Janet Huskinson
- Published in print:
- 2008
- Published Online:
- January 2009
- ISBN:
- 9780199232536
- eISBN:
- 9780191716003
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199232536.003.0004
- Subject:
- Classical Studies, Plays and Playwrights: Classical, Early, and Medieval
This chapter explores the relationship between pantomime dance and funerary iconography in Roman society. The similarities between the art form of pantomime and sarcophagus art are identified in ...
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This chapter explores the relationship between pantomime dance and funerary iconography in Roman society. The similarities between the art form of pantomime and sarcophagus art are identified in their shared activities of: interpreting well‐known subject‐matter from mythology to their viewers, inspiring reflection on the human condition through a visual display, and engaging with the human body in a fundamental way. The discussion opens with a critique of an approach which explores the relationship between the two by looking at individual pantomime motifs on Roman sarcophagi. Instead the author follows an alternative approach and considers pantomime and sarcophagus imagery in terms of their subjects, their presentation and their actors. The chapter concludes with a section that looks at the viewers of pantomime and sarcophagus imagery.Less
This chapter explores the relationship between pantomime dance and funerary iconography in Roman society. The similarities between the art form of pantomime and sarcophagus art are identified in their shared activities of: interpreting well‐known subject‐matter from mythology to their viewers, inspiring reflection on the human condition through a visual display, and engaging with the human body in a fundamental way. The discussion opens with a critique of an approach which explores the relationship between the two by looking at individual pantomime motifs on Roman sarcophagi. Instead the author follows an alternative approach and considers pantomime and sarcophagus imagery in terms of their subjects, their presentation and their actors. The chapter concludes with a section that looks at the viewers of pantomime and sarcophagus imagery.
Tze-Yue G. Hu
- Published in print:
- 2010
- Published Online:
- September 2011
- ISBN:
- 9789622090972
- eISBN:
- 9789882207721
- Item type:
- chapter
- Publisher:
- Hong Kong University Press
- DOI:
- 10.5790/hongkong/9789622090972.003.0003
- Subject:
- Society and Culture, Asian Studies
This chapter discusses the wide array of art forms available in Japan and stresses their continuity over the years. It introduces the “visualness” of Japanese art forms including anime and attempts ...
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This chapter discusses the wide array of art forms available in Japan and stresses their continuity over the years. It introduces the “visualness” of Japanese art forms including anime and attempts to locate and conceive the twentieth-century medium-genre in a visual awareness tradition that exists within the mental make-up of an assimilating subject. The classic Japanese two-dimensional art forms, namely paintings and wood-prints, first appeared during the Asuka period (AD 593–710). One distinctive type is the emakimono or picture-scroll, a form of painting where happenings and events are spoken through the act of illustrating. Today, emakimono is embodied in countless manga works and their co-animated creations. Zen portrait painting is another example of two-dimensional art that displays the realist tradition. Although Zen portrait paintings were meant as contemplative wall paintings, anime characters were created for popular consumption in the late twentieth century.Less
This chapter discusses the wide array of art forms available in Japan and stresses their continuity over the years. It introduces the “visualness” of Japanese art forms including anime and attempts to locate and conceive the twentieth-century medium-genre in a visual awareness tradition that exists within the mental make-up of an assimilating subject. The classic Japanese two-dimensional art forms, namely paintings and wood-prints, first appeared during the Asuka period (AD 593–710). One distinctive type is the emakimono or picture-scroll, a form of painting where happenings and events are spoken through the act of illustrating. Today, emakimono is embodied in countless manga works and their co-animated creations. Zen portrait painting is another example of two-dimensional art that displays the realist tradition. Although Zen portrait paintings were meant as contemplative wall paintings, anime characters were created for popular consumption in the late twentieth century.
Roger Keys
- Published in print:
- 1996
- Published Online:
- October 2011
- ISBN:
- 9780198151609
- eISBN:
- 9780191672767
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198151609.003.0010
- Subject:
- Literature, 20th-century Literature and Modernism, European Literature
This chapter examines Andrei Belyi's interest in the homogeneity of music and literature. In the article ‘Forms of Art’, the literal link between music and poetry as acoustic arts developing in time ...
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This chapter examines Andrei Belyi's interest in the homogeneity of music and literature. In the article ‘Forms of Art’, the literal link between music and poetry as acoustic arts developing in time was identified as rhythm, and in later years, Belyi would go on to develop an esoteric theory according to which poetry, like music re-enacts the fundamental rhythms of creation.Less
This chapter examines Andrei Belyi's interest in the homogeneity of music and literature. In the article ‘Forms of Art’, the literal link between music and poetry as acoustic arts developing in time was identified as rhythm, and in later years, Belyi would go on to develop an esoteric theory according to which poetry, like music re-enacts the fundamental rhythms of creation.
