The Aura of Eccentricity: Reflections on Outsider Art Rhetoric and its Impact on a Critical Discourse

In the field of Art History, affecting art with the artist’s aura is a central mechanism of canon creation that mythologizes artists into objects of desire. This tendency permeates outsider art whose appeal is rooted in biographical exceptionalism and eccentricity rather than aesthetic aptitude (see Morgan 2018). Reviewing the work of Henry Darger, Eugene Von Bruenchenhein, and A.G. Rizzoli—artists whose works are accumulative, some suggest compulsive, in reiteration and magnitude—this essay explores the pitfalls of projecting an aesthetic affect onto the artist and in turn building their value upon a fabricated aura of eccentricity. The aura of eccentricity resides at the nexus between material and idea. It is both real and mythologized, materially communicated through excess, opulence, and exaggeration of shapes, scale, colour, and medium yet ideologically created in the realm of differentiating adjectives and semantic flourishes. Engaging with Walter Benjamin and Theodor Adorno, this essay argues that material culture demands self-awareness of our own interpretive prejudices, in this case fashioning the artist outsider with eccentric narratives retroactively projected upon them through the interpretation of their work.

On the techniques of varying as the components of auerate diction in the Early Modern English literature (based on the fragments of the D. Lyndsay’s play “A Satire of the Three Estates”)

The subject of this research is implementation of the technique of apposition of synonymic units and apposition of morphological variants identified in the fragments of the D. Lyndsay’s play “A Satire of the Three Estates” representing auerate diction. These techniques are viewed in the context of specificity of auerate diction forming in the beginning of the Early Modern English period, as well as from the perspective of general linguistic processes taking place at that time. Based on the examples from D. Lyndsay’s play, the author focuses on possibilities of utilization of the techniques of varying for the development of semantic and metasemiotic potential of the involved linguistic units. The scientific novelty is defined by the fact that the stylistic distinction of literary landmarks of the Early Modern English period, unlike the later works of Elizabethan era, were not subjected to detailed analysis in foreign or Russian research. The selected D. Lyndsey’s play “A Satire of the Three Estates” has also not been analyzed from the perspective of formal characteristics. The article specifies the significant peculiarities of the use of key techniques of varying, which in many instances define the aesthetic affect made by the play, leading to a more profound understanding of the resources of English language through realization of the impact function in historical perspective.

THE CHARACTERISTICS OF USING POSSIBILITIES OF DIFFERENT KINDS OF REITERATIONS, POETIC ADDRESS AND POETIC INQUIRIES IN NABATI CREATIVITY

The characteristics of using possibilities of different kinds of reiterations, poetic address and poetic inquiries in his creativity were investigated, the researches dedicated on Nabati poetry in the dissertation are made out. This article describes that tough we come across the concrete dissections in Nabati creativity, the poetics of the poet wasn.t investigated in the completed form in terms of the main parameters. Neverthelesss accomplishing such an investigation world help to identify the parameters stipulated the distinctiveness of the poet’s literary heritage. The investigation showed that voice reiteration takes an important place in the reiterations system of Nabati diwan(selected poems of a poet) . Poet achieves to exaggerate the aesthetic affect of literary quote thanks to following each other during the verse, couplets of phoneme even the whole poetics piece. Nonetheless Nabati is one of the poets that used with great competence of expressive possibilities of literary addresses. The research showed that literary recital means are in the effect and mutual coherence on the basis of complicated mechanism in the poems of Nabati and creates the whole poetic system. There is a serious necessity to the comprehensive research of this poetic system.

Layers of Time: Industrial Ruins and Exhibitionary Temporalities

Walking Through an Exhibit Takes Time: Time to Navigate the Museum Building, Time to Encounter Objects on Display That Witnessed times long past, or time to reflect on the relations among the presented past, the experienced present, and an imaginative future. Eliciting historical and aesthetic affect, museums are ineluctably bound up with temporalities—of viewing, of display, and of representation.

Expressive Resources

Drawing examples from ethnic and popular music as well as from folk art, the paper explores the multivalence of expressive forms as local and European, even global aesthetic resources, whose territorial or ethno-national connection is - due to the power of aesthetic affect - but one among many possibilities of identification. It is argued first that the resource dimension of cultural expression has been furthered by the documentation and classification techniques of ethnological and folkloristic knowledge production, which in turn also facilitated circulation in multiple context. Second, the paper encourages that scholarship expand from recognising a political identification and instrumentalisation of aesthetic resources to understanding the economic appropriation of the production and consumption of such resources.

Imagism's metaphors - a test case

Imagism is centered on the image metaphor, and so is a valuable resource for studying this kind of metaphor. Image metaphor raises questions for any theory that sees metaphor as something conceptual. Such theories entail the rejection of truth-conditional semantics and are thus rejected by proponents of truth conditionalism, such as Donald Davidson. Imagism embodies an extreme form of image metaphor that avoids generating any clear propositional entailments. The problem it poses for conceptual theories of metaphor is thus considerable. The solution lies in the concept of the image schema as the basis of propositional reasoning. Image metaphor can be seen as displaying the matrix out of which conceptual metaphor proper itself develops. Image metaphor shows that matrix to be bound up with the nature of aesthetic affect. It thus points the way to a view of poetry that does justice to its aesthetic passion without opposing it in some absolute way to the rationality of logic and science.