Mitchell S. Green
- Published in print:
- 2007
- Published Online:
- January 2008
- ISBN:
- 9780199283781
- eISBN:
- 9780191712548
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199283781.001.0001
- Subject:
- Philosophy, Philosophy of Mind, Philosophy of Language
This book offers a general theory of expressive behavior, including but not limited to such behavior as it occurs in our own species. At the core of the project is the thesis that self-expression is ...
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This book offers a general theory of expressive behavior, including but not limited to such behavior as it occurs in our own species. At the core of the project is the thesis that self-expression is a matter of showing a cognitive, affective, or qualitative state in such a way that the showing is a product of design. Design may be the result of conscious intention, natural selection, artificial selection, or convention. Showing comes in three forms: showing that something is so, showing something in such a way as to make it perceptible, and showing how an object appears or how an experience or affect feels. This elucidation of self-expression as designed showing of something inner sheds light on such issues as the distinction between saying and showing, the nature of speaker meaning, speech acts, the problem of other minds, implicature, the psychology and evolutionary biology of facial expression, idiosyncratic and conventional aspects of expressive behavior, empathy, qualia, and artistic expression, particularly expression in music. The work blends insights from evolutionary game theory, ethology, experimental psychology, neuroscience, pragmatics, and the philosophies of mind and language.Less
This book offers a general theory of expressive behavior, including but not limited to such behavior as it occurs in our own species. At the core of the project is the thesis that self-expression is a matter of showing a cognitive, affective, or qualitative state in such a way that the showing is a product of design. Design may be the result of conscious intention, natural selection, artificial selection, or convention. Showing comes in three forms: showing that something is so, showing something in such a way as to make it perceptible, and showing how an object appears or how an experience or affect feels. This elucidation of self-expression as designed showing of something inner sheds light on such issues as the distinction between saying and showing, the nature of speaker meaning, speech acts, the problem of other minds, implicature, the psychology and evolutionary biology of facial expression, idiosyncratic and conventional aspects of expressive behavior, empathy, qualia, and artistic expression, particularly expression in music. The work blends insights from evolutionary game theory, ethology, experimental psychology, neuroscience, pragmatics, and the philosophies of mind and language.
Jenefer Robinson
- Published in print:
- 2005
- Published Online:
- February 2006
- ISBN:
- 9780199263653
- eISBN:
- 9780191603211
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/0199263655.003.0009
- Subject:
- Philosophy, Aesthetics
Artistic expression ‘is an activity of an artist that consists, roughly speaking, in the manifestation and elucidation of an emotional state of a persona in the expressive character of a poem, a ...
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Artistic expression ‘is an activity of an artist that consists, roughly speaking, in the manifestation and elucidation of an emotional state of a persona in the expressive character of a poem, a painting, a piece of music, etc., such that the work provides evidence for the emotional state of the persona and the persona's emotional state is communicated to other people (and also the artist himself) through the character of the work.’ (p. 270) Different works of art articulate emotion by emphasizing different elements in the emotion process. Representational paintings and poems can articulate the way the world appears to someone in the throes of an emotion, as in Caspar David Friedrich's Large Enclosure at Dresden or Keats' Ode to a Nightingale, or they can articulate more directly the thoughts and desires of a person in a particular emotional state. Paintings can also express emotions by the (e.g., violent or passionate) way in which they are painted or seem to have been painted. In addition, works of music and dance can enact the gestures, action tendencies, and behavior characteristic of a particular emotion.Less
Artistic expression ‘is an activity of an artist that consists, roughly speaking, in the manifestation and elucidation of an emotional state of a persona in the expressive character of a poem, a painting, a piece of music, etc., such that the work provides evidence for the emotional state of the persona and the persona's emotional state is communicated to other people (and also the artist himself) through the character of the work.’ (p. 270) Different works of art articulate emotion by emphasizing different elements in the emotion process. Representational paintings and poems can articulate the way the world appears to someone in the throes of an emotion, as in Caspar David Friedrich's Large Enclosure at Dresden or Keats' Ode to a Nightingale, or they can articulate more directly the thoughts and desires of a person in a particular emotional state. Paintings can also express emotions by the (e.g., violent or passionate) way in which they are painted or seem to have been painted. In addition, works of music and dance can enact the gestures, action tendencies, and behavior characteristic of a particular emotion.
Daniel Hurewitz
- Published in print:
- 2007
- Published Online:
- March 2012
- ISBN:
- 9780520249257
- eISBN:
- 9780520941694
- Item type:
- chapter
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520249257.003.0004
- Subject:
- History, American History: 20th Century
In the 1920s and 1930s, as the film industry left for other neighborhoods, a group of writers, painters, sculptors, and printers settled in their wake among the hills of Edendale. Contrary to the ...