Christy Mag Uidhir
- Published in print:
- 2013
- Published Online:
- September 2013
- ISBN:
- 9780199665778
- eISBN:
- 9780191748608
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199665778.003.0004
- Subject:
- Philosophy, Aesthetics
Further building on the work from previous chapters, the author employs the framework of attempts and the sort-relevant notion of authorship to provide a systematic and structurally precise account ...
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Further building on the work from previous chapters, the author employs the framework of attempts and the sort-relevant notion of authorship to provide a systematic and structurally precise account of what it is to be an art form in terms of what it is to be an art sortal. So, the claim that some putative form such as painting, poetry, or the novel is an art form must instead be understood as the claim that the sortal painting, novel, or poem is an art sortal. For sortals such as painting, novel, or poem to be art sortals is for the ways in which things can be paintings, novels, or poems (i.e., the ways in which things can satisfy the conditions for falling under the sortal painting, novel, or poem) to themselves be ways in which things can be artworks (i.e., can be ways in which things satisfy the conditions for falling under the sortal artwork, whatever those may turn out to be). The author then uses this framework to examine the status of photography as an art form.Less
Further building on the work from previous chapters, the author employs the framework of attempts and the sort-relevant notion of authorship to provide a systematic and structurally precise account of what it is to be an art form in terms of what it is to be an art sortal. So, the claim that some putative form such as painting, poetry, or the novel is an art form must instead be understood as the claim that the sortal painting, novel, or poem is an art sortal. For sortals such as painting, novel, or poem to be art sortals is for the ways in which things can be paintings, novels, or poems (i.e., the ways in which things can satisfy the conditions for falling under the sortal painting, novel, or poem) to themselves be ways in which things can be artworks (i.e., can be ways in which things satisfy the conditions for falling under the sortal artwork, whatever those may turn out to be). The author then uses this framework to examine the status of photography as an art form.
J. A. Hiddleston
- Published in print:
- 1999
- Published Online:
- October 2011
- ISBN:
- 9780198159322
- eISBN:
- 9780191673597
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198159322.003.0006
- Subject:
- Literature, European Literature
This chapter explores Baudelaire's silence about Manet, whom he knew well and whose work has many parallels with that of the poet. It argues that his silence and implied disapproval can be explained ...
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This chapter explores Baudelaire's silence about Manet, whom he knew well and whose work has many parallels with that of the poet. It argues that his silence and implied disapproval can be explained by what the poet, who believed in the inviolable specificity of art forms, must have identified in Manet as a mismatch between medium (the oil on canvas) and an ironic or ‘agnostic’ content.Less
This chapter explores Baudelaire's silence about Manet, whom he knew well and whose work has many parallels with that of the poet. It argues that his silence and implied disapproval can be explained by what the poet, who believed in the inviolable specificity of art forms, must have identified in Manet as a mismatch between medium (the oil on canvas) and an ironic or ‘agnostic’ content.
Stephen Davies
- Published in print:
- 2012
- Published Online:
- January 2013
- ISBN:
- 9780199658541
- eISBN:
- 9780191746253
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199658541.003.0002
- Subject:
- Philosophy, Aesthetics, Philosophy of Science
This chapter proposes that art is pan-cultural and found in every epoch, including prehistory, and rejects the idea that art is confined to recent European culture. “Cluster” accounts, which list ...
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This chapter proposes that art is pan-cultural and found in every epoch, including prehistory, and rejects the idea that art is confined to recent European culture. “Cluster” accounts, which list art-relevant properties and argue that an item’s realizing an appropriate subset of these is sufficient to make it art, fail to help us determine the status of marginal cases. A multi-stranded account is preferable: something is art if it fits into an established art category, or it was intended to be art, or it achieves excellence in realizing artistic goals. Much art is functional, and being contemplated for its own sake is only one among many functions that art can serve. Most animals do not qualify as artists, though they may sing, dance, or do other things beautifully, because their creations lack the generativity—development, change, and novelty—that marks art. Sperm whales are a possible exception.Less
This chapter proposes that art is pan-cultural and found in every epoch, including prehistory, and rejects the idea that art is confined to recent European culture. “Cluster” accounts, which list art-relevant properties and argue that an item’s realizing an appropriate subset of these is sufficient to make it art, fail to help us determine the status of marginal cases. A multi-stranded account is preferable: something is art if it fits into an established art category, or it was intended to be art, or it achieves excellence in realizing artistic goals. Much art is functional, and being contemplated for its own sake is only one among many functions that art can serve. Most animals do not qualify as artists, though they may sing, dance, or do other things beautifully, because their creations lack the generativity—development, change, and novelty—that marks art. Sperm whales are a possible exception.
