scholarly journals 1 Aesthetic Ideology

2018 ◽  
pp. 1-37
Keyword(s):  
Author(s):  
Julian Murphet

This introductory chapter lays the groundwork for the substantive analyses to follow. It foregrounds Faulkner’s profound continuing attachment to romance tropes which his more modernist aesthetic sensibilities would increasingly deem invalid. It argues that Faulkner’s primary artistic challenge was finding ways and means to “manage” his anachronistic romanticism, via technical strategies of omission, repression, and tropological masking. The chapter both considers the lingering aesthetic ideology of romance in the modern United States, especially the South, and outlines a genealogy of literary tactics Faulkner was able to employ in order to discipline it, before introducing the major new formal device for which he was responsible: masking romance with figures taken from the new media system.


1993 ◽  
Vol 12 (1) ◽  
pp. 89 ◽  
Author(s):  
Kevin Korsyn ◽  
George S. Bozarth
Keyword(s):  

Labyrinth ◽  
2021 ◽  
Vol 22 (2) ◽  
pp. 9
Author(s):  
Jeremy Spencer

The focus of this essay is Paul de Man's provocative antipathy towards the category of the aesthetic in his late writings on philosophical aesthetics. I introduce de Man's critique of what he terms aesthetic ideology – a form of ideological communication – which he considers manifest in the aesthetics of Schiller in particular but also in more scrupulously critical philosophers. I begin the essay with Benjamin's well known observation that twentieth century fascisms aestheticized political practice as part of a defence of existing property relations. I introduce de Man's critique of aesthetic ideology as a way of developing or elaborating on what are relatively sketchy comments on the relationship aesthetics and politics in Benjamin's earlier essay.


1994 ◽  
Vol 49 (3) ◽  
pp. 360-374 ◽  
Author(s):  
Tracy Ware

Geoffrey H. Hartman probably intended his brief discussion of Wordsworth's "Michael" less as a full reading than as a correction of received opinion. If so, he might be dismayed at his own success, for his discussion has now itself become received opinion, so influential that it is echoed even when it is not cited. Hartman's most compelling challege comes from Marjorie Levinson, who convincingly establishes a conflict between Wordsworth's social concerns and his poem's "aesthetic ideology." But Levinson conducts her argument with Hartman as if it were an argument with Wordsworth. Other interpretations of "Michael" are possible, including one that responds to Don H. Bialostosky's call for a "dialogic criticism" and that regards Michael as breaking his own covenant with the past. Because their attention is diverted to the induction, neither Hartman nor Levinson allows Michael any tragic complexity, and both emphasize the lyrical qualities of Wordsworth's narrative poem.


Sign in / Sign up

Export Citation Format

Share Document