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Статті в журналах з теми "3601 Art history, theory and criticism"
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Mulvihill, James. "“True portrait and true history”: William Hazlitt's art criticism." Prose Studies 21, no. 3 (December 1998): 32–50. http://dx.doi.org/10.1080/01440359808586652.
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Miller, Michael, and Meredith L. Clausen. "Frantz Jourdain and the Samaritaine: Art Nouveau Theory and Criticism." American Historical Review 93, no. 5 (December 1988): 1344. http://dx.doi.org/10.2307/1873621.
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Corbett, David Peters. "Ekphrasis, history and value: Charles Ricketts's art criticism." Word & Image 15, no. 2 (April 1999): 128–40. http://dx.doi.org/10.1080/02666286.1999.10443980.
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Hatton, Brian. "Exploring architecture as a critical act, questioning relations between design, criticism, history and theory." Architectural Research Quarterly 8, no. 2 (June 2004): 105–8. http://dx.doi.org/10.1017/s1359135504000132.
Повний текст джерелаАнотація:
This conference, which took place 25–27 November 2004, was held by the Bartlett School of Architecture in association with the Architectural Humanities Research Association (AHRA). Its stated aim was to examine the relationship between critical practice in architecture and architectural criticism, intending to place architecture in an interdisciplinary context with reference to modes of criticism in other disciplines, specifically art criticism, and to explore modes of critical practice in architecture: buildings, drawings and texts. Brian Hatton attended the second day of the conference; his comments on the first day are based on discussions with colleagues and reading of transcripts.
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Green, Alison. "‘A Supreme Fiction’: Michael Fried and Art Criticism." Journal of Visual Culture 16, no. 1 (April 2017): 89–102. http://dx.doi.org/10.1177/1470412917700931.
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One of the striking aspects of the trenchant legacy of Michael Fried’s ‘Art and Objecthood’ is its status as a piece of art criticism. Widely perceived as difficult and personal, philosophical and explicatory, doxa or sermon, the essay stands out. To explore its singularity, this article compares Fried’s conception of the period criticism of 18th-century French painting in his book Absorption and Theatricality: Painting and Beholder in the Age of Diderot (1980) and the method of criticism enacted in ‘Art and Objecthood’ (1967) which he saw as connected. The author pursues this and other crossings between Fried’s art historical writings and art criticism, tracking it to an extended endnote in Fried’s Menzel’s Realism: Art and Embodiment in Nineteenth-Century Berlin (2002). ‘Art and Objecthood’ is a key essay in this story aimed at Fried’s thinking about criticism, its history, theory and practice. Doing this matters because it puts the critic in a particular relation to art and to Fried’s idea of an ‘ontologically prior relationship between painting and the beholder’.
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Campbell, Erin J. "The Art of Aging Gracefully: The Elderly Artist as Courtier in Early Modern Art Theory and Criticism." Sixteenth Century Journal 33, no. 2 (2002): 321. http://dx.doi.org/10.2307/4143910.
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Roberts, John. "Art After Deskilling." Historical Materialism 18, no. 2 (May 20, 2010): 77–96. http://dx.doi.org/10.1163/156920610x512444.
Повний текст джерелаАнотація:
The absence of would-be palpable skills in contemporary and modern art has become a commonplace of both conservative and radical art-criticism. Indeed, these criticisms have tended to define where the critic stands in relation to the critique of authorship and the limits of ‘expression’ at the centre of the modernist experience. In this article, I am less interested in why these criticisms take the form they do – this is a matter for ideology-critique and the sociology of criticism and audiences – than in the analysis of the radical transformation of conceptions in artistic skill and craft in the modern period. This will necessitate a focus on modernism and the avant-garde, and after, as it comes into alignment with, and retreat from, the modern forces of production and means of reproduction. Much, of course, has been written within the histories of modernism, and the histories of art since, on this process of confrontation and exchange – that is, between modern art’s perceived hard-won autonomy and the increasing alienation of the artist, and the reification of art under the new social and technological conditions of advanced capitalist competition – little, however, has been written on the transformed conditions and understanding of labour in the artwork itself (with the partial exception of Adorno). This is because so little art-history and art-criticism – certainly since the 1960s – has been framed explicitly within a labour-theory of culture: in what ways do artists labour, and how are these forms of labour indexed to art’s relationship to the development of general social technique (the advanced level of technology and science as it expressed in the technical conditions of social reproducibility)? In this article, I look at the modern and contemporary dynamics of this question.
