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Traces James' negative opinions about Jews throughout his life. The sources of his anti-Jewish attitudes and the antisemitic stereotypes in his works were the opinions of his father, who described the Jews as "spiritually bankrupt" and the "epitome of greed"; a broad spectrum of American and French literature, ranging from school texts to well-known authors (e.g. Hawthorne); and ethnographic ideas popular during his lifetime. Discusses discrimination against Jews in the U.S. in the late 19th century, stating that James' works reflect the prevalent negative reaction to Jews. His pro-Dreyfusard position shows some ambivalence in his attitude, but his antisemitism is clearly depicted in his works. He uses the Jews as scapegoats, and sees the Jews in New York, in particular, as immigrants conspiring to conquer the city. States that although antisemitism is a marginal element in James' writing, many other writers and many readers were influenced by his racist attitudes.
"Forms of Persuasion is the first book-length history of corporate art patronage in the 1960s. After the decline of artist-illustrated advertising but before the rise of museum sponsorship, this decade saw artists and businesses exploring new ways to use art for commercial gain. Where many art historical accounts of the sixties privilege radical artistic practices that seem to oppose the dominant values of capitalism, Alex J. Taylor instead reveals an art world deeply immersed in the imperatives of big business. These projects unfolded in Madison Avenue meeting rooms and MoMA galleries, but as the most creative and competitive corporations sought growth through global expansion, they also reached markets all around the world. From Andy Warhol's commissions for packaged goods manufacturers to Richard Serra's work with the steel industry, Taylor demonstrates how major artists of the period provided brands with "forms of persuasion" that bolstered corporate power, prestige, and profit. Drawing on extensive original research conducted in artist, gallery, and corporate archives, Taylor recovers a flourishing field of promotional initiatives that saw artists, advertising creatives, and executives working around the same tables. As museums continue to grapple with the ethical dilemmas posed by funding from oil companies, military suppliers, and drug manufacturers, Forms of Persuasion returns to these earlier relations between artists and multinational corporations to examine the complex aesthetic and ideological terms of their enduring entanglements"--
Many art historians regard poststructuralist theory with suspicion; some even see its focus on the political dimension of language as hostile to an authentic study of the past. Keith Moxey bridges the gap between historical and theoretical approaches with the provocative argument that we cannot have one without the other. "If art history is to take part in the processes of cultural transformation that characterize our society," he writes, "then its historical narratives must come to terms with the most powerful and influential theories that currently determine the way in which we conceive of ourselves." After exploring how the insights offered by deconstruction and semiotics change our understanding of representation, ideology, and authorship, Moxey himself puts theory into practice. In a series of engaging essays accompanied by twenty-eight illustrations, he first examines the impact of cultural values on Erwin Panofsky's writings. Taking a fresh look at work by artists from Albrecht Dürer and Erhard Schön to Barbara Kruger and Julian Schnabel, he then examines the process by which he generic boundaries between "high" and "low" art have helped to sustain class and gender differences. Making particular reference to the literature on Martin Schongauer, Moxey also considers the value of art history when it is reduced to artist's biography. Moxey's interpretation of the work of Hieronymus Bosch not only reassesses its intelligence and imagination, but also brings to light its pragmatic conformity to elite definitions of artistic "genius." With his compelling analysis of the politics of interpretation, Moxey draws attention to a vital aspect of the cultural importance of history.
Explores the use of images in the political and social contests for power in Republican Rome
Persuasive Aesthetic Ecocritical Praxis continues Patrick D. Murphy's focus on transversal ecocritical praxis by considering literature and cinema in terms of the persuasive force of aesthetic activity and whether or not artistic production and its criticism can be considered forms of activism. Murphy argues that literature and other forms of aesthetic production hold out the promise of being able to move some individuals deeply through both affective and intellectual engagement in ways that facilitate ideological reflection. To analyze aesthetic production ecocritically requires a transversal orientation in order to work continuously at accommodating a vast array of often seemingly disparate perspectives, disciplines, and contextual information, as well as the ever changing thematic, plot, setting, and contextual elements of the aesthetic works under consideration and the responses of changing audiences through time and across cultures. Murphy demonstrates this approach through presenting theories of transversality and applying them with attention to issues of propaganda, agitation, and persuasion, both in terms of artistic production and the criticism of such production. He also brings an ecofeminist orientation to the fore with particular attention to the gendered economic aspects of environmental issues in an age of land grabs and plantation economies. Along the way he treats a wide range of literary works, films and miniseries. In American literature he discusses realist and science fiction works, from Susan Fenimore Cooper's Rural Hours to Paolo Bacigalupi's The Windup Girl, Barbara Kingsolver's Flight Behavior to Kim Stanley Robinson's 2312, and Ana Castillo's So Far from God to Leslie Marmon Silko's Gardens in the Dunes. In international literature, he analyzes Mo Yan's The Garlic Ballads, Jiang Rong's Wolft Totem, Michiko Ishimure's The Lake of Heaven, Miyuki Miyabe's All She Was Worth, and other novels. The book concludes with a reading of Ernest Callenbach's Ecotopia and Ecotopia Emerging, an Afterword recommending further directions for transversal ecocritical research an and interview that discusses Murphy's previous book, Transversal Ecocritical Praxis, and provides some personal background on the author.
The first of its kind, A Companion to Ancient Aesthetics presents a synoptic view of the arts, which crosses traditional boundaries and explores the aesthetic experience of the ancients across a range of media—oral, aural, visual, and literary. Investigates the many ways in which the arts were experienced and conceptualized in the ancient world Explores the aesthetic experience of the ancients across a range of media, treating literary, oral, aural, and visual arts together in a single volume Presents an integrated perspective on the major themes of ancient aesthetics which challenges traditional demarcations Raises questions about the similarities and differences between ancient and modern ways of thinking about the place of art in society
The German philosopher Alexander Gottlieb Baumgarten (1714–1762) introduced “aesthetics” as a new science in his Reflections on Poetry (1735) and developed this new part of philosophy in a series of later works, culminating in his unfinished Aesthetics (1750/1758). This volume is the first collection of essays in the English language devoted to Baumgarten’s aesthetics. The essays highlight the distinguishing features of Baumgarten’s aesthetics, situate it in its historical context, document its reception, and examine its contributions to contemporary philosophy.
Ralph A. Smith provides a theory of aesthetic education that addresses the need to revitalize the capacity for genuine judgment in society, reaffirm the ideal of excellence in culture, and reorder our thoughts about teaching the arts in schools. The book presents an image of the curriculum as itinerary, preparing the young to traverse the world of art with adroitness and sensitivity.
The book presents five philosophical and axiological studies devoted to the relationship between aesthetics and politics. It shows this relationship throughout the works of some avant-gardists, pragmatists, and postmodernists. It is also a voice in the discussion about the meaning of the fine arts and aesthetics in the context of the political aims and norms. This voice claims that the political dimension of art and aesthetics should be studied much more seriously than it has been till today, and needs more courageous re-interpretations and re-readings.
First Published in 2015. Routledge is an imprint of Taylor & Francis, an Informa company.