Ernest Hartmann
- Published in print:
- 2010
- Published Online:
- January 2011
- ISBN:
- 9780199751778
- eISBN:
- 9780199863419
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199751778.003.0004
- Subject:
- Psychology, Cognitive Psychology, Clinical Psychology
Dreaming always makes new connections. It does not replay what was experienced in waking life. Even dreams usually thought of as replays—for instance repetitive or recurrent dreams, and traumatic ...
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Dreaming always makes new connections. It does not replay what was experienced in waking life. Even dreams usually thought of as replays—for instance repetitive or recurrent dreams, and traumatic (PTSD) dreams—turn out to be new creations, not replays. As a new creation, guided by emotion, the dream is somewhat like a work of art. Painting and film are sometimes derived directly from dreams, so it is easy to see similarities between these art forms and dreaming. This chapter argues for similarities between dreaming and other forms of art as well. It examines poetry and dreams, suggesting that the “objective correlative” of a poem is very like the Central Image of a dream.Less
Dreaming always makes new connections. It does not replay what was experienced in waking life. Even dreams usually thought of as replays—for instance repetitive or recurrent dreams, and traumatic (PTSD) dreams—turn out to be new creations, not replays. As a new creation, guided by emotion, the dream is somewhat like a work of art. Painting and film are sometimes derived directly from dreams, so it is easy to see similarities between these art forms and dreaming. This chapter argues for similarities between dreaming and other forms of art as well. It examines poetry and dreams, suggesting that the “objective correlative” of a poem is very like the Central Image of a dream.
Christy Mag Uidhir
- Published in print:
- 2013
- Published Online:
- September 2013
- ISBN:
- 9780199665778
- eISBN:
- 9780191748608
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199665778.001.0001
- Subject:
- Philosophy, Aesthetics
Although few philosophers agree about what it is for something to be defined as art, most, if not all, agree on one thing: art must be in some sense intention-dependent. Art and Art-Attempts is about ...
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Although few philosophers agree about what it is for something to be defined as art, most, if not all, agree on one thing: art must be in some sense intention-dependent. Art and Art-Attempts is about taking intention-dependence seriously as a substantive necessary condition for being art. Artworks are the products of the attempts (goal-oriented intention-directed activities) in which we engage, and these attempts not only succeed or fail but have products that reflect that success or failure. It is not just that an artwork must be the product of intentional action but rather that an artwork must be the product of a successful art-attempt—an attempt with success conditions that if satisfied entail satisfaction of the conditions for being art (whatever those may be). To capture a substantive (non-trivial) sense in which art must be intention-dependent requires trading mere intention-dependence for a substantive attempt-dependence. What follows from art’s intention-dependence being so reframed is a unified, systematic, and productive framework for philosophical enquiry into the nature of art and its principal relata. Art and Art-Attempts aims neither to propose nor to defend any particular, precise answer to the question ‘What is art?’ Instead, Art and Art-Attempts shows the ways in which taking intention-dependence seriously as a substantive necessary condition for being art can be profoundly revelatory, and perhaps even radically revisionary, as to the scope and limits of what any particular, precise answer to such a question could viably be.Less
Although few philosophers agree about what it is for something to be defined as art, most, if not all, agree on one thing: art must be in some sense intention-dependent. Art and Art-Attempts is about taking intention-dependence seriously as a substantive necessary condition for being art. Artworks are the products of the attempts (goal-oriented intention-directed activities) in which we engage, and these attempts not only succeed or fail but have products that reflect that success or failure. It is not just that an artwork must be the product of intentional action but rather that an artwork must be the product of a successful art-attempt—an attempt with success conditions that if satisfied entail satisfaction of the conditions for being art (whatever those may be). To capture a substantive (non-trivial) sense in which art must be intention-dependent requires trading mere intention-dependence for a substantive attempt-dependence. What follows from art’s intention-dependence being so reframed is a unified, systematic, and productive framework for philosophical enquiry into the nature of art and its principal relata. Art and Art-Attempts aims neither to propose nor to defend any particular, precise answer to the question ‘What is art?’ Instead, Art and Art-Attempts shows the ways in which taking intention-dependence seriously as a substantive necessary condition for being art can be profoundly revelatory, and perhaps even radically revisionary, as to the scope and limits of what any particular, precise answer to such a question could viably be.
Tom Rockmore
- Published in print:
- 2013
- Published Online:
- September 2013
- ISBN:
- 9780226040028
- eISBN:
- 9780226040165
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226040165.003.0008
- Subject:
- Philosophy, General
This chapter illustrates a few of the many differences between modern art and earlier art forms. For one, modern art can be seen as the transformation of what was earlier an artistic endeavor that ...