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Piechucka, Alicja. "Art (and) Criticism: Hart Crane and David Siqueiros." Text Matters, no. 8 (October 24, 2018): 229–43. http://dx.doi.org/10.1515/texmat-2018-0014.
Повний текст джерелаАнотація:
The article focuses on an analysis of Hart Crane’s essay “Note on the Paintings of David Siqueiros.” One of Crane’s few art-historical texts, the critical piece in question is first of all a tribute to the American poet’s friend, the Mexican painter David Siqueiros. The author of a portrait of Crane, Siqueiros is a major artist, one of the leading figures that marked the history of Mexican painting in the first half of the twentieth century. While it is interesting to delve into the way Crane approaches painting in general and Siqueiros’ oeuvre in particular, an analysis of the essay with which the present article is concerned is also worthwhile for another reason. Like many examples of art criticism—and literary criticism, for that matter—“Note on the Paintings of David Siqueiros” reveals a lot not only about the artist it revolves around, but also about its author, an artist in his own right. In a text written in the last year of his life, Hart Crane therefore voices concerns which have preoccupied him as a poet and which, more importantly, are central to modernist art and literature.
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Berryman, Jim. "Art as document: on conceptual art and documentation." Journal of Documentation 74, no. 6 (October 8, 2018): 1149–61. http://dx.doi.org/10.1108/jd-01-2018-0010.
Повний текст джерелаАнотація:
Purpose The purpose of this paper is to bring the work of Seth Siegelaub (1941–2013) to the attention of document studies. Siegelaub was a pioneer of the conceptual art movement in New York in the 1960s, active as an Art Dealer, Curator and Publisher. He is remembered by art history for his exhibition catalogues, which provided a material base for intangible works of art. Design/methodology/approach This paper uses a comparative approach to examine the documents of conceptual art, especially the exhibition catalogues produced by Siegelaub between 1968 and 1972. Drawing on literature from document theory and art history and criticism, it examines several of Siegelaub’s key exhibition catalogues and books. Findings Siegelaub’s theories of information have much in common with the documentalist tradition. Siegelaub’s work is important, not just for its potential to contribute to the literature of document theory. It also provides a point of dialogue between art history and information studies. Originality/value To date, the common ground between art and documentation has been explored almost exclusively from the perspective of art history. This paper is among the first to examine conceptual art from the perspective of document theory. It demonstrates potential for cross-disciplinary collaboration.
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Bentley, Nancy. "Slow Criticism: American Literary Studies as a World." American Literary History 34, no. 1 (February 1, 2022): 387–93. http://dx.doi.org/10.1093/alh/ajab096.
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Abstract The authority of art in US society has declined even as cultural criticism has expanded and diversified, spreading to many sectors of society. While these conditions have affected American literary studies, scholars in the field produce criticism that can be distinguished from the criticism in other sectors by its commitment to historicist thought and by disciplinary standards for what it means to produce a “new reading.”
Дисертації з теми "3601 Art history, theory and criticism"
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Stergiou, Stavroula. "The concept of the avant-garde in twentieth and twenty-first century architecture : history, theory, criticism." Thesis, Kingston University, 2014. http://eprints.kingston.ac.uk/32215/.
