Conceived in Modernism: the Aesthetics and Politics of Birth Control Aimee Armande Wilson
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Modernist Aesthetic in the Case of Lord Alfred Douglas and Marie Carmichael Stopes
33 The Poetry That Dare Not Speak Its Name: Modernist Aesthetic in the Case of Lord Alfred Douglas and Marie Carmichael Stopes Christina Hauck Kansas State University An improbable friendship sprang up in 1938 when one “Mrs Carmi- chael,” representing herself as a young mother, wrote Lord Alfred Douglas to show him a sonnet and ask his advice about publishing it. Little realizing that he was entering into correspondence with the notorious birth control advocate, Marie Carmichael Stopes, the staunchly Catholic Douglas wrote back kindly, calling Mrs. Carmichael a “pleasant poet” and lamenting his own difficulties publishing (Hall 282). If Douglas didn’t understand quite whom he was writing to, Stopes herself, rabidly homophobic and anti-Catholic, must have: Douglas’s claim to fame lay less in his poetry, whose quality critics debated fiercely when they bothered to read it at all, but in his having been a central actor in the events leading up to Oscar Wilde’s trial and imprisonment.1 By the time the correspondence had be- gun, Douglas had long converted to Catholicism and was admitting only to limited homosexual activities over a limited period, with Wilde or any- one else; Stopes apparently believed him.2 After several months, Stopes revealed her “true” identity. Douglas, understandably, was nervous. In a letter to George Bernard Shaw, he writes: I am fated to make friends with my enemies. For the last three months I have been corresponding with a lady who wrote about my poetry and poetry in general. She expressed great admira- tion for me as a poet. -
Norms of Belief and Norms of Assertion in Aesthetics
Philosophers’ volume 15, no. 6 1. Introduction Imprint february 2015 1.1 Aesthetics and assertion It is a noteworthy feature of our discourse concerning aesthetic value that certain kinds of assertion — unproblematic in most other domains — are typically ruled as impermissible. I can legitimately assert that post-boxes in Canada are red, Justin Bieber’s sophomore Norms of Belief and album lasts a little over thirty-eight minutes, and arsenic is extremely poisonous, even though I have never seen, heard, or imbibed the relevant items. In contrast, utterances such as ‘The Diving Bell and the Butterfly is an extremely moving film’ (Lackey 2011: 257) and ‘It’s such Norms of Assertion in a wonderful novel; insightful and moving, with the most beautiful and bewitching language’ (Robson 2012: 4), appear extremely problematic in the mouth of someone who has not experienced the works in question for themselves.1 Aesthetics This contrast may initially seem rather prosaic, but it has recently been employed in arguments intended to motivate a number of significant philosophical claims. These arguments typically begin by taking such examples as license for the general claim that it is illegitimate to make assertions concerning the aesthetic properties of an object in the absence of first-hand experience of the object itself. Thus Mary Mothersill claims that ‘the judgment of taste (speech act) presupposes, through the avowal that it implicates, first-person knowledge of the object judged’ (1994: 160). Simon Blackburn states Jon Robson that if ‘I have no experience of X, I cannot without misrepresentation University of Nottingham answer the question ‘Is X beautiful/boring/fascinating…?’’ (1998: 110), and others — such as Jennifer Lackey (2011: 157–8) and Keren Gorodeisky (2010: 53) — make comments in a similar vein. -