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In the 1920s and 1930s, as the film industry left for other neighborhoods, a group of writers, painters, sculptors, and printers settled in their wake among the hills of Edendale. Contrary to the common belief that Los Angeles was devoid of an art community before the 1950s, Edendale artists constructed a community for themselves around the passion of artistic expression. Within their community structure, the artists grappled with many questions about how much and in what way the artist could strip life down to its fundamentals and convey those through art. In doing so, they framed a discussion similar to the arguments about the continuity of sexual desires and the relationships between those inner desires and external behavior. Although the artists did not focus entirely on desire, they wrestled with the related task of expressing the artist’s “essence”—an “inner self” which they saw as constituted by feelings and psychological constructs. This formulation of essence is more than sexual and gendered behavior, but it shared the notion that an interior truth about people spoke the most about who they were. This chapter discusses the questions of expression and politicization. It discusses what is meant by being an artist, and the meaning of art, representation, meaning, and social responsibility. These questions provide a glimpse into the importance of the inner life, its validity and significance in the broader political and social context. As the 1920s and the 1930s emerged, the answers to the artists’ questions shifted increasingly toward an inner self more publicly revealed and a society more directly engaged. They began to argue that the life of emotion and desire did matter, was worth expressing, and had relevance to the entire world.Less
In the 1920s and 1930s, as the film industry left for other neighborhoods, a group of writers, painters, sculptors, and printers settled in their wake among the hills of Edendale. Contrary to the common belief that Los Angeles was devoid of an art community before the 1950s, Edendale artists constructed a community for themselves around the passion of artistic expression. Within their community structure, the artists grappled with many questions about how much and in what way the artist could strip life down to its fundamentals and convey those through art. In doing so, they framed a discussion similar to the arguments about the continuity of sexual desires and the relationships between those inner desires and external behavior. Although the artists did not focus entirely on desire, they wrestled with the related task of expressing the artist’s “essence”—an “inner self” which they saw as constituted by feelings and psychological constructs. This formulation of essence is more than sexual and gendered behavior, but it shared the notion that an interior truth about people spoke the most about who they were. This chapter discusses the questions of expression and politicization. It discusses what is meant by being an artist, and the meaning of art, representation, meaning, and social responsibility. These questions provide a glimpse into the importance of the inner life, its validity and significance in the broader political and social context. As the 1920s and the 1930s emerged, the answers to the artists’ questions shifted increasingly toward an inner self more publicly revealed and a society more directly engaged. They began to argue that the life of emotion and desire did matter, was worth expressing, and had relevance to the entire world.
Francis Steen
- Published in print:
- 2006
- Published Online:
- October 2011
- ISBN:
- 9780195306361
- eISBN:
- 9780199851034
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195306361.003.0003
- Subject:
- Philosophy, Philosophy of Mind
This chapter asks the question: Why is it that only human beings spend time and effort to produce and acquire aesthetic experience? The chapter focuses on the rote of juxtapositions, bisociations, ...
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This chapter asks the question: Why is it that only human beings spend time and effort to produce and acquire aesthetic experience? The chapter focuses on the rote of juxtapositions, bisociations, and blends in human cognition, and proposes that symbolic abilities are a critical basis for these kinds of mental operations. Symbolic juxtapositions force further juxtapositions of correlated emotional responses, which are presumably independent of the logic of symbolic juxtaposition. These symbolic juxtapositions can thereby induce emergent and highly novel emotional experiences. In art, we recognize two key elements: an extraction from direct instrumental communication, and a duplicitous logic of representation. Consistent with their being capacities that require considerable training and cultural support to develop, there is wide individual and cultural variability in artistic phenomena. Yet despite this cultural boundedness and a fundamental break with biology, there is surprising species universality as well. Even though artistic expression does not “come naturally”, as does language and much social behavior, it is essentially culturally universal in some form or other.Less
This chapter asks the question: Why is it that only human beings spend time and effort to produce and acquire aesthetic experience? The chapter focuses on the rote of juxtapositions, bisociations, and blends in human cognition, and proposes that symbolic abilities are a critical basis for these kinds of mental operations. Symbolic juxtapositions force further juxtapositions of correlated emotional responses, which are presumably independent of the logic of symbolic juxtaposition. These symbolic juxtapositions can thereby induce emergent and highly novel emotional experiences. In art, we recognize two key elements: an extraction from direct instrumental communication, and a duplicitous logic of representation. Consistent with their being capacities that require considerable training and cultural support to develop, there is wide individual and cultural variability in artistic phenomena. Yet despite this cultural boundedness and a fundamental break with biology, there is surprising species universality as well. Even though artistic expression does not “come naturally”, as does language and much social behavior, it is essentially culturally universal in some form or other.
