Traditionally we all know that fascism is the aestheticism of politics and the aestheticism of the military.
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He presents a combination of airy aestheticism and intellectual toughness.
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Of course, as in our own time, the placid aestheticism was also unsustainable.
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It is not just a latent aestheticism, it is also an economic argument.
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It is hard to believe that such aestheticism was arrived at entirely by coincidence.
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"Hassam embraced impressionism, but also naturalism, tonalism, and aestheticism," she writes in the exhibition catalogue.
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Director Denis Côté is not interested in their aestheticism or their nakedness and its homoerotic potential.
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It is about a certain tradition of aestheticism — the fascination with the lavish ceremonial aspects of traditional Catholicism.
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There's a name for this kind of glitched-out aestheticism, and it turns out to have a well-established artistic past.
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A devotee of aestheticism, Wilde believed hatred and crime were the consequence of a mind that struggled to understand the beautiful.
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Lear has Ruskinian notes of dense, worried aestheticism—and then, reading the biography, we get Ruskin weighing in on Lear's lyrics.
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Nothing was more appealing than spending hours soaking up Baldwin or Thoreau, pondering the peculiarities of American violence or romantic aestheticism.
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I suppose there was a hangover from the naughty 1890s, of late 19th century aestheticism, that was still attractive to some Americans.
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Some of them founded a multimedia platform, Basement Rap, through which they were able to proliferate their unique brand of hipster aestheticism.
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If your aestheticism forbids compulsive formalists from indulging in ridiculous kitsch for the sheer sake of genre exercise, give me the kitsch, please.
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In part they endure because contemporary liberalism has substituted aestheticism for religion, dreaming of a universal empathy sealed through reading rather than revelation.
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Born in 193 in Moravia, he arrived in Paris via Munich at age 219 under the artistic influence of Pre-Raphaelitism, Symbolism, and Aestheticism.
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Where's the Oxford-set film about his time in college when he became enthralled with aestheticism and was taught by both Walter Pater and John Ruskin?
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Perhaps because of her abundant gifts — the metaphorical fecundity, the dash and brio of her cadences — Ozick is ever vigilant against the temptation of mere aestheticism.
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Nothing disgusted him more than aestheticism, which he associated with the Polish poets popular in his youth, who produced wan imitations of French fin-de-siècle poetry.
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Unlike many of the Silicon Valley elite that have recently adopted a kind of performative aestheticism, Gawdat's commitment to minimalism feels genuine — and it also informs his new startup.
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Sem-Sandberg's precise, resolutely nonpoetic prose is highly effective, even in translation, and appears to be a conscious refusal of aestheticism: The brutality of the subject requires a brutal style.
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Written by a noblewoman and lady-in-waiting, the novel captures the aestheticism, intrigue and mores of court life as they swirl around the irresistibly handsome, polyamorous, morally flexible (and fictional) Prince Genji — a.k.a.
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This kind of romanticism helps us understand the radical impetus of abstract painting in the early and mid-20th century as a reaction to a recalcitrant aestheticism (something that wouldn't be obvious to our contemporaries).
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" He sometimes groped clumsily for the radical language of recrimination: inching further from his earlier aestheticism, he praised Richard Wright's " Native Son " as a "Zolaesque J'accuse pointing to the danger symptoms of a self-frustrating democracy.
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With Ionic columns for legs, garlands of foliage carved from purpleheart wood, Renaissance-referencing flourishes, and Arts and Crafts-style cutouts on its music stand, the Schastey piano is a collision of influences, a frenzy of Aestheticism.
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Called the Worsham-Rockefeller Dressing Room, it's a consummate expression of Aestheticism, a trans-Atlantic, 19453th-century design movement that combined European Renaissance, Modern, Islamic and Japanese styles into luxurious objects and sumptuous environments for well-to-do hedonists.
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Then he further imagined the cultured elites of some future France rediscovering the texts and chants and rubrics of Catholic liturgy, and in a spasm of enraptured aestheticism, restoring the cathedrals and training actors to recreate the Tridentine Rite Mass.
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Over the past decade, through its own products and the many copycats that piled on, Apple's device-centric aestheticism has made computers easier to use and more accessible to more people around the world — and raked in eye-popping profits while doing so.
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His career has been an act of pure hoops aestheticism, an extraordinary achievement he pulled off by staying in excellent shape year after year, gutting everything in his game that wasn't useful to a team, and also being easy to work with.
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Their art photographs also look ahead to the aestheticism of the later Pictorialist movement, and indeed Pictorialism has the last word in the exhibition, which concludes with images by Alfred Stieglitz and Edward Steichen that propel, in their moody, lyrical way, American photography out of the 19th century and onto a dusky modernist path.
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Less recognized, even now, are the terrific small collages by Anne Ryan, a Greenwich Village poet who took up the medium late in life (she died in 1954) and managed a fusion of delicate materiality and powerful form which recommends her as a feminist forebear, though she, in her pure aestheticism, would likely have been startled at the thought.
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Through manifestoes, artists of all kinds have expressed their views of the meaning of their art: "Abandon love, abandon aestheticism, abandon the baggage of wisdom" (Kazimir Malevich, 1916); "Steal from anywhere that resonates with inspiration or fuels your imagination" (Jim Jarmusch, 2002); "A cool early morning wind is blowing around us; he who doesn't want to shiver must stride out" (Bruno Taut, 1920).
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That some writers, seeking to validate a point or two, will make up quotes wholesale and ascribe them to various famous people, so that you have to read entire essays by Kazimir Malevich (after spending hours tracking down free English translations of them) to realize that no, he likely never said that he "longed for exile from the sea" (though interestingly, he did say that "aestheticism is the garbage of intuitive feeling").
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The pictures that he took of Stephen Tennant and his other bohemian friends not only mark the beginnings of his formal photography career, but also exist as invaluable documents of this sub-culture of young men and women who in 1920s London lived a life of grandeur and decadence typical of the 1890s — the decade that shocked the rigid Victorian morality with its hubristic aestheticism, sensuality, and transgressive openness to sexual and political experimentation.
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The staged theatricality of Russian social realists is present in works such as "Interior" (1957) by Linda Kits-Mägi that portrayed ideal life under future communism (nowhere to be found in the present) or in more iconic Soviet-era Latvian and Estonian painters such as Arvids Egle and Aleksander Vardi, who portrayed the life of laborers in the workplace against the aestheticism of European painting, yet managed to produce subjects slightly more diffuse than those of their Russian counterparts.
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Debelius, Margaret. "Countering a Counterparts: Ada Leverson and Oscar Wilde." Women and British Aestheticism. The University of Virginia Press (1999).
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As with all Sidney's poetic adaptations, Psalm 3 has a consistent rhyme scheme throughout.It is divided into six stanzas, each opening with a rhyming couplet and having an AABCCB rhyme scheme. The original biblical Psalms make no use of rhyme, which highlights the parallel between aestheticism and anti-aestheticism. However, Sidney's use of rhyme helps to maintain the psalm's traditional musical style.
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Through Bradford Park (sic) Shaw resolved the issues facing the small house in the late nineteenth century by combining the principles of aestheticism and practicality.
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The novel is a satire consisting almost entirely of dialogue and mocking most of the important figures then at Oxford University, with regards to aestheticism and Hellenism.
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Salubriousness and aestheticism were the main reasons for the City of Sarrebourg to modify the river bed of the Sarre River at the place where it runs across the city center.
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Although he still upheld the old Narodnik values, Slonim favored aestheticism and formalism over social determinism, and, on these grounds, criticized Pavel Milyukov's work in literary history.Aucouturier (1999), pp. 381–384; Renna, pp.
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Elizabeth Prettejohn, After the Pre-Raphaelites: Art and Aestheticism in Victorian England, Manchester University Press, 1999, p.243 For Spielmann, Millais epitomised these qualities. With the rise of Modernism, Spielmann's influence became increasingly marginal.
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Delia Da Sousa Correa, "The Stories of Katherine Mansfield" in Richard Danson Brown & Suman Gupta, eds., Aestheticism & Modernism: Debating Twentieth-century Literature 1900-1960 (Psychology Press, 2005), , pp. 78, 85-96, & passim. Excerpts available at Google Books.
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Aestheticism can be found in the wall coverings, painted ceilings, fireplaces, stained and etched glass and carved into the woodwork. Annandale House is one of the few surviving examples of homes decorated in this style in Canada.
