Greek art and literature follow parallel courses through the long period from Homer to Euripides. Homer and Euripides, Dipylon vases and the latest white lekythoi are as far apart from each other as it is possible for works in the same medium to be. The distance can only be explained by a similar change in the views of artists, writers, and their public.

Originally presented as the author's thesis, University of Birmingham, 1972. Bibliography: p. 139-146. Includes index.

These essays in aesthetics by the philosopher Ernst Bloch belong to the tradition of cultural criticism represented by Georg Lukács, Theodor Adorno, and Walter Benjamin. Bloch's fascination with art as a reflection of both social realities and human dreams is evident in them. Whether he is discussing architecture or detective novels, the theme that drives the work is always the same - the striving for "something better," for a "homeland" that is more socially aware, more humane, more just.The book opens (...) with an illuminating discussion between Bloch and Adorno on the meaning of utopia; then follow 12 essays written between 1930 and 1973, on topics as diverse as aesthetic theory, genres such as music, painting, theater, film, opera, poetry, and the novel, and perhaps most important, popular culture in the form of fairy tales, detective stories, and dime novels.Ernst Bloch was a profoundly original and unorthodox philosopher, social theorist, and cultural critic. The MIT Press has previously published his Natural Law and Human Dignity and his magnum opus, The Principle of Hope. The Utopian Function of Art and Literature is included in the series Studies in Contemporary German Social Thought, edited by Thomas McCarthy. (shrink)

This work, in continuity with the article published by Ferdinando Casolaro and Giovanna Della Vecchia in Vol 5, 2017 of this series, in which we noted that in the centuries since the eight century B.C. at the 13th century A.D. the evolution of Astronomy and historical events have influenced the development of Mathematics, intends to demonstrate how the Architecture and Literature of the following centuries have further conditioned the development of the sciences in Italy and, in particular, of Mathematics, (...) identifying the affinities and, in some cases, the coincidences between the different forms of thought that invite us to make a serious reflection on the uniqueness of culture. (shrink)

This is a systematic study of the conceptual framework used by critics and scholars in their discussions of influence in art and literature. Göran Hermerén explores the key questions raised in scholarly debate on the topic: What is meant by "influence"? What methods can be used to settle disagreements about influence? What reasons could be used to support or reject statements about artistic and literary influence? The book is based on descriptive analyses in which the author has tried to (...) make explicit what is said or implied in a number of quotations from scholarly writings on art and literature. Throughout, the emphasis is on clarifying the assumptions on which the use of the concept of influence is based, thus describing the limitations and merits of this kind of comparative research for critics and scholars. Originally published in 1975. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905. (shrink)

These essays in aesthetics by the philosopher Ernst Bloch belong to the tradition ofcultural criticism represented by Georg Lukács, Theodor Adorno, and Walter Benjamin.

Mark Twain, the great American writer of the South whose characters struggle with difficult choices, famously said: Always do what is right. It will gratify half of mankind and astound the other. Taking Twains phrase as a starting point, this book considers how literature and art explore different systems of values and principles of conduct, and how they can teach us to cope at times of trial. Morality remains one of the most contested areas of thought and ethics in (...) the modern world, due to numerous misapprehensions and the move away from solidarity, from what we share and hold in common, particularly our inherent pursuit of virtue and consideration of principles concerning the distinction between right and wrong, good and bad. Featuring essays by scholars from countries which have seen traditions of virtue and character formation perish in the course of tragic social experiments, this book highlights the role of literature and arts in educating about virtues and character, in both a regional and global context. The volume offers philosophical analysis of moral education and engages with the literary canon, discussing the ways in which virtue was taught and can still be taught with Aristotle as one of the regained tools of learning. The essays span countries from England, Spain, Italy and Belgium to the USA, Costa Rica, ancient China and Israel, with Poland, the Polish-Lithuanian Commonwealth and Central Europe receiving considerable coverage. They address themes of virtue and character formation from the Bronze Age to the present and serve as inspiring reading for educators, literary scholars, historians, ethicists, artists and active readers. (shrink)

