Why Has Aesthetic Formalism Fallen on Hard Times? David E.W
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Formalism Or “The Regime of Truth”: a Reading of Adrienne Rich’S
International Journal of Linguistics and Literature (IJLL) ISSN 2319-3956 Vol. 2, Issue 4, Sep 2013, 19-28 © IASET FORMALISM OR “THE REGIME OF TRUTH”: A READING OF ADRIENNE RICH’S A CHANGE OF WORLD NAHID MOHAMMADI Department of English Language and Literature, Alzahra University, Tehran, Iran ABSTRACT Formalism in Adrienne Rich‟s first book, A Change of World, has attracted different critics and scholars so far. In their interpretations, it seems that they have taken it for granted that Adrienne Rich was a formalist. But none of them has ever presented the cause for the emergence of formalism in Adrienne Rich‟s early poetry. In this paper, I draw upon Michel Foucault‟s theory of “repressive power” and demonstrate that formalism was actually “the regime of truth” which determined „true/false‟ poetry for the young poet and excluded some poetic discourses and permitted only some particular ones to come into being in her first book. KEYWORDS: Adrienne Rich, A Change of World, Formalism, Michel Foucault, Discourse Analysis, Repressive Power, Exclusion, Truth, The Regime of Truth INTRODUCTION Almost all critics of Adrienne Rich‟s poetry agree that her early poems in A Change of World (1951) have been the poet‟s practice of distancing devices of modernist formalism which was dominant among the poets in the United States in the 1950s. Trudi Dawne Witonsky, who has examined Adrienne Rich‟s works in terms of Paulo Freire‟s theory of praxis1, admits that, in her early poetry, Rich wrote under the doctrine of New Critical formalism. She goes further and states that Rich‟s transition from formalism in her early poetry to feminism in her later volumes happens because of the „inadequacy of formalist‟ theory (Witonsky)2. -
From Frames to Inference
From Frames to Inference Nancy Chang, Srini Narayanan, and Miriam R.L. Petruck International Computer Science Institute 1947 Center St., Suite 600, Berkeley, CA 94704 nchang,miriamp,snarayan ¡ @icsi.berkeley.edu Abstract money ($1000) to another (Jerry) in exchange for some goods (a car) – but differ in the perspective This paper describes a computational they impose on the scene. formalism that captures structural rela- The shared inferential structure of verbs like buy tionships among participants in a dy- and sell is captured in FrameNet by the COMMERCE namic scenario. This representation is frame, which is associated with a set of situational used to describe the internal structure of roles, or frame elements (FEs), corresponding to FrameNet frames in terms of parameters event participants and props. These FEs are used for active event simulations. We apply our as annotation tags for sentences like those in (1), formalism to the commerce domain and yielding, for example: show how it provides a flexible means of handling linguistic perspective and other Buyer Goods challenges of semantic representation. (2) a. [Chuck] bought [a car] [from Jerry]Seller [for $1000]Payment. 1 Introduction b. [Jerry]Seller sold [a car]Goods [to Chuck]Buyer [for $1000]Payment. The development of lexical semantic resources is widely recognized as a prerequisite to progress in FE tags act as a shorthand that allows diverse verbs scalable natural language understanding. One of the to tap into a common subset of encyclopedic knowl- most semantically sophisticated efforts in this direc- edge. Moreover, regularities in the set of FEs real- tion is FrameNet (Baker et al., 1998; Fillmore et al., ized with specific lexical items can be taken as cor- 2001), an online lexical resource1 designed accord- related with their favored perspective. -
Formalism and Realism in Ruins (Mapping the Logics of Collapse)