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Such works are sometimes described as autotelic (from Greek: autoteles, 'complete in itself'),"Aestheticism." Encyclopædia Britannica. 2020. a concept that has been expanded to embrace "inner-directed" or "self-motivated" human beings. The term is sometimes used commercially.
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Art and literature allowed the expression of a homosexual identity. Art and literature were the primary mode in which positive images of homosexuality could be produced.Prettejohn, E. (Ed.). (1999). After the Pre- Raphaelites: art and aestheticism in Victorian England.
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Dante Gabriel Rossetti and Edward Burne-Jones are most strongly associated with Aestheticism. However, their approach to Aestheticism did not share the creed of ‘Art for Art’s Sake’ but rather “a spirited reassertion of those principles of colour, beauty, love, and cleanness that the drab, agitated, discouraging world of the mid-nineteenth century needed so much.” This reassertion of beauty in a drab world also connects to Pre-Raphaelite escapism in art and poetry. In Britain the best representatives were Oscar Wilde and Algernon Charles Swinburne, both influenced by the French Symbolists, and James McNeill Whistler and Dante Gabriel Rossetti.
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Black Riders: the Visible Language of Modernism. Page 19. Princeton University Press, 1993. Heavily influenced by fin-de-siècle aestheticism, Alice Corbin Henderson remarked that his work, along with the poetry of Evans himself, represented something of a revival of that style.
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Retrieved January 30, 2010. His art criticism involved an aestheticism like that of his literary criticism. Updike's 2008 Jefferson Lecture, "The Clarity of Things: What's American About American Art?", dealt with the uniqueness of American art from the 18th century to the 20th.
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He completed a PhD at McGill University and a postdoctoral fellowship at Princeton University, and is currently McFarlin Professor of Victorian Literature and Culture at the University of Tulsa. His research specialties include gender/sexuality studies, decadence/aestheticism, eco-studies, and pagan eco-politics.
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Just like the Hobby Horse, The Yellow Book discusses artistic aestheticism. It even has some of the same contributors as the Hobby Horse, as well as the same publisher. The Yellow Book in a way replaced the Hobby Horse, because publishers invested in favor of the Yellow Book.
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Cernat, p.16. See also Vianu, Vol. III, p.386 Of special note among the Symbolists emerging from Wallachia, Al. T. Stamatiad was a cherished disciple of Macedonski, who left flowery erotic verse and, in succession to Petică's Aestheticism, prose poems loosely based on those of Oscar Wilde.
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91-92, 388-393. Excerpts available at Google Books. The film was selected as the opening film of the Tokyo International Film Festival, where it was not well received by critics.Kazuhiro Tateishi, "The Tale of Genji in Postwar Film: Emperor, Aestheticism, and the Erotic", in Haruo Shirane, ed.
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Raby (1997:147) Scholar Paul Fortunato describes Oscar Wilde as a modernist, who used his modern aesthetics so as to direct him into the realm of mass culture. Wilde's huge popularity as a playwright began with his production of Lady Windermere's Fan, his recherché attitude and personal aesthetics reflected in his writing. Fortunato elaborates on the facets of his aestheticism—an aestheticism that distorts and lies on the surface, rejects any notion of an authentic self, and centres on the female aesthete and woman of fashion. As he describes, understanding Wilde as a modernist through his writing of Lady Windermere's Fan can help us understand the disparity between mass culture and high society.
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The Italian decadence was characterised by the research for new spiritual values through aestheticism and three of its most representative authors were Gabriele D'Annunzio, Giovanni Pascoli and Antonio Fogazzaro whom maintained among themselves a very subjective image of society and the world and expressed their ideas each in a unique way.
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The book is not. There is a song The Green Carnation in Noël Cowards Operetta Bitter Sweet, the quartet of the aesthetes, a parody of the Dandy life style and the aestheticism movement and at the same time a tongue-in-cheek homage to the "gay live style" of the time.
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Another Beauty () is a 1998 memoir by the Polish poet Adam Zagajewski. It focuses on Zagajewski's student years and early time as a poet in Kraków in the 1960s and 1970s, and his involvement with the artist group "Now", leaving aestheticism behind to focus on contemporary politics and clash with communist authorities.
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Both groups believed the purpose of art was to evoke an emotional response and demonstrate the beauty inherent in the unnatural as opposed to trying to teach its audience an infallible sense of morality.Quintus, John Allen. "The Moral Implications of Oscar Wilde's Aestheticism." Texas Studies in Literature and Language 22.4 (1980): 559–574. .
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8: "As in a dream [Sternberg] has wandered through studio sets depicting ..." and lists the above locations. Sternberg's "outrageous aestheticism" is on full display in these richly stylized works, both in technique and scenario. The actors in various guises represent figures from Sternberg's "emotional biography", the wellspring for his poetic dreamscapes.Sarris, 1966. p.
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It consists > of followers of bourgeois aestheticism. They penetrate our press and operate > most freely in the pages of the magazine, Teatr, and the newspaper, > Sovetskoe iskusstvo. These critics have lost their sense of responsibility > to the people. They represent a rootless cosmopolitanism which is deeply > repulsive and inimical to Soviet man.
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Crohmălniceanu, p. 35 Ralea reduced aestheticism and social determinism to the basic units of "aesthetics" and "ethnicity". As he saw it, an ethnic consciousness was biologically and psychologically necessary: it helped structure perception, giving humans a reference point between the particularity and generality.Comarnescu, p. 195; Crohmălniceanu, pp. 128–129, 130; E. Lovinescu, pp.
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25, 199. He later revised part of this verdict, and, making explicit his adoption of aestheticism, spoke against trivial subjects and in favor of the sublime.Sandqvist, p.200 While Macedonski also discarded the concept of "social poetry" not long after postulating it, its spirit, Tudor Vianu believes, can still be found in his later contributions.
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The art critic Marion Spielmann described his work as "strong, manly and artistic".Elizabeth Prettejohn, After the Pre-Raphaelites: Art and Aestheticism in Victorian England, Manchester University Press, 1999, p.243 Lawson was elected an Honorary Academician of the Royal Scottish Academy (HRSA) in 1884. He died at Richmond, Surrey, on 23 September 1904.
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" Women and British Aestheticism. The University of Virginia Press (1999). She was known as a wit; her writing has been compared to the work of Max Beerbohm and the stories of Saki. She was a loyal friend to Oscar Wilde, who called her Sphinx;Harrison, William M. "Ada Leverson's Wild(e) Yellow Book Stories.
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According to Karl-May-Gesellschaft e. V. He is among the most popular authors of formula fiction in the German language.Stoehn, Ingo Roland: German Literature of the Twentieth Century: From Aestheticism to Postmodernism, Boydell & Brewer, 2001, p.19 These specifically German fantasies and projectionsColin Gordon Calloway, Gerd Gemünden, Susanne Zantop (ed.): Germans and Indians.
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Dragomirescu, pp. 78–79 After being accepted at Vieața Nouă, Herz moved into neoclassical literature and aestheticism, but, as Dragomirescu notes, was "merely a beginner" in both.Dragomirescu, p. 99 Herz's debut play was the 1907 Domnița Ruxandra, dramatizing the life of an eponymous 17th- century princess, followed in 1908 by Floare de nalbă ("Marsh Mallow").
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The Bouzingo were a group of eccentric poets, novelists, and artists in France during the 1830s that practiced an extreme form of romanticism whose influence helped determine the course of culture in the 20th century including such movements as Bohemianism, Parnassianism, Symbolism, Decadence, Aestheticism, Dadaism, Surrealism, the Lost Generation the Beat Generation, Hippies, Punk rock, etc.
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He is best known for his work "Camp and the Gay Sensibility", an influential piece that provided an overview of cinematic camp. It posited an idea that camp is a "nexus of irony, aestheticism, theatricality and humor" and that it is specifically a "gay sensibility". Babuscio also edited an influential work called We Speak for Ourselves.
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"Embracing tender beauty, awful violence". Edmonton Journal, July 24, 1994. His second novel, The Winter Gardeners, was published in 2003, and in 2004 he published The Broadview Anthology of Victorian Short Stories. His academic publications include Erin Mouré and Her Works (1995), Aestheticism and Sexual Parody: 1840-1940 (2001), and Sexual Visuality from Literature to film: 1850-1950 (2004).
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Haug coined the term commodity aestheticism (Warenästhetik, in German). His Critique of Commodity Aesthetics has been translated into numerous languages. Since 1958, he has also been the chief editor of the journal Das Argument, the successor to the Zeitschrift für Sozialforschung (1933–1941). The latter journal was housed at the Institute of Social Research (founded by Max Horkheimer).
