“Where Eyes Become the Sunlight”

Janus Head ◽  
2016 ◽  
Vol 15 (2) ◽  
pp. 133-155
Author(s):  
William Tate ◽  
Keyword(s):  
Work Of Art ◽  
Similar Point ◽  
Richard Wilbur ◽  
The Relationship

For the most part, interpreters of Martin Heidegger’s “The Origin of the Work of Art” have neglected his appropriation of C. F. Meyer’s “The Roman Fountain,” yet the poem deserves attention because its final description of water as it “streams and rests” provides a motif which Heidegger uses to work out his understanding of the relationship between “world” and “earth.” Richard Wilbur uses similar language to make a similar point in his own poem about Roman fountains, “A Baroque Wall- Fountain at the Villa Sciarra.” Juxtaposing Wilbur’s depictions of moving and resting water with Heidegger’s brings out a latent implication in Heidegger’s use of the imagery, the possibility that the moving and resting interplay will result in enhanced understanding.

The Mausoleum of Youth: Between Experience and Nihilism in Benjamin's Berlin Childhood

Paragraph ◽  
2009 ◽  
Vol 32 (3) ◽  
pp. 313-330 ◽  
Author(s):  
Michael W. Jennings
Keyword(s):  
Human Experience ◽  
The Moon ◽  
History Of Photography ◽  
Work Of Art ◽  
Modern Media ◽  
Siegfried Kracauer ◽  
History Of ◽  
The Relationship

Key sections of Walter Benjamin's montage-text Berlin Childhood around 1900 figure the relationship between human experience and modern media, with the sections that frame the text, ‘Loggias’ and ‘The Moon’, structured around metaphors of photography. Drawing on the work of Siegfried Kracauer, and especially his seminal essay ‘Photography’, Benjamin develops, in the course of his book, a theory of photography's relationship to experience that runs counter to the better-known theories developed in such essays as ‘Little History of Photography’ and ‘The Work of Art in the Age of its Technological Reproducibility’, theories that are part of the broad currents of technological utopianism and, as such, emphasize photography's transformative potentials. In the Berlin Childhood, Benjamin instead emphasizes photography's role in the mortification and annihilation of meaningful human experience. Photography emerges here as the mausoleum of youth and hope.

scholarly journals TIESOS IR MENO KŪRINIO SANTYKIS: B. CROCE IR H. G. GADAMERIS

Problemos ◽  
2010 ◽  
Vol 77 ◽  
pp. 163-173
Author(s):  
Vaiva Daraškevičiūtė
Keyword(s):  
Philosophy Of Art ◽  
Work Of Art ◽  
Similarities And Differences ◽  
The One ◽  
The Relationship

Straipsnyje aptariamas tiesos ir meno kūrinio santykis B. Croce’s ir H. G. Gadamerio filosofijoje. Lyginami Croce’s estetikos ir Gadamerio meno filosofijos principai, analizuojami panašumai ir skirtumai. Croce akcentuoja meno autonomiją ir subjektyvųjį intuityviojo pažinimo lygmenį, jo estetikoje per meno kūrinį patiriamas intuityvusis tiesos matmuo, tačiau esama ir universalumą suponuojančių meno patirties aspektų. Gadameris meno kūrinio supratimo analize siekia pagrįsti hermeneutikos universalumą – tiesa čia priešinama metodologijai ir suvokiama kaip supratimo įvykis. Straipsnyje grindžiama tezė, kad Croce’s estetikoje tiesos ir meno kūrinio santykis analogiškas Gadamerio hermeneutikoje aptariamam tiesos ir meno kūrinio santykiui.Pagrindiniai žodžiai: meno kūrinys, tiesa, intuityvusis pažinimas, ekspresija, hermeneutika.  The Relationship Between Truth and the Work of Art: B. Croce and H. G. GadamerVaiva Daraškevičiūtė SummaryThe article analyzes the relationship between truth and the work of art in Benedetto Croce’s aesthetics and Hans Georg Gadamer’s philosophy of art. It compares the main principles of art in their philosophies, showing their similarities and differences. The approaches of these two thinkers are compared by presenting their concepts of truth, the art work and art experience. Croce considers art as an autonomic, subjective cognition. Nevertheless, the universal dimension of art experience is especially important in his aesthetics as well. Gadamer, for his part, uses the reflection of the experience of the art work as the foundation of a hermeneutic universality. The truth in this case is described as contrasting with methodology and is taken to be an event of understanding. The article concludes that the relationship between truth and the art work which we find in Croce’s aesthetics is analogous to the one that lies in Gadamer’s philosophy of art.Keywords: Truth, Art work, Hermeneutics, Intuition, Experience.t: 115%;"> 

scholarly journals Kunst og naturvidenskab under samme tag

1970 ◽  
pp. 115
Author(s):  
Mette Kia Krabbe Meyer ◽  
Hanne Teglhus
Keyword(s):  
Aesthetic Experience ◽  
17Th Century ◽  
Art And Science ◽  
Work Of Art ◽  
Full Size ◽  
Disciplinary Boundaries ◽  
American Artist ◽  
Size Model ◽  
The Relationship