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The ‘Avant-Garde’ in architecture seems a challenging subject: first, because the term has not yet clearly defined, despite the ubiquity of its use; second, because through that ubiquity it has become a buzz-word that is empty of precise meaning; third, because although this use includes the history of modern architecture, its application to this field has been largely unreflective and often unconsidered, as this thesis demonstrates. There is ambivalence as to which architectures are ‘Avant-Garde’ or should be regarded as ‘Avant-Garde.’ Therefore, there is a challenge in any question such as: what is the Avant-Garde in architecture? How can the architectural Avant-Garde be defined? What is the concept of the Avant-Garde in architecture? My thesis is a sociological conceptualization of the Avant-Garde in architecture. It is based on the mapping of the use the‘ term ‘Avant-Garde’ in architectural history, theory and criticism and its analytical tools are sociological. While it belongs to the above fields, it is informed by art theory and history, cultural studies, and the sociology of the professions, and includes sociological, cultural and political analyses. I suggest that the Avant-Garde is an Operation internal to architecture; a mechanism that does not only describe it but formulates it, motivates it, or else, influences our perception of it. I propose that the Avant-Garde is directed by prominent elements of its internal domain. It includes a filtering process, a rough selection process, and a selection process, by which one or more architectures internal conditions - are introduced to the discipline to renew the profession toward the desired and necessary, for the element who directs the operation, direction (see fig. 2, appendix). The end result of the selection process is what we commonly understand as ‘Avant-Garde’ architecture, e.g. Russian Constructivism or Bauhaus. I also propose that the Avant-Garde lies in and operates within the socio-ideological sphere of architecture and that renewal of the architecture's internal domain is necessary, thus the Avant-Garde is necessary, so as to make architecture respond to each time new external conditions and so endure, as a profession, over time. The Avant-Garde is for me an operation of renewal, a driver of difference and change in architecture (see fig. 1, appendix). The methodology adopted is as follows: I first introduce my analytical tools, some key sociological concepts, and concepts from the ‘Avant-Garde’ discourse (chapter 1). I then examine the filtering process and rough selection process in architectural history: I map the usage of the term in a historiographic corpus and arrive at the more frequently and the less frequently named ‘Avant-Garde’ architectures, which become my two case studies. These are Russian Revolutionary Architecture and Italian Rationalism (chapter 2). The third step is to arrive, through the comparison of my case studies, at those parameters that are crucial in being selected as ‘Avant-Garde,’ i.e. their ‘Avantgardification’ - this occurs after 1960 when the term starts being used describing architectures (part 2). The fourth step is to examine the period of the extended 19605 when the term starts appearing as a means of describing architectures and thus the selection process begins (chapter 6). As a fifth step I research the selection process in the discourse of architectural theory and criticism: I investigate in a particular corpus of writings which architectures, by whom they are chosen as ‘Avant-Garde,’ and the reason why, as Well as which are the concomitant effects of the usage of the term on architecture. In other words, beyond concentrating on which architectures or architectural movements are ‘Avant-Garde' in these writings, I focus on the effects of this selection and denomination (chapter 7). As a sixth step, I examine the selection process of my two case studies in architectural theory and criticism, i.e the Avantgardification of Russian Revolutionary Architecture and less of Italian Rationalism. I investigate when, by whom, and the reason why the first architecture is mostly selected as ‘Avant- Garde,’ as well as which are the concomitant effects on architecture (chapter 8, see also fig. 3, appendix). As a final step I examine the Avant-Garde as a sociological concept based on the key-concepts introduced in chapter 1 (Conclusions). A sociological conceptualization of the Avant-Garde is important for shedding light on issues beyond those of ‘Avant-Garde’ architectures. Through such a concept of the Avant-Garde we recognize issues of the profession, issues which are wider than questions which are directly connected to those architectures selected as such. Looking through the ‘Avant-Garde’ we understand the ways by which architecture is being renewed and Operated. By recognizing the conditions, in which the ‘Avant-Garde’ architectures have been created, and the way and time in which the term was employed to describe them, we understand the mode in which architecture, as a discipline, functions. My thesis is a hermeneutics of the architectural profession through the term ‘Avant-Garde.’
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Moran, Kelly Drum. "Why Not Kinkade? An Evaluation of the Conditions Effecting an Artists Exclusion from Academic Criticism." Digital Commons @ East Tennessee State University, 2011. https://dc.etsu.edu/etd/1390.