Paths from the Philosophy of Art to Everyday Aesthetics
Paths from the Philosophy of Art to Everyday Aesthetics Edited by Oiva Kuisma, Sanna Lehtinen and Harri Mäcklin Paths from the Philosophy of Art to Everyday Aesthetics © 2019 Authors Cover and graphic design Kimmo Nurminen ISBN 978-952-94-1878-7 PATHS FROM THE PHILOSOPHY OF ART TO EVERYDAY AESTHETICS Eds. Oiva Kuisma, Sanna Lehtinen and Harri Mäcklin Published in Helsinki, Finland by the Finnish Society for Aesthetics, 2019 6 Contents 9 Oiva Kuisma, Sanna Lehtinen and Harri Mäcklin Introduction: From Baumgarten to Contemporary Aesthetics 19 Morten Kyndrup Were We Ever Modern? Art, Aesthetics, and the Everyday: Distinctions and Interdependences 41 Lars-Olof Åhlberg Everyday and Otherworldly Objects: Dantoesque Transfiguration 63 Markus Lammenranta How Art Teaches: A Lesson from Goodman 78 María José Alcaraz León Aesthetic Intimacy 101 Knut Ove Eliassen Quality Issues 112 Martta Heikkilä Work and Play – The Built Environments in Terry Gilliam’s Brazil 132 Kalle Puolakka Does Valery Gergiev Have an Everyday? 148 Francisca Pérez-Carreño The Aesthetic Value of the Unnoticed 167 Mateusz Salwa Everyday Green Aesthetics 180 Ossi Naukkarinen Feeling (With) Machines 201 Richard Shusterman Pleasure, Pain, and the Somaesthetics of Illness: A Question for Everyday Aesthetics 215 Epiloque: Jos de Mul These Boots Are Made for Talkin’. Some Reflections on Finnish Mobile Immobility 224 Index of Names 229 List of Contributors 7 OIVA KUISMA, SANNA LEHTINEN & HARRI MÄCKLIN INTRODUCTION: FROM BAUMGARTEN TO CONTEMPORARY AESTHETICS ontemporary philosopher-aestheticians -
TV/Series, 9 | 2016, « Guerres En Séries (I) » [En Ligne], Mis En Ligne Le 01 Mars 2016, Consulté Le 18 Mai 2021
TV/Series 9 | 2016 Guerres en séries (I) Séries et guerre contre la terreur TV series and war on terror Marjolaine Boutet (dir.) Édition électronique URL : https://journals.openedition.org/tvseries/617 DOI : 10.4000/tvseries.617 ISSN : 2266-0909 Éditeur GRIC - Groupe de recherche Identités et Cultures Référence électronique Marjolaine Boutet (dir.), TV/Series, 9 | 2016, « Guerres en séries (I) » [En ligne], mis en ligne le 01 mars 2016, consulté le 18 mai 2021. URL : https://journals.openedition.org/tvseries/617 ; DOI : https:// doi.org/10.4000/tvseries.617 Ce document a été généré automatiquement le 18 mai 2021. TV/Series est mis à disposition selon les termes de la licence Creative Commons Attribution - Pas d'Utilisation Commerciale - Pas de Modification 4.0 International. 1 Ce numéro explore de façon transdisciplinaire comment les séries américaines ont représenté les multiples aspects de la lutte contre le terrorisme et ses conséquences militaires, politiques, morales et sociales depuis le 11 septembre 2001. TV/Series, 9 | 2016 2 SOMMAIRE Préface. Les séries télévisées américaines et la guerre contre la terreur Marjolaine Boutet Détours visuels et narratifs Conflits, filtres et stratégies d’évitement : la représentation du 11 septembre et de ses conséquences dans deux séries d’Aaron Sorkin, The West Wing (NBC, 1999-2006) et The Newsroom (HBO, 2012-2014) Vanessa Loubet-Poëtte « Tu n’as rien vu [en Irak] » : Logistique de l’aperception dans Generation Kill Sébastien Lefait Between Unsanitized Depiction and ‘Sensory Overload’: The Deliberate Ambiguities of Generation Kill (HBO, 2008) Monica Michlin Les maux de la guerre à travers les mots du pilote Alex dans la série In Treatment (HBO, 2008-2010) Sarah Hatchuel 24 heures chrono et Homeland : séries emblématiques et ambigües 24 heures chrono : enfermement spatio-temporel, nœud d’intrigues, piège idéologique ? Monica Michlin Contre le split-screen. -