This overview of the "sister arts" of the nineteenth century by younger scholars in art history, literature, and American studies presents a startling array of perspectives on the fundamental role played by images in culture and society. Drawing on the latest thinking about vision and visuality as well as on recent developments in literary theory and cultural studies, the contributors situate paintings, sculpture, monument art, and literary images within a variety of cultural contexts. The volume offers fresh and sometimes (...) extended discussions of single works as well as reevaluations of artistic and literary conventions and analyses of the economic, social, and technological forces that gave them shape and were influenced by them in turn. A wide range of figures are significantly reassessed, including the painters Charles Willson Peale, Washington Allston, Thomas Cole, George Caleb Bingham, Fitz Hugh Lane, and Mary Cassatt, and such writers as James Fenimore Cooper, Nathaniel Hawthorne, Henry David Thoreau, and William Dean Howells. One overarching theme to emerge is the development of an American national subjectivity as it interacted with the transformation of a culture dominated by religious values to one increasingly influenced by commercial imperatives. The essays probe the ways in which artists and writers responded to the changing conditions of the cultural milieu as it was mediated by such factors as class and gender, modes of perception and representation, and conflicting ideals and realities. (shrink)

Replete with madwomen, murderers, musicians, and mystics, "Lonely Woman" dramatically interweaves the lives of five women. It remains Takako Takahashi's most sustained and multifaceted fictional realization of her concept of "loneliness.".

This book, first published in 1975, is an examination of the theoretical foundation of the sociology of art and literature and an in-depth study in the sociology of knowledge. In discussing and clarifying some of the important philosophical issues in this field, the constant underlying reference is to the creative and artistic-expressive areas of knowledge ¿ so that the better understanding of the social nature and genesis of all knowledge may point the way towards a similar comprehension of art (...) and society. (shrink)

This research monograph is the first book-length study of the philosophical premises of Bataille's theory of art and literature. In contrast to many former interpretations of Bataille's work, Dr Kennedy concentrates on Bataille's writings in the wake of World War Two, especially on the first and the last part of his trilogy, The Accursed Share.

Although the term “narrative” has been subject to very loose usage, it should be clear that scientific theories cannot be considered as such in the same sense as literary and artistic works. But this clearly calls the latter into serious epistemic question. On the one hand, we are often drawn to saying that agents have learned or come to know (morally or otherwise) something from literary or other artistic fictions; on the other hand, their fictional status seems to preclude regarding (...) this as knowledge. Drawing on insights from Plato’s Socratic and other dialogues, this paper argues that such learning from art and literature should be deemed genuine knowledge of an epistemically uncontroversial kind. (shrink)

Oscar Wilde's famous quip "All art is quite useless" might not be as outrageous or demonstrably false as is often supposed. No-one denies that much art begins life with practical aims in mind: religious, moral, political, propagandistic, or the aggrandising of its subjects. But those works that survive the test of time will move into contexts where for new audiences any initial instrumental values recede and the works come to be valued for their own sake. The book explores this idea (...) and its ramifications. 0Must aesthetics in its pursuit of art and beauty inevitably be culture-bound? Or can it transcend cultural differences and speak meaningfully of universal values: timelessly human not merely historically relative? The case of literature or film puts further pressure on the idea of art valued for its own sake. Characters in works of literature and film or finely-honed emotions in poetry often give pleasure precisely because they resonate with our own lives and seem (in the great works) to say something profound about human existence. Is not this kind of insight why we value such works? Yet the conclusion is not quite as clear-cut as it might seem and the idea of valuing something for its own sake never quite goes away. (shrink)

During the last two decades, sociologist Pierre Bourdieu has become a dominant force in cultural activity ranging from taste in music and art to choices in food and lifestyles. _The Field of Cultural Production_ brings together Bourdieu's major essays on art and literature and provides the first introduction to Bourdieu's writings and theory of a cultural field that situates artistic works within the social conditions of their production, circulation, and consumption. Bourdieu develops a highly original approach to the study (...) of literary and artistic works, addressing many of the key issues that have preoccupied literary art and cultural criticism in the last twentieth century: aesthetic value and canonicity, intertextuality, the institutional frameworks of cultural practice, the social role of intellectuals and artists, and structures of literary and artistic authority. Bourdieu elaborates a theory of the cultural field which situates artistic works within the social conditions of their production, circulation, and consumption. He examines the individuals and institutions involved in making cultural products what they are: not only the writers and artists, but also the publishers, critics, dealers, galleries, and academies. He analyzes the structure of the cultural field itself as well as its position within the broader social structures of power. The essays in his volume examine such diverse topics as Flaubert's point of view, Manet's aesthetic revolution, the historical creation of the pure gaze, and the relationship between art and power. The Field of Cultural Porduction will be of interest to students and scholars from a wide range of disciplines: sociology and social theory, literature, art, and cultural studies. (shrink)

