonial arts. The aesthetic decolonization leads to the release of the aesthesis, ergo it relates in every way to the connection and creation of a world through the senses. The decolonial aesthesis is particularly different from the contemporary art principles in the way it grasps the modern temporality consenting the creation of a path toward relational temporalities. The decolonial artists exercise a different temporality that results in not only a radical criticism to the modern representation and visuality but it makes possible to understand the decolonialization as a hopeful movement, full of possibilities for naming and experiencing neglected intercultural worlds. KEYWORDS Decolonialization, relational time, hope, body, interculturality ESTEHÉSIE DÉCOLONIALE ET LE TEMPS RELATIONNELS. ENTRETIEN À ROLANDO VASQUEZ RÉSUMÉ Il faut penser la décolonisation en relation aux arts. Dans cet entretien on explore comment les arts décoloniaux sont différents de l’esthétique moderne-coloniale. La décolonisation de l’esthétique entraîne la libération de l’estehésie, c’est-à-dire, la libération des façons de nous mettre en relation avec le monde et d’en créer un nouveau à travers les sens. L’estehésie décoloniale se différence des principes de l’art contemporain, principalement pour son fixation à la modernité en nous emmenant vers les temporalités relationnelles. Les artistes décoloniaux exercent avec une temporalité qui n’implique pas juste une critique radicale à l’ordre de la représentation et de la vision moderne, mais aussi de la possibilité de comprendre la décolonisation comme un mouvement plein d’espoir, chargé d’une possibilité de nommer et de mettre en relief les interculturalités qu’ont été niées. MOTS-CLEFS Décolonisation, temps relationnels, espoir, corps, interculturalité ESTESIA DESCOLONIAL E O TEMPO RELACIONAL ENTREVISTA A ROLANDO VAZQUEZ RESUMO Temos que pensar a descolonização em relação as artes. Nesta entrevista é explorado como as artes descoloniais são diferentes da estética moderna-colonial. A descolonização da estética conduz a emancipação da estesia, isto é, das formas de relacionamento com o mundo e da fôrma de fazer mundo a partir dos sentidos. A estesia descolonial distinguese dos princípios da arte contemporânea particularmente pela fixação o tempo moderno, abrindo-nos para a temporalidades relacionales. Os artistas descoloniais exercem uma temporalidade diferente que implica não só uma crítica radical à ordem da representação e à visão moderna, mas também à possibilidade de entender a descolonização como um movimento cheio de esperança, carregado da possibilidade de designar e viver os mundos interculturais que foram negados. PALAVRAS CHAVES Descolonização, esperança, tempo relacional, fôrma, intercultural.   Recibido el 20 de enero de 2015 Aceptado el 26 de febrero de 2015

Changing the Face of Advertising: Australia's Advertising Industry in the Early Days of Television

2006 ◽  
Vol 121 (1) ◽  
pp. 105-118 ◽  
Author(s):  
Robert Crawford
Keyword(s):  
Fundamental Change ◽  
Advertising Agencies ◽  
Commercial Television ◽  
Advertising Industry ◽  
The Face ◽  
Commercial Radio ◽  
The Creation ◽  
The Relationship ◽  
The Way ◽  
Commercial Messages

Long before Australia's first commercial television broadcasts in 1956, advertising agencies and advertisers had been preparing themselves for what they believed would be the greatest ever selling medium. The creation of a new outlet for advertisements was not the industry's sole cause of excitement. Having dominated commercial radio, the advertising industry looked forward to extending its influence. These dreams, however, were only partially fulfilled. While television enabled the industry to broadcast its commercial messages in a more effective way, legislation prevented it from controlling television in the way that it had with radio. This would have a significant impact on the relationship between the two industries. By examining television's impact on the advertising industry, this paper demonstrates that the medium of TV not only altered the face of advertising; it also caused a fundamental change in the structure and operation of Australia's advertising industry.

Citizenship, Migration, and Confessional Democracy in Lebanon

2014 ◽  
Vol 6 (3) ◽  
pp. 250-271 ◽  
Author(s):  
Thibaut Jaulin
Keyword(s):  
Political System ◽  
Ad Hoc ◽  
Power Sharing ◽  
The Political ◽  
Religious Groups ◽  
The Creation ◽  
The Relationship ◽  
Political Decisions ◽  
Citizenship Regime ◽  
The Way

No major citizenship reform has been adopted in Lebanon since the creation of the Lebanese citizenship in 1924. Moreover, access to citizenship for foreign residents does not depend on established administrative rules and processes, but instead on ad hoc political decisions. The Lebanese citizenship regime is thus characterized by immobilism and discretion. This paper looks at the relationship between citizenship regime and confessional democracy, defined as a system of power sharing between different religious groups. It argues that confessional democracy hinders citizenship reform and paves the way to arbitrary naturalization practices, and that, in turn, the citizenship regime contributes to the resilience of the political system. In other words, the citizenship regime and the political system are mutually reinforcing.

Theatre, Drama, and Vision in the Romantic Age

2016 ◽  
Author(s):  
Diego Saglia
Keyword(s):  
Nineteenth Century ◽  
The Body ◽  
Contemporary Culture ◽  
Romantic Period ◽  
The Creation ◽  
Eighteenth And Nineteenth Centuries ◽  
Vantage Points ◽  
The Way

Between the eighteenth and nineteenth centuries, European cultures saw drama and theatre as endowed with extraordinary relevance, celebrating their social and aesthetic functions, as well as those transitively metaphorical features for which this period coined the term ‘theatricality’. This neologism aptly conveys the pervasiveness of theatre and the theatrical in these decades and goes some way towards explaining why many Romantic manifestoes and diatribes were primarily concerned with the stage. Drama and theatre were crucial laboratories for the creation of new ways of seeing, forms and genres, notions of the body, and models of subjectivity. As forms of entertainment, metaphors, or hermeneutic tools, Romantic-period drama and theatre were visual vantage points for the examination of contemporary culture and history and their endless transformations. As such, they paved the way for subsequent dramatic and theatrical revolutions and for the conception of modernity emerging in the later nineteenth century.

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