University of Colorado Law School Colorado Law Scholarly Commons Articles Colorado Law Faculty Scholarship 2009 Formalism and Realism in Ruins (Mapping the Logics of Collapse) Pierre Schlag University of Colorado Law School Follow this and additional works at: https://scholar.law.colorado.edu/articles Part of the Jurisprudence Commons, and the Law and Politics Commons Citation Information Pierre Schlag, Formalism and Realism in Ruins (Mapping the Logics of Collapse), 95 Iowa L. Rev. 195 (2009) (reprinted with permission), available at . Copyright Statement Copyright protected. Use of materials from this collection beyond the exceptions provided for in the Fair Use and Educational Use clauses of the U.S. Copyright Law may violate federal law. Permission to publish or reproduce is required. This Article is brought to you for free and open access by the Colorado Law Faculty Scholarship at Colorado Law Scholarly Commons. It has been accepted for inclusion in Articles by an authorized administrator of Colorado Law Scholarly Commons. For more information, please contact [email protected]. +(,121/,1( Citation: 95 Iowa L. Rev. 195 2009-2010 Provided by: William A. Wise Law Library Content downloaded/printed from HeinOnline Thu Mar 2 17:47:48 2017 -- Your use of this HeinOnline PDF indicates your acceptance of HeinOnline's Terms and Conditions of the license agreement available at http://heinonline.org/HOL/License -- The search text of this PDF is generated from uncorrected OCR text. -- To obtain permission to use this article beyond the scope of your HeinOnline license, please use: Copyright Information Formalism and Realism in Ruins (Mapping the Logics of Collapse) PierreSchlag* ABSTRACT: After laying out a conventional account of the formalism vs. -
AH 302: the Idea of the Aesthetic Syllabus Course Description Texts
Fall 2020 AH 302: The Idea of the Aesthetic Syllabus The schedule of classes/readings is subject to change. Registered students should consult the syllabus on Google Classrooms, which will be kept updated. Instructor: Katalin Makkai Course times: Monday and Wednesday 15:45-17:15 Email: [email protected] Office hours: TBA Office: P98 004 Course description “Aesthetics” and “aesthetic” are terms that are often taken for granted inside as well as outside academic discourse. We speak of aesthetic experiences and judgments and qualities, and we employ “aesthetics” to designate the study of such matters. Although their root is taken from the Greek, the now-familiar terms (in their now-familiar usages) are, however, comparatively new. They are commonly regarded as having been introduced into the philosophical lexicon in the eighteenth century—a few hundred years ago. This course studies some of the texts that were key to the discovery, or perhaps the invention, of the “aesthetic”. What work was the idea meant to do? How did its evolution retain or reconfigure its original senses and purposes? Is the idea of the aesthetic problematic, ideological, or chimerical? Do we need an idea of the aesthetic to think about art? Texts All readings will be provided during the semester electronically and are to be brought to class as printouts. Electronic devices Students may not use any electronic devices (laptop, tablet, mobile phone) in the classroom, unless an accommodation letter has been issued. Requirements ACADEMIC INTEGRITY Bard College Berlin maintains the staunchest regard for academic integrity and expects good academic practice from students in their studies. -
Mechanism, Mentalism, and Metamathematics Synthese Library