In Literature, Art and the Pursuit of Decay, Timothy Mathews examines work by a range of writers and painters working in France in the twentieth century. The well-illustrated book engages with canonical figures - Guillaume Apollinaire, Marguerite Duras and Jean Genet, Roland Barthes, Pablo Picasso and René Magritte - as well as more neglected individuals including Robert Desnos and Jean Fautrier. Mathews draws on psychoanalysis, existentialism and poststructuralism to show how both literature and fine art promote the value (...) of generosity in a culture of anxiety and intolerance. Decay emerges as a surprising ally in this quest because of its ability to undermine intellectual complacency and egoism. Integrating theoretical and material approaches to reading and viewing, Mathews engages with the distinctive features of different literary genres and different types of painting to develop an original history of artistic ambition in twentieth-century France. (shrink)

Bringing together Deleuze, Blanchot, and Foucault, this book provides a detailed and original exploration of the ideas that influenced Deleuze's thought leading up to and throughout his cinema volumes and, as a result, proposes a new definition of art. Examining Blanchot's suggestion that art and dream are "outside" of power, as imagination has neither reality nor truth, and Foucault's theory that power forms knowledge by valuing life, Eugene Brent Young relates these to both Deleuze's philosophy of time and his work (...) with Guattari on art. In doing so, he uses case studies from literature and popular film, including Kafka's Castle, Villeneuve's Arrival, and Kubrick's Eyes Wide Shut. Providing important new insights for those working in literary and cinematic studies, this book advances a new definition of art as that which reverses the realities and truths of power to express obscure ideas and values beyond both our exterior and interior worlds. (shrink)

Like most topics in aesthetics, that of genre is far from simple and for the literary critic has an uninviting air. The questions which arise from its consideration fall under two heads: first, what is a genre? and second, what does it contribute to our understanding of a work of art that we can describe it as belonging to this or that genre? A clear answer to either of these questions is not readily forthcoming: the literary critic who is content (...) to be a critic here very properly hesitates where the philosopher is perhaps inclined to go further. If he does so he will find that the two primary questions about genre have many ramifications, some of which may be suggested by a quotation from René Wellek and Austin Warren's book, Theory of Literature . They ask one question about genre and then re-phrase it: but as they re-phrase their original question it is quite transformed. (shrink)

The body, touch and its sensations are present, sometimes viewed in contradictory ways, both expressed, visualized, and rejected, in early modern art and literature. In seven essays moving from the 16th to the mid-18th century, and from Italy and Spain to France and Sweden, this volume explores strategies used by early modern women poets, philosophers, and artists in order to create subversive expressions of the body, gender and the senses. Showing how body and soul, the carnal and the divine, (...) the senses and the mind, could be represented as intertwined and dependent on each other in various ways, it gives due attention to European women writers and artists that in unconventional ways responded to the period's two main intellectual and philosophical attitudes - Epicurean and Stoic - towards the body and its senses. These attitudes not only intersect in the period's discussions of virtue and other moral phenomena, but are central to critical assessment of the relations between emotions, perception, and reason. By following this topic from a gender perspective, the book highlights other forms of subjectivity than the ones usually related to the early modern period's dominating subjectivation of female bodies, thinking and desires. (shrink)

There are different ways of looking at the achievements of outstanding personalities. In reading this book, the reader will be in touch with some of Jung's best insights into artistic and literary creation. The essays are on Paracelsus, Freud, Richard Wilhelm, Picasso, and Joyce's _Ulysses_. There are also two chapters on poetry and literature.

Traditionally, questions about the role of the arts in moral thought have focused on the arts’ role in the acquisition of new moral knowledge, the refinement of moral concepts, and the capacity to apply our moral view to particular situations. Here I suggest that there is an importantly different and largely overlooked role for the arts in moral thought: an ability to reconfigure the structure of our moral thought and effect what we might call a revolution in that framework. In (...) this article I explain this distinction between two kinds of change in view, suggest the second type has not been addressed by the extant literature, provide examples of this role, and argue for its importance. (shrink)