Clarence Bernard Henry
- Published in print:
- 2008
- Published Online:
- March 2014
- ISBN:
- 9781604730821
- eISBN:
- 9781604733341
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781604730821.003.0001
- Subject:
- Music, Ethnomusicology, World Music
This introductory chapter discusses the theme of this book, which is about axé music and the African origins of Brazilian popular music. The book examines how sacred themes, imagery, and symbols from ...
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This introductory chapter discusses the theme of this book, which is about axé music and the African origins of Brazilian popular music. The book examines how sacred themes, imagery, and symbols from Candomblé religion, music, musicianship and culture have been appropriated in Brazilian popular music and Afro-Brazilian culture. It also explores the sacred/secular connections of black religious and artistic expressions in Brazil with African and other African diasporic areas where West African àsé has spread and been nurtured. This chapter discusses the philosophy of young Afro-Brazilians called “let’s make noise,” who create vibrant drumming ensembles and participate in different social organizations.Less
This introductory chapter discusses the theme of this book, which is about axé music and the African origins of Brazilian popular music. The book examines how sacred themes, imagery, and symbols from Candomblé religion, music, musicianship and culture have been appropriated in Brazilian popular music and Afro-Brazilian culture. It also explores the sacred/secular connections of black religious and artistic expressions in Brazil with African and other African diasporic areas where West African àsé has spread and been nurtured. This chapter discusses the philosophy of young Afro-Brazilians called “let’s make noise,” who create vibrant drumming ensembles and participate in different social organizations.
- Published in print:
- 2009
- Published Online:
- June 2013
- ISBN:
- 9780804760836
- eISBN:
- 9780804772549
- Item type:
- chapter
- Publisher:
- Stanford University Press
- DOI:
- 10.11126/stanford/9780804760836.003.0008
- Subject:
- Literature, American, 19th Century Literature
Between 1910 and 1920, Greenwich Village in New York City became increasingly synonymous with Bohemia. In 1913, Hutchins Hapgood declared that “the New Bohemia...is an attitude of temperament ... ...
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Between 1910 and 1920, Greenwich Village in New York City became increasingly synonymous with Bohemia. In 1913, Hutchins Hapgood declared that “the New Bohemia...is an attitude of temperament ... whose geography is a spiritual geography.” Hapgood associated this New Bohemia with Greenwich Village. This chapter examines what remains of the most legendary of American Bohemias. Despite being identified with Greenwich Village, the Bohemian “spirit” promised to defy geographic boundaries. In Greenwich Village, many of the trends pioneered by earlier American Bohemias became a reality. The Village negotiated between art and life, capital and labor, women and men, the modern and the genteel, the spiritual and the commercial. It also popularized new forms of artistic expression, political activism, and “free love.” Because of Greenwich Village, Bohemia became an essential part of bourgeois life.Less
Between 1910 and 1920, Greenwich Village in New York City became increasingly synonymous with Bohemia. In 1913, Hutchins Hapgood declared that “the New Bohemia...is an attitude of temperament ... whose geography is a spiritual geography.” Hapgood associated this New Bohemia with Greenwich Village. This chapter examines what remains of the most legendary of American Bohemias. Despite being identified with Greenwich Village, the Bohemian “spirit” promised to defy geographic boundaries. In Greenwich Village, many of the trends pioneered by earlier American Bohemias became a reality. The Village negotiated between art and life, capital and labor, women and men, the modern and the genteel, the spiritual and the commercial. It also popularized new forms of artistic expression, political activism, and “free love.” Because of Greenwich Village, Bohemia became an essential part of bourgeois life.
Thomas McFarland
- Published in print:
- 2000
- Published Online:
- October 2011
- ISBN:
- 9780198186458
- eISBN:
- 9780191674556
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198186458.003.0001
- Subject:
- Literature, 19th-century Literature and Romanticism
In Byron's poem Childe Harold, we observe how the poem's persona refers to himself as ‘Nothing’. It is made apparent that the soul of this poet accounts for a lot more than merely nothingness, and in ...
