Elleke Boehmer
- Published in print:
- 2015
- Published Online:
- September 2015
- ISBN:
- 9780198744184
- eISBN:
- 9780191804076
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198744184.003.0004
- Subject:
- Literature, 19th-century and Victorian Literature, 20th-century Literature and Modernism
Chapter 3 explores how the end-of-century Indian-English poets Manmohan Ghose and the slightly later Sarojini Naidu, as well as Ghose’s Oxford contemporary Cornelia Sorabji, both anglicised, yet ...
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Chapter 3 explores how the end-of-century Indian-English poets Manmohan Ghose and the slightly later Sarojini Naidu, as well as Ghose’s Oxford contemporary Cornelia Sorabji, both anglicised, yet orientalized their writing, and the personas they presented to British society. They contributed to creating, though were also shaped by, the orientalist effects of 1890s Decadence and aestheticism. As in previous chapters, the accent lies on how Indians in Britain fell in line with, yet at the same time actively participated in, the cultural inscription of India that shaped the imperial cosmopolitanism of the time. An important feature of this self-orientalization (or reverse-orientalism) is how these Indian artists and writers, including Tagore in the 1910s, were inducted into their aesthetic preoccupations through close friendships with leading British men of letters and cultural critics—Laurence Binyon, Edmund Gosse, and Arthur Symons—as well as through their affiliation with the avant-garde circles, clubs, and groups that defined the era, such as W. B. Yeats’ Rhymers Club.Less
Chapter 3 explores how the end-of-century Indian-English poets Manmohan Ghose and the slightly later Sarojini Naidu, as well as Ghose’s Oxford contemporary Cornelia Sorabji, both anglicised, yet orientalized their writing, and the personas they presented to British society. They contributed to creating, though were also shaped by, the orientalist effects of 1890s Decadence and aestheticism. As in previous chapters, the accent lies on how Indians in Britain fell in line with, yet at the same time actively participated in, the cultural inscription of India that shaped the imperial cosmopolitanism of the time. An important feature of this self-orientalization (or reverse-orientalism) is how these Indian artists and writers, including Tagore in the 1910s, were inducted into their aesthetic preoccupations through close friendships with leading British men of letters and cultural critics—Laurence Binyon, Edmund Gosse, and Arthur Symons—as well as through their affiliation with the avant-garde circles, clubs, and groups that defined the era, such as W. B. Yeats’ Rhymers Club.
Ralph Parfect
- Published in print:
- 2015
- Published Online:
- September 2017
- ISBN:
- 9780748690954
- eISBN:
- 9781474422185
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748690954.003.0004
- Subject:
- Literature, Drama
The Burlington Magazine for Connoisseurs was founded in 1903 by a group of art theorists, scholars and historians that included Roger Fry, later a co-editor of the magazine for almost ten years ...
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The Burlington Magazine for Connoisseurs was founded in 1903 by a group of art theorists, scholars and historians that included Roger Fry, later a co-editor of the magazine for almost ten years (1909-1919). On Fry’s death in 1934, the magazine itself described him as ‘the man who in the past did most to establish it and mould its character’. Part of this character was a consistent attention to Chinese art that he shared with fellow Bloomsbury writers, artists and intellectuals. This chapter illuminates Fry’s practice as a theorist and an editor interested in the arts of China by examining how these were represented and discussed in the Burlington Magazine under his auspices. It focuses especially on the kinds of language, discourse and textual strategies of sinophile contributors such as Arthur Waley, Lawrence Binyon, Perceval Yetts and R.L. Hobson. The chapter locates their approaches to Chinese art within a longer-term Western historiography of China and its culture(s), as well as within late-nineteenth and early-twentieth century discourses such as aestheticism, scientism and orientalism. It thus attempts to unpack the ideological implications of the ‘connoisseurship’ professed by the magazine’s title as applied to the subject of Chinese art.Less
The Burlington Magazine for Connoisseurs was founded in 1903 by a group of art theorists, scholars and historians that included Roger Fry, later a co-editor of the magazine for almost ten years (1909-1919). On Fry’s death in 1934, the magazine itself described him as ‘the man who in the past did most to establish it and mould its character’. Part of this character was a consistent attention to Chinese art that he shared with fellow Bloomsbury writers, artists and intellectuals. This chapter illuminates Fry’s practice as a theorist and an editor interested in the arts of China by examining how these were represented and discussed in the Burlington Magazine under his auspices. It focuses especially on the kinds of language, discourse and textual strategies of sinophile contributors such as Arthur Waley, Lawrence Binyon, Perceval Yetts and R.L. Hobson. The chapter locates their approaches to Chinese art within a longer-term Western historiography of China and its culture(s), as well as within late-nineteenth and early-twentieth century discourses such as aestheticism, scientism and orientalism. It thus attempts to unpack the ideological implications of the ‘connoisseurship’ professed by the magazine’s title as applied to the subject of Chinese art.