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This chapter illustrates a few of the many differences between modern art and earlier art forms. For one, modern art can be seen as the transformation of what was earlier an artistic endeavor that appeared in many guises to one that increasingly responds to financial imperatives. Contemporary art is either in the process of becoming or has already become a form of commodification. Modern art also shows evidence of an increasing loss of the cognitive dimension so important in earlier forms of art. The Platonic attack on artistic representation has been hugely influential in Western aesthetics, and philosophers—even artists—are divided in supporting or denying the Platonic verdict. These differences in opinion illustrate that the aesthetic discussion and even the practice of Western art is a sort of reaction to the Platonic critique of art. This scenario is now changing; the reasons for this change are discussed in the succeeding chapters.Less
This chapter illustrates a few of the many differences between modern art and earlier art forms. For one, modern art can be seen as the transformation of what was earlier an artistic endeavor that appeared in many guises to one that increasingly responds to financial imperatives. Contemporary art is either in the process of becoming or has already become a form of commodification. Modern art also shows evidence of an increasing loss of the cognitive dimension so important in earlier forms of art. The Platonic attack on artistic representation has been hugely influential in Western aesthetics, and philosophers—even artists—are divided in supporting or denying the Platonic verdict. These differences in opinion illustrate that the aesthetic discussion and even the practice of Western art is a sort of reaction to the Platonic critique of art. This scenario is now changing; the reasons for this change are discussed in the succeeding chapters.
Ian Bogost
- Published in print:
- 2015
- Published Online:
- May 2016
- ISBN:
- 9780816699117
- eISBN:
- 9781452952406
- Item type:
- book
- Publisher:
- University of Minnesota Press
- DOI:
- 10.5749/minnesota/9780816699117.001.0001
- Subject:
- Society and Culture, Media Studies
More than half a century later, it’s still not clear what place videogames have in culture. Some would celebrate them as heir apparent to cinema’s throne, the art-form of the twenty-first century. ...
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More than half a century later, it’s still not clear what place videogames have in culture. Some would celebrate them as heir apparent to cinema’s throne, the art-form of the twenty-first century. But this seems unlikely, and not just because games remain a niche interest despite the fact that so many people play them, but also because the twenty-first century is an era of media fragmentation, of tweets and Instagrams and animated GIFs and memes, but one still built around traditional media forms: text, image, and moving image. Maybe it’s because games are as much like appliances—toasters or rice cookers, say—as they are like art and media. We operate games, we use them like we use soaps and rice cookers. But yet, also use them like we use cinema and literature. It’s time to embrace both halves of games, the art and the appliance, by treating each game as the weird, unholy confluence of culture and apparatus that it really is.Less
More than half a century later, it’s still not clear what place videogames have in culture. Some would celebrate them as heir apparent to cinema’s throne, the art-form of the twenty-first century. But this seems unlikely, and not just because games remain a niche interest despite the fact that so many people play them, but also because the twenty-first century is an era of media fragmentation, of tweets and Instagrams and animated GIFs and memes, but one still built around traditional media forms: text, image, and moving image. Maybe it’s because games are as much like appliances—toasters or rice cookers, say—as they are like art and media. We operate games, we use them like we use soaps and rice cookers. But yet, also use them like we use cinema and literature. It’s time to embrace both halves of games, the art and the appliance, by treating each game as the weird, unholy confluence of culture and apparatus that it really is.
Jenefer Robinson
- Published in print:
- 2005
- Published Online:
- February 2006
- ISBN:
- 9780199263653
- eISBN:
- 9780191603211
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/0199263655.001.0001
- Subject:
- Philosophy, Aesthetics
This book takes the insights of modern psychological and neuroscientific research on the emotions and brings them to bear on questions about our emotional involvement with the arts. It begins by ...