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Books and magazines featuring Wang Books and magazines featuring Wang. Manfred Schneckenburger has described her as "an icon of progress for the younger generation despite the Chinese consciousness of tradition".Manfred Schneckenburger, "The Liberated Camera", Introspection, Hirmer, Munich, 2012, p. 24 Her work has mainly focused on three great, occasionally overlapping themes: aestheticism, vitality and humanity.
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Even though the actual date of his joining the Communist Party is not known, his membership in it was never in doubt.Tucker, Anne Wilkes. “A Rashomon Reading” Klein and Evans The Radical Camera p. 81 In 1936, his nickname at the Photo League was “Commissar” for his dogmatic opposition to the aestheticism of some of the members.
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They were asked questions regarding the value of tigers in relations to ecology, science, education, aestheticism, and culture. However, one reason emerged as to why tigers are still highly demanded in illegal trading: culturally, they are still status symbols of wealth for the upper class, and they are still thought to have mysterious medicinal and healthcare effects.
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In the 1930s the building was reconstructed (according to architects Konstantin Melnikov and the Stenberg brothers) although not as radically as Tairov wanted. The facade was simplified and became very modest looking. In 1949 the Chamber Theatre was closed, for "aestheticism and formalism", according to the official statement, as a result of the Zhdanov doctrine being put into practice.
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18-19 – and late Victorianism (from 1880 onwards), with its new waves of aestheticism and imperialism,M Sadleir, Trollope (London 1945) p. 13 and p. 32 from the Victorian heyday: mid- Victorianism, 1851 to 1879. He saw the latter period as characterized by a distinctive mixture of prosperity, domestic prudery, and complacencyM Sadleir, Trollope (London 1945) p.
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His (1906) L'Ideal Humain de l'Art helped found the "artistocracy movement"—a movement advocating life in the service of art. His ideal was an anti-elitist aestheticism: "All men should be artists".Lacaze-Duthiers, L'Ideal Humain de l'Art, pp. 57–8. Together with André Colomer and Manuel Devaldes, in 1913 he founded L'Action d'Art, an anarchist literary journal.
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Bầu cua tôm cá is a Vietnamese gambling game that involves using three dice. It is traditionally played during Tết. People enjoy traditional games during Tết, including: bầu cua cá cọp, cờ tướng, ném còn, chọi trâu, and đá gà. They also participate in some competitions presenting their knowledge, strength, and aestheticism, such as the bird competition and ngâm thơ competition.
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Irrationalism and aestheticism were themes in Howard's work. His philosophies were in line with the Romantic and Neo-Romantic eras. While he held many philosophical positions in his life, they all shared a rebellion against reason, against tradition, and against tyranny in any from. Howard's poetry was traditional and Romantic in form; which was against the trend of poetic tastes during his lifetime.
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The song was generally very well received by the press at the time. For example, Cool stated the song "reveals the original universe of Farmer: mystery, hushed atmosphere, sweet voice". To Foto Musique, "the music superbly refined prevents despair to settle". Rock Musique considered that this song has an "undeniable charm" and Télé Loisirs praised the song for it "aestheticism".
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In 1888, Elena Sevastos published the collection Cantece Moldovenesti (Moldovan songs). Nationalism, aestheticism, and the idealisation of folk art characterised the folklore collections of the time. The critic and politician Titu Maiorescu, on the other hand, was representative of a countervailing conservative strand in the arts. Bogdan Petriceicu Hasdeu, the editor of the gazette Trojan and the satirical journal Cerienok was very popular.
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The future critic was also a distant relative of Yevsey Lazarevich Slonim, whose daughter, Vera Yevseyevna, became the wife of novelist Vladimir Nabokov.Brian Boyd, Vladimir Nabokov: The American Years, p. 85. Princeton: Princeton University Press, 1991. According to Russologist Michel Aucouturier, Slonim's memoirs show him as an erudite and an adept of aestheticism, whose "socialist sympathies" were only cemented by the Russian Revolution.
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A young Wilde learned to speak fluent French and German. At university, Wilde read Greats; he demonstrated himself to be an exceptional classicist, first at Trinity College Dublin, then at Oxford. He became associated with the emerging philosophy of aestheticism, led by two of his tutors, Walter Pater and John Ruskin. After university, Wilde moved to London into fashionable cultural and social circles.
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Thereafter, the theater had need to reform their presentation. The Soviet authorities developed a deep distrust of Tairov, calling him the last representative of the "bourgeois aestheticism". In 1937, the Realistic Theater was merged with the Kamerny. In World War II, the theater was heavily bombed during the siege of Moscow and it did not re-open until December 25, 1943.
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Vianu, Vol. II, p.379-380 This attitude, Cernat suggests, was linked to Dragomirescu's personal preference for Richard Wagner's theories on music, which showed a predisposition for modernism, and which had led him into a debate with his former mentor Maiorescu.Cernat, p.7 Likewise, art historian Adriana Șotropa notes that both Dragomirescu and Trivale promoted an individual form of Aestheticism,Șotropa (2009), p.
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Czech Cubism developed between 1911 and 1914. It was a contemporary development of functionalism generated by architects and designers in Prague. Fifteen years later, the first concept of cubism itself was written off as a decorative purpose, a replacement of secessionism and mistaken departure into ‘aestheticism’ and ‘individualism’. On the contrary, it was a revolt against traditional values of realism.
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According to Peter Burger, some of the theories involving aesthetics can come all the way back to the writings of Karl Marx. According to Burger, " For Marx, this development is not merely one in economic theory. Rather, he feels that the possibility of a progress in knowledge is a function of the development of the object toward which insight directs itself ... Marx demonstrates through the example of the category of labor also applies to objectifications in the arts ... it is only with aestheticism that the full unfolding of the phenomenon of art became a fact, and it is to aestheticism that the historical avant-garde movements respond". Besides from the idea of Karl Marx's influence over the avant-garde movement, much of the movement came through social commentary from the wars that were fought during the time of its rise.
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Back cover Her next book, Affective Communities, was written to "[reveal] for the first time how those associated with marginalized lifestyles, subcultures, and traditions—including homosexuality, vegetarianism, animal rights, spiritualism, and aestheticism—united against imperialism and forged strong bonds with colonized subjects and cultures".Gandhi, Leela, Affective Communities: Anticolonial Thought and the Politics of Friendship. New Delhi, Permanent Black, 2006, x, 254 p., $28. .
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Towards the end of the century, English poets began to take an interest in French symbolism and Victorian poetry entered a decadent fin de siècle phase. Two groups of poets emerged, the Yellow Book poets who adhered to the tenets of Aestheticism, including Algernon Charles Swinburne, Oscar Wilde and Arthur Symons and the Rhymers' Club group that included Ernest Dowson, Lionel Johnson and William Butler Yeats.
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Director Teshigahara, himself a master and teacher of the Japanese traditional art of ikebana, brings the viewer into appreciation and deep sympathy for Rikyu's aesthetic idealism and his careful diplomatic efforts to avoid excessive entanglement in political affairs. The film itself is very studied in its aestheticism, and very expressive of the shocking force of life intruding into the guarded hermetic space of the artist/idealist.
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Kassner himself divided his work, into three periods: aestheticism 1900-1908; physiognomy 1908-1938: and after 1938 autobiographical writings, religious and mystical essays, and "meta-political" interpretations of world events. Kassner rejected rigid philosophical systems and thus preferred looser literary forms such as essays, aphorisms, prose sketches, parables, and allegories. Nevertheless, his works revolve around certain coherent contexts and returns again and again to the same themes.
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343-344 Contrasting Negoiţescu's "aestheticism", "individualism" and "quasi- anarchism" with the "gray, stiff and fear-impregnated everyday of communism", Călinescu also noted: "Nego's daily heroism was that of being himself, no matter what the consequences of this social preservation of his identity and the refusal to hide it."Călinescu & Vianu, p.360 Such views, Ion Vianu adds, transformed Negoiţescu into "the perfect, exemplary victim of communism".
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Jennifer Joseph (born 1949) is a Melbourne-based artist whose work aligns closely with the aestheticism of the Abstract art movement. In 1971 Joseph received her diploma of Arts and Crafts from Melbourne Teachers' College. She went on to study Fine Art part-time at RMIT University, Australia between 1977 until 1979. Despite her foray with art school and education, Joseph considers herself essentially self-taught.
