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Rempel, Geoff S. "Modernist visual aesthetics and The double hook." Thesis, McGill University, 1998. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=21256.
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This thesis examines the significant role of expressionist and minimalist visual aesthetics in the construction (imagery, structuring, language) and subsequent interpretation of Sheila Watson's The Double Hook. While Sherrill Grace's Regression & Apocalypse the groundwork for a literary expressionist reading of Watson's novel, this study elaborates the crucial links between literary and painterly expressionism in the novel and suggests Watson's critique of the expressionist aesthetic. A reading of the minimalist aesthetic, as both an extension of and an alternative to the expressionist reading of the text, emphasizes the relevance of noniconic painterly strategies to the novel and, by implication, of alternate forms of spectatorship that are demanded by the text. This study ultimately shows how Watson creatively synthesizes these extremes of modernist visual aesthetics and asks for the reader's imaginative and critical engagement with the modernist arts.
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Rempel, Geoff S. "Modernist visual aesthetics and The double hook." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0024/MQ50562.pdf.
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Buchanan, Stephanie Elizabeth. "Counter-statements : modernist aesthetics and social change /." Digital version accessible at:, 1998. http://wwwlib.umi.com/cr/utexas/main.
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Melberg, Arne. "Sara Danius, The Senses of Modernism. Technology, Perception, and Modernist Aesthetics. Uppsala 1998." Uppsala : Svenska Litteratursällskapet, 1999. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-200754.
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Hobson, Jordan F. "Willa Cather's O Pioneers!: Violence and Modernist Aesthetics." Digital Archive @ GSU, 2011. http://digitalarchive.gsu.edu/english_theses/123.
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Willa Cather's 1913 novel, O Pioneers! concludes with an unexpected moment of extreme violence as two young lovers, Emil Bergson and Marie Shabata, are murdered by Marie's husband in a mulberry orchard. Cather's novel is almost wholly devoted to the psychological interior of the protagonist, Alexandra Bergson, thereby rendering this violent interruption more dynamic as it essentially undercuts the generally lulling interiority of the narration. My interest here is to examine this strange moment of violence and Alexandra's subsequent forgiveness of Frank for the murder of her brother and his own wife through the theoretical paradigms of René Girard, Jacques Derrida, and Slavoj Žižek.
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Polychronakos, Helen. "Reflecting Woolf : Virginia Woolf's feminist politics and modernist aesthetics." Thesis, McGill University, 1999. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=30201.
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No study of Virginia Woolf can do justice to the complexity of her life and work without taking into account the numerous contradictions present in her thought. Though Woolf is recognized as a revolutionary contributor to the development of modernism, it is also important to remember that she was born in 1882 and that the nineteenth century also left its mark on her. The first chapter will examine this double sensibility. The second chapter will trace the development of Woolf's modernist aesthetic. She was obviously rebelling against the realism valued by her Victorian and Edwardian predecessors when she conceived of a literary style capable of abstracting from purely formal elements a more "profound reality" than that captured by objective and representational descriptions. Despite this revolutionary tendency, she constructs a hierarchy of "realities" that is somewhat elitist in its mysticism and runs counter to the revolutionary feminist and Marxist thought evident in so much of her work. The last chapter will examine the contradictions that riddle Woolf's feminist writings.
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Polychronakos, Helen. "Reflecting Woolf, Virginia Woolf's feminist politics and modernist aesthetics." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/MQ64181.pdf.
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Song, Jingjing. "Modernist aesthetics in the films of Wong Kar-wai." HKBU Institutional Repository, 2014. https://repository.hkbu.edu.hk/etd_oa/110.
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Wong Kar-wai is a premier avant-garde auteur of Hong Kong cinema. In the existing research, postmodernism is considered as a predominant approach to shed light on Wong’s aesthetics, poetics and politics. Being the iconoclastic ‘poet of time,’ Wong Kar-wai is extolled as a leading figure for his postmodernist style of visually unique and emotional resonant film works. Recurring motifs, such as alienation and rejection, time and memory, pursuit and loss, are regarded as representations of cultural and political anxieties of Hong Kong people in the context of 1980s and 1990s. Wong’s characteristic exoticism and cosmopolitism in his films also distinguishes him from other Chinese-language directors. However, when we expand the scope of the postmodern terrain, we find modernism and its attendant aesthetics are just as relevant and important as postmodernism to the understanding of Wong’s oeuvre. This thesis evokes a comparative perspective of modernism proposed by Eugene Lunn as an aesthetic approach, with an illustrative analysis by using David Bordwell’s and Kristin Thompson’s work on non-Hollywood cinema. This approach emphasizes four major directions of the social and cultural aspects influenced by modernism in art. Using this approach requires researchers to find cinematic representations of modernism in terms of aesthetic self-consciousness, juxtaposition of time, ambiguity and dehumanization within the film. This research takes Wong Kar-wai’sAshes of Time Redux (2008) as a case study to explore the alternative interpretations beyond postmodernism. The investigation of Wong’s uses of modernist approach involves the analysis of his experiments of conventional film techniques and strategic employment of the mise-en-scene, camera angles, lenses, lighting, and music, which constitute his pictorial world. My assertion is that Wong’s juxtaposition of time and space createsan elusive and ambiguous fictional world in response to his reflection on the dehumanization of an integral individual subject in the modernized world.
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Au, Chung-to, and 區仲桃. "Shifting ground: modernist aesthetics in Taiwanese poetry since the 1950s." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2003. http://hub.hku.hk/bib/B2554939X.
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Katsouraki, Evanthia. "Theatre director's philosophical entanglements : aesthetics and politics of the modernist theatre." Thesis, University of Edinburgh, 2018. http://hdl.handle.net/1842/33250.