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In Byron's poem Childe Harold, we observe how the poem's persona refers to himself as ‘Nothing’. It is made apparent that the soul of this poet accounts for a lot more than merely nothingness, and in fact the opposite — a more intense being. On another note, Milton, who expresses his thoughts regarding how a good book serves as the ‘precious life blood of a master spirit’, somehow asserts how the master spirit only becomes such when a good book is already composed. Although it is not explicitly pointed out in his statement, Milton, like Byron, implies that coming up with some concrete artistic expression masks a poet's nothingness. In this book, we analyse John Keats's two different masks — the Mask of Camelot and the Mask of Hellas.Less
In Byron's poem Childe Harold, we observe how the poem's persona refers to himself as ‘Nothing’. It is made apparent that the soul of this poet accounts for a lot more than merely nothingness, and in fact the opposite — a more intense being. On another note, Milton, who expresses his thoughts regarding how a good book serves as the ‘precious life blood of a master spirit’, somehow asserts how the master spirit only becomes such when a good book is already composed. Although it is not explicitly pointed out in his statement, Milton, like Byron, implies that coming up with some concrete artistic expression masks a poet's nothingness. In this book, we analyse John Keats's two different masks — the Mask of Camelot and the Mask of Hellas.
William D. Romanowski
- Published in print:
- 2012
- Published Online:
- September 2012
- ISBN:
- 9780195387841
- eISBN:
- 9780199950188
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195387841.003.0005
- Subject:
- Religion, Religion and Society
This chapter shows that in the early 1930s Protestant leaders sought a national policy that was not aimed at curbing artistic expression, but at opening the market for movies of high moral and ...
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This chapter shows that in the early 1930s Protestant leaders sought a national policy that was not aimed at curbing artistic expression, but at opening the market for movies of high moral and artistic quality. They were convinced that guaranteed exhibition gave the studios less incentive to produce high-quality films and restricted independent production. Legislation curtailing block booking, they believed, could correct this, and also remedy Hollywood’s perceived lack of artistic integrity by restoring a free market. The Federal Council’s entanglement with the MPPDA had impaired its leadership, however. With Protestant relations in jeopardy, Will Hays bolstered his alliance with Catholics, inviting them to help draw up a new Production Code in 1930 in what was a visible sign of the erosion of Protestant power.Less
This chapter shows that in the early 1930s Protestant leaders sought a national policy that was not aimed at curbing artistic expression, but at opening the market for movies of high moral and artistic quality. They were convinced that guaranteed exhibition gave the studios less incentive to produce high-quality films and restricted independent production. Legislation curtailing block booking, they believed, could correct this, and also remedy Hollywood’s perceived lack of artistic integrity by restoring a free market. The Federal Council’s entanglement with the MPPDA had impaired its leadership, however. With Protestant relations in jeopardy, Will Hays bolstered his alliance with Catholics, inviting them to help draw up a new Production Code in 1930 in what was a visible sign of the erosion of Protestant power.
Williams Caroline
- Published in print:
- 2005
- Published Online:
- January 2012
- ISBN:
- 9789774249006
- eISBN:
- 9781617971006
- Item type:
- chapter
- Publisher:
- American University in Cairo Press
- DOI:
- 10.5743/cairo/9789774249006.003.0016
- Subject:
- Society and Culture, Middle Eastern Studies
This chapter integrates important topics into the mainstream of early twentieth-century Egyptian history. It gives a general overview of 1919–52 visual artistic expression, which depicts how painting ...
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This chapter integrates important topics into the mainstream of early twentieth-century Egyptian history. It gives a general overview of 1919–52 visual artistic expression, which depicts how painting and sculpture were critical to the articulation of a national image. It also provides valuable insights into the cursus honori of Egyptian artists during these years, who emerge as truly international figures. Artistic pioneers of the 1920s and 1930s viewed Egypt in ways distinct from the orientalists who preceded them. In the process, they established Egypt as unique among Arab countries. By also examining 1940s approaches expressing the subjective, psychological world of the masses, this chapter demonstrates Egyptian artists' intensifying social concerns toward the end of the monarchy, rendering the visual arts a key barometer of societal dynamics.Less
This chapter integrates important topics into the mainstream of early twentieth-century Egyptian history. It gives a general overview of 1919–52 visual artistic expression, which depicts how painting and sculpture were critical to the articulation of a national image. It also provides valuable insights into the cursus honori of Egyptian artists during these years, who emerge as truly international figures. Artistic pioneers of the 1920s and 1930s viewed Egypt in ways distinct from the orientalists who preceded them. In the process, they established Egypt as unique among Arab countries. By also examining 1940s approaches expressing the subjective, psychological world of the masses, this chapter demonstrates Egyptian artists' intensifying social concerns toward the end of the monarchy, rendering the visual arts a key barometer of societal dynamics.
Geoffrey R. Stone
- Published in print:
- 2013
- Published Online:
- January 2013
- ISBN:
- 9780199812042
- eISBN:
- 9780199315888
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199812042.003.0004
- Subject:
- Literature, 19th-century and Victorian Literature
Novels of the eighteenth century often treat sexuality in highly explicit terms, by the standards even of our own time, and certainly by Victorian standards. This chapter addresses the topic of ...
