Michael North
- Published in print:
- 2005
- Published Online:
- September 2007
- ISBN:
- 9780195173567
- eISBN:
- 9780199787906
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195173567.003.0001
- Subject:
- Literature, Film, Media, and Cultural Studies
Recording methods such as photography seemed to offer a new and more immediate method of transcribing sense impressions. They seemed to constitute a new and better form of writing. This introductory ...
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Recording methods such as photography seemed to offer a new and more immediate method of transcribing sense impressions. They seemed to constitute a new and better form of writing. This introductory chapter describes the impact of this idea on painting from Manet to Duchamp, and on modern literature from Pound to Isherwood. It also describes the appearance of hybrid forms as poetry becomes more self conscious of its visual aspect and painting begins to include alphabetic elements.Less
Recording methods such as photography seemed to offer a new and more immediate method of transcribing sense impressions. They seemed to constitute a new and better form of writing. This introductory chapter describes the impact of this idea on painting from Manet to Duchamp, and on modern literature from Pound to Isherwood. It also describes the appearance of hybrid forms as poetry becomes more self conscious of its visual aspect and painting begins to include alphabetic elements.
Chelsea Foxwell
- Published in print:
- 2015
- Published Online:
- January 2016
- ISBN:
- 9780226110806
- eISBN:
- 9780226195971
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226195971.003.0008
- Subject:
- History, Asian History
Japonisme in its earliest phase (until roughly 1900) is most commonly understood as the nineteenth-century Western discovery or even invention (per Oscar Wilde) of Japan. Yet members of the Japanese ...
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Japonisme in its earliest phase (until roughly 1900) is most commonly understood as the nineteenth-century Western discovery or even invention (per Oscar Wilde) of Japan. Yet members of the Japanese government and artistic community quickly became aware of Western expectations for Japanese art. Nihonga first emerged in the 1880s within this context.Less
Japonisme in its earliest phase (until roughly 1900) is most commonly understood as the nineteenth-century Western discovery or even invention (per Oscar Wilde) of Japan. Yet members of the Japanese government and artistic community quickly became aware of Western expectations for Japanese art. Nihonga first emerged in the 1880s within this context.
David Lloyd
- Published in print:
- 2017
- Published Online:
- May 2017
- ISBN:
- 9781474415729
- eISBN:
- 9781474426831
- Item type:
- book
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474415729.001.0001
- Subject:
- Literature, Drama
Samuel Beckett was deeply engaged with the visual arts and individual painters, including Jack B. Yeats, Bram van Velde, and Avigdor Arikha. The book explores what Beckett saw in their paintings that ...
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Samuel Beckett was deeply engaged with the visual arts and individual painters, including Jack B. Yeats, Bram van Velde, and Avigdor Arikha. The book explores what Beckett saw in their paintings that would come to shape his own dramas as visual artworks. It explains what visual resources Beckett found in these particular painters rather than in the surrealism of Masson or the abstraction of Kandinsky or Mondrian. The analysis of Beckett’s visual imagination is based on his quite extensive art criticism and on close analysis of the paintings that he would actually have viewed. Lloyd shows how Beckett’s fascination with these painters illuminates the ‘painterly’ qualities of his theatre and the philosophical, political and aesthetic implications of Beckett’s highly visual dramatic work. These implications center on his interrogation of the philosophical, political and aesthetic limits of representation in the wake of decolonization, fascism and world war. The book argues that in place of the subject-object relation that underpins modern concepts of representation, Beckett seeks to present the human as a thing in a world reduced to thingliness.Less
Samuel Beckett was deeply engaged with the visual arts and individual painters, including Jack B. Yeats, Bram van Velde, and Avigdor Arikha. The book explores what Beckett saw in their paintings that would come to shape his own dramas as visual artworks. It explains what visual resources Beckett found in these particular painters rather than in the surrealism of Masson or the abstraction of Kandinsky or Mondrian. The analysis of Beckett’s visual imagination is based on his quite extensive art criticism and on close analysis of the paintings that he would actually have viewed. Lloyd shows how Beckett’s fascination with these painters illuminates the ‘painterly’ qualities of his theatre and the philosophical, political and aesthetic implications of Beckett’s highly visual dramatic work. These implications center on his interrogation of the philosophical, political and aesthetic limits of representation in the wake of decolonization, fascism and world war. The book argues that in place of the subject-object relation that underpins modern concepts of representation, Beckett seeks to present the human as a thing in a world reduced to thingliness.
David Lloyd
- Published in print:
- 2017
- Published Online:
- May 2017
- ISBN:
- 9781474415729
- eISBN:
- 9781474426831
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474415729.003.0001
- Subject:
- Literature, Drama
The introduction reviews Beckett’s life-long engagement with the visual arts and artists and explores previous critical work that has tended to take his statements on art largely as statements about ...
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The introduction reviews Beckett’s life-long engagement with the visual arts and artists and explores previous critical work that has tended to take his statements on art largely as statements about literary aesthetics. It argues for the need to attend to the actual works which Beckett saw and to understand his theatre as a form of visual and not primarily textual art. The introduction also summarizes the overall theoretical argument of the book that focuses on Beckett’s thinking of the “thing” as a post-representational category.Less
The introduction reviews Beckett’s life-long engagement with the visual arts and artists and explores previous critical work that has tended to take his statements on art largely as statements about literary aesthetics. It argues for the need to attend to the actual works which Beckett saw and to understand his theatre as a form of visual and not primarily textual art. The introduction also summarizes the overall theoretical argument of the book that focuses on Beckett’s thinking of the “thing” as a post-representational category.