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It was too materialistic and too stifling. The new rebels were opposed not only to the "ethic of self-control in its altruistic, public-spirited facet, but also in its individualistic, self- improving, 'self-help' aspect." (p. 401) In one version, with G. M. Trevelyan, it teeters on the edge of the material/transcendent divide, in another, with Walter Pater, it replaces the transcendent with aestheticism.
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Known for his aestheticism, those whom he particularly admired included Stendhal, Proust and T. E. Lawrence. As an author, there are suggestions that his choice of subject matter was catholic sometimes verging on the eclectic. He wrote biographical works about both Habib Bourguiba and his old friend Georges Simenon. Outwardly cheerful, he attracted further headlines in December 1994 when he committed suicide by shooting himself.
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Page 643. Associated with the avant-garde scene of Greenwich Village, his works relate a strong sense of irony as well as his own personal bohemianism, coupled with the deep influence of 1890s aestheticism. Somewhat comparable to fellow bohemian poet Maxwell Bodenheim, many stories about his bohemian lifestyle circulated. Evans single-handedly founded and managed the Claire Marie press, intending to publish "New Books for Exotic Tastes".
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118 With his respect for critical intuition, his critique of determinism, and his cosmopolitanism, he came unexpectedly close to the aestheticism of his rival Lovinescu, and, though him, to the "aesthetic autonomism" of Titu Maiorescu.Constantinescu, pp. 151–152; Ornea (1998), pp. 146–147, 377 Ralea even sketched out his own relativist theory, according to which works of art could have limitless interpretations (or "unforeseen significances"),Vianu, pp.
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It signaled the Poporanists' confrontation with a "new generation" of anti-rationalists, and Ralea's personal rivalry with one of the White Lily intellectuals, Petre Pandrea.Zavarache, p. 240 Pandrea's Manifesto was at once a plea for aestheticism and mysticism, a critique of "that famed social justice" idea, and an explicit denunciation of Ralea, Ibrăileanu, Suchianu and the Sburătorul group as "dry", "barren", all too critical.Crohmălniceanu, pp.
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In pre-Nazrul era, he was the user of Arabic and Persian words. His poems are inspired by both aestheticism and spiritualism. Mohitlal early poems reveal the influence of Rabindranath Tagore, but later, as a member of the Shanibarer Chithi group, he distanced himself from the older poet. As a literary critic, Mohitlal attempted to set standards and reveal the problems of art and literature.
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The importance of the individual was emphasized; the truly limited nature of the human experience formed a bond across all bridges of race, class, sex, wealth or religion. Society, in this way, found shared meaning, even in disarray. Some see modernism in the tradition of 19th century aestheticism and the "art for art's sake" movement. Clement Greenberg argues that modernist art excludes "anything outside itself".
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In 1974 he earned his PhD with thesis 'Literary Criticism and Aestheticism in Armenia of the Beginning of 20th Century'. In 1990 he was awarded a Doctor of Sciences degree for his work "The Poetics of Yeghishe Charents". He joined the faculty of Philology in 1973, was appointed a professor in 1991. His sabbatical of 1995-1996 he has spent at Haigazian University in Beirut, Lebanon.
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Waterhouse participated fully in the 1920s and 1930s expansion of gardening as an art form and way of life. His view always and everywhere combines a scholarly internationalism with unflinching aestheticism. In The Home in 1926 he published "Gardening as an Interpretative Art", illustrated with photos of his own garden by Cazneaux. His argument was elaborated and refined in "Domestic Gardening as an Art" in 1943.
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Gérard de Lacaze-Duthiers was a French writer, art critic, pacifist and anarchist. Lacaze-Duthiers, an art critic for the Symbolist review journal La Plume, was influenced by Oscar Wilde, Nietzsche and Max Stirner. His (1906) L'Ideal Humain de l'Art helped found the 'Artistocracy' movement - a movement advocating life in the service of art. His ideal was an anti-elitist aestheticism: "All men should be artists".
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Their band concept is "the absolute youshikibi (beauty of form) sound and extremes of aestheticism". On March 30, 2007 the details of the band were announced. They released promotional material through the internet, set up an English language page on MySpace, and had several interviews with foreign press. Versailles made their first appearance with a showcase on June 23, followed by their first performance on June 24.
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Psomiades taught at the University of Notre Dame before joining Duke's faculty in 2003. Her first book, Beauty's Body: Femininity and Representation in British Aestheticism (Stanford University Press, 1997), examines the work done in 19th-century aesthetic poetry by a certain culturally pervasive image of embodied beauty. By "reversing the usual order of priority given to the institution of art and its figures," Beauty's Body suggests "that a certain figure of femininity is not merely the content of Aestheticist works, not merely a way in which artists can represent their own marginalized status in the culture, but rather the linchpin of the symbolic system through which Aestheticism thinks itself." In 1999, she co-edited with Talia Schaffer an influential collection of essays called Women and British Representation (University of Virginia Press, 1999), which worked to carve out a space for femininity in both 19th-century artistic production and contemporary literary criticism.
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Mitchell Starrett Buck (February 10, 1887 - May 12, 1959) was an American poet, translator and classical scholar. His volumes of verse and prose poetry were deeply influenced by 1890s aestheticism as well as classical Greek and Roman Literature. His work Syrinx: Pastels of Hellas, which was published by his friend Donald Evans on his Claire Marie Press in 1914,MacGann, Jerome John. Black Riders: The Visible Language of Modernism.
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Professor Klaus Honnef, a noted expert on photography as an art form, presented a large solo exhibition of her work in Bonn, West Germany.Exhibition catalogue: Klaus Honnef (ed.), Doris Schöttler-Boll: Dekonstruktionen oder vom Widersprechen in Bildern. Cologne (Rheinland Verlag) 1987 Josef Beuys wrote about her artistic approach that it avoids both rigid Aestheticism and one-sided political statement. The merit of such an approach was considerable in his opinion.
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Jünger himself, however, refused the notion that the book was a statement of resistance, describing it rather as a "shoe that fits various feet". The work is typical for Jünger's Aestheticism that responds to destruction with placidity. It displays the determination to conserve values even in the face of annihilation, perhaps all the more so because the victory of the mindless masses follows brutalization as a virtual force of nature.
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Questions about artistic integrity, as well as aesthetics, including, for example. the idea of "art for art's sake", proposed by writers like Oscar Wilde and Algernon Charles Swinburne, were also important.Gene H. Bell-Villada, Art for Art's Sake & Literary Life: How Politics and Markets Helped Shape the Ideology & Culture of Aestheticism, 1790–1990 (University of Nebraska Press, 1996). Major British writers such as Charles DickensArthur C. Benson, "Charles Dickens".
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Robinson wrote hundreds of poems and ballads that are published in many different journals and books. Robinson published books of her own collected works in both English and French, and also wrote the first full-length biography of Emily Brontë to positive reviews. Robinson's poetry and lyrics were considered mostly part of the aestheticism intellectual movement. The movement reflects the significance of poetry as beautiful with no deeper meaning.
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The ceiling was recoloured in 1895 by Charles Eamer Kempe,Allfrey (1909). p. 34. a move which has been both extensively praised and criticised; one commenter in the 1970s remarked that "anything as strange and curious as Arts and Craft aestheticism overlaid on seventeenth-century fake Gothic, which in turn disguises a genuine fifteenth-century hammer-beam roof is certainly worth keeping - if only for the sheer zaniness of it all".
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His method is strictly about aestheticism and its formal qualities, and not their symbolic content. Best Maugard's pursuit to uncover universal laws of artistic development is a reflection of Mexico's cientificos. He applied positivism into drawing by using the natural sciences as a model. He sought to reveal scientific laws relevant to all social phenomena and understanding the development of human society as a rising progression from the savage or primitive state to modern civilization.
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Gérard de Lacaze-Duthiers (26 January 1876 – 3 May 1958) was a French writer, art critic, pacifist and anarchist. Lacaze-Duthiers, an art critic for the Symbolist review journal La Plume, was influenced by Oscar Wilde, Nietzsche and Max Stirner. His (1906) L'Ideal Humain de l'Art helped found the 'Artistocracy' movement - a movement advocating life in the service of art. His ideal was an anti-elitist aestheticism: "All men should be artists".
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He believed Negoiţescu's artistic vision to feature "a hidden moral edge", one occasionally turning back "on himself", and making Negoiţescu "one of the major ethical figures in Romanian culture."Călinescu & Vianu, p.362 A similar verdict was provided by Ion Vianu: "his proud demeanor, the rigorous aestheticism he professed were the expression of an extreme exigence, as expanded on the artistic level as it was on the moral one."Călinescu & Vianu, p.