MECHANISM, MENTALISM, AND METAMATHEMATICS SYNTHESE LIBRARY STUDIES IN EPISTEMOLOGY, LOGIC, METHODOLOGY, AND PHILOSOPHY OF SCIENCE Managing Editor: JAAKKO HINTIKKA, Florida State University Editors: ROBER T S. COHEN, Boston University DONALD DAVIDSON, University o/Chicago GABRIEL NUCHELMANS, University 0/ Leyden WESLEY C. SALMON, University 0/ Arizona VOLUME 137 JUDSON CHAMBERS WEBB Boston University. Dept. 0/ Philosophy. Boston. Mass .• U.S.A. MECHANISM, MENT ALISM, AND MET AMA THEMA TICS An Essay on Finitism i Springer-Science+Business Media, B.V. Library of Congress Cataloging in Publication Data Webb, Judson Chambers, 1936- CII:J Mechanism, mentalism, and metamathematics. (Synthese library; v. 137) Bibliography: p. Includes indexes. 1. Metamathematics. I. Title. QA9.8.w4 510: 1 79-27819 ISBN 978-90-481-8357-9 ISBN 978-94-015-7653-6 (eBook) DOl 10.1007/978-94-015-7653-6 All Rights Reserved Copyright © 1980 by Springer Science+Business Media Dordrecht Originally published by D. Reidel Publishing Company, Dordrecht, Holland in 1980. Softcover reprint of the hardcover 1st edition 1980 No part of the material protected by this copyright notice may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying, recording or by any informational storage and retrieval system, without written permission from the copyright owner TABLE OF CONTENTS PREFACE vii INTRODUCTION ix CHAPTER I / MECHANISM: SOME HISTORICAL NOTES I. Machines and Demons 2. Machines and Men 17 3. Machines, Arithmetic, and Logic 22 CHAPTER II / MIND, NUMBER, AND THE INFINITE 33 I. The Obligations of Infinity 33 2. Mind and Philosophy of Number 40 3. Dedekind's Theory of Arithmetic 46 4. -
Art, Clive Bell
PHI 3240: Philosophy of Art Session 3 September 9th, 2015 Matisse, Henri. (1905) Luxe, Calme, et Volupte. Collingwood & Bell on the Ontology of Art 1 Today we officially begin a unit on the ontology of art, Ø the attempt to answer the question “What is art?” Ø This question is ambiguous. Is it asking: • What is the nature of artworks?, or • What is the nature of the practice of art? Ø We are going to read these authors as if they are answering the question as a claim about artworks. Before discussing Collingwood’s & Bell’s answers, let’s consider a theoretical predecessor. • The earliest views about art we have on record are mimetic, or representational theories: – these say that artworks mimic & depict images/events from the real world. • As Shakespeare’s Hamlet says about plays, artworks were understood to “hold as ‘twere the ‘play within a play’ the mirror up to nature” (Act 3, Scene 2) in Hamlet 2 Representational views were common among the ancient Greeks (e.g. Plato), • and popularized in 18th century Europe (especially by Charles Batteaux, in “The Fine Arts Reduced to a Common Principle” (trans. from French) Why have representational theories of art fallen out of favor? Greek sculpture, Fragonard, Jean-Honoré. nd Ø There are tons of counterexamples 2 -century B.C. (1772) The Reader. to the view, e.g.: – visual artworks which don’t clearly depict any recognizable objects or events (beginning in 1800s), – and purely instrumental music (e.g., symphonies) without lyrics or guiding narratives. • Mozart’s #40 in G Minor (1788): bit.ly/1O2GbSp Turner, Joseph Mallord William. -
Aesthetic Formalism, Reactions and Solutions
Hekmat va Falsafe (Wisdom and Philosophy) vol.6, no.4, 2011, pp. 101-112 Aesthetic Formalism, Reactions and Solutions Khosrow Bagheri Noaparast Mohammad Zoheir Bagheri Noaparast Abstract It seems necessary to introduce the basic concepts used in this article i.e. formalism, anti-formalism and moderate formalism. Formalists believe that the aesthetic appreciation of an artwork generally involves an attentive awareness of its sensory or perceptual qualities and does not require knowledge about its non-perceptual properties. Anti-formalists on the other hand hold that none of the aesthetic properties in a work of art are formal. A number of philosophers have recently advocated a more moderate formalism. According to this view, although not all aesthetic qualities are formal, many are, and some artworks possess only formal aesthetic qualities. The quarrel among these three rival views concerns what sort of knowledge, if any, is required for appropriate aesthetic appreciation of an artwork. In what follows, we will give a brief exposition of these three viewpoints. Subsequently, we will give our preferred position with regard to these views. Keywords: Aesthetic formalism, anti-formalism, aesthetics, Nick Zangwill. 101 1. Formalism, anti-formalism and moderate formalism Before getting involved with the details of the three viewpoints, it seems necessary to introduce the notions of aesthetic and non-aesthetic properties and formal and non- formal properties. Observable properties are properties that can make a difference in our perceptual experience of the artwork. In contrast, non-observable properties refer to instances such as the artist‟s intention, the artist‟s love life, the artist‟s mental health, the artwork‟s history. -