Introducing Disability Aesthetics
RPP Disability Aesthetics Tobin Siebers http://www.press.umich.edu/titleDetailDesc.do?id=1134097 University of Michigan Press, 2010 Chapter 1 Introducing Disability Aesthetics Aesthetics tracks the sensations that some bodies feel in the presence of other bodies. This notion of aesthetics, first conceived by Alexander Baumgarten, posits the human body and its affective relation to other bodies as foundational to the appearance of the beautiful—and to such a powerful extent that aesthetics suppresses its underlying corporeality only with difficulty. The human body is both the subject and object of aesthetic production: the body creates other bodies prized for their ability to change the emotions of their maker and endowed with a semblance of vitality usually ascribed only to human beings. But all bodies are not cre- ated equal when it comes to aesthetic response. Taste and disgust are vola- tile reactions that reveal the ease or disease with which one body might incorporate another. The senses revolt against some bodies, while other bodies please them. These responses represent the corporeal substrata on which aesthetic effects are based. Nevertheless, there is a long tradition of trying to replace the underlying corporeality of aesthetics with idealist and disembodied conceptions of art. For example, the notion of “disin- terestedness,” an ideal invented in the eighteenth century but very much alive today, separates the pleasures of art from those of the body, while the twentieth-century notion of “opticality” denies the bodily character of visual perception. The result is a nonmaterialist aesthetics that devalues the role of the body and limits the definition of art. -
Australian Antarctic Magazine
AusTRALIAN MAGAZINE ISSUE 23 2012 7317 AusTRALIAN ANTARCTIC ISSUE 2012 MAGAZINE 23 The Australian Antarctic Division, a Division of the Department for Sustainability, Environment, Water, Population and Communities, leads Australia’s CONTENTS Antarctic program and seeks to advance Australia’s Antarctic interests in pursuit of its vision of having PROFILE ‘Antarctica valued, protected and understood’. It does Charting the seas of science 1 this by managing Australian government activity in Antarctica, providing transport and logistic support to SEA ICE VOYAGE Australia’s Antarctic research program, maintaining four Antarctic science in the spring sea ice zone 4 permanent Australian research stations, and conducting scientific research programs both on land and in the Sea ice sky-lab 5 Southern Ocean. Search for sea ice algae reveals hidden Antarctic icescape 6 Australia’s four Antarctic goals are: Twenty metres under the sea ice 8 • To maintain the Antarctic Treaty System and enhance Australia’s influence in it; Pumping krill into research 9 • To protect the Antarctic environment; Rhythm of Antarctic life 10 • To understand the role of Antarctica in the global SCIENCE climate system; and A brave new world as Macquarie Island moves towards recovery 12 • To undertake scientific work of practical, economic and national significance. Listening to the blues 14 Australian Antarctic Magazine seeks to inform the Bugs, soils and rocks in the Prince Charles Mountains 16 Australian and international Antarctic community Antarctic bottom water disappearing 18 about the activities of the Australian Antarctic Antarctic bioregions enhance conservation planning 19 program. Opinions expressed in Australian Antarctic Magazine do not necessarily represent the position of Antarctic ice clouds 20 the Australian Government. -
Aesthetics—What? Why? and Wherefore?
