The first part of this article focuses on previously unstudied materials relating
to the critical recuperation of William Blake in the period between
c.1910 and 1930. It notes how commentators utilised ideas
of citizenship and hospitality when they attempted to modernise Blake’s
interests and concerns. It explains how these distinctive critical idioms were
constructed, what they had in common and how they situated Blake in larger
public arguments about the social significance of cultural creativity. The
second part of the article traces the ramifications of this new way of thinking
about Blake by noting his appearance in modernist and neo-romantic art criticism
in the 1930s and 1940s.
Visual Advocacy in the Early Decades of Humanitarian Cinema
( 2012 ), ‘
Photography as Performative Process ’,
The Journal of Aesthetics and ArtCriticism ,
67 – 77 .
( 1921 ), ‘
The Question of Guarantees ’ ( 10
( 2006 ), ‘
Ravished Armenia: Visual Media, Humanitarian Advocacy, and the Formation of Witnessing Publics ’,
American Anthropologist ,
214 – 20 .
This book revisits the end of the First World War to ask how that moment of silence was to echo into the following decades. It looks at the history from a different angle, asking how British and German creative artists addressed, questioned and remembered the Armistice and its silence. The book offers a genuinely interdisciplinary study, bringing together contributions from scholars in art history, music, literature and military history. It is unique in its comparison of the creative arts of both sides; assessing responses to the war in Britain, Germany and Austria. Together, the different chapters offer a rich diversity of methodological approaches, including archival research, historical analysis, literary and art criticism, musical analysis and memory studies. The chapters reconsider some well-known writers and artists to offer fresh readings of their works. These sit alongside a wealth of lesser-known material, such as the popular fiction of Philip Gibbs and Warwick Deeping and the music of classical composer Arthur Bliss. The wide-ranging discussions encompass such diverse subjects as infant care, sculpture, returned nurses, war cemeteries, Jewish identity, literary journals, soldiers' diaries and many other topics. Together they provide a new depth to our understanding of the cultural effects of the war and the Armistice. Finally, the book has a recuperative impulse, bringing to light rare and neglected materials, such as the letters of ordinary German and British soldiers, and Alfred Doblin's Armistice novel.
The interest in aesthetics in philosophy, literary and cultural studies is growing rapidly. This book contains exemplary essays by key practitioners in these fields which demonstrate the importance of this area of enquiry. New aestheticism remains a troubled term and in current parlance it already comes loaded with the baggage of the 'philistine controversy' which first emerged in an exchange that originally that took place in the New Left Review during the mid-1990s. A serious aesthetic education is necessary for resisting the advance of 'philistinism'. Contemporary aesthetic production may be decentred and belonging to the past, but that is not a reason to underestimate what great works do that nothing else can. Despite well-established feminist work in literary criticism, film theory and art history, feminist aesthetics 'is a relatively young discipline, dating from the early 1990s'. The book focuses on the critical interrogation of the historical status of mimesis in the context of a gendered and racial politics of modernity. Throughout the history of literary and art criticism the focus has fallen on the creation or reception of works and texts. The book also identifies a fragmentary Romantic residue in contemporary aesthetics. The Alexandrian aesthetic underlies the experience of the 'allegorical'. 'Cultural poetics' makes clear the expansion of 'poetics' into a domain that is no longer strictly associated with 'poetry'. The book also presents an account of a Kantian aesthetic criticism, discussing Critique of Pure Reason, Critique of Aesthetic Judgement and Critique of Judgement.
Davies, David. ‘Multiple Instances
and Multiple “Instances”,’ British
Journal of Aesthetics 50 (2010): 411–26.
K. E. Gover. 2015. ‘Are All Multiples
the Same? The Problematic Nature of the Limited Edition’.
The Journal of Aesthetics and Art
Arthur Young and country house picture collections in the late eighteenth century
to publish his research on agriculture, his writings about houses and picture collections were intended to be read as popular
artcriticism which would be useful to anyone making a tour of their own, or
merely imagining one.
‘Take particular notice of this picture’: embedding descriptions
of country houses within an agricultural tour
Although there were tourists writing privately about country house art collections in the mid-eighteenth century, to publish accounts of them was still
relatively unusual, and Young positioned his descriptions of houses carefully.
than ten years later, sound
studies is a rapidly growing field to which many scholars from different disciplines, including art, music, cultural studies, history, philosophy, anthropology, architecture, and the natural sciences contribute. However, there remain
significant gaps and absences within the formation of sound studies. There is
no soundtrack aims to address two of these areas specifically and in juxtaposition: first, its exploration on sound in experimental media art points to a comparative lack of such scholarship in art history, artcriticism, and in
There is no soundtrack is a specific yet expansive study of sound tactics deployed in experimental media art today. It analyses how audio and visual elements interact and produce meaning, drawing from works by contemporary media artists ranging from Chantal Akerman, to Nam June Paik, to Tanya Tagaq. It then links these analyses to discussions on silence, voice, noise, listening, the soundscape, and other key ideas in sound studies. In making these connections, the book argues that experimental media art – avant-garde film, video art, performance, installation, and hybrid forms – produces radical and new audio-visual relationships that challenge and destabilize the visually-dominated fields of art history, contemporary art criticism, cinema and media studies, and cultural studies as well as the larger area of the human sciences. This book directly addresses what sound studies scholar Jonathan Sterne calls ‘visual hegemony’. It joins a growing body of interdisciplinary scholarship that is collectively sonifying the study of culture while defying the lack of diversity within the field by focusing on practitioners from transnational and diverse backgrounds. Therefore, the media artists discussed in this book are of interest to scholars and students who are exploring aurality in related disciplines including gender and feminist studies, queer studies, ethnic studies, postcolonial studies, urban studies, environmental analysis, and architecture. As such, There Is No Soundtrack makes meaningful connections between previously disconnected bodies of scholarship to build new, more complex and reverberating frameworks for the study of art, media, and sound.
captured by binary thinking. There
are several cores, many semi-peripheries and numerous local peripheries.47
The pitfalls of cultural identity
The blind spots in the critique of Westernism remind us of the need for more
complexity-sensitive methods and theories in the field of art history and art
Migration into artcriticism. However, the development of such a conceptual apparatus would
be beyond the scope of this study, as would the task of reconciling the dual
demand for equality and difference, which is ‘the dilemma, the conundrum –
critics’ language vis-à-vis
Manet, or Michael Baxandall’s probing of fifteenth-century Florentine
terminology on painting . 12 Art historians have tended to be sceptical of
the kind of artcriticism that foregrounds story above and beyond any
other consideration. The literature tends to focus on selected writers,
such as Théophile Gautier, Charles Baudelaire, Walter Pater or Theodor
Fontane. Even where