Kollokvium om at udstille kunst og naturvidenskab. Steno Museet, Danmarks Videnskabshistoriske Museum, Århus, 25. september 2006. In the fall of 2006, the Steno Museum (Aarhus, Denmark) exhibited the installation Room One created by the American artist Rosamond Purcell. This installation consists of a full-size model of Museum Wormianum, the Danish physician Ole Worm’s curiosity cabinet, dating from the 17th century. This is a work of art – yet it depicts a naturalist’s laboratory. When one adds that it has also been called the first museum in Denmark, it seemed an obvious step to make the artwork the occasion of a symposium on the relationship between art, science and museums. At this symposium, the artist, along with a number of science historians and museum curators, discussed the definitions of art and science then and now, and spoke about the attempts to transcend the disciplinary boundaries that take place within the museums. Different ways of exhibiting were brought into focus, and Purcell’s installation formed the basis for many interesting discussions about the museum as a place of learning and of aesthetic experience.

scholarly journals Art Work, Art Work

2018 ◽  
Author(s):  
Pip Adam
Keyword(s):  
Creative Writing ◽  
Educational Work ◽  
Work Of Art ◽  
Writing Classes ◽  
Raymond Williams ◽  
Community Newspaper ◽  
The Relationship

Novelist Pip Adam reflects on the processes involved in three of her recent projects: a novel, The New Animals (2017); a community newspaper and art project; and her educational work in creative writing classes in prisons. Drawing on Raymond Williams and Kenneth Goldsmith, Adam considers the relationship between the work of art and the work involved in producing art, and consider some of the ways in which the language of creativity and inspiration may undermine democratic energies.

The Literary Artwork between Word and Concept

2019 ◽  
pp. 115-130
Author(s):  
Gerhard Richter
Keyword(s):  
Literary Text ◽  
Work Of Art ◽  
Philosophical Interpretation ◽  
Figurative Speech ◽  
Relationship Of ◽  
The Relationship ◽  
Speculative Thought ◽  
Recent Interpretation ◽  
The Way

This chapter investigates another set of problems with which the uncoercive gaze must contend when it fastens upon a work: the relationship of speculative thought to the work of art and the ways in which the chasm between literal and figurative speech bears upon that relationship. One of the themes that a reading of Kafka’s The Trial should emphasize is the way in which a literary text both calls for philosophical interpretation and resists such interpretation at the same time. One problem that arises out of this constellation concerns the question of the relationship between the literal and the figurative nature of a text’s rhetorical operations. If Kafka’s novel, by causing the relation between the literal and the figural to enter a space of indeterminacy, enacts a situation in which, as Adorno characterizes it, “a sickness means everything [eine Krankheit alles Bedeuten],” no reading of Kafka—at least no reading informed by the sensibilities of the uncoercive gaze—can afford to ignore the precise conceptual terms of this sickness. Finally, to cast Adorno’s reflections on Kafka into sharper relief, the chapter also considers them in relation to Giorgio Agamben’s recent interpretation of The Trial as Kafka’s commentary on the imbrication of law and slander.

Essay. Cultural property: a museum director's perspective

1998 ◽  
Vol 7 (2) ◽  
pp. 438-445 ◽  
Author(s):  
GD Lowry
Keyword(s):  
Cultural Property ◽  
Property A ◽  
Work Of Art ◽  
Works Of Art ◽  
The Relationship ◽  
The Way

This essay explores a number of issues concerning the relationship between works of art and cultural property. From the perspective of a museum director, it posits an ontological distinction between the idea of a work of art and the concept of cultural property. The essay concludes by arguing that to the extent that nations place restrictions on the export of their art, they inevitably affect the way their culture is understood and perceived abroad and so alter the larger metanarrative of culture.