KENDALL WALTON Aesthetics—What? Why? and Wherefore? It is a very great honor to address my friends and philosophy of quantum physics are younger. But colleagues as president of the American Society these are clearly subcategories of traditional, well- for Aesthetics, an organization that plays a unique established areas of philosophy—ethics and phi- role in a field that is, at once, a major traditional losophy of science—and they inherit much of their branch of philosophy and also central to disci- identity and sense of purpose from their parents. plines often regarded as remote from philosophy, Aesthetics is not so fortunate. It is related in vari- as well as depending crucially on their contribu- ous important ways to epistemology, metaphysics, tions. philosophy of mind, philosophy of language— I will follow the lead of one of my distinguished indeed it overlaps all of them—but these older predecessors in this office, Peter Kivy, who used relatives are at best aunts and uncles to aesthetics, the occasion of his own presidential address twelve not parents. Aesthetics must figure out for itself years ago to step back and reflect on the state of what exactly it is. the discipline and the nature of aesthetics.1 Two kinds of issues about the field need to be addressed: What is distinctive about this branch i. what is aesthetics? of philosophy, in contrast to others? And what is philosophy? Under the first heading, we will ask Aesthetics is a strange field, in some ways a con- what aesthetics is the philosophy of , what domain fused one. -
Of the Standard of Taste: David Hume's Aesthetic Ideology
CORE Metadata, citation and similar papers at core.ac.uk Of the Standard of Taste: David Hume's Aesthetic Ideology 著者 Okochi Sho journal or SHIRON(試論) publication title volume 42 page range 1-18 year 2004-12-20 URL http://hdl.handle.net/10097/57594 SHIRON No.42 (2004) Of the Standard of Taste: David Hume’s Aesthetic Ideology Sho Okochi The relationship between moral philosophy and aesthetics still remains one of the most important problems to be clarified in eighteenth-century British intellectual history. Both of these theoretical discourses have one important question in common—the question of how sentiment, which seems individual and idiosyncratic, can be the standard of judgment. As many commentators have already suggested, in the background of the emergence of moral philosophy and aesthetics during the period was the rapid commercialization of British society.1 After Mandeville inveighed against Shaftesbury’s theory of virtue, the theorists of moral senti- ments—many of whom were Scottish—tried to answer the question of how a modern commercial society that approves individual desires and passions as the driving force of commerce can avoid moral corruption.2 They constructed subtle arguments to demonstrate that principles regu- lating moral degeneration were incorporated into the mechanism of human sentiment. Theorists of ethics and aesthetics in the age from Shaftesbury to Richard Payne Knight never ceased to discuss the prob- lem of taste. The term ‘taste,’ derived from bodily palate, served British moral philosophers as the best metaphor through which to signify the inner faculty that intuitively grasps general rules of art and of life and manners. -
Kant on the Beautiful: the Interest in Disinterestedness
Kant on the Beautiful: The Interest in Disinterestedness Paul Daniels In the Critique of the Power of Judgment, Immanuel Kant proposes a puzzling account of the experience of the beautiful: that aesthetic judg- ments are both subjective and speak with a universal voice.1 These proper- ties – the subjective and the universal – seem mutually exclusive but Kant maintains that they are compatible if we explain aesthetic judgment in terms of the mind’s a priori structure, as explicated in his earlier Critique of Pure Reason. Kant advances two major claims towards arguing for the compatibility of the subjectivity and universality of the experience of beauty: (i) that aesthetic judgments are ‘disinterested’, and (ii) that the universality of an aesthetic judgment derives from the transcendental idealist’s account of ordinary spatio-temporal experience – that is, our ordinary cognitive framework can explain the experience of beauty. If correct, these two claims support the thesis that, while the experience of beauty is wholly sub- jective, it nevertheless speaks with a universal voice (or, the experience of beauty can be related among subjects). I will move to interpret Kant’s the- ory of the beautiful with reference to his earlier two Critiques in order to bet- ter understand the marriage of subjectivity and universality. In turn, this re- veals a deeper symmetry between the disinterestedness of the experience of beauty and the freedom of moral action, allowing Kant to maintain, as he 2 indeed does, that “beauty is the symbol of morality.” The claim that aesthetic judgments are ‘disinterested’ means that a genuine aesthetic judgment does not include any extrinsic considerations COLLOQUY text theory critique 16 (2008). -