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Novels of the eighteenth century often treat sexuality in highly explicit terms, by the standards even of our own time, and certainly by Victorian standards. This chapter addresses the topic of sexual explicitness, looking at the role of law in regulating artistic expression in our period. It argues that we tend today to think of a legal doctrine of obscenity as quite natural, regardless of whether we like the doctrine as it exists. However, the doctrine did not exist at all until the eighteenth century and did not have any real bite in English law until the publication of John Cleland's Memoirs of a Woman of Pleasure in 1748. The chapter traces the origins of the obscenity doctrine in English law in order to show, among other things, that it was not a meaningful part of either English or American law until well after the First Amendment to the U.S. Constitution was enacted. Looking at the nonregulation of highly explicit literature by law informs us about our legal concepts, past and present.Less
Novels of the eighteenth century often treat sexuality in highly explicit terms, by the standards even of our own time, and certainly by Victorian standards. This chapter addresses the topic of sexual explicitness, looking at the role of law in regulating artistic expression in our period. It argues that we tend today to think of a legal doctrine of obscenity as quite natural, regardless of whether we like the doctrine as it exists. However, the doctrine did not exist at all until the eighteenth century and did not have any real bite in English law until the publication of John Cleland's Memoirs of a Woman of Pleasure in 1748. The chapter traces the origins of the obscenity doctrine in English law in order to show, among other things, that it was not a meaningful part of either English or American law until well after the First Amendment to the U.S. Constitution was enacted. Looking at the nonregulation of highly explicit literature by law informs us about our legal concepts, past and present.
Darlene Clark Hine and John McCluskey Jr. (eds)
- Published in print:
- 2012
- Published Online:
- April 2017
- ISBN:
- 9780252037023
- eISBN:
- 9780252094392
- Item type:
- book
- Publisher:
- University of Illinois Press
- DOI:
- 10.5406/illinois/9780252037023.001.0001
- Subject:
- History, African-American History
Beginning in the 1930s, Black Chicago experienced a cultural renaissance that lasted into the 1950s and rivaled the cultural outpouring of the Harlem Renaissance of the 1920s. This book analyzes this ...
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Beginning in the 1930s, Black Chicago experienced a cultural renaissance that lasted into the 1950s and rivaled the cultural outpouring of the Harlem Renaissance of the 1920s. This book analyzes this prolific period of African American creativity in music, performance art, social science scholarship, and visual and literary artistic expression. Unlike Harlem, Chicago was an urban industrial center that gave a unique working-class and internationalist perspective to the cultural work being done in Chicago. The chapters discuss the forces that distinguished the Black Chicago Renaissance from the Harlem Renaissance and place the development of black culture in a national and international context. The chapters also provoke explorations of renaissances in other cities. Among the topics discussed in this volume are Chicago writers Gwendolyn Brooks and Richard Wright, The Chicago Defender and Tivoli Theater, African American music and visual arts, and the American Negro Exposition of 1940.Less
Beginning in the 1930s, Black Chicago experienced a cultural renaissance that lasted into the 1950s and rivaled the cultural outpouring of the Harlem Renaissance of the 1920s. This book analyzes this prolific period of African American creativity in music, performance art, social science scholarship, and visual and literary artistic expression. Unlike Harlem, Chicago was an urban industrial center that gave a unique working-class and internationalist perspective to the cultural work being done in Chicago. The chapters discuss the forces that distinguished the Black Chicago Renaissance from the Harlem Renaissance and place the development of black culture in a national and international context. The chapters also provoke explorations of renaissances in other cities. Among the topics discussed in this volume are Chicago writers Gwendolyn Brooks and Richard Wright, The Chicago Defender and Tivoli Theater, African American music and visual arts, and the American Negro Exposition of 1940.
David E. Schneider
- Published in print:
- 2006
- Published Online:
- May 2012
- ISBN:
- 9780520245037
- eISBN:
- 9780520932050
- Item type:
- chapter
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520245037.003.0006
- Subject:
- Music, History, Western
This chapter discusses the influence of peasant music in Béla Bartók's compositions, particularly his First Rhapsody for violin and piano. It explains that by studying peasant music Bartók sought ...
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This chapter discusses the influence of peasant music in Béla Bartók's compositions, particularly his First Rhapsody for violin and piano. It explains that by studying peasant music Bartók sought purity, a place free of the corruption of modern life in which aesthetic discussions often replaced artistic expression. He believed that the study of peasant music and peasant life created a vision that lent him strength to withstand the political storms that surrounded his work.Less
This chapter discusses the influence of peasant music in Béla Bartók's compositions, particularly his First Rhapsody for violin and piano. It explains that by studying peasant music Bartók sought purity, a place free of the corruption of modern life in which aesthetic discussions often replaced artistic expression. He believed that the study of peasant music and peasant life created a vision that lent him strength to withstand the political storms that surrounded his work.