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This thesis presents a conceptual examination of the modernist director read through Gillian Rose's speculative lenses of the 'broken middle'. Highlighting the significance of speculative philosophy, I explore the meaning of the director as a mediating subjectivity. I demonstrate how a speculative reading of the director can act as a corrective to the received totalitarian, despotic image of the director. I urge for the rehabilitation of the director as a history and as a practice and I propose the emergence of this figure as being the outcome of a complex theatrical articulation entangled with the discipline of philosophy. Combining close readings of philosophical texts by Rose, Plato, Castoriadis, Badiou, Rancière, Laclau and Mouffe, among several other intellectual references in this study, I explore the director as a mode or trope of embodied philosophy. My argument also proposes the director as an Event, in Badiou's definition, and I trace this configuration as already taking place with the 'tragic' paradigm of the Athenian theatre. This Event of the director, I then argue, gets fully inaugurated in modernism as the Event of thought in theatre. I explore how the director acting as a mediator transforms theatre to what Puchner calls 'a theatre of ideas' while simultaneously philosophy becomes itself transformed to a theatre of thought. Chapter 1 outlines the key strands of Rose's thought and sets out the theoretical parameters of my examination. The chapter argues for a speculative reading of the director cross-examined with current positions within theatre historiography. The chapter paves a new understanding of the director, not historically, but conceptually, as a mode of embodied thought. Chapter 2 explores the relationship between the primacy and centrality of the aesthetic paradigm of theatre in philosophy and the role and practice of the poet - or 'chorodidaskalos' - who I consider as an early philosophical figuration of the modern director. I highlight speculative 'aporia' which in Rose indicates a path 'without a path' as the primary modality of thinking philosophically, already at work in tragedy, that renders the modernist director as a theatrical thinker. Chapter 3 puts forward the case of the director's mediating subjectivity by arguing for the Event of the director. I analyse Badiou's philosophy of the Event, making connections to speculative philosophy and illuminating the Evental dimension of this figure. Chapter 4 moves the examination to the Event of the director that I locate in Richard Wagner. My reading explores the philosophical dimension of Wagner as an artist and a thinker by which I rehabilitate his overtly negative image. I do this by reading Left Hegelianism, and anarchist philosophy more broadly, in Wagner's operatic works, writings, and political activism. Chapter 5 examines the 'speculative director' in the aesthetic project of Naturalism and Realism. The chapter includes a published section by which I explore the political mode of the director indirectly, by examining the articulatory discourse in Laclau and Mouffe's definition and the practice of affirmation. Chapter 6 looks at the avant-garde manifesto as a form of meta-language that seeks to actively re-shape theatre and the world as embodied, declaimed philosophy. The chapter repositions the avant-garde's aesthetic preoccupation with failure as a profoundly transformative project rather than as being incomplete. The included published article examines more closely the affinity between the Spartacus Manifesto by Rose Luxemburg (philosophy) and the more politicized forms of the Dada Berlin manifesto art (theatre). Chapter 7 is the concluding chapter by which I argue the case of the director finally having entered the theatre as a philosopher; that is, through Bertolt Brecht.
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Reddy, Emma Elizabeth. "Modernist aesthetics and the artificial light of Paris, 1900 to 1939." Thesis, University of Leicester, 2017. http://hdl.handle.net/2381/39847.
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In this project the fields of modernist studies and science converge on the topic of lighting. My research illuminates a previously neglected area of modernism: the impact of artificial lighting on American modernist literature written in Paris between 1900 and 1939. Throughout that period, Paris maintained its position as an artistic centre and emerged as a stage for innovative public lighting. For many, the streets of Paris provided the first demonstration of electricity’s potential. Indeed, my research has shown that Paris was both the location of international expositions promoting electric light, as well as a city whose world-class experiments in lighting and public lighting displays were widely admired. Therefore, I have selected texts with a deep connection to Paris. While significant scholarship exists in relation to Parisian artificial lighting in fine art, a thorough assessment of the impact of lighting on the modern movement is absent from recent critical analysis. As such, this thesis seeks to account for literary modernism in relation to developments in public and private lighting. My research analyses a comprehensive range of evocations of gas and electric light to better understand the relationship between artificial light and modernist literary aesthetics. This work is illuminating for what it reveals about the place of light in the modern imagination, its unique symbolic and metaphorical richness, as well as the modern subject’s adaptability to technological change more broadly. This account of modernism considers artificial lighting in fiction and poetry and culminates in a final chapter on electrically illuminated literary epiphanies. The implications of technologized lighting for form and content are fused in that particular device. This thesis confirms that the dissemination of artificial modes of lighting coincided with, shaped and contributed to literary experiments that span a number of modernist characteristics: fragmentation, stream of consciousness, spatial representation, literary epiphany, formal self-awareness and imagism. Tracing the history of lighting technology and its aesthetic dimensions unearths parallels between lighting and writing which justify my claim that modern lighting was a symbol for and constituent part of the direction and execution, content and form of American modernist literary innovation.
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Han, Gül Bilge. "“Distantly a part”: Wallace Stevens and the Poetics of Modernist Autonomy." Doctoral thesis, Stockholms universitet, Engelska institutionen, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-119700.
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This dissertation explores the social and political dimensions of aesthetic autonomy as it is given formal expression in Wallace Stevens’s poetry of the 1930s and the early 1940s. Whereas modernist claims to autonomy are often said to rest upon an ideological assertion of art’s detachment from socio-historical concerns, I argue that, in Stevens’s work, autonomy is conceived in relational terms, which gives rise to new lines of interconnection between his poetry and its cultural situation. Written over a period when the political efficacy of literature became a staple of discussion among a myriad of writers and critics, Stevens’s poetry offers an understanding of autonomy not as an escape from, but as a productive condition for imagining alternative forms of engagement with the historical crisis with which it has to reckon. In taking into account the cultural context from which Stevens’s poetics of autonomy emerged, my study aims to highlight the significance of the concept to the poet’s exploration of the tension between aesthetic and social domains, to his imaginative formations of collective agency, and to the vexed relationship between poetic and philosophical modes of thinking. By transposing the theoretical discussion of autonomy into the register of historical scrutiny, I hope to pave the way for a rethinking of autonomy and its relevance to the period’s radical and modernist writing, literary debates, and cultural politics. For this purpose, I draw on recent theories, such as those offered by Jacques Rancière and Alain Badiou, on poetry, politics, and (in)aesthetics, which serve to complicate the working definitions of modernist autonomy as literature’s immunity from the world, and to indicate an alternative path for analyzing its critical and contextual implications.
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Carlin, Gerald. "Art and authority : a comparative study of the modernist aesthetics of Ezra Pound." Thesis, University of Warwick, 1994. http://wrap.warwick.ac.uk/4164/.
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Due to the pressure to define a contemporary literature, 'High' modernism in English is often presented as a univocal canon of authors and works whose ideals have been identified and surpassed. This study attempts to re-emphasise the diversity of this writing by showing how crises in inherited authority were 'staged' by its aesthetics. The manner of this staging is examined in the writings and programmes of a selected group of authors while a focus is provided by the aesthetics of Ezra Pound. Pound's work is taken to be of especial interest because of the scope of his influence in establishing a 'modern' movement, the extremism of his writing's antagonism to authority, and the ambiguity of critical responses that the politics of his project continue to elicit. Chapter 1 examines the ways in which Pound promotes an 'aesthetics' of history and politics as the key to contemporary revolutionary change, and views his writing through a body of thinking which considers that the artwork, and not authority, might 'found' a modem culture. Chapter 2 treats Pound's metaphysics, showing how 'de-authorised' conceptions of religion, sexuality and language underpin this project. Chapter 3 deals with the writing of T. S. Eliot, and with the particular anti-aesthetics that inhabit his criticism and the draft of The Waste Land. Eliots project is shown to oppose Pound's by defining a desired authority against the power of art, an opposition that Pound's editing of The Waste Land effectively masks. Chapter 4 discusses the 'mass' aesthetics of James Joyce's Ulysses, and shows that the processes of self-interrogation that feature in this work realign the antipathy between art and authority in ways that militate against the ideals of a Poundian art of 'power'. Chapter 5 treats the work of D. H. Lawrence as a site where an empowered art and culture is both overtly promoted and intrinsically challenged. The proximity of Lawrence's programmatic modernism to Pound's is stressed, while an inbuilt antagonism to its own ideals is shown to sharply distinguish the dynamic trajectory of Lawrencean aesthetics from a Poundian art of self-authorisation. While establishing the antagonism between art and authority as a common focus for modernism, this study underlines differences and antipathies that emerge between the projects and texts under discussion, charting the diversity of responses to a commonly felt crisis. The study concludes with a discussion of Pound's post-war poetry, examining the fate of a writer who failed to extend into his own aesthetics the insights that modem crises in authority delivered.