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Though prevalent in non-academic debate, the subject of Thomas Kinkade and his artwork is discernibly absent from the realm of academic discourse. This paper is an investigation into that condition and the circumstances for its perpetuation. Central to the issue is Kinkade's art theory and practice, which establishes his coexistence in both the art and business domains, creating inherent contradictions. Further explication is revealed through an evaluation of the contemporary criticism of four posthumously canonized artists: William Blake, Phillip Otto Runge, Vincent van Gogh, and Henri Rousseau. Consistencies among them correlate to the treatment of Thomas Kinkade, suggesting a common art historical methodology in operation. An evaluation of these findings generates alternative perspectives for considering his artwork and presents the possibility for relevant, engaging research into concerns well beyond its aesthetic merit.
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McKnight, Justine. "Redefining The Art Experience : From Static To Temporal Art Forms." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 1998. https://ro.ecu.edu.au/theses/1450.
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This research examines an approach to art making and viewing that questions the acceptance of the autonomous object in favour of a transient experience. It focuses specifically on work and writing from the 1960s by the American artist Robert Morris that attempted to alter the then predominant Formalist understanding of the art object as autonomous and self-referential. This investigation follows the formal and conceptual development of Morris' work (and that of associated artists Richard Serra and Rafael Ferrer) with particular focus on the shift from static objects to time-based and transient an-forms including film/video and installation. I address the influence that the shift from static to temporal forms has had on the experience of art such as opening artwork to deeper levels of metaphysical association and visceral response. This discussion also examines parallel issues that have emerged within my own work's conceptual and formal development. In relation to the investigation of these developments I shall contextualise and locate my recent arts practice.
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Upchurch, Diane M. (Diane Marie). "Nineteenth Century Light and Color Theory: Rainbow Science in the Art of Frederic Edwin Church." Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc500448/.
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The purpose of this study was to investigate the depiction of rainbows in the art of Frederic Church in relation to mid-nineteenth century scientific developments in order to determine Church's reliance on contemporary concerns with light and color. An examination of four Church paintings with rainbows, three oil sketches, and nearly a dozen pencil drawings shows that Church's rainbow art represents a response to mid-century cultural values connecting science and art. Changes within Church's rainbow depictions occurred as the artist explored the visual representations of light, synthesizing the scientific knowledge of light and color available to him, and reconciling that information with the requirements of art.
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Gibson, Kimberly Dawn. "Lines by Someone Else: the Pragmatics of Apprompted Poems." Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc804948/.
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Over the last sixty years, overtly intertextual poems with titles such as “Poem Beginning with a Line by John Ashbery” and “Poem Ending with a Line by George W. Bush” have been appearing at an increasing rate in magazines and collections. These poems wed themselves to other texts and authors in distinct ways, inviting readers to engage with poems which are, themselves, in conversation with lines from elsewhere. These poems, which I refer to as “apprompted” poems, explicitly challenge readers to investigate the intertextual conversation, and in doing so, they adopt inherent risks. My thesis will chart the various effects these poems can have for readers and the consequences they may hold for the texts from which they borrow. Literary critics such as Harold Bloom and J. H. Miller have described the act of borrowing as competitive and parasitic—“agon” is Bloom’s term for what he sees as the oedipal anxiety of poets and poets’ texts to their antecedents, but an investigation of this emerging genre in terms of linguistic pragmatics shows that apprompted poems are performing a wider range of acts in relation to their predecessors. Unlike Bloom’s theory, which interprets the impulse of poetic creation through psychoanalysis, I employ linguistic terms from Brown and Levinson’s linguistic Politeness theory to analyze apprompted poems as conversational speech events. Politeness theory provides a useful analysis of these poems by documenting the weight of threats to the positive and negative “faces” of the participants in each poetic conversation. I have documented these “face-threatening-acts” and used them to divide apprompted poems into five major speech events: satire, revision, promotion, pastiche, and ecclesiastic. Ultimately, this paper serves at the intersection of literary criticism and linguistics, as I suggest a theoretical approach to the interpretation and criticism of apprompted poems by way of linguistic pragmatics.
