Search results for "lcsh:English language"
showing 10 items of 22 documents
Myths of Primitiveness: A Barthean Interpretation of Rhetorical Devices in Early Jazz Criticism
2013
Ever since jazz began to make an impact in white aesthetic culture in the late 1910s and 1920s, critics, regardless of whether they celebrated or condemned the music, enmeshed their discourse with images of exoticism, noble savageness, and racial brutishness. As Jazz Studies emerged as an academic discipline, scholars have shown increasing interest in exposing these images in order to illustrate the pervading racist sentiment inscribed within white perception of the jazz idiom and also to establish the connections between jazz and the modernist obsession with primitivism. The aim of this paper is to contribute further study to the intricacies of primitivism through a close examination of th…
The Artistic Commitment of Kenyon Cox: An American Neoclassical Artist
2016
At the end of the nineteenth century, the United States had undergone deep transformations. The second Industrial Revolution had created huge amounts of new wealth and power. This led to an alteration of the urban social fabric and to a repositioning of the country on the international scene.Since the 1870s, the American Renaissance had been a vehicle for the diffusion of new values and new concepts. As a broad neoclassical movement in the arts, it was committed to a rewriting of the country’s national past.At the time, Kenyon Cox (1856-1919) distinguished himself as one of the major artists of the movement, but also as one of its most influential critics and theorists. Cox developed theori…
Comment Hollywood figure l’intériorité dans les films « hollywoodiens » de David Lynch, Lost Highway (1997), Mulholland Dr. (2001) et Inland Empire (…
2011
The article takes Zachary Baqué's study of Los Angeles in the films of David Lynch as a starting point to explore David Lynch's Hollywood movies. The author contends that the films offer more than a satirical representation of a corrupt, unhealthy system which threatens dreams and artistic creativity, or a parodic play on Hollywood genre and narrative conventions. Rather, Hollywood is a character, a presence, revealed as both horizontal and vertical, physical and abstract, evoking the city, the studio system, cinema and dreams, so that the satire, the visual motifs and clichés and the topography of Hollywood, and the references to Hollywood films, constitute a complex fabric of subjectivity…
The Aesthetics of Healing in the Sacredness of the African American Female’s Bible: Zora Neale Hurston’s Moses, Man of the Mountain
2016
Zora Neale Hurston’s Moses, Man of the Mountain (1939) stands in the tradition of African American use of the biblical musings that aims to relativize and yet uphold a new version of the sacred story under the gaze of a black woman that manipulates and admonishes the characters of the gospel to offer a feminist side of the Bible. The novel discloses Hurston’s mastering of the aesthetics that black folklore infused to the African American cultural experience and her accommodation to bring to the fore the needed voice of black women. Rejecting the role of religion as a reductive mode of social protest, the novel extends its jeremiadic ethos and evolves into a black feminist manifesto in which…
“The drops which fell from Shakespear’s Pen”: Hamlet in Contemporary Fiction
2012
Questions of gender, ethnicity and sexuality have all been raised by novelists intent on rewriting Shakespeare from the position of what have been seen as cultural margins. While discussions of such rewritings are ongoing, few concerted efforts have been made to trace a pattern in the treatment of Shakespearean allusion and adaptation at the hands of British and American writers of the literary mainstream. The present essay sets out to investigate the way in which three such writers —Ian McEwan, Graham Swift, and John Updike— employ allusion to/adaptations of Hamlet in their novels and what their respective stances reveal about their understanding of their role as canonical writers.
‘Strange old Italian dresses’: Walter Pater, Victorian fashionista?
2019
This article discusses Aesthetic dress as conceived by Walter Pater. Indeed in “Leonardo Da Vinci” (1869), the unfinished Gaston de Latour (1888-1894?), “The School of Giorgione” (1877) and “A Prince of Court Painters” (1885), Pater mentions and describes dress with special emphasis on details. Such descriptions belong to a series of writings on Aesthetic dress, admittedly a core component of British Aestheticism. Pater’s descriptions should therefore be contrasted to the 1870s portraits of Whistler, and to the 1880s-1890s writings of Whistler, Oscar Wilde and Max Beerbohm, along with the caricatures of Aesthetes by George du Maurier and Sir Leslie Ward. Pater responds by progressively deli…
Hugh MacDiarmid’s Poetics of Commitment: the Modern Stigmata of Bereavement
2016
In the 1930s, the lingering absence of God and of a stable reality engulfed the work of the poet Hugh MacDiarmid, leader of the Scottish Renaissance Movement. To counter this void, like many others at the time, MacDiarmid found refuge in communism and nationalism and started to write political and idealist poetry. In his poems, his political idealism comes into being in the association of reality and ideal, symbolised first by Jean and Sophia, the characters of A Drunk Man Looks at the Thistle (1926), and duplicated later in the fantasised image of Lenin, perfect blending of idea and action. Rejecting Sartre’s denial of the political effect poetry can have, the violence of MacDiarmid’s work…
The Politics of Utopia: Walter Pater’s “Lacedaemon”
2016
Walter Pater is not usually considered as a politically committed writer, neither is Aestheticism of which he was the gifted theoretician with The Renaissance (1873). Although the political commitments of the Aesthetic movement have been questioned over the last two decades, both by including women aesthetes, and by re-evaluating the movement’s dissemination among the middle classes, discussion of Pater’s political ideas is almost non-existent. His Plato and Platonism (1893) is however not so remote from politics since it discusses Plato’s political philosophy. In particular, “Lacedaemon”, the chapter devoted to Sparta, enables Pater to intervene in the political debate from an original sta…
The Romantics of 1909: Arthur Symons, Pierre Lasserre and T. E. Hulme
2016
Arthur Symons’s The Romantic Movement in English Poetry (1909) has elicited scant discussion. Part dictionary of British authors born before 1800, part series of portraits of canonical Romantic poets, The Romantic Movement remains perplexing with its unclear purpose and ungainly format. This article argues that Symons’s monograph should be approached in the turn of the century debate on the definition and value of British Romanticism. As opposed to T. E. Hulme’s ‘Romanticism and Classicism’ (1912?), itself indebted to Pierre Lasserre’s Le Romantisme français. Essai sur la révolution dans les sentiments et dans les idées au XIXe siècle (1907), Symons’s study appears as a defence of the roman…
Roy’s Inglish in The God of Small Things: A Language for Subversion, Reconciliation and Reassertion
2011
Abstract:In The God of Small Things, Arundhati Roy separates English from Englishspeakers. She reappropriates the language not only to portray complex characters and narrative themes, but also to create a postcolonial discourse that criticizes, questions and subverts the old dominance of the imperial colonizer. Mainly addressed to a western audience, the use of Inglish in this novel is a crucial factor to reveal the development of a hybrid conscience, reassert the Indian identity and make the reader feel displaced from their native tongueKeywords: English language, postcolonial, hybridity, Indian identity, discourseTítulo en español: El Inglish de Roy en The God of Small Things: Una lengua …