Abe Kōbō and Richard F. Calichman
- Published in print:
- 2013
- Published Online:
- November 2015
- ISBN:
- 9780231163866
- eISBN:
- 9780231535090
- Item type:
- chapter
- Publisher:
- Columbia University Press
- DOI:
- 10.7312/columbia/9780231163866.003.0012
- Subject:
- Literature, Criticism/Theory
In this final essay, presented in this chapter, the text discusses the notion of the “frontier within” in relation to urban society. The theme of “frontier within” focuses on the question “What are ...
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In this final essay, presented in this chapter, the text discusses the notion of the “frontier within” in relation to urban society. The theme of “frontier within” focuses on the question “What are we human beings?” When we inquire into the nature of our society, status quo and present, a sense of security of everydayness (in which today appears like yesterday and tomorrow appears like today) pervades us. We then gradually extend the continuum of everydayness until we finally enter the framework of the state. Upon encountering the state, however, the particular sense or perception one has is that it possesses a different level or character than such frameworks as family, native hometown, society, or school. The texxt also considers the phrase “stateless person” as a notion of transcending and negating national borders, how money has created a certain universality of value, and how the Jews were confined within the ancient traditions of urban society. Finally, it talks about writing and style, artistic expression, shared sensibility, and agrarian society.Less
In this final essay, presented in this chapter, the text discusses the notion of the “frontier within” in relation to urban society. The theme of “frontier within” focuses on the question “What are we human beings?” When we inquire into the nature of our society, status quo and present, a sense of security of everydayness (in which today appears like yesterday and tomorrow appears like today) pervades us. We then gradually extend the continuum of everydayness until we finally enter the framework of the state. Upon encountering the state, however, the particular sense or perception one has is that it possesses a different level or character than such frameworks as family, native hometown, society, or school. The texxt also considers the phrase “stateless person” as a notion of transcending and negating national borders, how money has created a certain universality of value, and how the Jews were confined within the ancient traditions of urban society. Finally, it talks about writing and style, artistic expression, shared sensibility, and agrarian society.
Steve Zeitlin
- Published in print:
- 2016
- Published Online:
- May 2017
- ISBN:
- 9781501702358
- eISBN:
- 9781501706370
- Item type:
- chapter
- Publisher:
- Cornell University Press
- DOI:
- 10.7591/cornell/9781501702358.003.0001
- Subject:
- Literature, Folk Literature
This book explores the poetry of everyday life and relates it to folklore, with the objective of helping the reader to maximize their capacity for artistic expression. It asks how we can tap into the ...
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This book explores the poetry of everyday life and relates it to folklore, with the objective of helping the reader to maximize their capacity for artistic expression. It asks how we can tap into the poetics of things we often take for granted, from the stories we tell to the people we love, or the sports and games we play. It considers how poems serve us in daily life, as well as the ways poems are used in crisis situations: to serve people with AIDS, or as a form of healing and remembrance after 9/11. The book also looks at the tales and metaphors of scientists as a kind of poetry that enables us to better understand the universe around us. It includes a section dedicated to art in the human life cycle and explains the author's own conception of “the human unit of time.” Lastly, the book suggests ways to tap in to the artfulness and artistry of our own lives and how to find audiences for your work, to share your vision with the world.Less
This book explores the poetry of everyday life and relates it to folklore, with the objective of helping the reader to maximize their capacity for artistic expression. It asks how we can tap into the poetics of things we often take for granted, from the stories we tell to the people we love, or the sports and games we play. It considers how poems serve us in daily life, as well as the ways poems are used in crisis situations: to serve people with AIDS, or as a form of healing and remembrance after 9/11. The book also looks at the tales and metaphors of scientists as a kind of poetry that enables us to better understand the universe around us. It includes a section dedicated to art in the human life cycle and explains the author's own conception of “the human unit of time.” Lastly, the book suggests ways to tap in to the artfulness and artistry of our own lives and how to find audiences for your work, to share your vision with the world.
Corry Shores
- Published in print:
- 2017
- Published Online:
- May 2019
- ISBN:
- 9781496813275
- eISBN:
- 9781496813312
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781496813275.003.0008
- Subject:
- Literature, Comics Studies
This chapter demonstrates how one of the most striking features of Art Spiegelman's Maus are the characters' cartoon animal forms: Nazis are cats, Jews are mice, Poles are pigs, Americans are dogs, ...
