International Conference on the Fantastic in the Arts 37

2016 ◽  
Vol 43 (2) ◽  
pp. 424
Author(s):  
Daniel Creed
Author(s):  
Kathleen Haney

An international conference that takes Philosophy Educating Humanity as its theme does well to revisit the liberal arts tradition. Although the liberal arts are most often assimilated to studies brought together as the Humanities, the old usage included the arts which employed artificial languages in mathematics, music, and astronomy, as well as the literature and letters of the various natural languages. The current conflation of liberal education with the humanities does violence to the historical tradition in education, reducing it to fluff in the eyes of tough-minded scientists who know that only numbers deliver objectivity. The liberal arts of the traditional undergraduate curriculum provided the skills to liberate the student's linguistic powers so that he or she could read, speak, and understand natural language in all its functions. To educate human persons to master language is to encourage students to take possession of their natural powers so that they can express themselves, understand what others say, and reason together. The arts of natural language lead to mastery of the mathematical arts which use a language that is no one's mother tongue. Together, the seven arts rid students of the worst enemies of humankind: ignorance and prejudice.


PMLA ◽  
2015 ◽  
Vol 130 (1) ◽  
pp. 37-53 ◽  
Author(s):  
Marius Hentea

The aim of the ill-fated 1922 Congress of Paris, an international conference organized by André Breton, was to diagnose the sources of the “modern spirit.” Although the congress had ambitious international goals, it was brought down by a remark with xenophobic connotations. Largely remembered today as the death knell of Paris Dada—the public fight between Tristan Tzara and Breton meant not only that the congress never took place but also that Paris Dada was dissolved—the congress's failure stemmed from the tensions involved in selfconsciously deining modernism. Arguing that ambivalence over the concept shaped the main participants' understanding of the congress, I read the congress as a concrete manifestation of the impulse to federate the arts in post-World War I France.


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