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Nueva Presencia (translated "new presence") was a group of artists founded by Arnold Belkin and Francisco Icaza in Mexico in the early 1960s. In response to the atrocities of World War II, the artists of Nueva Presencia rejected aestheticism in art, instead believing that artists had a responsibility to engage with social and political issues. A manifesto, published in the first issue of the magazine of the same name, outlined their views.Barnitz, Jacqueline.
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8: "Sternberg's films [are a] continuous stream of emotional biography ... [his] exoticism ... a pretext of objectifying personal fantasies. ... [his films are a] dream world." p. 25: Sarris quoting Susan Sontag, "The outrageous aestheticism of von Sternberg's six American films with Dietrich ..." Sternberg, largely indifferent to the studio publicity or to his movies' commercial success, enjoyed a degree of control over these pictures that permitted him to conceive and execute these works with Dietrich.Baxter, 1993. p.
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Mary Augusta Hiester Reid (1854-1921) was an American-born Canadian painter and teacher. She was best known as a painter of floral still lifes, and by 1890 she was thought to be the most important flower painter in Canada. She also painted domesticated landscapes, night scenes, and, less frequently, studio interiors and figure studies. Her work as a painter is related in a broad sense to Tonalism and Aestheticism or "art for art's sake".
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For his part, Mahaffy boasted of having created Wilde; later, he said Wilde was "the only blot on my tutorship". The University Philosophical Society also provided an education, as members discussed intellectual and artistic subjects such as Dante Gabriel Rossetti and Algernon Charles Swinburne weekly. Wilde quickly became an established member – the members' suggestion book for 1874 contains two pages of banter (sportingly) mocking Wilde's emergent aestheticism. He presented a paper titled "Aesthetic Morality".
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Jeanette died young of pneumonia in the 1920s. Jeanette's parents, Saul J. and Mary Ella Greenberg Weiss, influenced many of their offspring to pursue success. Many of the Weiss family descendants exhibited qualities such as the perfectionism and aestheticism evident in Charles Revson's career. Not a valid published source{dead link}} Revson, like many other Weiss family descendants, disassociated from most of the family of origin to fiercely create an autonomous identity.
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The first half narrates the historical events of the shipwreck and the survival of the crew members. The second half of the chapter analyses the painting itself. It describes Géricault's "softening" the impact of reality in order to preserve the aestheticism of the work, or to make the story of what happened more palatable. Chapter 6, "The Mountain", describes the journey of a religious woman to a monastery where she wants to intercede for her dead father.
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But they grow as they embrace the chaos of love and sing. I like to think of all such people as ‘boys,’ and it is with this image of the boy in mind that I wrote the stories in this book.” The above quote suggests why some critics have associated Lee with aestheticism. His figurative use of the word “boy” to refer to any person in love is an example of his aesthetic portrayals of youth.
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She was an elected member of the Royal Institute of Oil Painters and the New Society of Painters in Water-Colours. Her earlier works were inspired by the Pre-Raphaelites, while later works were more modern, and her works have been cited as examples of post-Victorian Aestheticism. She made several designs for the stained-glass artist Mary Lowndes. Suffering from health problems throughout her life, she died in London on 5 January 1917, aged 51.
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A substantial and precocious element of Negoiţescu's critical work was constituted by his focus on Mateiu Caragiale. Bogdan Creţu, who notes the enthusiastic reception Negoiţescu granted to Caragiale's poetic work in his very first published essay, believes there is an intrinsic connection between the two figures at the level of aestheticism. According to Ion Vianu, the "beautiful, pale and distant" Negoiţescu brought to mind Aubrey de Vere, the "morbid aristocrat" in Caragiale's novella Remember.Călinescu & Vianu, p.
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After meeting E. B. Havell, Tagore worked with him to revitalise and redefine art teaching at the Calcutta School of Art, a project also supported by his brother Gaganendranath, who set up the Indian Society of Oriental Art. Tagore believed in the traditional Indian techniques of painting. His philosophy rejected the "materialistic" art of the West and came back to Indian traditional art forms. He was influenced by the Mughal school of painting as well as Whistler's Aestheticism.
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Filthy Lucre, an installation by contemporary artist Darren Waterston, replicates The Peacock Room in a state of decay and disrepair. It opened in May 2015. In March 2020, Church Life, a journal of The University of Notre Dame's McGrath Institute, published "The Art of Madness and Mystery," an essay which uses The Peacock Room and Waterson's Filthy Lucre to examine at length the differences and inherent character of traditional art (especially in the context of Aestheticism) and Contemporary Art.
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Cottier is considered to be an important influence on Louis Comfort Tiffany and also is credited with introducing the Aesthetic movement to America and Australia. Cottier was interested in glass, furniture, ceramic manufacture, and interior design. His art furnishing business opened branches in Edinburgh, Glasgow and London between 1864 and 1869, and then in 1873 he opened more branches in New York, Sydney and Melbourne. In the United States he is seen as a 'harbinger of aestheticism….
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New York: New York. Choi Chung-moo examined the film's politics of gender and body, reading Yu-bong's violence towards Song-hwa and Dong-ho as well as the alluded incest and rape of Yu-bong towards Song-hwa as response to the "deprivation of national identity and loss of masculinity by inflicting violence on colonized indigenous woman or onto the emasculated self".Choi, Chungmoo (2002). "The Politics of Gender, Aestheticism, and Cultural Nationalism in Sopyonje and The Genalogy".
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All the new furnishing boasted carved wooden elements such as trefoil piercings that enhanced the Gothic feel of the church. They were complemented by the stenciled walls, polychrome tile floor and hanging brass lanterns. While this primarily reflects the ascendancy of Aestheticism in popular design at the time, the lingering Ecclesiological influence shows in the center aisle, which puts the nave and chancel along a single axis. Later work on the building aimed to restore and preserve it.
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It was particularly prominent in England during the late 19th century, supported by notable figures such as Walter Pater and Oscar Wilde. The movement started in a small way in the 1860s in the studios and houses of a radical group of artists and designers, including William Morris and Dante Gabriel Rossetti, reformers who explored new ways of living in defiance of the design standards of the age as revealed in the 1851 Great Exhibition at Hyde Park, London. Flourishing in Britain in the 1870s and 1880s, critic Walter Hamilton was the first writer to identify the movement, publishing The Aesthetic Movement in England in 1882. Aestheticism challenged the values of mainstream Victorian culture, as many Victorians believed that literature and art fulfilled important ethical roles. Writing in The Guardian, Fiona McCarthy states, “the aesthetic movement stood in stark and sometimes shocking contrast to the crass materialism of Britain in the 19th century.” By the 1890s, decadence, a term with origins in common with aestheticism, was in use as an aesthetic term across Europe.
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The Norton Anthology of English Literature, 7th edition, vol.2, ed. M.H. Abrams, p. 1741. Two groups of poets emerged in the 1890s, the Yellow Book poets who adhered to the tenets of Aestheticism, including Algernon Charles Swinburne, Oscar Wilde and Arthur Symons and the Rhymers' Club group, that included Ernest Dowson, Lionel Johnson and Irishman William Butler Yeats. Yeats went on to become an important modernist in the 20th century.The Norton Anthology of English Literature, 7th edition, vol. 2, p. 1740.
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In the spectrum of hostility that it aroused, ritualism also provoked in some of its opponents a reaction that saw its theatricality and its aestheticism as symptoms of "effeminacy".David Hilliard: "UnEnglish and Unmanly: Anglo-Catholicism and Homosexuality": Victorian Studies: (Winter 1982): 181–210. A typical charge was that ritualistic clergy were "man milliners", more concerned with lace and brocade than doctrine. Adverse reaction to this played a significant role in the evolution of the Broad and Low Church enthusiasm for "muscular Christianity".
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Baconsky's prose fiction is closely linked to the themes and style of his poetry. In Braga's view, the fantasy collection Echinoxul nebunilor is a prosaic representative of its author's early commitment to aestheticism; according to Cernat, its tone is "apocalyptic". A characteristic of Baconsky's prose fiction is its resemblance to his poetry works, to the point where they were described by Crina Bud as "hybrid forms". In Bogdan Creţu's view, Biserica neagră, Baconsky's only novel, is written with "alexandrine-like purity".