Neophron and Euripides' Medea

1944 ◽  
Vol 38 (1-2) ◽  
pp. 10-14 ◽  
Author(s):  
E. A. Thompson
Keyword(s):  
Great Work ◽  
Work Of Art ◽  
Antony And Cleopatra ◽  
The Relationship

Since it is only natural that lovers of a great poet's work should seek to defend their favourite from the charge of plagiarism, most of the scholars who have discussed the problem of the relationship between the Medeas of Neophron and Euripides have, whether consciously or unconsciously, approached their task in no very impartial spirit. Yet the prejudice against acknowledging Euripides' indebtedness to his predecessor is an unreasonable one, for a great tragedy or a great work of art of any kind must be aesthetically judged without regard to its forerunners. For instance, we do not think any the worse of Antony and Cleopatra or of its author when we notice that ‘The barge she sat in, like a burnish'd throne’, etc., and many other fine passages in that play are taken almost verbatim from Sir Thomas North. If we bear in mind then that whatever the result of our inquiry it will not affect adversely the reputation of Euripides' great work, we cannot fail to be impressed by the tenuous nature of the arguments by which scholars have convinced themselves of the chronological priority of Euripides' Medea as against Neophron's.

scholarly journals An exploration of place and its representations: an intertextual/ dialogical reading of the photographs of AB Ovenstone and the novel Gillespie by John MacDougall Hay.

2016 ◽  
Vol 41 ◽  
Author(s):  
Lindsay Fiona Blair
Keyword(s):  
Literary Text ◽  
Landscape Painting ◽  
The Novel ◽  
Work Of Art ◽  
Shipping Company ◽  
Private Collection ◽  
Semiotic Approach ◽  
The Subject ◽  
The Common ◽  
The Relationship

“An intertextual/ dialogical reading of place through photography and fiction” The article is an exploration of place and its representations based on the intertextual reading of a series of photographs (1880-82) of Tarbert, Loch Fyne by Andrew Begbie Ovenstone (1851-1935) and the dialogical reading of a novel, Gillespie (1914), by John MacDougall Hay (1881-1919) which is set in Tarbert. The proposed article is inspired by a sense that a semiotic approach to the subject will reveal far more than has been discovered within the tradition of hermeneutics and patrimony and that much will be gained by a study of the contrast between written and visual signifiers. The article raises questions about the (unexamined) coded readings of place especially in relation to the photograph, and the lack of an adequately theorized tradition for the novel. The literary text is well known - if not well understood - but the images are from a rare, unpublished, private collection of photographs from Scotland, India and the furthest reaches of Empire (Ovenstone was the Atlantic Freight Manager of Anchor Line Ltd, the Glasgow shipping company). The paper emphasizes the need for the use of codes to decipher the texts. When we “read” the photographs we need to be aware of the intertextual relationship between the photograph and the landscape painting tradition as well as the common practice of the created tableau – there is then overlaid upon the image the sense of a set of conventions, a system which operates much like a language. We are able to discover through the notion of the “long quotation from appearances” the potential for more complex “synchronic” readings. Likewise, in the case of Gillespie, the novel operates within a genre which determines a “reading”. When we are aware of a code, we become aware of the way that Hay manoeuvres adroitly to thwart the reader’s best efforts to settle upon a preferred reading – especially one shaped by an authoritative narrator - which thereby allows for the genuine experience of “heteroglossia” to emerge. The notion of truth in Gillespie is interrogated in the light of Heidegger’s essay “The Origins of a Work of Art” in order that the relationship between representation and reality be clarified.

scholarly journals Museus de Arte Contemporânea: entre bancos de dados e narrativas

2015 ◽  
Vol 1 (1) ◽  
Author(s):  
Cristina Freire
Keyword(s):  
Contemporary Art ◽  
Work Of Art ◽  
The Relationship ◽  
Data Banks

Resumo O caráter documental das práticas artísticas define um dos principais paradigmas da arte contemporânea. A relação entre obra de arte e documentação indica os paralelos entre museu e arquivo, narrativas e banco de dados.   Abstract The documental character of the artistic practices defines one of the main paradigms of contemporary art. The relationship between work of art and documentation suggests the parallels between museum and archives, as well as narratives and data banks.  

scholarly journals If Looks Could Kill: Looking through the Artist’s Lenses in Oscar Wilde’s The Picture of Dorian Gray (1891)

2019 ◽  
Author(s):  
Abdelfattah Ali Ghazel
Keyword(s):  
Victorian Literature ◽  
Moral Values ◽  
Normative Values ◽  
The Novel ◽  
Work Of Art ◽  
Artistic Creation ◽  
Aesthetic Autonomy ◽  
Picture Of Dorian Gray ◽  
Dorian Gray ◽  
The Relationship

This paper investigates aestheticism and authorship in the Oscar Wilde’s only novel The Picture of Dorian Gray (1891). Victorian literature is usually read against the relationship between art and reality. The literary merit of a book is determined by the degree of its conformity with the moral values of the time. This paper offers a detached reading of the novel where the value of the book is found in its ability to initiate the reader into an aesthetic world. The research argues that Wilde fragments the act of artistic creation among the artist (the painter Basil), the sitter (Dorian Gray) and the audience (Lord Henry Wotton). This fragmentation renders the novel aesthetically autonomous from its reality. Aesthetic autonomy contributes to the debate of morality in Victorian literature by placing the work of art in an alternative sphere where normative values cease to apply.

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