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Karagouni, Villy. "Voices of dissent : interpenetrations of aesthetics and socio-politics in three modernist case-studies." Thesis, University of Glasgow, 2012. http://theses.gla.ac.uk/3713/.
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This thesis explores the interpenetrations of aesthetic and socio-political issues in three modernist novels by John Dos Passos, Jean Rhys, and Samuel Beckett. It aims to argue for the importance of theory and the retrieval of voices of dissent in contemporary modernist studies. Theodor Adorno’s aesthetic theory, Raymond William’s cultural critique, and the contemporary conceptualizations of Jacques Rancière, Isobel Armstrong, and Jean-Michel Rabaté are applied to the primary texts in an attempt to uncover dissenting qualities at both a textual and contextual level. In this process, the thesis also addresses the ways in which each text and author can be seen to challenge the socio-literary landscape of their time. One of the premises upon which this study has been predicated is that the particularities of modernist form can be reconsidered and reappraised with the help provided by theorists who remind us of the political import and even the radicalism of literary aesthetics. Numerous texts could be refreshingly reassessed in contemporary modernist studies, if approached from reconciliatory angles that acknowledge the value of contradiction as an intrinsic feature of critique in the process of reevaluating the socio-political relevance of modernist aesthetics. In particular, the retrieval of voices of dissent against the social, economic, and political contexts of modernist narratives is indispensable to the attempt to envisage and nurture a socially responsive and responsible modernist studies in the twenty-first century. In the three chapters of this dissertation, Manhattan Transfer, Voyage in the Dark, and Murphy are seen to critique the status quo within modern capitalist metropolises and give dissent a variety of voices. The overarching aim of this thesis is to account for the elements that compose this variety. At the same time, all three of the case-studies have been approached from analytical perspectives that recognize and emphasize not only the necessity, but also the radical limitations and failures of dissent. These limitations and failures are often seen to be enciphered in the interpenetrations between the texts’ aesthetics and socio-politics, as well as conditioned by the textual and semantic effects of contradiction. Within a newly envisaged, socially responsive and responsible modernist aesthetic, the radicalism of critique can be illuminated by the radicalism of aesthetic frameworks. It is my hope that the analyses undertaken in this thesis, along with the aesthetic and critical theories that have assisted them, can be seen to partake of such contemporary concerns.
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McLeod, Deborah S. "Beauty, Objectification, and Transcendence: Modernist Aesthetics in The Picture of Dorian Gray and Pale Fire." [Tampa, Fla.] : University of South Florida, 2007. http://purl.fcla.edu/usf/dc/et/SFE0002060.
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Karoula, Ourania. "Thorn in the body politic : a transatlantic dialogue on the aesthetics of commitment within modernist political theatre." Thesis, University of Edinburgh, 2009. http://hdl.handle.net/1842/5684.
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This thesis investigates the transatlantic manifestation of the debate regarding the aesthetics of commitment in the modernist literary and theatrical tradition. Within the debate theatre occupies a privileged position since (because of its two-fold roles both as theory and performance) it allows a critique both of performative conventions and methods and also a dialectical consideration of the audience’s socio-political consciousness. The debate, often referred to as form versus content – schematically re-written as ‘autonomy’ versus ‘commitment’ – and its transatlantic evaluation are central to modernist aesthetics, as they bring into question the established modes of perceiving and discussing the issue. A parallel close reading will reveal the closely related development of the European and the American traditions and evaluate their critical strengths and shortcomings. The first part of the thesis discusses the positions of Georg Lukács and Bertolt Brecht, Theodor Adorno and Walter Benjamin in tandem with those of the New York Intellectuals, especially as expressed in the latters’ writings in the Partisan Review. The second part extends this transatlantic dialogue through a consideration of the theatrical works of the New York Living Newspaper unit of the Federal Theatre Project (FTP) in the USA and Bertolt Brecht’s vision of and relationship with ‘Americana’ as revealed through such plays as In the Jungle of Cities, Man Equals Man, St Joan of the Stockyards and the 1947 version of Galileo. The Federal Theatre and Brecht’s respective dramaturgies demonstrate differences in the articulation and application of the aesthetics of commitment and politics of engagement. A close reading of four plays by the Living Newspaper unit will not only reveal the influence of the Russian Blue Blouse groups and Meyerhold’s theatrical experimentations, but also how the unit’s playwrights and administration attempted to re-write this aesthetic. Hallie Flanagan (the director of FTP), recognising the limitations of Broadway and having sensed the audience’s need for a new kind of theatre, realised early on the importance of ‘translating’ the European aesthetics of commitment to conform with the American New Deal discourse. Brecht’s plays manifest not only the differences with respect to the European aesthetics of commitment, but also its highly complicated development. His American experiences revealed that the failings of the FTP’s attempt to establish a viable national theatre with a social agenda prohibited a more powerfully theatrical connection (theoretical and performative) between the two traditions. Both the European and the American modernist aesthetics are informed by Marxist cultural and literary theory, particularly by the writings centred on the political efficacy of a work of art with respect to its reception and its modes of production. The politico-aesthetic encounter of the Marxist tradition of engagement with a commitment to aesthetic formalism (often associated with the autonomy position) led to a confrontational and polemical rather than dialectical argumentation. However, this thesis maintains that the arguments were not simply articulated by theorists at opposing ends of the political spectrum. At the same time, Brecht and the Federal Theatre Project’s interest in the advancements of the European avant-garde and fascination with the notion of ‘Americana’ demonstrate the necessity to examine the issue of commitment in a more dialectical manner. While their notion of the aesthetics of commitment differed, this thesis argues for the necessity, not only of revisiting some of the fundamental premises regarding the role and function of this aesthetics in modernist political theatre, but also of reading the two traditions in conjunction.
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Allais, Lucia. "Will to war, will to art : cultural internationalism and the modernist aesthetics of monuments, 1932-1964." Thesis, Massachusetts Institute of Technology, 2008. http://hdl.handle.net/1721.1/45941.
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Thesis (Ph. D.)--Massachusetts Institute of Technology, Dept. of Architecture, 2008.<br>"September 2008."<br>Includes bibliographical references (p. [511]-535).<br>This dissertation examines a period around World War II when the prospect of widespread destruction provoked a profound re-evaluation of Europe's landmarks, their material value, and their ethical significance. Between 1932 and 1964, works once known as artistic and historic monuments-from buildings to bridges, paintings to shrines, ruins to colossi-acquired a "cultural" value as belonging to the "universal heritage of mankind." Promoted as didactic objects of international understanding, they became subjects of a new brand of international law. I trace the origins of this international valuation to a political movement, identified as Cultural Internationalism, whose main tenet was that the transnational circulation of knowledge constitutes an antidote to war. This ideal fueled the birth of organizations that brandished the autonomy of intellectual work as a weapon against nationalisms: most visibly, the League of Nations' Institut International de Coop&ation Intellectuelle (IICI, 1924-1941), its successor the United Nations Educational, Cultural, and Scientific Organization (UNESCO, 1946-), and the American Commission for the Protection and Salvage of Artistic Monuments in War Area (Roberts Commission, 1943-46). Despite the continued role of this institutional lineage in cultural production worldwide, there has not been a study of its contribution to 20th-Century aesthetics.<br>(cont.) The dissertation explores the modernist aesthetics of monuments that arose from this milieu and unfolded in three related fields: the bombed cities of the Allies' war, the architecture of the European reconstruction, and the heritage missions of the decolonization. A broad network of intellectuals, art historians, architects, and archaeologists was enlisted to show that monuments gave iconic weight to cultural autonomy in a new world order. I follow these experts' attempts to effect this autonomy: working in conferences and as field experts, spawning an intricate network of civilian and military committees, caring for a growing collection of monuments, and encountering the shifting winds of a massive geo-political realignment.<br>by Lucia Allais.<br>Ph.D.