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Lange was also the author of many lyrical essays presenting original views about the relationship between poet and reader concerning eschatological issues (Thoughts, The Grave). In the first phase of his writing he was a lover of aestheticism, formal innovation and the theories of Stéphane Mallarmé. However, later he faced to primitivism, anonymity, writings of folk poets and 16th century poets and blank verse. Both Lange and Jerzy Żuławski are often referred to as "The Pioneers of Polish Science-Fiction".
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Richard Dellamora, Masculine Desire: The Sexual Politics of Victorian Aestheticism (University of North Carolina Press, 1990), pp. 23–25, with further discussion of Hallam and his relations with other literary figures et passim. The efforts among aesthetes and intellectuals to legitimate various forms of homosexual behaviors and attitudes by virtue of a Hellenic model were not without opposition. The 1877 essay "The Greek Spirit in Modern Literature" by Richard St. John TyrwhittPublished in The Contemporary Review 29 (1877), pp. 552–566.
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The subject of Fotografic Portfolio Edition #41, art director Tom Jacobi described Polidori as "a master of spatial aesthetics,Jacobi, Tom. "Introduction." Fotografic Portfolio #41, 2010, p. 1. Print. while writer Von Jochen Siemens called him a "cultural detective for places with a story to tell". In a Domus Italiano review, Beatrice Zamponi wrote, he "trains his lens on the ruins of recent times, on dilapidated surroundings infused with profound aestheticism, turning them into a subtle instrument of social investigation.
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Browning creates an internal world for his reader by giving them insight into how the narrator interprets the whole scene, not just the words spoken: line four, "You turn your face, but does it bring your heart?" refers to how the narrator is interpreting Lucrezia's body language. Some literary analysts claim Browning adapted his versification to his characters; Andrea del Sarto is no exception. It explores aestheticism and human reciprocity, and as a result is written in near perfect iambic pentameter.
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They are "poetic" because of a heightened aestheticism that sometimes draws attention to the representational aspects of the films. Though these films were weak in the production sector, French cinema did create a high proportion of such influential films largely due to the talented people in the industry in the 1930s who were working on them. The most popular set designer was Lazare Meerson. Composers who worked on these films included Georges Auric, Arthur Honegger, Joseph Kosma, and Maurice Jaubert.
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Other critics, such as Richard Dellamora (Masculine Desire: The Sexual Politics of Victorian Aestheticism, 1990UNC Press – Masculine Desire) and Linda Dowling (Hellenism and Homosexuality in Victorian Oxford, 1994Hellenism and Homosexuality in Victorian Oxford: Amazon.de: Linda Dowling: Englische Bücher) have contributed more recently to the scant knowledge about this group. Paul Fussell discusses Uranian poetry in his book The Great War and Modern Memory (1975), suggesting that it provided a model for homoerotic representations in the war poets of World War I (e.g. Wilfred Owen).
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The Century Guild of Artists was an English group of art enthusiasts that were most active between 1883 and 1888. It was founded in 1882 by Arthur Heygate Mackmurdo, and was influenced by the likes of William Morris, John Ruskin, Matthew Arnold, Walter Pater. The Century Guild also drew many of their ideas from the growing Arts & Crafts Movement, the Pre-Raphealites, the Decadent movement and the new Aestheticism. The Century Guild aimed to preserve the artistic trade and the authenticity of the craftsmen behind it.
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Hergesheimer published his first novel, The Lay Anthony, in 1914. Three Black Pennys, which followed in 1917, chronicled the fictional lives of three generations of Pennsylvania ironmasters and cemented the author's style of dealing with upperclass characters through a floridly descriptive style he referred to as "aestheticism." Three Black Pennys was also the first original American novel published by the newly formed Alfred A. Knopf publishing house. Hergesheimer also received critical recognition for his novels Java Head (1919), Linda Condon (1919), and Balisand (1924).
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Meanwhile, Grosvenor wearily entertains the ladies ("A magnet hung in a hardware shop") and begs to be given a half-holiday from their cloying attentions. The Dragoons' Major, Colonel, and Duke attempt to earn their partners' love through an effort to convert to the principles of aestheticism ("It's clear that mediaeval art"). Then Patience confesses her affection for Grosvenor to Bunthorne, who is naturally furious at the revelation. Confronting Grosvenor, Bunthorne threatens him with a dire curse unless he undertakes to become a perfectly ordinary young man.
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Tagore believed that Western art was "materialistic" in character, and that India needed to return to its own traditions to recover spiritual values. Despite its Indocentric nationalism, this view was already commonplace within British art of the time, stemming from the ideas of the Pre-Raphaelites. Tagore's work also shows the influence of Whistler's Aestheticism. Partly for this reason many British arts administrators were sympathetic to such ideas, especially as Hindu philosophy was becoming increasingly influential in the West following the spread of the Theosophy movement.
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In his earliest Simbolul work, Vinea sided with the "soft- tempered" side of the Symbolist movement, displaying the conventional influence of Alexandru Macedonski, Ion Pillat, and even Dimitrie Anghel.Nicolae Manolescu, "Avangarda și politizarea literaturii" , România Literară, Nr. 32/2004 This trait was soon, but not fully, abandoned. According to Cernat, young Iovanaki shared with Tzara and Tzara's mentor Adrian Maniu an "acute awareness of the literary convention" and a bookish boredom with aestheticism; the three also borrowed "obviously" from Alfred Jarry and Jules Laforgue.Cernat (2007), pp.
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Among English-speaking artists, the closest counterpart to symbolism was aestheticism. The Pre-Raphaelites were contemporaries of the earlier symbolists, and have much in common with them. Symbolism had a significant influence on modernism, (Remy de Gourmont considered the Imagists were its descendants)de Gourmont, Remy. La France (1915) and its traces can also be detected in the work of many modernist poets, including T. S. Eliot, Wallace Stevens, Conrad Aiken, Hart Crane, and W. B. Yeats in the anglophone tradition and Rubén Darío in Hispanic literature.
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His first novel, Deathwind Breathing on Cupela, 2000, was welcomed by the critics as one of the most important Greek works that combine aestheticism with magic realism. His novel Lemonmellons was considered blasphemous and pornographic; for this reason it was first published on the web in 2005 and two years later, in 2007, as a book. Since August 2009 he is a conscientious objector, as he denied reserved recruitment. Through his political texts he is placed over one fiery liberalism versus political violence, racism and totalitarianism.
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The process used a chemical process to transfer a photographic negative to a rubber surface before printing. There were various artistic movements and their proponents in the nineteenth and twentieth centuries that took an interest in the enrichment of book design and illustration. For example, Aubrey Beardsley, a proponent of both Art Nouveau and Aestheticism, had a great influence over book illustrations. Beardsley specialized in erotica and some of the best examples of his drawings were for the first English edition of Oscar Wilde's Salomé (1894).
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The ability of Rops to see and portray the same world as they did made him a popular illustrator for other decadent authors. The concept of decadence lingered after that, but it wasn't until 1884 that Maurice Barrès referred to a particular group of writers as Decadents. He defined this group as those who had been influenced heavily by Baudelaire, though they were also influenced by Gothic novels and the poetry and fiction of Edgar Allan Poe. Many were associated with Symbolism, others with Aestheticism.
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During his time at Seara, Bacalbașa was seconded by poet Dumitru Karnabatt, later a political chronicler for the same newspaper. Karnabatt introduced the stage work of Henry Bataille (Issue 271/1910) and the Aestheticism of Oscar Wilde (editorial piece, Issue 52, 1910). Elsewhere (Issue 425/1911), Seara covered the hitherto supposed discovery of an unknown novel by Honoré de Balzac. Around that time, Karnabatt's own literary contributions for Seara were samples of Symbolist, Decadent and Impressionist travel writing, sometimes written together with his novelist wife Lucrezzia.
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Having settled on his career choice, Edward Robert Hughes attended Heatherley's in London to prepare himself for the chance of auditioning for the Royal Academy School. Hughes became a student at the Royal Academy School in 1868. While Pre-Raphaelitism played an influential part in shaping Hughes work, Aestheticism is also seen in his paintings. E.R.Hughes is widely known for his works Midsummer Eve and Night With Her Train of Stars yet he built a career as a portrait painter to the upper classes.
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For example, Bogdan Popović, Pavle Popović, Ljubomir Nedić, Slobodan Jovanović, Branko Lazarević, Vojislav Jovanović Marambo and Jovan Skerlić. Skerlić with his chef-d'oeuvre, the historical survey of Serbian literature, and Bogdan Popović, with his refined, Western-schooled aestheticism, not only weighed the writers’ achievements but also pointed out the directions of modern world literature to them. In the 20th century, Serbian literature flourished and a myriad of young and talented writers appeared. Jelena Dimitrijević and Isidora Sekulić are two early twentieth century women writers.