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This book takes the insights of modern psychological and neuroscientific research on the emotions and brings them to bear on questions about our emotional involvement with the arts. It begins by laying out a theory of emotion, one that is supported by the best evidence from current empirical work on emotions, and then in the light of this theory examines some of the ways in which the emotions function in the arts. Written in a clear and engaging style, the book will make fascinating reading for anyone who is interested in the emotions and how they work, as well as anyone engaged with the arts and aesthetics, especially with questions about emotional expression in the arts, emotional experience of art forms, and, more generally, artistic interpretation. Part One develops a theory of emotions as processes, having at their core non-cognitive ‘instinctive’ appraisals, ‘deeper than reason’, which automatically induce physiological changes and action tendencies, and which then give way to cognitive monitoring of the situation. Part Two examines the role of the emotions in understanding literature, especially the great realistic novels of the 19th century. It is argued that such works need to be experienced emotionally if they are to be properly understood. A detailed reading of Edith Wharton's novel The Reef demonstrates how a great novel can educate us emotionally by first evoking instinctive emotional responses, and then getting us to cognitively monitor and reflect upon them. Part Three puts forward a new Romantic theory of emotional expression in the arts. Part Four deals with music, both the emotional expression of emotion in music, whether vocal or instrumental, and the arousal of emotion by music. The way music arouses emotion lends indirect support to the theory of emotion outlined in Part One.Less
This book takes the insights of modern psychological and neuroscientific research on the emotions and brings them to bear on questions about our emotional involvement with the arts. It begins by laying out a theory of emotion, one that is supported by the best evidence from current empirical work on emotions, and then in the light of this theory examines some of the ways in which the emotions function in the arts. Written in a clear and engaging style, the book will make fascinating reading for anyone who is interested in the emotions and how they work, as well as anyone engaged with the arts and aesthetics, especially with questions about emotional expression in the arts, emotional experience of art forms, and, more generally, artistic interpretation. Part One develops a theory of emotions as processes, having at their core non-cognitive ‘instinctive’ appraisals, ‘deeper than reason’, which automatically induce physiological changes and action tendencies, and which then give way to cognitive monitoring of the situation. Part Two examines the role of the emotions in understanding literature, especially the great realistic novels of the 19th century. It is argued that such works need to be experienced emotionally if they are to be properly understood. A detailed reading of Edith Wharton's novel The Reef demonstrates how a great novel can educate us emotionally by first evoking instinctive emotional responses, and then getting us to cognitively monitor and reflect upon them. Part Three puts forward a new Romantic theory of emotional expression in the arts. Part Four deals with music, both the emotional expression of emotion in music, whether vocal or instrumental, and the arousal of emotion by music. The way music arouses emotion lends indirect support to the theory of emotion outlined in Part One.
Nancy Lee Chalfa Ruyter
- Published in print:
- 2019
- Published Online:
- May 2020
- ISBN:
- 9780813066097
- eISBN:
- 9780813058320
- Item type:
- chapter
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9780813066097.003.0010
- Subject:
- History, Cultural History
There is much evidence of La Meri’s lifelong commitment to writing, which seems to have been as central to her life as dance. Fortunately, her thoughts, feelings, and insights survive not only in her ...
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There is much evidence of La Meri’s lifelong commitment to writing, which seems to have been as central to her life as dance. Fortunately, her thoughts, feelings, and insights survive not only in her published poetry, articles, and books but also in the hundreds of notes and notebooks, dance descriptions, letters, and other materials in her archives. At an early age, La Meri began publishing her poetry, and, later, works about her own life experiences and about dance and its many manifestations. After some discussion of La Meri’s poetry and the books of poems that she published, this chapter focuses mostly on the six books that deal with dance. These books include her autobiography (a memoir of her professional life) and five works that provide information and discussion about dance as an art form: including Spanish dance, Indian dance, choreography, and “ethnic dance,” a term she claimed to have coined. In her dance writings she also sets forth her theoretical, aesthetic and pedagogical conceptions and ideas.Less
There is much evidence of La Meri’s lifelong commitment to writing, which seems to have been as central to her life as dance. Fortunately, her thoughts, feelings, and insights survive not only in her published poetry, articles, and books but also in the hundreds of notes and notebooks, dance descriptions, letters, and other materials in her archives. At an early age, La Meri began publishing her poetry, and, later, works about her own life experiences and about dance and its many manifestations. After some discussion of La Meri’s poetry and the books of poems that she published, this chapter focuses mostly on the six books that deal with dance. These books include her autobiography (a memoir of her professional life) and five works that provide information and discussion about dance as an art form: including Spanish dance, Indian dance, choreography, and “ethnic dance,” a term she claimed to have coined. In her dance writings she also sets forth her theoretical, aesthetic and pedagogical conceptions and ideas.
Angela Smith
- Published in print:
- 1999
- Published Online:
- October 2011
- ISBN:
- 9780198183983
- eISBN:
- 9780191674167
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198183983.003.0001
- Subject:
- Literature, 20th-century Literature and Modernism
The haunting presence of Katherine Mansfield recurs in Virginia Woolf’s personal writing throughout her life, often as a slightly challenging phantom. They mirror each other in many ways, in spite of ...
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The haunting presence of Katherine Mansfield recurs in Virginia Woolf’s personal writing throughout her life, often as a slightly challenging phantom. They mirror each other in many ways, in spite of their evident differences. In 1920, for instance, each describes a moment of suspension which is at once a response to the natural world and an impression of their experience of writing. Fictional borders are erased in Woolf’s and Mansfield’s entries into their characters’ abjection, for instance in the horrors revealed through Septimus Warren-Smith in Mrs Dalloway or through Linda in ‘Prelude’. This book contains two chapters on abjection as it is explored in the personal writings, as well as chapters that focus exclusively on its effect on the fiction, within the wider context of an interpretation of liminality in the two women’s work. The focus as far as Woolf is concerned is on her writing up to To the Lighthouse (1917). The liminal place inflects the two authors’ version of modernism, and affects their perception of the boundaries between different art forms.Less
The haunting presence of Katherine Mansfield recurs in Virginia Woolf’s personal writing throughout her life, often as a slightly challenging phantom. They mirror each other in many ways, in spite of their evident differences. In 1920, for instance, each describes a moment of suspension which is at once a response to the natural world and an impression of their experience of writing. Fictional borders are erased in Woolf’s and Mansfield’s entries into their characters’ abjection, for instance in the horrors revealed through Septimus Warren-Smith in Mrs Dalloway or through Linda in ‘Prelude’. This book contains two chapters on abjection as it is explored in the personal writings, as well as chapters that focus exclusively on its effect on the fiction, within the wider context of an interpretation of liminality in the two women’s work. The focus as far as Woolf is concerned is on her writing up to To the Lighthouse (1917). The liminal place inflects the two authors’ version of modernism, and affects their perception of the boundaries between different art forms.