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This chapter demonstrates how one of the most striking features of Art Spiegelman's Maus are the characters' cartoon animal forms: Nazis are cats, Jews are mice, Poles are pigs, Americans are dogs, Brits are fish, the French are frogs, and Swedes are deer. However, his purpose was not to sanitize or “banalize” the Holocaust. Rather, the implementation of the animal forms serves as a shockingly evocative device that attests to the power of graphic novels as a means of persuasive communication and artistic expression. The chapter shows how a people's “becoming animal” is not something that degrades them, but is rather an instance of their having admirable skills at survival in trying circumstances.Less
This chapter demonstrates how one of the most striking features of Art Spiegelman's Maus are the characters' cartoon animal forms: Nazis are cats, Jews are mice, Poles are pigs, Americans are dogs, Brits are fish, the French are frogs, and Swedes are deer. However, his purpose was not to sanitize or “banalize” the Holocaust. Rather, the implementation of the animal forms serves as a shockingly evocative device that attests to the power of graphic novels as a means of persuasive communication and artistic expression. The chapter shows how a people's “becoming animal” is not something that degrades them, but is rather an instance of their having admirable skills at survival in trying circumstances.
Ana C. Cara
- Published in print:
- 2011
- Published Online:
- March 2014
- ISBN:
- 9781617031069
- eISBN:
- 9781617031076
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781617031069.003.0008
- Subject:
- Society and Culture, Cultural Studies
This chapter discusses the conversational phenomenon that occurred in Argentina, the “hablando en criollo” (voicing creolity), and the host of creole verbal art genres that flourished in Argentina, ...
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This chapter discusses the conversational phenomenon that occurred in Argentina, the “hablando en criollo” (voicing creolity), and the host of creole verbal art genres that flourished in Argentina, the “Creole Talk.” It explains that the two play a significant role in the cultural and political negotiations and the artistic expression of everyday verbal exchanges and literary texts in Argentina. The two are also intrinsically interwoven, despite their distinctiveness, as they form a local and coded discourse that is used by the Argentines to refer to everything that is something creole.Less
This chapter discusses the conversational phenomenon that occurred in Argentina, the “hablando en criollo” (voicing creolity), and the host of creole verbal art genres that flourished in Argentina, the “Creole Talk.” It explains that the two play a significant role in the cultural and political negotiations and the artistic expression of everyday verbal exchanges and literary texts in Argentina. The two are also intrinsically interwoven, despite their distinctiveness, as they form a local and coded discourse that is used by the Argentines to refer to everything that is something creole.
Jessica Wiskus
- Published in print:
- 2013
- Published Online:
- September 2013
- ISBN:
- 9780226030920
- eISBN:
- 9780226031088
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226031088.003.0003
- Subject:
- Philosophy, Aesthetics
This chapter discusses the problem of depth as intimately connected with the question of artistic expression. It illustrates how Marcel, the narrator of Proust’s A la recherche du temps perdu, not ...
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This chapter discusses the problem of depth as intimately connected with the question of artistic expression. It illustrates how Marcel, the narrator of Proust’s A la recherche du temps perdu, not only wonders at the visual depth of the realm in which he is immersed but presents his ability to imagine visual depth as a metaphor for another—a play of the mind as it strives to negotiate the depth between perception and memory. This latter capacity is the one that must be developed for the writer, in contrast to the painter, and it is this realm of internal depth—a dimension revealed as if the mind itself operated as a kind of interior stereoscope—that serves as a principal theme throughout the Recherche, which is a project entirely undertaken according to a depth structure.Less
This chapter discusses the problem of depth as intimately connected with the question of artistic expression. It illustrates how Marcel, the narrator of Proust’s A la recherche du temps perdu, not only wonders at the visual depth of the realm in which he is immersed but presents his ability to imagine visual depth as a metaphor for another—a play of the mind as it strives to negotiate the depth between perception and memory. This latter capacity is the one that must be developed for the writer, in contrast to the painter, and it is this realm of internal depth—a dimension revealed as if the mind itself operated as a kind of interior stereoscope—that serves as a principal theme throughout the Recherche, which is a project entirely undertaken according to a depth structure.
Yang Mu
- Published in print:
- 2015
- Published Online:
- November 2015
- ISBN:
- 9780231169967
- eISBN:
- 9780231538527
- Item type:
- chapter
- Publisher:
- Columbia University Press
- DOI:
- 10.7312/columbia/9780231169967.003.0014
- Subject:
- History, Asian History
This chapter ponders on “that age”—a period of artistic expression in the author's life, which coincided with the tensions of the fifties, especially the conflicts that arose during that period. The ...