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Van, Patterson Cameron. "A Black Presence Disclosed in Absence: The Politics of Difference in Contemporary Art." Thesis, Harvard University, 2011. http://dissertations.umi.com/gsas.harvard:10050.
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As an interdisciplinary project that integrates African and African American Studies, critical race theory, and Art History, this dissertation attempts to enrich our understanding of the politics of difference in contemporary art by interrogating the formal practices of artists and the social significance of their work. The artwork discussed reflects a pattern of creative engagement with archival institutions and documents that is characteristic of contemporary artists who are concerned with questions of consumption and the body; representation and erasure; the social construction of race and space; and the relationship between history, memory, and identity. Taken together, these themes constitute a discursive landscape within contemporary art that is central to the principle question raised here—namely, how do social genres of difference and relations of power influence artistic practices of representation, curatorial display, and reception? In an attempt to both answer and reverse the direction of this question, this text presents insightful perspectives from different artists on the complex relationship between art and society. Using the politics of difference as a lens through which to examine the aforementioned themes in contemporary art, I argue that the artists under consideration are transforming the meaning of race in post-slavery societies throughout the black diaspora. Through various creative practices, these artists are shifting the terms, coordinates, and representations of difference seen in the archive in order to reimagine the language of identity in the twenty-first century. Fundamentally, their work challenges the way certain bodies are recognized—compelling us, as viewers, to reinterpret the past from alternative and critical perspectives. Moreover, by focusing on the disclosure of a black presence in western cultures through the comparative formal and historical analysis of contemporary works of art that call our attention to misrepresentation, commodification, invisibility, and displacement, this dissertation contributes to developing conversations about how contemporary artists challenge dominant narratives and representational aesthetics. Through their work, these artists expand our conception of the archive—disclosing the overlapping ways in which objects, images, words, signs, ideas, ads, bodies, and spaces register social and historical meaning through the demarcation of racialized difference. Ultimately, this project demonstrates how art can transform the way we see and represent ideas of difference, and therein, the way we see and represent ourselves.African and African American Studies
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McDermott, Lydia Eva. "Gerard Manley Hopkins's poetic art as "current language heightened" : (with reference to selected sonnets and in the light of contemporary stylistic theory)." Thesis, Rhodes University, 1985. http://hdl.handle.net/10962/d1002019.
Повний текст джерелаАнотація:
The aim of this thesis is twofold: To examine Hopkins's writings on poetics and to relate these to modern theories of poetic stylistics; and to show, through an examination of two sets of Hopkins sonnets, the ways in which Hopkins's writings on language and poetics are reflected in his verse (Introductory outline, p. 5)
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Maiden, Shelby. "The Commodity Club: Commodity Fetishism in Modern Art and Tattoos." Digital Commons @ East Tennessee State University, 2018. https://dc.etsu.edu/honors/467.
Повний текст джерелаАнотація:
The current culture of commodity fetishism that surrounds both modern art and tattoos are disproportionately a part of the perpetuation of an artificial sense of society and community. It promotes the notion that by simply by inking the deeper layers of their skin or by spending millions on a painting that somehow one becomes elevated and enters an elite space, or club, of people like them.
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Herrera, Adriana. "Ficción Extrema: Deslizamientos en la Realidad a Través de la Relación Entre Arte y Literatura (Max Aub, Leonora Carrington y Enrique Vila-Matas)." FIU Digital Commons, 2014. http://digitalcommons.fiu.edu/etd/1741.
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Si el siglo XX creó una extendida conciencia sobre las variantes de la intertextualidad en la ficción literaria, hoy enfrentamos transformaciones en la naturaleza de la ficción y sus relaciones con otras formas discursivas y/o creativas como el arte, y con la misma realidad, que es posible designar con el concepto de ficción extrema. Desde “Don Quijote” o “Las meninas” hay incursiones en la metaficción y/o autorrefecividad. Pero a partir de las vanguardias modernistas y de modo creciente en los estertores de la postmodernidad nos abocamos a un singular tipo de hipertextualidad que desbordando lo literario se apropia de prácticas artísticas (o lo contrario) como recurso para la transposición de sus ficciones, no sólo de uno a otro campo, sino para su inserción en la realidad: la ficción extrema.
