Search Results for art

...JEANNE FOLLANSBEE QUINN Copyright © Novel Corp. 2001 2001 Works Cited Agee , James . “Art for What’s Sake?” New Masses 21 ( 1936 ): 48 –49. Agee , James . Letters of James Agee to Father Flye . 1962. Boston: Houghton-Mifflin, 1971 . Agee , James , and Walker...

...Katarina O'Briain Abstract This article argues that Frances Burney's long, diffuse works of fiction develop an ethics of accident within the history of the novel. Whereas critics from the eighteenth century to today have privileged “art”—in the sense of careful, deliberate skill and conduct...

... in a chameleonic mantle labeled “the right side of history”—as though the future's concerns are obvious and knowable. It's difficult to avoid this trap: many of the actions we take—from creating art to casting a ballot—ask us to guess how we will be measured by the audience of the future. To act on behalf...

... of the capitalist mode of production” (3; internal quotations from Levine). At the same time, what Kornbluh calls Levine's “Latourian catholicism” means that she sees “no order among forms. For Levine, aesthetic forms have no distinction from cultural or political forms. . . . Art, in other words, is not required...

... discussion of Proust: "[Tlhe modem work of art is a machine and functions as such.. .. To the logos, organ and organon whose meaning must be discovered in the whole to which it belongs, is opposed the antilogos, machine and machinery whose meaning depends solely on its functioning, which...

... Bolaño . Ed. Espinosa Patricia. Santiago de Chile: Frasis, 2003 . 65 -75. Villoro , Juan . “La batalla futura.” Bolaño por sí mismo: Entrevistas escogidas . Ed. Braithwaite Andrés. Mexico City: Ediciones Universidad Diego Portales, 2006 . 9 -20. Arts of Homelessness: Roberto...

...Judith Brown The arts of unpleasure end with the turn toward Loos and her wildly popular novel, Gentlemen Prefer Blondes . Loos cross-pollinates the novel with the brightly lit vocabularies she has learned from film to invent new forms of vernacular pleasure, and she does it so exuberantly...

... in France are facing today. Their efforts to "sex" the universal and so double the individual represented by it would find theoretical support in Moscovici's examination of the emergence of a dou- ble dialectic. KA~UWEXL, Cali$ornia College of Arts and Crafts ...

... to the status of high art but with the possibility of an unmediated exchange between literature and life. Interpreting Dostoevsky as a precursor to their own ideal of “life-creation,” Symbolist writers like Dmitry Merezhkovsky and Viacheslav Ivanov formulated the influential cultural construct called here...

... to literary forms like the early novel, it instead identifies a strain of network thinking in the arts characteristic of the British eighteenth century. At this junction between network‐style thinking and the rise of complex forms of affiliation in the emerging middle classes, art forms appear...

... attempts to answer the seemingly mundane questions of why the monster talks about food at moments of high drama or why the novel is littered with so many “disembodied eyes,” to borrow Jay Clayton's phrase. In part, I argue the creature's development is a kind of art appreciation class where he learns...

...Emilio Sauri Abstract What might it mean to conceive of a work of art not simply as a mirror held up to society but as a means to visualize the abstract functions that make society look the way it does? And what can this tell us about the novel's social, political, and artistic potential today...

... realist art based on dated assumptions about the European novel. They expand the category of realism to include examples from the realisms of late Victorian theater; postcolonial fiction from African, Egyptian, and Indian milieus; and photojournalistic experiments wrought in response to revolution...

... exploration in media related to “The Work of Art in the Age of Its Mechanical Reproducibility.” Mid-twentieth-century arguments concerning “the death of the novel” in the West arise in relation to the diminished place of the book in the age of cinema and then later TV. Likewise, if they are to gain full...

... of art photographers such as Oscar Rejlander and Henry Peach Robinson, who transposed bodies and even body parts into different scenes and visual narratives. Ironically, then, the very qualities that seemed to disqualify photography as an artistic medium (fragmentation and abstraction) turn out...

... and ends with “Reader, I married him.” We regard “discontinuous continuity” as a “cornerstone of twentieth-century art” (Keith Cohen). In the larger project from which this essay is drawn, I argue that the Victorian periodical is a technology of public space in much the same way as we view the railroad...

...: that “self-moving substance which is Subject” in the “shape of money .” For such a reading, the novel is thus to be grasped by critical theory as expressive of what Henri Lefebvre describes as a “predominance of the abstract in modern art [that] accompanies the extension of … the unlimited power of money...

... seemed to personally believe that his own experiences of having “looked starvation in the face,” having passed through “circumstances of hunger” and converted them into art, were part of what gave his work value and meaning. But there is something of a paradox here, or at least an ambivalence...