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In his early work for the stage, Herz was a traditionalist inspired by Alexandru Davila and the Sămănătorul school, but later veered toward neoclassical literature and aestheticism. His "salon comedies", staged by the National Theater Bucharest, borrowed from various authors, including Roberto Bracco, Henri Lavedan, and Haralamb Lecca, peaking in popularity in 1913, with Păianjenul ("The Spider"). By the start of World War I, Herz was also a writer of revues. Controversy followed Herz during the early 1910s, when his writing raised suspicions of plagiarism.
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Literary Catalan modernisme was the natural follow-up of Renaixença, still showing Romantic traits and influences while focusing on dark themes, such as violence or the dark side of life and nature. As for poetry, it closely followed the style of Parnassians and Symbolists. The movement was subdivided into authors in whose work prevailed darker decadentism themes, classed under the name Bohèmia Negra, and those whose career embraced Aestheticism, known as participants of Bohèmia Daurada or Bohèmia Rosa. Santiago Rusiñol, Joan Maragall and Joan Puig i Ferreter were some of its most influential adherents.
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He edited the first major scholarly edition of Pushkin's works in 1855.Russian Literary Criticism, a Short History, Robert H. Stacy, Syracuse University Press, NY, 1974 His critical articles were published in various popular journals throughout the 1850s and 1860s. He was an important proponent of aestheticism along with his friend and fellow critic Alexander Druzhinin and with Vasily Botkin. He is best known now for his memoirs The Extraordinary Decade (1880), the title of which has become attached to the Russian literary generation coming up in the 1830s and 1840s.
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There are two forms of criticism that center around Historia de la Nueva México. The first form criticizes Villagrá's attempt to assimilate history with poetic aestheticism since he is restricted as an artist by the historical contents of the poem. Villagrá's limits himself in artistic form because he still must present the historical material chronologically and accurately; this format leaves little leeway for Gaspar to be creative. While his is trying to develop a literary work that can be compared with Homer and Virgil, the contents of the poem leaves him grounded to the facts.
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Vidya Niketan Birla School Pilani is a boarding school in India. Shishu Mandir, which was later rechristened as Vidya Niketan (Popularly known as Birla Public School) was founded by the Birla Educational Trust in 1944 under the guidance of Dr. Maria Montessori, the world acclaimed pioneer in child education. The architectural design of the junior section campus of the school bears a testimony to the great visionary, Madam Maria Montessori’s understanding of the specific needs of the growing children and her sense of aestheticism. The Institution remained a day school till 1948.
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In this campaign against the "rootless cosmopolitan", many leading Jewish writers and artists were killed. Terms like "rootless cosmopolitans", "bourgeois cosmopolitans", and "individuals devoid of nation or tribe" (all of which were codewords for Jews) appeared in newspapers. The Soviet press accused the Jews of "groveling before the West", helping "American imperialism", "slavish imitation of bourgeois culture" and "bourgeois aestheticism". Victimization of Jews in the USSR at the hands of the Nazis was denied, Jewish scholars were removed from the sciences, and emigration rights were denied to Jews.
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The ground also lost its aestheticism due to renovation by demolishing old band house and new un aesthetic construction including creating parking space inside the ground. Old timers still remember some of the football matches played at this venue like the ones between the local Town Club and the British army men. For a long time this was the main venue for cricket matches too. The small band shed at the North East end of the ground served as a pavilion and the dwarf walls around the ground were packed with supporters of the sides.
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Upon his return to the United States from France in 1878, Dewing returned to Boston. The following year he painted Morning, a composition of two women dressed in Renaissance gowns, which is said by biographer Ross C. Anderson to have the quality of Pre-Raphaelite paintings and emotion of a James McNeill Whistler work. He began teaching at the Art Students League of New York in 1881, the same year he married Maria Oakley. He is best known for his tonalist paintings, a genre of American art that was rooted in English Aestheticism.
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Sven Stolpe (1905-1996) at the time of his literary debut in 1929 Sven Stolpe (24 August 1905, in Stockholm – 26 August 1996, in Filipstad) was a Swedish writer, translator, journalist, literary scholar and critic.Sven Stolpe in Nationalencyklopedin His brother was Herman Stolpe. Sven Stolpe was active in Swedish literary and intellectual discussion for most of his life. In the early 1930s, he argued for internationalism and argued against aestheticism, but he was also part of the Oxford Group which claimed the necessity of "moral and spiritual re-armament"Stenborg, Elisabeth. 2004.
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Pater taught Greek, Latin, and German at Somerville College from 1879, and served as the first resident tutor from 1885. She became the vice principal of Somerville in 1886. Vera Brittain described her as representing the "quintessence of Oxford aestheticism" in her dress and appearance, a movement with which her brother was closely associated. After the death of her brother, essayist and Renaissance scholar Walter Pater in 1894, Clara Pater moved to Kensington, London, where she resumed teaching as a tutor of Latin and Greek at the King's Ladies’ Department.
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" Kathleen Johnston at GQ described the album as worth celebrating, stating that what it lacks "in pure aural aestheticism, it more than makes up for in intent." She felt the South African artists included made the soundtrack "a fully fledged celebration of pan-continental black talent [echoing] the film's wider message of true, diverse representation as opposed to mere tokenism." Johnston praised the album, alongside the film, as "the ultimate celebration of black excellence. [It] will go down as a historic landmark in the diversification of popular culture.
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Years later, in De Profundis, Wilde described Pater's Studies... as "that book that has had such a strange influence over my life". He learned tracts of the book by heart, and carried it with him on travels in later years. Pater gave Wilde his sense of almost flippant devotion to art, though he gained a purpose for it through the lectures and writings of critic John Ruskin. Ruskin despaired at the self-validating aestheticism of Pater, arguing that the importance of art lies in its potential for the betterment of society.
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Other notable exponents are Leopoldo Lugones, José Asunción Silva, Julio Herrera y Reissig, Julián del Casal, Manuel González Prada, Aurora Cáceres, Delmira Agustini, Manuel Díaz Rodríguez and José Martí. It is a recapitulation and blending of three European currents: Romanticism, Symbolism and especially Parnassianism. Inner passions, visions, harmonies and rhythms are expressed in a rich, highly stylized verbal music. This movement was of great influence in the whole Hispanic world (including the Philippines), finding a temporary vogue also among the Generation of '98 in Spain, which posited various reactions to its perceived aestheticism.
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Contrary to the aestheticism and grandiose eloquence to which the Aarenholds ascribe, Beckerath is only an amateur in the arts and finds it hard to keep up the pace with their conversation. Beckerath's dullness renders him the target of the Aarenhold children's rhetorical attacks. Giving Beckerath a break, Siegmund asks for his permission to allow both Sieglinde and to attend the opera alone with him before their marriage. Moved by such request, Beckerath agrees to the request, and the twins are set to see Die Walküre that evening.
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"Edward Carpenter's role in rethinking sexual embodiment and theorizing homosexuality – or 'Uranism' as he termed it – has received welcome attention in the past few decades. The republication of his works by the Gay Men's Press and enlightening studies by the likes of Sheila Rowbotham and Jeffrey Weeks in the late 1970s and early 1980s coincided with the decline of Marxist orthodoxy as attention shifted to alternative radical histories- of gender and sexuality - within the academy and beyond." Livesey, Ruth, Socialism, Sex, and the Culture of Aestheticism in Britain, 1880-1914.
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Krause Landt was born in Hamburg in 1963, the paternal grandson of the French Calvinist pastor . He studied philosophy, German literature, and history at Heidelberg University and the Free University of Berlin, completing his studies in 1993 with a Magister's thesis entitled "Topographies of the sublime: alienation and aestheticism in the work of Peter Weiss". He then worked writing screenplays for dubs and from 1996 as a freelance journalist, notably for the Berliner Zeitung and Deutschlandradio Kultur. In 2005 he founded the publisher , which publishes mainly works on 19th- and 20th-century history.
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In his later years Milne began to experiment with content far removed from the simple, albeit highly original, landscapes that make up the better part of his oeuvre. Although he had espoused a pure aestheticism in his younger years (insisting that a painting's content was merely secondary) he went on to produce a number of works that invite an allegorical interpretation. The canvas left on his easel at the time of his death showed a group of angels childishly amusing themselves with cosmetics purchased from a wandering salesman.