Max Aub (España 1903-México 1973), Leonora Carrington (Inglaterra 1917-México 2011) y Enrique Vila-Matas (España 1958), radicalizaron este tránsito o filtración de los imaginarios artísticos y literarios subvirtiendo las delimitaciones entre —pintor catalán Jusep Torres Campalans, junto con sus obras pictóricas, creadas como sombra o doble de Picasso. Así insertó su existencia en ciertos dominios del cubismo como un modo de meta-crítica artística. Carrington asumió un doble animal que transitó entre cuentos y cuadros y se inscribió en la memoria del surrealismo. Vila-Matas narró su “Historia abreviada de la literatura portátil” como un doble del espectro Marcel Duchamp —a su vez asaltado por otros— que reescribe la memoria del dadaísmo de tal modo que ha llegado a ser confundida con un ensayo. La revisión de las estrategias de la ficción extrema en estos autores junto con las de otros contemplados en el epilogo —Mario Bellatín, y los artistas Liliana Porter, Luis Camnitzer, José Guillermo Castillo, Ana Tisconia, Rubén Torres Llorca y Carlos Amorales— arroja nueva luz sobre sus obras, enriquece los estudios transatlánticos y revela la movilidad y multiplicación de la identidad y los deslizamientos de la ficción en la realidad como signos de tránsito a la altermodernidad.
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Schwartz, Erin M. "Spheres of Ambivalence: The Art of Berni Searle and the Body Politics of South AfricanColoured Identity." Ohio University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1399305465.
Повний текст джерелаКниги з теми "3601 Art history, theory and criticism"
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Jody, Berland, Straw Will 1954-, and Tomas David, eds. Theory rules: Art as theory, theory and art. Toronto: University of Toronto Press, 1996.
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Mathews, Patricia Townley. Aurier's symbolist art criticism and theory. Ann Arbor, Mich: UMI Research Press, 1986.
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Grigely, Joseph. Textualterity: Art, theory and textual criticism. Ann Arbor: University of Michigan Press, 1995.
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Iversen, Margaret. Alois Riegl: Art history and theory. Cambridge, Mass: MIT Press, 1993.
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Iversen, Margaret. Alois Riegl: Art history and theory. Cambridge, Mass: MIT Press, 1993.
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Wilde, Carolyn. A Companion to Art Theory. New York: John Wiley & Sons, Ltd., 2007.
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Cheney, Liana. Giorgio Vasari's prefaces: Art and theory. New York: Peter Lang Publishing, 2012.
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1944-, Delgado Manuel, and Poust Alice Jan 1950-, eds. Lorca, Buñuel, Dalí: Art and theory. Lewisburg, [Pa.]: Bucknell University Press, 2001.
Знайти повний текст джерелаЧастини книг з теми "3601 Art history, theory and criticism"
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Mueller-Vollmer, Kurt. "Language theory and the art of understanding." In The Cambridge History of Literary Criticism, 162–84. Cambridge University Press, 2000. http://dx.doi.org/10.1017/chol9780521300100.010.
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"Introduction: Autotheory as Feminist Practice: History, Theory, Art, Life." In Autotheory as Feminist Practice in Art, Writing, and Criticism, 1–70. The MIT Press, 2021. http://dx.doi.org/10.7551/mitpress/13573.003.0002.
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Bolden, Tony. "Blue Funk." In Groove Theory, 37–84. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496830524.003.0003.
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This chapter examines the development of funk as a distinct concept in black vernacular culture, and explains how blues artists, modern jazz musicians, and political attitudes during the civil rights movement combined to establish the foundation for the musical genre of funk as well as the non-conformist aesthetics and attitudes the music expressed. The central argument is therefore two-fold: that blues artists formulated the concept now known as funk, and that funk became the epistemic centerpiece of a broader cultural aesthetics in black working-class environments. As with the previous chapter, “Blue Funk: The Ugly Beauty of Stank ” foregrounds the central role of kinesthesia in blues-oriented approaches to music-making. Using insights and methods from multiple areas of scholarship, including musicology, ethnomusicology, philosophy, literary criticism, dance criticism, and art history, Bolden explains how the concept of funk and/or precepts associated with funk were not only exemplified in several black musical genres but also dancing, literature, and visual art as well. In this way, black artists working in several mediums contributed to the transformation of “funky” from a stigmatizing signification, that is, a negative, stereotypical expression into a metaphor of black cultural affirmation.