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Case, Marlene Katherine. "The Carnivalesque and Grotesque Realism in Modernist Literature| The Final Novels of Ronald Firbank and Virginia Woolf." Thesis, Florida Atlantic University, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10096025.
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<p> <i>Concerning the Eccentricities of Cardinal Pirelli </i> by Ronald Firbank and <i>Between the Acts</i> by Virginia Woolf both liberate the text from the expected form to engage emotional awareness and instigate reform of societal standards. Employing Mikhail Bakhtin’s theories of the carnivalesque and grotesque realism as a means to create this perspective is unconventional; nevertheless, Firbank, predominantly misunderstood, and Woolf, more regarded but largely misinterpreted, both address sexuality and religion to parody what they believe to be the retrogression of civilization by narrating christenings, pageants, and other forms of carnival. Both novels forefront nonconformity, and the conspicuous influence of debasement is identified as a form of salient renewal. Christopher Ames, Melba-Cuddy Keane, and Alice Fox have already expressed remarkable insight into Woolf; unfortunately not a single scholar has approached Firbank’s text in this manner, and this essay discusses the value of both authors in the aspect of Bakhtin’s theories.</p>
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Strom, James Harper. "Modernist Aesthetics of "Home" in Virginia Woolf's Mrs. Dalloway and Rebecca West's the Return of the Soldier." Digital Archive @ GSU, 2009. http://digitalarchive.gsu.edu/english_theses/70.
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The First World War wrought untold destruction on the physical and psychological landscape of Europe. For Britain, the immediate post-war period represented no less than a national “nostos,” or homecoming, and few social institutions were so fragmented by the conflict as the home. This thesis will explore the various conceptions of “home,” from the nation and the domestic sphere to post-war consciousness, through the lens of Virginia Woolf’s Mrs. Dalloway and Rebecca West’s The Return of the Soldier. Though unique in style and scope, Woolf and West interrogate and revise pre-war notions of “home” and suggest a Modernist aesthetic of what it is to be both at “home” and at home in the world.
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Rumbold, Matthew. "Epic relation : the sacred, history and late modernist aesthetics in Hart Crane, David Jones and Derek Walcott." Thesis, University of Warwick, 2017. http://wrap.warwick.ac.uk/104944/.
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In order to answer questions about the nature, viability and shape of what would constitute a modernist epic, this thesis explores three very different twentieth century writers, Hart Crane, David Jones and Derek Walcott. Rather than being a narrowly genre based study, however, I argue that in the twentieth century the ‘epic’ mode has become a malleable form with which to explore troubling legacies of history, empire and, to exhibit a dimension of the sacred in modernity. All three poets penned challenging epic poems (The Bridge, The Anathemata and Omeros respectively) in a condition of modernity. Haunted by the ruptures of history, in various ways, Crane, Jones and Walcott attempted to create an aesthetic which seeks cultural reintegration, recovery and reconciliation with the past. I analyse the formal experimental modernist aesthetic of each poet as they are anxiously and sometimes ambivalently influenced by the increasingly dominant institution of a particular form of metropolitan high modernism. This allows for a critique of modernity whilst contextualising a modernist inscription of imperialism. Finally, I show that the spiritual and religious concerns of these writers are essential in the recuperative or compensatory ideals of the epic. I argue that far from being an obsolete and impossible genre, for poets the epic is the very mode which best captures the transitions and conditions of an uneven and unequal modernity. I seek to show how through the trope of place (bridge, city, ruins, sacred sites and island), journey and the sea and other aesthetic devices, Crane, Jones and Walcott attempt to re-enchant emptied and destroyed cultural heritages.
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Dackombe, Amanda Marie. "Making thought visible : colour in the writings of Virginia Woolf, Dorothy Richardson, Samuel Beckett and T.S. Eliot." Thesis, Queen Mary, University of London, 2003. http://qmro.qmul.ac.uk/xmlui/handle/123456789/28586.
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This thesis explores colour as a philosophical means of transit between literature and the visual arts. I explore a new way of thinking about the self and about thought, developmg the significance of colour alongside, and internal to, modes of representation in the modernist movement. The interaction of art and literature is crucial to much debate on modernist aesthetics. DevelopIng the debate into the history of colour phenomena, I argue that colour aHows a philosophical inflection to certain clich6s (such as stream-of-consciousness) that are attached to modernist writing. In the work of Virginia Woolf, Samuel Beckett, Dorothy Richardson and TS Eliot, I argue that the modernist preoccupation with the seeming unpasse between thought and representation can be seen to be 'made visible' through the theme of colour. Colour is a vehicle through which to explore the relation between thought and perception, subject and object, and offers a new way of engagement with recent research into theoretical comparisons between thinking, writing and visual arts.
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Gilbert, Matthew. "Fir-Flower Petals on a Wet Black Bough: Constructing New Poetry through Asian Aesthetics in Early Modernist Poets." Digital Commons @ East Tennessee State University, 2019. https://dc.etsu.edu/etd/3588.
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Critics often credit Ezra Pound and his Imagist movement for the development of American poetics. Pound’s interest in international arts and minimalist aesthetics of cross-cultural poetry gained the attention of prominent writers throughout Modernist and Post-Modern periods. From writers like Wallace Stevens and Gertrude Stein to later poets like Jack Kerouac and Gary Snyder, image and precise language has shaped American literature. Few critics have praised Eastern cultures or the Imagist poets who adopted an East-Western form of poetics: Amy Lowell and William Carlos Williams. Studying traditional Eastern painting and short-form poetry and interactions with personal connections to the East, Lowell and Williams adapt then progress aesthetic fusions Pound began and abandoned through his interpretation of Eastern art. Like Pound, Lowell and Williams illustrate a mix of form, free-verse language, and modernized poetics to not only imitate Eastern art but to create poetics of international discourse which shape American Modernism.
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Merola, Jonathan. ""compounded each of both yet either neither": Experimental Dialogics and Literary Ethics of the American Modernist Novel." Miami University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=miami1563456785167138.
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Reynaga, Tahia Thaddeus. "The elusive and yet irrepressible modernist self : formulating a theory of self-reflexivity in Kurt Schwitters' Hanover Merzbau through the vitalist philosphies of Georg Simmel and Henri Bergson." Thesis, University of Nottingham, 2004. http://eprints.nottingham.ac.uk/11382/.