Wing Chung Ng
- Published in print:
- 2015
- Published Online:
- April 2017
- ISBN:
- 9780252039119
- eISBN:
- 9780252097096
- Item type:
- book
- Publisher:
- University of Illinois Press
- DOI:
- 10.5406/illinois/9780252039119.001.0001
- Subject:
- Music, Ethnomusicology, World Music
Defined by its distinct performance style, stage practices, and regional- and dialect-based identities, Cantonese opera originated as a traditional art form performed by itinerant companies in temple ...
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Defined by its distinct performance style, stage practices, and regional- and dialect-based identities, Cantonese opera originated as a traditional art form performed by itinerant companies in temple courtyards and rural market fairs. In the early 1900s, however, Cantonese opera began to capture mass audiences in the commercial theaters of Hong Kong and Guangzhou—a transformation that changed it forever. This book charts Cantonese opera's confrontations with state power, nationalist discourses, and its challenge to the ascendancy of Peking opera as the country's preeminent “national theatre.” Mining vivid oral histories and heretofore untapped archival sources, the book relates how Cantonese opera evolved from a fundamentally rural tradition into urbanized entertainment distinguished by a reliance on capitalization and celebrity performers. It also expands analysis to the transnational level, showing how waves of Chinese emigration to Southeast Asia and North America further re-shaped Cantonese opera into a vibrant part of the ethnic Chinese social life and cultural landscape in the many corners of a sprawling diaspora.Less
Defined by its distinct performance style, stage practices, and regional- and dialect-based identities, Cantonese opera originated as a traditional art form performed by itinerant companies in temple courtyards and rural market fairs. In the early 1900s, however, Cantonese opera began to capture mass audiences in the commercial theaters of Hong Kong and Guangzhou—a transformation that changed it forever. This book charts Cantonese opera's confrontations with state power, nationalist discourses, and its challenge to the ascendancy of Peking opera as the country's preeminent “national theatre.” Mining vivid oral histories and heretofore untapped archival sources, the book relates how Cantonese opera evolved from a fundamentally rural tradition into urbanized entertainment distinguished by a reliance on capitalization and celebrity performers. It also expands analysis to the transnational level, showing how waves of Chinese emigration to Southeast Asia and North America further re-shaped Cantonese opera into a vibrant part of the ethnic Chinese social life and cultural landscape in the many corners of a sprawling diaspora.
Simon Shaw-Miller
- Published in print:
- 2002
- Published Online:
- October 2013
- ISBN:
- 9780300083743
- eISBN:
- 9780300130171
- Item type:
- chapter
- Publisher:
- Yale University Press
- DOI:
- 10.12987/yale/9780300083743.003.0002
- Subject:
- Music, Philosophy of Music
This chapter examines composer Richard Wagner's music and ideas at the time of Charles Baudelaire's definition of modernity, and discusses Wagner's argument that each separate art form tends to ...
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This chapter examines composer Richard Wagner's music and ideas at the time of Charles Baudelaire's definition of modernity, and discusses Wagner's argument that each separate art form tends to extend itself to its limits, which it cannot pass without losing itself in incomprehension. It also considers Wagner's Gesamtkunstwerk and Baudelaire's opinion about the need to recognize that here was an art which truly threatened the long-affirmed supremacy of poetry and which can turn poetry into a form of protomusic.Less
This chapter examines composer Richard Wagner's music and ideas at the time of Charles Baudelaire's definition of modernity, and discusses Wagner's argument that each separate art form tends to extend itself to its limits, which it cannot pass without losing itself in incomprehension. It also considers Wagner's Gesamtkunstwerk and Baudelaire's opinion about the need to recognize that here was an art which truly threatened the long-affirmed supremacy of poetry and which can turn poetry into a form of protomusic.