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Avanessian, Armen. "Asynchronous Present Past." In Speculative Art Histories. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9781474421041.003.0002.
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Peter Osborne has recently made the ‘speculative proposition’ that post-conceptual art articulates a post-aesthetic poetics. Contemporary art might no longer be an aesthetic art, or at least, it might no longer be understood within the traditional (philosophical) framework of aesthetics. Just as art is undergoing an ontological change, the new linguistic ontology of contemporary fiction or narration, too, demands a Speculative Poetics. Both the con-temporary (in the arts) and the present tense (in recent novels) are characterized by the co-presence of several present times. This co-presence cannot be experienced as such by a subject, it is only present for speculative thought. This quality of the con-temporary and the asynchronous present displayed in art and literature today provokes the question of the extent to which a speculative art history or speculative theory of literature needs to go beyond aesthetics. The hypothesis to be explored here is that we witness the first signs of a revision of the eighteenth-century inauguration of aesthetics, which had relegated poetics (and rhetoric) to the sidelines. A speculative criticism targets the very correlationism of aesthetics, i.e. its structural implementation of the hermeneutic relation between the object and its subjective observer or reader.
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Smyth, Patricia. "Illusion Versus Style In History Painting." In Paul Delaroche, 23–70. Liverpool University Press, 2022. http://dx.doi.org/10.3828/liverpool/9781802070217.003.0002.
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This chapter draws on nineteenth-century art criticism and theory to reveal two contrasting modes of spectatorship at the annual Salon exhibition. Delaroche’s art addressed a new type of viewer who, lacking artistic expertise, was indifferent to the stylistic or technical questions specific to the medium, preferring to engage with the emotional content of painting. Whereas previous studies have focussed on the ‘battle’ between classiques and romantiques, this chapter shifts attention to the lesser-known fault line between the cultural elite and the ‘ordinary’ Salon-goer. Whether experiencing panoramas or dioramas, or viewing tableaux in the Salon, this new public sought the sensation of immediacy. A counter-mode, associated with artists and connoisseurs, took pleasure in mediation for its own sake. This is evidenced in the emergence of a new definition of style in the 1830s as something that may be discussed independently of the emotional or conceptual content of a work.
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Turvey, Malcolm. "The Medium Matters! In Defense of Medium-Specificity in Classical Film Theory." In The Oxford Handbook of Film Theory, 95—C5.N55. Oxford University Press, 2022. http://dx.doi.org/10.1093/oxfordhb/9780190873929.013.37.
Повний текст джерелаАнотація:
Abstract The doctrine of medium specificity holds that a medium can do something that other media cannot, or that they cannot do as well, and it has a long history in the theory, criticism, and practice of the arts. The first film theorists, who today are often referred to as classical film theorists, embraced medium specificity in their attempt to demonstrate that film is a legitimate art as great as, or perhaps greater than, the other arts. They believed that, in order for cinema to be accepted as a genuine art, they had to show that cinema can do certain things better than the other arts or that the other arts couldn’t do at all. Thus they set about identifying specific features of film that putatively distinguished it as a medium from other media. Today, medium specificity is a controversial doctrine, and has been subjected to powerful, sustained criticism by Noël Carroll, who has targeted its use in classical film theory. Yet, medium specificity has recently enjoyed a resurgence in film theorizing due, in part, to the advent of digital filmmaking. In this chapter, I claim that Carroll’s hostility to medium specificity in classical film theory is due to the unwarranted conflation of medium specificity with a related but logically distinct doctrine, namely, medium essentialism. Once the two are untangled, I show, medium specificity can be defended against its detractors such as Carroll, whose real and legitimate target, I suggest, is medium essentialism.