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Kurt Schwitters decisively established that Dada was indeed more a state of mind than a collection of creeds. Spurned by Berlin Dada, he was compelled to construct for himself an alternative Dada existence, and this he accomplished in the one-man movement he christened "Merz". Hundreds of Merz artworks were produced by the tireless Schwitters, but the summa summarum of his oeuvre was the Hanover Merzbau (circa 1923-1943). As it transcends architecture, sculpture, and assemblage, I have taken the distinctive approach of analyzing it first and foremost in terms of a theory of self-reflexivity. The first and second chapters of this thesis are dedicated to the writings of Georg Simmel and Henri Bergson. The former contributes an understanding of the psyche of the modernist metropolitan and how it is that the subjective spirit that resides in this enlightened individual substantiates its existence by producing forms and objects with which it continuously comes into conflict. As witnessed in Schwitters' Merzbau, the self-conscious "I" constitutes a centripetal force that organizes and directs the objects it encounters and thus exerts a unifying influence over its environment. In the Bergson chapter, I pursue an in-depth investigation into how self-reflexivity is predicated upon the search for true duration and the manifestation of the elan vital. I also include an in-depth analysis of Bergson's treatise on laughter, for the theories contained within go a long way towards explicating Schwitters' brand of humour and how the comic artist is a self-reflexive figure non-pareil. The third chapter, devoted to Schwitters and his place in Dada, takes into account the vitalist philosophical underpinnings of the Merzbau and asserts that self-reflexive art operates under an enantiodromic law; the presence of the artist must be effaced as thoroughly as possible before the creative self achieves materialization in the artwork it has engendered.
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Evans, Victoria Louise, and n/a. "Douglas Sirk, aesthetic modernism, and the culture of modernity." University of Otago. Department of Media, Film and Communication Studies, 2008. http://adt.otago.ac.nz./public/adt-NZDU20080707.122544.
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In this dissertation, I argue that Douglas Sirk was attempting to dissolve the boundaries of the cinematic medium by assimilating elements of avant-garde art, architecture and design into the colour, composition and settings of many of his most popular studio produced films. While the exaggerated artifice of this director�s formal style has often been remarked upon, it has yet to be interpreted in the light of his detailed cognisance of the major art and architectural movements of the period, which include German Expressionist painting and Machine Age Modernist design. This is a lacuna that my thesis should at least partially fill, since I have shown that Sirk�s highly self conscious visual approach was deeply influenced by the artistic debates that were taking place in Europe during the 1920s and �30s and in America after World War II. To my mind, there is no doubt that this director�s syncretic mise-en-scène was the result of an interdisciplinary, transnational dialogue, and I have sought to illuminate some of the social, philosophical and political meanings that it seems to convey.
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Costello, Diarmuid. "Aesthetics after modernism." Thesis, University of Essex, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.395872.
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Goody, Alexandra Anjali. "Mina Loy's modernist aesthetic." Thesis, University of Leeds, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.268620.
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Munro, Niall. "Hart Crane's queer modernist aesthetic." Thesis, Oxford Brookes University, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.579166.
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'Hart Crane's Queer Modernist Aesthetic' contends that to properly examine Crane's work, queerness and modernism, which are frequently thought to be contrary sites, must be considered together. The areas of experience which modernist writers sought to destabilise, such as the visual world, space, time, and the material world, were also destabilised by Crane's queerness. The radical energy of Crane's work is derived therefore from this dual aesthetic, and also from the conflicts that Crane generated within it, whether in terms of modernism (his adversarial approach to T.S. Eliot, or his continuing allegiance to Decadence and Walter Pater), or in queer terms, as Crane resisted the dominant heteronormative modernism by employing a queer negativity which asserted his own sexual identity against heteronormative futurity. Whilst acknowledging his reputation as a 'difficult' or 'obscure' poet, the thesis argues that a key component of Crane's queer aesthetic is his attempt to produce a relational poetics, as he seeks to make a connection with his reader. Chapter One, 'Visuality, American Decadence, and the Evolution of Crane's Style', examines the influence upon Crane of two queer antecedents, Oscar Wilde and Walter Pater. Chapter Two, 'Spatiality, Movement, and the Logic of Metaphor', employs the philosophical work of Henri Lefebvre, Gaston Bachelard, and Michel de Certeau to show how Crane uses various forms of spatial practice and production to challenge heteronormativity. Chapter Three, 'Temporality, Futurity, and Self- Consciousness', pays particular attention to the 'Voyages' sequence and The Bridge in order to discuss ways in which Crane's poetry challenges normative, linear time, especially futurity. Finally, Chapter Four, 'Materiality, Experience, and Knowledge', explores Crane's queer theories of knowledge and experience, which are frequently represented in his prose and poetry as a relationship between materiality and immateriality. In analysing Crane's work the thesis draws upon a range of unpublished archival material, examines in detail Crane's visual influences for the first time, and offers a genetic reading of one particular sequence of poems. In its consideration of the various dimensions of Crane's aesthetic, the thesis seeks to provide a thorough examination of Crane's experience as it is presented in his poetry from his earliest juvenilia in the 1910s through to his final published poem in 1932.
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Buchanan, D. A. "Aesthetics, art and Utopia : the philosophical significance of the discourse of aesthetics." Thesis, University of Reading, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.296698.
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Barker, Jennifer. "The aesthetics of resistance modernism and antifascism /." [Bloomington, Ind.] : Indiana University, 2005. http://wwwlib.umi.com/dissertations/fullcit/3178431.
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Thesis (Ph.D.)--Indiana University, Dept. of English, 2005.<br>Source: Dissertation Abstracts International, Volume: 66-06, Section: A, page: 2208. Adviser: Thomas Foster. "Title from dissertation home page (viewed Nov. 27, 2006)."
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Doss, Joy M. "Aesthetic revolutionaries : Picasso and Joyce." Huntington, WV : [Marshall University Libraries], 2003. http://www.marshall.edu/etd/descript.asp?ref=379.
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Thesis (M.A.)--Marshall University, 2003.<br>Title from document title page. Document formatted into pages; contains iv, 80 p. including illustrations. Bibliography: p. 73-78. "Works cited": p. 67-72.
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Howell, Catherine Mary Louise. "The aesthetics of colonial modernism : Klee, Camus, Bowles, Tournier." Thesis, University of Cambridge, 2004. https://www.repository.cam.ac.uk/handle/1810/273418.
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Bozhkova, Yasna. "Mina Loy's aesthetic itineraries : towards a « meteroric idiom »." Thesis, Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCA091.