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This chapter ponders on “that age”—a period of artistic expression in the author's life, which coincided with the tensions of the fifties, especially the conflicts that arose during that period. The fifties was a threatening time—a “severe and destructive age” wherein freedom of expression was necessarily limited, yet the author had, within this period, agonized over a more coherent framework for his own artistic expression. Where he had once turned to beauty, as a young man, he could now also see the ugliness in the world, and realize with some dismay that he himself, and not so much his poetry, that had entered maturity.Less
This chapter ponders on “that age”—a period of artistic expression in the author's life, which coincided with the tensions of the fifties, especially the conflicts that arose during that period. The fifties was a threatening time—a “severe and destructive age” wherein freedom of expression was necessarily limited, yet the author had, within this period, agonized over a more coherent framework for his own artistic expression. Where he had once turned to beauty, as a young man, he could now also see the ugliness in the world, and realize with some dismay that he himself, and not so much his poetry, that had entered maturity.
Martin Munro
- Published in print:
- 2010
- Published Online:
- May 2012
- ISBN:
- 9780520262829
- eISBN:
- 9780520947405
- Item type:
- book
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520262829.001.0001
- Subject:
- Music, Ethnomusicology, World Music
Long a taboo subject among critics, rhythm finally takes center stage in this book's wide-ranging examination of diverse black cultures across the New World. This book traces the central—and ...
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Long a taboo subject among critics, rhythm finally takes center stage in this book's wide-ranging examination of diverse black cultures across the New World. This book traces the central—and contested—role of music in shaping identities, politics, social history, and artistic expression. Starting with enslaved African musicians, the book takes us to Haiti, Trinidad, the French Caribbean, and to the civil rights era in the United States. Along the way, it highlights such figures as Toussaint Louverture, Jacques Roumain, Jean Price-Mars, The Mighty Sparrow, Aimé Césaire, Edouard Glissant, Joseph Zobel, Daniel Maximin, James Brown, and Amiri Baraka. Bringing to light new connections among black cultures, the book shows how rhythm has been both a persistent marker of race as well as a dynamic force for change at virtually every major turning point in black New World history.Less
Long a taboo subject among critics, rhythm finally takes center stage in this book's wide-ranging examination of diverse black cultures across the New World. This book traces the central—and contested—role of music in shaping identities, politics, social history, and artistic expression. Starting with enslaved African musicians, the book takes us to Haiti, Trinidad, the French Caribbean, and to the civil rights era in the United States. Along the way, it highlights such figures as Toussaint Louverture, Jacques Roumain, Jean Price-Mars, The Mighty Sparrow, Aimé Césaire, Edouard Glissant, Joseph Zobel, Daniel Maximin, James Brown, and Amiri Baraka. Bringing to light new connections among black cultures, the book shows how rhythm has been both a persistent marker of race as well as a dynamic force for change at virtually every major turning point in black New World history.
Carolyn Mazloomi, Nailah Randall Bellinger, Olivia Cousins, S. Pearl Sharp, and Catherine Roma
- Published in print:
- 2013
- Published Online:
- April 2017
- ISBN:
- 9780252037900
- eISBN:
- 9780252095160
- Item type:
- chapter
- Publisher:
- University of Illinois Press
- DOI:
- 10.5406/illinois/9780252037900.003.0011
- Subject:
- Society and Culture, Gender Studies
This chapter focuses on contemporary women artists whose artworks were featured in the Gendered Resistance Symposium, sponsored by Miami University and the National Underground Railroad Freedom ...
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This chapter focuses on contemporary women artists whose artworks were featured in the Gendered Resistance Symposium, sponsored by Miami University and the National Underground Railroad Freedom Center. These artists include fabric artist Carolyn Mazloomi, choreographer Nailah Randall Bellinger, spiritualist and medical sociologist Olivia Cousins, filmmaker S. Pearl Sharp, and Catherine Roma. Each of these artists shares her vision of the arts as part of a transformative educational platform and speaks about the role of the artist in conveying stories of gendered resistance. Indeed, several of the artists who participated in the symposium reflect on artistic expression and the process of memory, healing, and transformation, discussing the role of art, dance, poetry, performance, and music as bridges between the past and present.Less
This chapter focuses on contemporary women artists whose artworks were featured in the Gendered Resistance Symposium, sponsored by Miami University and the National Underground Railroad Freedom Center. These artists include fabric artist Carolyn Mazloomi, choreographer Nailah Randall Bellinger, spiritualist and medical sociologist Olivia Cousins, filmmaker S. Pearl Sharp, and Catherine Roma. Each of these artists shares her vision of the arts as part of a transformative educational platform and speaks about the role of the artist in conveying stories of gendered resistance. Indeed, several of the artists who participated in the symposium reflect on artistic expression and the process of memory, healing, and transformation, discussing the role of art, dance, poetry, performance, and music as bridges between the past and present.