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Belsey, Alex, and Alex Belsey. "Art and the Artist." In Image of a Man, 151–206. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789620290.003.0006.
Повний текст джерелаАнотація:
This chapter explores how Keith Vaughan overcame his disillusionment in the early 1940s and revived his hopes of being a painter through engagements with art theory that enabled him to construct through journal-writing an ideal type of the artist that he could emulate. Embracing this conceptualisation, Vaughan enjoyed a post-war period of success, but by the early 1960s was consumed by feelings of self-loathing which he explored in his resurgent journal-writing, resulting in a tumultuous period of unprecedented productivity and restless sexual experimentation. The first section of this chapter reveals how Vaughan constructed his ideal type of the artist during a crucial period in 1943, drawing inspiration from art history, art criticism, and appreciation of Paul Cézanne to laud the necessity of search and struggle to the artist’s mission. The second section describes how Vaughan neglected his journal whilst he enjoyed success in the British art world. The third section re-joins Vaughan in 1962, finding him profoundly dissatisfied with his life and work and attempting to re-assert control over both by drawing on sexology and psychoanalysis to make his journal an account of experiments in autoeroticism, subjectivity and sensation that once again reconfigured his conception of art and the artist.
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Cheney, Patrick. "Poetics." In The Oxford History of Poetry in English, 83–100. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780198830696.003.0005.
Повний текст джерелаАнотація:
The sixteenth century prints the first treatises in English on ‘poetics’, a branch of literary criticism outlining a theory of poetry. Traditionally, modern scholars understand English poetics to be rhetorical: poetry is a rational form of persuasion. However, sixteenth-century theorists also introduce a counter-theory known as the sublime, first outlined by Longinus, who sees poetry as an irrational art aiming at ‘amazement and wonder’. For Longinus, the goal of sublime poetry is not to civilise the human but to secure freedom from the human: sublime poetry catapults the reader to the godhead. Sidney’s Defence taps into a poetics of sublime freedom, as do other treatises, such as Scott’s Model of Poetry. Consequently, the sixteenth century is the first era to theorise sublime poetic freedom of the literary imagination itself. Poets and playwrights like Marlowe in Doctor Faustus cohere with the theorists by scripting a liberating poetics of sublime authorship.
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Gordon, Peter E., and John P. McCormick. "Introduction." In Weimar Thought. Princeton University Press, 2013. http://dx.doi.org/10.23943/princeton/9780691135106.003.0001.
Повний текст джерелаАнотація:
This introductory chapter first sets out the book's purpose, which is to bring together a broad range of papers on diverse themes pertaining to the intellectual and cultural history of the Weimar Republic. It includes a great variety of contributions by scholars affiliated with manifold disciplines, including, but not limited to, history, political theory, philosophy, sociology, history of science, film theory, art history, and literary criticism. Few if any single-volume works have succeeded at offering a unified portrait of the rich developments of Weimar thought, and the authors believe the time is right to offer a guidebook to the German interwar era, a compendium focused primarily on the major intellectual trends of the time. The chapter then discusses the unity and diversity of Weimar thought followed by an overview of the subsequent chapters.
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Lewis, Theodore J. "Methodology." In The Origin and Character of God, 48–72. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190072544.003.0003.
Повний текст джерелаАнотація:
Articulating a thoughtful methodology is desideratum, for today’s analyses of Israelite religion (indeed, of the academic study of religion in general) are dramatically different than those of past generations. This chapter articulates the academic disciplines required for the task at hand: textual studies (including epigraphy, linguistics and comparative Semitics), archaeology, art history, the philosophy of religion, and various social-scientific approaches (e.g. socio-linguistics, gender, ethnicity, ritual performance, spatial theory). The categories of “religion” and “Israelite” are probed. Particular attention is then devoted to the nature of our source material including (a) textual sources (e.g. epigraphy, onomastica, the Hebrew Bible) and source-criticism of the Hebrew Bible; (b) the nature of the archaeological record, and (c) the use of comparative ancient Near Eastern materials.