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La poète et artiste anglo-américaine Mina Loy (1882-1966) resta longtemps une figure marginale dans le canon moderniste. Adoptant une double approche poéticienne et culturelle, cette thèse étudie son esthétique hybride qui crée toujours une tension irrésolue entre des éléments disparates. Bien qu’influencée par le symbolisme, le décadentisme, le futurisme, l’imagisme, le dadaïsme et le surréalisme, Loy ne s’inscrit complètement dans aucun de ces mouvements, introduisant une tension entre plusieurs modernismes par ce changement constant de paradigme esthétique. On peut comprendre le projet artistique de Loy comme un atlas des turbulents phénomènes artistiques de son temps, qui trace des itinéraires entre des esthétiques disparates, voire opposées, cartographiant une constellation moderniste en pleine formation. La notion de constellation s’avère ainsi particulièrement fructueuse pour penser à la fois les dialogues artistiques modernistes et la dynamique formelle du poème en vers libre. En outre, on peut aborder l’oscillation permanente de son idiome entre le futur et le passé, l’avant-garde et l’obsolète, par le prisme de l’« image dialectique » définie par Walter Benjamin: « Une image [...] est ce en quoi l’Autrefois rencontre le Maintenant dans un éclair pour former une constellation ». L’oeuvre de Loy cherche à développer un « idiome météorique », qui reste brièvement en orbite autour d’une constellation artistique et s’approprie son esthétique pour rebondir ensuite dans une direction différente. L’enjeu de ce travail est d’explorer la dynamique de cette errance géographique, culturelle et artistique en quête d’une voix poétique hybride et polyphonique, qui résonne dans des cadres esthétiques multiples<br>For a long time, the Anglo-American poet and artist Mina Loy remained marginal to the modernist canon.Adopting a twofold poetic and cultural approach, this dissertation focuses on her hybrid aesthetics whichcreates an unresolved tension between disparate elements. Although influenced by Symbolism,Decadence, Futurism, Imagism, Dada, and Surrealism, Loy’s work fully fits in none of these movements,introducing a tension between different modernisms through a constant shift of the aesthetic paradigm.One can understand Loy’s artistic project as an atlas of the turbulent artistic phenomena of her time,which traces itineraries between disparate and even opposed aesthetics, mapping a modernist constellationin the making. The notion of constellation thus becomes particularly far-reaching in thinking both aboutthe modernist artistic dialogues and about the formal dynamics of the free verse poem. The permanentoscillation of Loy’s idiom between the future and the past, the avant-garde and the obsolete, may betackled through Walter Benjamin’s definition of the “dialectical image”: “image is that wherein what hasbeen comes together in a flash with the now to form a constellation.” Loy’s oeuvre works towarddeveloping a “meteoric idiom,” which briefly revolves around each constellation before bouncing off in adifferent direction, introducing an ironic relativity between different loci, forms, and programs ofmodernist activity. This dissertation focuses on the dynamic of this roaming through modernist forms insearch of a unique, “polyharmonic” poetic voice which would resonate within multiple aestheticframeworks
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George, Alys X. "Body/culture : Viennese modernism and the physical aesthetic /." May be available electronically:, 2009. http://proquest.umi.com/login?COPT=REJTPTU1MTUmSU5UPTAmVkVSPTI=&clientId=12498.
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Johnson, Jennifer. "Georges Roualt's modernism and the question of materiality." Thesis, University of Oxford, 2014. https://ora.ox.ac.uk/objects/uuid:5e1ac77a-ba70-41e8-a3cd-5189723f487f.
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The central concern of my thesis is to bring into focus the problematic relation between Georges Rouault's (1871-1958) pictorial vocabulary and his subject matter: on the one hand, abstract mark-making and on the other, a refusal to cede to abstraction or formalism through an insistence that these marks remain yoked to representation. The result is an examination a way of painting that embraces its state of uncertainty, which interrogates its own construction, and strains against the very materiality it simultaneously celebrates. Chapter one traces the critical reaction to Rouault's painting in the early years of the twentieth century, which was at best mystification, and at worst, disgust. This chapter also analyses the thick painterly terms of these paintings and their resistance to conventional meaning, arguing that there are parallels between Rouault's project and contemporary experimental forms of art and literature within modernism. Chapter two continues this exploration, attending to the various relationships between surface and depth that are interrogated by Rouault's canvases. These relationships reveal the deep philosophical and theological questions at stake Rouault's painting. Chapter three explores a theological reading of Rouault's work beginning with the aesthetics of his associate, the French Catholic philosopher, Jacques Maritain - a reading that shows how painting can be true to its material conditions and strain towards a higher, albeit obscure, form of knowledge. Against this, the last chapter argues that the paintings also support the possibility of a bleaker world-view, aligned with Dostoyevsky's kenotic theology, in which matter potentially overwhelms the possibility of transcendental meaning. In conclusion, I argue that Rouault's painting interrogates the vocabulary of modernism and presents the 'fallen' or 'wounded' state of a painting that acknowledges its material conditions.
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Stannard, Iain. "Michael Tippett and modernism : aesthetics and instrumental works, 1962-1977." Thesis, University of Newcastle Upon Tyne, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.401852.
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Morais, Rosana de [UNESP]. "O essencialismo na história de Ismael Nery." Universidade Estadual Paulista (UNESP), 2017. http://hdl.handle.net/11449/151253.
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Previous issue date: 2017-07-25<br>Essa pesquisa analisa as relações existentes entre a série História de Ismael Nery e seu sistema filosófico, nomeado Essencialismo. Na série executada em 1932, e composta por cerca de dezesseis desenhos à nanquim, nota-se uma aproximação à estética do surrealismo, no entanto, suas produções desde 1926 parecem estar coadunadas ao seu sistema filosófico, e, evidenciar a estruturação de seu projeto estético. Através da iconologia foi analisada a ocorrência desse binômio: estética e filosofia; por meio da revisão bibliográfica foram atualizados seus dados biográficos a fim de elucidar incongruências historiográficas. Além das composições, foram também analisadas as poesias de Ismael Nery, as quais da mesma forma comprovam o pensamento filosófico do artista e refletem as pinturas como um espelho da representação artística. A fim de, compreender e comprovar o essencialismo na história de Ismael Nery, e, sua importância na construção do imaginário artístico no modernismo brasileiro. Como suporte teórico-metodológico utilizado para as análises contamos com os pressupostos de E. Panofsky.<br>This research investigate the existing relations between the series Ismael Nery’s History and his philosophical system, named Essentialism. In this 1932 series, constituted of about sixteen drawings in Indian ink, it can be noted a closeness to the aesthetics of surrealism, however, his productions since 1926 seemed to be connected to his philosophical system and they seem to indicate an structure of his aesthetic project. Through the iconology it was analyzed both his aesthetic and his philosophy; through the bibliographical revision his biographical dates were update aiming at revealing some historiographic inconsistencies. Besides the compositions, Ismael Nery’s poetry were also analyzed, which on the same way prove the philosophical thoughts of the artist and they reflect the paintings, as a mirror of the artistic representation. The essentialism in the history of Ismael Nery could be better understood and comprehended and, above all, his importance in the artistic imagery in the Brazilian Movement. As theoretical-methodological framework for the analyses it was used the concepts of E. Panofsky.
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Chahine, Joumane. "Crimes of reason : the Berlin inquiries of Siegfried Kracauer." Thesis, McGill University, 1998. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=21200.