Dominic McIver Lopes
- Published in print:
- 2014
- Published Online:
- April 2014
- ISBN:
- 9780199591558
- eISBN:
- 9780191771842
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199591558.001.0001
- Subject:
- Philosophy, Aesthetics
This book articulates and defends a ‘buck passing theory of art’, namely that a work of art is nothing but a work in a specific art form. Having traced philosophical interest in theories of art to a ...
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This book articulates and defends a ‘buck passing theory of art’, namely that a work of art is nothing but a work in a specific art form. Having traced philosophical interest in theories of art to a reaction to certain puzzle cases of avant-garde art, it argues that none of the theories that have dominated philosophy since the 1960s adequately copes with these works. These theories have reached a dialectical impasse wherein they reiterate, and cannot resolve, disagreement over the puzzle cases, whereas the buck passing theory illuminates the radical provocations of avant-garde art. In addition, when supplemented by a systematic framework for crafting theories of the individual arts in terms of their media, the buck passing theory grounds our empirical inquiries into the arts as well as our practices of appreciation and art criticism. The book seeks to model the diverse strategies employed by humanists and social and behavioural scientists who study the different arts. It gives the specificity of each art form a central role in our appreciative endeavours while stressing the continuity of the arts with similar, non-art cultural activities such as fashion design, sports and games, cuisine, nature appreciation, and non-literary writing.Less
This book articulates and defends a ‘buck passing theory of art’, namely that a work of art is nothing but a work in a specific art form. Having traced philosophical interest in theories of art to a reaction to certain puzzle cases of avant-garde art, it argues that none of the theories that have dominated philosophy since the 1960s adequately copes with these works. These theories have reached a dialectical impasse wherein they reiterate, and cannot resolve, disagreement over the puzzle cases, whereas the buck passing theory illuminates the radical provocations of avant-garde art. In addition, when supplemented by a systematic framework for crafting theories of the individual arts in terms of their media, the buck passing theory grounds our empirical inquiries into the arts as well as our practices of appreciation and art criticism. The book seeks to model the diverse strategies employed by humanists and social and behavioural scientists who study the different arts. It gives the specificity of each art form a central role in our appreciative endeavours while stressing the continuity of the arts with similar, non-art cultural activities such as fashion design, sports and games, cuisine, nature appreciation, and non-literary writing.
Simon Morrison
- Published in print:
- 2002
- Published Online:
- May 2012
- ISBN:
- 9780520229433
- eISBN:
- 9780520927261
- Item type:
- chapter
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520229433.003.0003
- Subject:
- Music, History, Western
The first ever analogy between religion and music was drawn by Andrey Belïy, in his seminal 1902 work, “The Forms of Art.” In essence, he predicted that the arts, through their gravitation to music, ...
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The first ever analogy between religion and music was drawn by Andrey Belïy, in his seminal 1902 work, “The Forms of Art.” In essence, he predicted that the arts, through their gravitation to music, would one day unite fallen humanity with God. Deeming poetry as inadequate for revealing the invisible reality underpinning the visible reality, he advocated Symbolism to shift from poetry to music. Through his work, he sought to trigger a cultural-spiritual revival. Belïy's unrealized novel on the ancient Slavonic chronicle about Kitezh, the Invisible City, was accomplished by another prominent artist of the Silver Age, composer Nikolai Rimsky-Korsakov. The unique paradoxical influence on the synergy between religion and Symbolism, exerted by Rimsky-Korsakov, given his atheist conformist outlook, is discussed in this chapter. A one-on debate between Leo Tolstoy, a late-life pious and Rimsky-Korsakov, was termed by the former as a “face-to-face” encounter with “gloom.”Less
The first ever analogy between religion and music was drawn by Andrey Belïy, in his seminal 1902 work, “The Forms of Art.” In essence, he predicted that the arts, through their gravitation to music, would one day unite fallen humanity with God. Deeming poetry as inadequate for revealing the invisible reality underpinning the visible reality, he advocated Symbolism to shift from poetry to music. Through his work, he sought to trigger a cultural-spiritual revival. Belïy's unrealized novel on the ancient Slavonic chronicle about Kitezh, the Invisible City, was accomplished by another prominent artist of the Silver Age, composer Nikolai Rimsky-Korsakov. The unique paradoxical influence on the synergy between religion and Symbolism, exerted by Rimsky-Korsakov, given his atheist conformist outlook, is discussed in this chapter. A one-on debate between Leo Tolstoy, a late-life pious and Rimsky-Korsakov, was termed by the former as a “face-to-face” encounter with “gloom.”
Millery Polyné
- Published in print:
- 2010
- Published Online:
- September 2011
- ISBN:
- 9780813034720
- eISBN:
- 9780813039534
- Item type:
- chapter
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9780813034720.003.0006
- Subject:
- History, African-American History
This chapter examines the cultural manifestations of Pan Americanism through the development of Haitian folkloric dance by the Haitian-born dance director Jean-Leon Destine and the U.S. African ...