The Significance and Insignificance of Clive Bell's Formalism I
Navorsingsartikels/Research articles The significance and insignificance of Clive Bell’s formalism i Johan Snyman Dept, of Philosophy Rand Afrikaans University JOHANNESBURG Abstract Clive Bell coined the phrase significant form. The way he initially defined the phrase and the way he implemented it were two different matters. In this article Bell's procedure is analysed as a characteristic of late moder nist aesthetics, i.e. an attempt to come to terms with the challenge o f the radically new in art. It is suggested that one should bear in mind that formalism in this sense is a theory of artistic material which explains how meaning is communicated and perceived through non-discursive qualities o f the artistic material. That is the relevance o f Susanne K. Longer's re- interpretation o f Bell's phrase. 1. Introduction Clive Bell’s aesthetics does not make for profound reading. Why bother then? The least one can say is that Bell contributed towards the modem aesthetic vocabulary by coining a phrase that has since become a cliché or hackneyed for that matter, viz. significant form. On the other hand, if one reflects from a distance on the Wirkungsgeschichte of Bell’s phrase as well as on the Wirkungs- geschichte of the problem he wanted to solve, significant form has an intriguing logic. Significant form as an aesthetic category has spawned quite a generation of related concepts, from Clive Bell to Susanne K. Langer’s unconsummated symbol, up to Nelson Goodman’s languages of art (Goodman, 1976), Peter A revised version of a paper read at a 2nd International Symposium on Formalism, organized by the Slovenian Society of Aesthetics in Ljubljana, 14-17 May 1992. -
A Formalism for Argument Over Rules of Inference
Tenacious Tortoises: A Formalism for Argument over Rules of Inference Peter McBurney and Simon Parsons Department of Computer Science University of Liverpool Liverpool L69 7ZF U.K. g fP.J.McBurney,S.D.Parsons @csc.liv.ac.uk May 31, 2000 Abstract Eighty years later, philosopher Susan Haack [9] took up the question of how one justifies the use of MP as a As multi-agent systems proliferate and employ different deductive rule of inference. If one does so by means of and more sophisticated formal logics, it is increasingly examples of its valid application, then this is in essence likely that agents will be reasoning with different rules a form of induction, which (as she remarks) seems too of inference. Hence, an agent seeking to convince an- weak a means of justification for a rule of deduction. If, other of some proposition may first have to convincethe on the other hand, one uses a deductive means of justi- latter to use a rule of inference which it has not thus far fication, such as demonstrating the preservation of truth adopted. We define a formalism to represent degrees across the inference step in a truth-table, one risks us- of acceptability or validity of rules of inference, to en- ing the very rule being justified. So how can one person able autonomous agents to undertake dialogue concern- convince another of the validity of a rule of deductive ing inference rules. Even when they disagree over the inference? acceptability of a rule, two agents may still use the pro- That rules of inference may be the subject of fierce posed formalism to reason collaboratively. -
Are We Teaching High Art Or Low Art?