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Siegfried Kracauer is mostly known for the work on film theory he wrote during his post-war exile to North America. This thesis proposes to examine a lesser known and far more complex portion of his oeuvre, namely the vast body of essays and monographs he produced throughout the 20s and 30s as editor of the Frankfurter Zeitung, which offer not only a cultural diary of the Weimar republic but also a critique of modernity and the many upheavals it engendered. Using both a detailed analysis of his own work as well as an examination of the various critical responses it elicited, this study aims at exposing the paradoxical complexity of Kracauer's stance towards modernity and its various mass cultural manifestations, a complexity which has unfortunately often been misjudged and reduced to a mere middling position. Indeed, because of his refusal to opt for a definite position, to either fully embrace or reject modernity, Kracauer has often been miscast as a mere seeker of compromise, a thinker who tried to make edges rounder and ease tensions. This thesis is an attempt to prove that far from trying to annihilate the tensions of the modern era, Kracauer in fact sought to cultivate them. He may have refused to opt for a definite stance---be it a "yes" or a "no"---towards modernity, yet his position is not to be reduced to a tepid "maybe", but ought to be seen, rather, as a truly Janusian simultaneous "yes" and "no" towards it. In our age of extreme relativism, where tension is to be avoided at all costs, there is some valuable insight to be gained from Kracauer's obstinate fight against comfortable compromises of any kind.
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Deeming, David. "Swift, Ireland and the aesthetic critique of modernity." Thesis, Birkbeck (University of London), 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.312170.
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The thesis examines the cultural and political significance of the formal and stylistic strategies in the work of Jonathan Swift; particularly the early prose satire A Tale of a Tub. Given his Irish origins and the largely colonial basis of England's relationship with Ireland, Swift's aesthetic strategies are shown to offer a mode of aesthetic resistance to, and interrogation of, English colonialism. In a rapidly modernising, secularising England national identity and social cohesion were being increasingly galvanised through an aesthetic ideology that emphasised the function of the aesthetic as that which can present a model of integration and shared values. Swift, drawing upon his experience of an Ireland socially fragmented by colonialism, emphasises the simultaneous, if contradictory, function of the aesthetic as the domain of the subjective imagination. An extreme wit, feared by Locke as that which will cause the individual subject to forget his or her social responsibilities, itself fragments society by encouraging the individual to inhabit an interiorised world of irrational associations. Swift, ostensibly satirising such behaviour in the Tale in the name of an English nationalism, actually allows the logic of such an extreme wit to dominate. Thus, he utilises what Vivian Mercier has shown to be the modes of traditional Irish literature, while simultaneously engaging with the (colonising, commercialising) ramifications of England's emergence into modernity. In the first, introductory chapter I explain, with reference to Swift's early life and work and to the critical work that already exists on Swift, why this thesis is a necessary addition to such a body of criticism. Chapter Two constitutes a closer examination of the Tale, the strategies of which are illuminated by a comparison with other works from the Anglo-Irish tradition: Burke, Swift's eighteenth-century Dublin biographers, the political economy of Sir Francis Brewster. Chapter Three turns to Swift's attempts to conform to English social and cultural modes in the first half of his career, particularly in The Examiner of 1710-11. The thesis returns to the idea of Swift as an Irish literary subverter in Chapter Four, this time by looking at the way the Tale and its companionpiece The Battle of the Books employ a form of 'extreme' allegory described by Walter Benjamin as essentially baroque in origin, and so able to adopt a critical position towards the early enlightenment principles of Swift's mentor and patron, Sir William Temple. Given that the category of the modem aesthetic emerges conceptually as a product of the enlightenment, Chapter Five examines Swift's work in the context of subsequent European enlightenment thinkers Kant and Herder, showing how Swift can be said to mediate their respective positions. The thesis concludes by arguing for Swift as, ultimately, a champion of reason; and goes on to point towards how Swift's aesthetic critique has resonances for our own contemporary situation: namely, how his early satirising of modem astrology is an early recognition of the unreason inherent in mass culture.
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Williams, Jonathan Coleman. "A charitable modernity Milton and the democratic aesthetic /." Connect to this title online, 2009.
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Kapsaskis, D. "Marguerite Yourcenar : authenticity, modernity and the political aesthetic." Thesis, University College London (University of London), 2008. http://discovery.ucl.ac.uk/1444213/.
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This thesis explores the notion of authenticity and its existential, aesthetic and political determinations in the work of Marguerite Yourcenar. It aims to trace the desire for authenticity in Yourcenar's fiction and criticism and to assess the strategies employed to preserve the possibility of authentic representation. The investigation focuses on two aspects of the problematic of authenticity: subjectivity and politics. Both are discussed by Yourcenar in predominantly aesthetic terms. She argues that individual existence cannot be understood in its own uniqueness because it is entrapped within representational structures. The impasse of representation also affects the political self-constitution of nations and communities. Yourcenar's response to this problem is developed through her meditation on art and time. She observes that authenticity is not a question of original creativity, but one of accepting the perishing of all representations in time. She also understands realism as a critically aware choice to accept the limits of narrative representation. Yourcenar attempts to rescue the notion of authenticity for modernity by foregrounding difference and repetition. The thesis discusses this strategy in relation to de Man's thought on irony and history, Benjamin's writing on film and translation, and Heidegger's analysis of spatio-temporality. The last part of the thesis focuses on poststructuralist interpretations of Heidegger by Lacoue-Labarthe and Lyotard. It is argued that the model of political self-realization which Yourcenar proposes for post war Europe can be associated with Heidegger's vision of national identity in Nazi Germany. Yourcenar's Memoires d'Hadrien is used as a case study showing the ambivalence of her discourse on authenticity, a discourse which hovers uncomfortably between modern political aestheticism and the desire to overcome aestheticism at large. This conclusion helps to contextualize Yourcenar's work in relation to political and philosophical modernity. It also highlights the vicissitudes of the search for authenticity in twentieth-century Europe.
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Smyth, Edmund Joseph. "The nouveau Roman and the aesthetics of modernity and postmodernity." Thesis, University of Glasgow, 1993. http://theses.gla.ac.uk/4834/.
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Chinellato, Daniel Dobrigkeit. "Por uma razão estetica : um elo entre o inteligivel e o sensivel." [s.n.], 2007. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284261.