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This chapter examines the cultural manifestations of Pan Americanism through the development of Haitian folkloric dance by the Haitian-born dance director Jean-Leon Destine and the U.S. African American dance educator Lavinia Williams. As early as the mid-1930s, the Haitian government began to support the advancement and consumption of Haitian cultural arts to increase tourism to the country. The work of Destine and Williams sought to modernize Haitian dance or, rather, to discipline it, classify it, and theatricalize it so Haiti's original art form could be exhibited on the world stage and educate audiences about Haitian history and culture. The establishment of cultural institutions and the training of Haitian dancers by a U.S. African American choreographer affirmed not only the spirit of Pan Americanism's cultural exchange programs, but also the creation of an alternative world by black dancers in which African-based art forms were celebrated and in consistent dialogue with Western culture.Less
This chapter examines the cultural manifestations of Pan Americanism through the development of Haitian folkloric dance by the Haitian-born dance director Jean-Leon Destine and the U.S. African American dance educator Lavinia Williams. As early as the mid-1930s, the Haitian government began to support the advancement and consumption of Haitian cultural arts to increase tourism to the country. The work of Destine and Williams sought to modernize Haitian dance or, rather, to discipline it, classify it, and theatricalize it so Haiti's original art form could be exhibited on the world stage and educate audiences about Haitian history and culture. The establishment of cultural institutions and the training of Haitian dancers by a U.S. African American choreographer affirmed not only the spirit of Pan Americanism's cultural exchange programs, but also the creation of an alternative world by black dancers in which African-based art forms were celebrated and in consistent dialogue with Western culture.
Dominic McIver Lopes
- Published in print:
- 2014
- Published Online:
- April 2014
- ISBN:
- 9780199591558
- eISBN:
- 9780191771842
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199591558.003.0011
- Subject:
- Philosophy, Aesthetics
Philosophers turned to theories of art, which state what makes any item a work of art, principally in order to address puzzle cases — works of avant-garde art that seem to challenge traditional ...
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Philosophers turned to theories of art, which state what makes any item a work of art, principally in order to address puzzle cases — works of avant-garde art that seem to challenge traditional conceptions of what art is. Chapter 5 argued that recent theories of art fail at this task and this chapter argues that the buck passing theory of art performs the task successfully. According to a buck passing theory of art, what makes any item a work of art is that it is a work in a specific art form. The argument is that the puzzle cases are puzzling because we cannot locate them in any established art form, such as painting or music. The reason is that they belong to a new art form, conceptual art. The medium and norm-giving practices of this art form are discussed.Less
Philosophers turned to theories of art, which state what makes any item a work of art, principally in order to address puzzle cases — works of avant-garde art that seem to challenge traditional conceptions of what art is. Chapter 5 argued that recent theories of art fail at this task and this chapter argues that the buck passing theory of art performs the task successfully. According to a buck passing theory of art, what makes any item a work of art is that it is a work in a specific art form. The argument is that the puzzle cases are puzzling because we cannot locate them in any established art form, such as painting or music. The reason is that they belong to a new art form, conceptual art. The medium and norm-giving practices of this art form are discussed.
Dominic McIver Lopes
- Published in print:
- 2014
- Published Online:
- April 2014
- ISBN:
- 9780199591558
- eISBN:
- 9780191771842
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199591558.003.0002
- Subject:
- Philosophy, Aesthetics
Answers to the question ‘what is art?’ may take any of three forms. A theory of art states what makes any item an art work. A theory of the arts states what makes certain activities (e.g. painting, ...
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Answers to the question ‘what is art?’ may take any of three forms. A theory of art states what makes any item an art work. A theory of the arts states what makes certain activities (e.g. painting, music, poetry, and dance) arts when other activities (e.g. philosophy or cooking) are not arts. A theory of each art states what makes any item a work in a particular art (e.g. what makes an item a painting or what makes an item a dance). These three classes of theories are not equivalent. According to a buck passing theory of art, what makes any item a work of art is that it is a work in a specific art form. The outlines of an argument for the theory is sketched. In addition, an argument is given to show that this theory is no less able than its competition to connect in a systematic way with a theory of the arts and theories of the specific art forms.Less
Answers to the question ‘what is art?’ may take any of three forms. A theory of art states what makes any item an art work. A theory of the arts states what makes certain activities (e.g. painting, music, poetry, and dance) arts when other activities (e.g. philosophy or cooking) are not arts. A theory of each art states what makes any item a work in a particular art (e.g. what makes an item a painting or what makes an item a dance). These three classes of theories are not equivalent. According to a buck passing theory of art, what makes any item a work of art is that it is a work in a specific art form. The outlines of an argument for the theory is sketched. In addition, an argument is given to show that this theory is no less able than its competition to connect in a systematic way with a theory of the arts and theories of the specific art forms.