CHAPTER 7 ARE WE TEACHING HIGH ART OR LOW ART? We are apt to call barbarous whatever departs widely from our own tatse and apprehension; but some find the epithet of reproach retorted on us. (Hume, 1965, p. 3) References to high-art notions span the globe. Centuries of continuous and changing conceptions of high art have involved, for example: ideas about the grand and the common, the technical study of its rhetoric concerns, its indifferent morality or lack of any firm moral basis to it, its notions of beauty, perfectionism, emotion, idealism, formalism, the sublime, taste, academic painting and correctness, can be found in the work of Homer, Aeschylus, Aristophanes, Sophocles, Plato, Aristotle, Longinus, Joshua Reynolds, David Hume and Clive Bell. So consequently, we are sometimes asked in art education whether the art we are teaching is: ‘high art’ rather than ‘low art’, ‘high culture rather than low culture’, ‘high art rather than popular art’, ‘high art rather than student-centered art’. What are all these different distinctions with ‘high’ and ‘low’ in them segregating? What are their contrasts? Can we segregate what we teach in art in these ways and ought we to do so? ‘High art’ is poor art if, as Marcel Proust satirically mocks, we confuse art with ‘high society’, ‘social ambition’ and ‘special friendships in the art world’ (Proust, 2001, p. 59–67). Proust was aware that in the history of art no continent, nation and single group of people have a monopoly over what is ‘high art’. The above terms with ‘high’ and ‘low’ in them certainly imply a clash of ideas about teaching in art, but if so, why should popular teenage music necessarily clash with classical instrumental music, since on the one hand classical music can perform in instrumental ways Beatles songs rather well, and popular music can have instrumental orchestral influences that can benefit its music interest. -
The Place of Formalism in Legal Theory, 70 N.C
NORTH CAROLINA LAW REVIEW Volume 70 | Number 5 Article 4 6-1-1992 The lP ace of Formalism in Legal Theory Michael Corrado Follow this and additional works at: http://scholarship.law.unc.edu/nclr Part of the Law Commons Recommended Citation Michael Corrado, The Place of Formalism in Legal Theory, 70 N.C. L. Rev. 1545 (1992). Available at: http://scholarship.law.unc.edu/nclr/vol70/iss5/4 This Comments is brought to you for free and open access by Carolina Law Scholarship Repository. It has been accepted for inclusion in North Carolina Law Review by an authorized administrator of Carolina Law Scholarship Repository. For more information, please contact [email protected]. ESSAY THE PLACE OF FORMALISM IN LEGAL THEORY MICHAEL CORRADO* I understand formalism to be the claim that law is an autonomous area of knowledge. To say that it is autonomous is to say that it is self- contained, that it is not dependent on other areas of knowledge like mo- rality or politics or sociology. In particular it is to say that law is not reducible to those other areas, in a sense of reducibility I will try to make clear. There is a version of formalism that is true. This version of formal- ism does not claim that law is unrelated to other areas of knowledge. It admits that legal argument makes use of moral, political, and sociologi- cal information. But it insists that, although much that is extra-legal is taken into account in deciding a question of law, it remains extra-legal; it does not become part of the law.' I. -
The Mosaic of Aesthetics: the Manifestation of Clive Bell's and Roger Fry's Theories in the Waves
Criterion: A Journal of Literary Criticism Volume 13 Issue 1 Winter Article 8 4-2020 The Mosaic of Aesthetics: The Manifestation of Clive Bell's and Roger Fry's Theories in The Waves Nina Katarina Štular Follow this and additional works at: https://scholarsarchive.byu.edu/criterion Part of the English Language and Literature Commons BYU ScholarsArchive Citation Štular, Nina Katarina (2020) "The Mosaic of Aesthetics: The Manifestation of Clive Bell's and Roger Fry's Theories in The Waves," Criterion: A Journal of Literary Criticism: Vol. 13 : Iss. 1 , Article 8. Available at: https://scholarsarchive.byu.edu/criterion/vol13/iss1/8 This Article is brought to you for free and open access by the Journals at BYU ScholarsArchive. It has been accepted for inclusion in Criterion: A Journal of Literary Criticism by an authorized editor of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. The Mosaic of Aesthetics The Manifestation of Clive Bell’s and Roger Fry’s Aesthetic Theories in The Waves Nina Katarina Štular In Roger Fry’s “An Essay in Aesthetics,” published in 1909, he explores the question of what art truly is. A year after the paper’s publication, Fry met Clive Bell on a train and they struck a conversation about aesthetics that marked the beginning of Fry’s life-long friendship with the Bloomsbury group—a group that gave home to many influential modernist thinkers and writers. The aesthetic theory that Fry explains in “An Essay in Aesthetics” influenced Bell’sArt , published in 1914, which in turn affected Fry’s Vision and Design, published in 1920, in which Fry fully elaborates his aesthetic theory.