Final Thesis
A DEFENSE OF AESTHETIC ANTIESSENTIALISM: MORRIS WEITZ AND THE POSSIBLITY OF DEFINING ‘ART’ _____________________________ A Thesis Presented to The Honors Tutorial College Ohio University _____________________________ In Partial Fulfillment Of the Requirements for Graduation from the Honors Tutorial College with the degree of Bachelor of Arts in Philosophy and Art History _____________________________ By Jordan Mills Pleasant June, 2010 ii This thesis has been approved by The Honors Tutorial College and the Department of Philosophy ___________________________ Dr. Arthur Zucker Chair, Department of Philosophy Thesis Advisor ___________________________ Dr. Scott Carson Honors Tutorial College, Director of Studies Philosophy ___________________________ Jeremy Webster Dean, Honors Tutorial College iii This thesis has been approved by The Honors Tutorial College and the Department of Art History ___________________________ Dr. Jennie Klein Chair, Department of Art History Thesis Advisor ___________________________ Dr. Jennie Klein Honors Tutorial College, Director of Studies Art History ___________________________ Jeremy Webster Dean, Honors Tutorial College iv Dedicated to Professor Arthur Zucker, without whom this work would have been impossible. v Table Of Contents Thesis Approval Pages Page ii Introduction: A Brief History of the Role of Definitions in Art Page 1 Chapter I: Morris Weitz’s “The Role of Theory in Aesthetics” Page 8 Chapter II: Lewis K. Zerby’s “A Reconsideration of the Role of the Theory in Aesthetics. A Reply to Morris Weitz” -
Simply Eliot
Simply Eliot Simply Eliot JOSEPH MADDREY SIMPLY CHARLY NEW YORK Copyright © 2018 by Joseph Maddrey Cover Illustration by José Ramos Cover Design by Scarlett Rugers All rights reserved. No part of this publication may be reproduced, distributed, or transmitted in any form or by any means, including photocopying, recording, or other electronic or mechanical methods, without the prior written permission of the publisher, except in the case of brief quotations embodied in critical reviews and certain other noncommercial uses permitted by copyright law. For permission requests, write to the publisher at the address below. [email protected] ISBN: 978-1-943657-25-4 Brought to you by http://simplycharly.com Extracts taken from The Poems of T. S. Eliot Volume 1, The Complete Poems and Plays, The Complete Prose of T. S. Eliot: The Critical Edition, The Letters of T. S. Eliot, Christianity and Culture, On Poetry and Poets, and To Criticize the Critic, Copyright T. S. Eliot / Set Copyrights Limited and Reproduced by permission of Faber & Faber Ltd. Extracts taken from Ash Wednesday, East Coker and Little Gidding, Copyright T. S. Eliot / Set Copyrights Ltd., first appeared in The Poems of T. S. Eliot Volume 1. Reproduced by permission of Faber & Faber Ltd. Excerpts from Ash Wednesday, East Coker and Little Gidding, from Collected Poems 1909-1962 by T. S. Eliot. Copyright 1936 by Houghton Mifflin Harcourt Publishing Company. Copyright renewed 1964 by Thomas Stearns Eliot. Reprinted by permission of Houghton Mifflin Harcourt Publishing Company. All rights reserved. Extracts taken from Murder in the Cathedral, The Cocktail Party, The Confidential Clerk, and The Elder Statesman, Copyright T. -
University of Southampton Research Repository
University of Southampton Research Repository Copyright © and Moral Rights for this thesis and, where applicable, any accompanying data are retained by the author and/or other copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis and the accompanying data cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content of the thesis and accompanying research data (where applicable) must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holder/s. When referring to this thesis and any accompanying data, full bibliographic details must be given, e.g. Thesis: Author (Year of Submission) "Full thesis title", University of Southampton, name of the University Faculty or School or Department, PhD Thesis, pagination. Data: Author (Year) Title. URI [dataset] UNIVERSITY OF SOUTHAMPTON LANGUAGE AND REIFICATION IN IMAGIST POETICS 1909-1930 A THESIS SUBMITTED TO THE FACULTY OF ARTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF ENGLISH BY ANDREW JOHN THACKER OCTOBER 1990 TO MY MOTHER AND FATHER One has to be downright obstinate not to see the complicity of artistic and social reification, and to ignore the untruth of reification, which is that it fetishizes what is a processual relation between moments. The work of art is both a process and an instant. Its objectification, while a necessary condition of aesthetic autonomy, is also a petrifying tendency. The more the social labour embodied in an art work becomes objectified and organized, the more it sounds empty and alien to the work.