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Previous issue date: 2007<br>Resumo: Este trabalho tem como objetivo defender a experiência estética ¿ entendida como uma forma específica de intencionalidade na qual o inteligível e o sensível se coadunam para compor o fenômeno estético ¿ como fundamento de uma racionalidade estética e, conseqüentemente, principal fator constituinte de uma razão que pode, por analogia, ser nomeada razão estética. É sobre a complexa trama entre refletido e irrefletido que repousa a contribuição da experiência estética na constituição dessa razão; através de tal experiência aquela parcela da dimensão irrefletida que é irredutível à conceitualização tradicional encontra a possibilidade de ser conscientizada. Desta forma, busca-se vincular à experiência estética a própria possibilidade de consciência dos dilemas existenciais aos quais o homem é constantemente exposto em sua vida. Também considera-se o sujeito desta racionalidade; neste sentido, procuramos apontar, em primeiro lugar, que o princípio racionalista sobre o qual se pensou estar edificando a cultura moderna por vezes produziu o efeito contrário do esperado: irracionalidade. Esta irracionalidade, por sua vez, teria lançado o homem contemporâneo num estado de incerteza e ansiedade. Assim, a intenção é a de apontar o que se nomeia ¿razão estética¿ como um possível caminho para a superação de uma certa irracionalidade resultante do processo moderno de racionalização<br>Abstract: This work¿s central purpose is to defend the aesthetic experience ¿ understood here as a specific kind of intentionality in which intelligible and sensible combine to compose the aesthetic phenomenon ¿ as a ground to an aesthetic rationality and, therefore, as a major requirement for the establishment of a reason that can, by analogy, be called aesthetic reason. It is in the complex relation between reflected and unreflected that lies the possible contribution from the aesthetic experience to the constitution of the aesthetic reason; the unreflected portion, mostly irreducible to words, can, through the aesthetic experience, be brought to consciousness. The aesthetic experience is then associated to the very possibility of consciousness of the existential dilemmas that an individual is continually exposed to in his life. This study discusses the effects of aesthetic rationality on the individual; the starting point here will be, hence, an analysis of the most dominant characteristics of our society and its influence on the contemporary man. Therein, we first expect to demonstrate that the rational principle upon which modern civilization was thought to be founded on produced the contrary effect: irrationality. Subsequently, we will suggest an anxiety derived from currently existing social-cultural factors. The main intention of this investigation is, thus, to demonstrate that aesthetic reason is one possibility for overcoming the irrationality that results from the modern rationalization process<br>Mestrado<br>Mestre em Artes
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Whitner, Claire Chandler. "The visual culture of surface Berlin modernism and the pictorial public /." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1481673671&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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Fletcher, Christopher John Yates. "Merely Gothic in disguise? : discontinuity, continuity and the aesthetics of British modernism." Thesis, University of Edinburgh, 1992. http://hdl.handle.net/1842/19752.
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The ideology of early British Modernism, as derived by Eliot and Pound primarily from the writings of T.E. Hulme, is focused on a valorization of the Primitive, Byzantine or 'Classical' (objective) and a rejection of the Romantic (subjective). In Hulme's work, however, it can be shown that this opposition is based on a fundamental misreading of one of his principal sources - Wilhelm Worringer, a contradiction the wider aesthetic significances of which were being referenced at the time by the English aesthetician Vernon Lee. For Worringer, although asserting the importance of abstraction and objectivity in art, linked those aspects with the need for an equal subjectivity and emotionalism (or empathy), a union which he felt to be fulfilled in traditions on Northern Gothic art which stood as an equivalent to the formalist traditions which held such sway with early Modernist poets. Worringer's influential texts provide a means of seeing the development of Modernism in Britain not as being in discontinuity with the thought which preceded and followed it, but as the continuous development and refinement of a single set of aesthetic issues stemming from Kant and Hegel and in debate among theorists of the early twentieth century. A broad context of neo-Romantic poets, painters and writers like David Jones, Paul Nash, John Piper and members of movements such as The New Apocalypse, all of whom are often argued to be in direct opposition to Modernism, can thus be seen to be the product of the working out of the consequences of an initial position which, in the works of theorists like Jacques Maritain, came to realize its own incompleteness. Modernism in Britain, under the influence of art-historians like Worringer and theorists such as Maritain, moves steadily from abstraction and objectivity to an attempt to fulfil the aesthetics of Northern Gothic, in which abstract pattern and natural forms are fused into a unity of the subjective and objective, the experiential and the ideal. This Northern Gothic is not a rejection of the modern and the Modernist, but its logical synthetic conclusion, the product of a continuous reading and redefinition of the central terms from which Hulme began.
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Parrino, Francesco. "Between the avant-garde and fascist modernism : Alfredo Casella's aesthetics and politics." Thesis, Royal Holloway, University of London, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.544134.
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Shaup, Karen L. 1979. "Disciplining the Senses: Aestheticism, Attention, and Modernity." Thesis, University of Oregon, 2011. http://hdl.handle.net/1794/12094.
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vii, 157 p.<br>In the second half of the nineteenth century, the Aesthetic Movement in England coalesced literary and visual arts in unprecedented ways. While the writers associated with the Aesthetic Movement reflected on visual art through the exercise of criticism, their encounters with painting, portraiture, and sculpture also led to the articulation of a problem. That problem centers on the fascination with the attentive look, or the physical act of seeing in a specialized way for an extended period of time that can result in a transformation in the mind of the observer. In this dissertation, I consider how Dante Gabriel Rossetti, Henry James, and Oscar Wilde utilize the attentive look in their poetry, fiction, and drama, respectively. As I argue in this dissertation, the writers associated with the Aesthetic Movement approach and treat attention as a new tool for self-creation and self-development. As these writers generally attempt to transcend both the dullness and repetitiveness associated with modern forms of industrialized labor as well as to create an antidote for the endless distractions affiliated with the modern urban environment, they also develop or interrogate systems for training and regulating the senses. What these writers present as a seemingly spontaneous attentive engagement with art and beauty they also sell to the public as a specialized form of perception and experience that can only be achieved through training or, more specifically, through an attentive reading of their works. While these writers attempt to subvert institutional authority, whether in the form of the Royal Academy or the Oxford University system, they also generate new forms of authority and knowledge. Even though the Aesthetic Movement is not a homogeneous set of texts and art works, the Aesthetic Movement can be characterized in terms of its utilization of attentiveness as a way to both understand and create modern subjectivity.<br>Committee in charge: Dr. Forest Pyle， Chair；
Dr. Sangita Gopal， Member；
Dr. Linda Kintz， Member；
Dr. Kenneth Calhoon， Outside Member
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Cutler, Edward S. "Configurations of modernity : 1850's New York and the emergence of temporal aesthetics /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 1997. http://wwwlib.umi.com/cr/ucsd/fullcit?p9732716.
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Åstrand, Rickard. "Att ställa sin estetik på intet : En studie av modernistisk prosaestetik i Thorsten Jonssons roman Konvoj." Thesis, Umeå universitet, Institutionen för kultur- och medievetenskaper, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-149781.
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The focus of this essay lies on examining the modernistic aesthetics of prose in Thorsten Jonsson’s novel Konvoj (1947). When Walter Benjamin wrote ”The Work of Art in the Age of Mechanical Reproduction” he proved that new technological inventions affected the reception of art. By studying Konvoj in light of Benjamin’s theory, this study indicates that the technology of modernity affects the narrative and the use of metaphors in the novel. In addition I want to investigate how Konvoj can be studied through the theories of Marshall Berman, Theodor W. Adorno and Anthony Giddens, and this by envisioning the modernistic prose as a response to the 19th century modernity. This study illustrates that the style and the narrative aspects of the novel can be understood through modernity, and that the plot (and the characters) are all affected by it. The protagonist of the novel, Antoni Borowski, becomes an object when he is caught in a situation he can’t control, but also a subject when caught in situations he is capable of taking control of. The analysis shows that Konvoj is not only an innovative and an experimental novel in terms of its narrative, but also a novel in which the distinction between nature and culture affects the protagonist Borowski with confusion and alienation.
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Lloyd, Johannah M. "The province of art : the aesthetic in the advent of modernism to London, 1910-1914." Thesis, McGill University, 1987. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=63769.
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