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John Roddam Spencer StanhopeThe hyphenated form “Spencer-Stanhope” is used more often by British writers; American art historians are likely to omit the hyphen and to alphabetize the artist by “Stanhope.” (20 January 1829 – 2 August 1908) was an English artist associated with Edward Burne-Jones and George Frederic Watts and often regarded as a second-wave pre-Raphaelite. His work is also studied within the context of Aestheticism and British Symbolism.Simon Poë, “Mythology and Symbolism in Two Works of Roddam Spencer Stanhope’s Maturity,” Journal of Pre-Raphaelite Studies 12 (2003) 35–61.
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Adrian writes to Zeitblom that collectivism is the true antithesis of Bourgeois culture; Zeitblom observes that aestheticism is the herald of barbarism. Apocalypsis is performed in Frankfurt in 1926 under Otto Klemperer with 'Erbe' as the St. John narrator. Zeitblom describes the work as filled with longing without hope, with hellish laughter transposed and transfigured even into the searing tones of spheres and angels. Adrian, producing the concerto which Rudi solicited, attempts to evade his contract and obtain a wife by employing Rudi as the messenger of his love.
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His only novel, Adolescentes (Teenagers), was published in 1945. His poetic work, which began in 1929 with "Confusão", was influenced by the first Portuguese modernism, approaching stylistically the aestheticism of André Gide.João Mendes- "Adolfo Casais Monteiro", "Enciclopédia Verbo Luso-Brasileira da Cultura", volume XX, Setembro de 2001. Their criticisms of concreteness were based on the idea that this aesthetic movement promoted impersonality, starting from the "'purest abstractions to build a new language to the service of nothing, a pure language, an invention of objects - in short: a beautiful toy".
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She argued that these two movements exemplified art-for-art's sake and that the careers of Gottfried Benn and Ezra Pound exemplified the friendship between pure aestheticism with political barbarism. She referenced Kafka on the need to "take the axe to the frozen sea in us" and the refusal to remain silent about the crimes in our world. In the lecture she also named writings of Nelly Sachs, Marie Luise Kaschnitz, Hans Magnus Enzensberger and Paul Celan as examples of new poetry. In the third lecture on Das schreibende Ich (The Writing "I") Bachmann addressed the question of the first-person narrator.
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Humanistic inventions encompass culture in its entirety and are as transformative and important as any in the sciences, although people tend to take them for granted. In the domain of linguistics, for example, many alphabets have been inventions, as are all neologisms (Shakespeare invented about 1,700 words). Literary inventions include the epic, tragedy, comedy, the novel, the sonnet, the Renaissance, neoclassicism, Romanticism, Symbolism, Aestheticism, Socialist Realism, Surrealism, postmodernism, and (according to Freud) psychoanalysis. Among the inventions of artists and musicians are oil painting, printmaking, photography, cinema, musical tonality, atonality, jazz, rock, opera, and the symphony orchestra.
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The Peacock Room, Aesthetic Movement designed by James Abbott McNeill Whistler & Edward Godwin, one of the most famous examples of Aesthetic style interior design Aestheticism (also the Aesthetic Movement) is an intellectual and art movement supporting the emphasis of aesthetic values more than social- political themes for literature, fine art, music and other arts.Denney, Colleen. "At the Temple of Art: the Grosvenor Gallery, 1877-1890", Issue 1165, p. 38, Fairleigh Dickinson University Press, 2000 This meant that art from this particular movement focused more on being beautiful rather than having a deeper meaning — "art for art's sake".
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Hichens was a homosexual;"Like Douglas and Turner, Hichens was sexually attracted to men". Dennis Denisoff, Aestheticism and Sexual Parody 1840-1940.Cambridge University Press, Cambridge, 2006 , (p. 115). he never married. Hichens first novel, The Coastguard's Secret (1886), was written when he was only seventeen. He first became well known among the reading public with The Green Carnation (1894), a satire of Hichens's friends Oscar Wilde and Lord Alfred Douglas; since the work made clear Wilde was homosexual it was withdrawn from publication in 1895, but not before helping set the stage for Wilde's public disgrace and downfall.
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In 1875, he even travelled to Europe with one of his pupils; together, they visited France, Switzerland and Germany. In addition, Mikhail spent the summer of 1875 at the estate belonged to a Russian lawyer (His wife Yulia Berr was a niece of Mikhail Glinka). Then, due to the excellent knowledge of Latin, Vrubel was hired as a tutor at the Papmel family where he guided his former university classmate. According to the memoirs of A. I. Ivanov: It was the Papmel family prone to aestheticism and bohemian lifestyle that encouraged Vrubel's dandyism and a desire to paint.
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Yoshii left Myōjō to form a new group, Pan no Kai, together with Kitahara Hakushu due to their shared attraction of romanticism and aestheticism. In 1909, with the patronage of Mori Ōgai, Yoshii brought out a new literary magazine, Subaru. In 1910, Yoshii published his first tanka anthology, Sakehogai, (Revelry) describing the joys and sorrows of a young poet given to wine and women. This established his name firmly in poetry circles and was followed by other tanka anthologies such as Sakujitsu made (Until Yesterday), Gion kashu (Gion Verses, 1915), and Tokyo kōtō shū (Collection from the Tokyo Red-Light District, 1916).
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Photo by Napoleon Sarony. Wilde wrote about aesthetic dress movement in his recently rediscovered treatise The Philosophy of Dress. Aesthetic dress of the 1880s and 1890s carries on many of the external characteristics of Artistic dress (rejection of tightlacing in favour of simplicity of line and emphasis on beautiful fabrics), even though, at its core, Aestheticism rejected the moral and social goals of the Victorian dress reform that was its precursor. The Aesthetes' belief that the Arts should provide refined sensuous pleasure was a direct rejection of the reverence for simplicity and handwork propounded by William Morris.
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Auguste-Maurice Barrès (; 19 August 1862 – 4 December 1923) was a French novelist, journalist and politician. Spending some time in Italy, he became a figure in French literature with the release of his work The Cult of the Self in 1888. In politics, he was first elected to the Chamber of Deputies in 1889 as a Boulangist and would play a prominent political role for the rest of his life. Barrès was associated in his literary works with Symbolism, a movement which had equivalence with British Aestheticism and Italian Decadentism; indeed he was a close associate of Gabriele d'Annunzio representing the latter.
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In the Third symphony, from the position acquired in his previous works, Ristić selects and re-adopts certain procedures from his student compositions. The Symphony is dedicated to the 20th anniversary of the Revolution, and was performed on the eve of the celebration of the Uprising Day, 6 July 1961, and then at the concert of the Belgrade Philharmonic with conductor Živojin Zdravković. The same year it was conferred the Belgrade October Award. The example of the Third symphony offers numerous compromises characteristic for socialist aestheticism. Expressively far from soc-realism, this work is indeed dedicated to the 20th anniversary of the Revolution.
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Wilde lectured on the "English Renaissance in Art" during his US and Canada tour in 1882 Aestheticism was sufficiently in vogue to be caricatured by Gilbert and Sullivan in Patience (1881). Richard D'Oyly Carte, an English impresario, invited Wilde to make a lecture tour of North America, simultaneously priming the pump for the US tour of Patience and selling this most charming aesthete to the American public. Wilde journeyed on the SS Arizona, arriving 2 January 1882, and disembarking the following day. Originally planned to last four months, it continued for almost a year due to the commercial success.
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She went back to receiving psychoanalysis from René Laforgue in this period. Her most controversial work was Un mois chez les filles which literally means 'A month among the girls' however when it was published in 1961 in English in the United States the titled changed to Psychoanalysis of the Prostitute. Choisy attempted to characterise sex workers as more human than in previous literature and avoided "moralising or...aestheticism". She received multiple awards in her lifetime including the National Order of Merit, a silver medal of Arts, Lettres, et Sciences, and the Lamennais Prize in 1967.
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She is shown with pale, luminous and delicate skin (fitting in with the aestheticism of the timeMonna Vanna) and a hard penetrating gaze. She holds a feather fan over her right shoulder as well wearing many kinds of jewellery, picked by the painter to show off his painterly skill – a red coral necklace, rings and earrings. In her hair are two spiral shell-shaped hairclips, accessories particularly loved by Rossetti and used here to emphasize the painting's circular composition. Rossetti's own opinion of the painting was that it was "probably the most effective as a room decoration that I have ever painted".
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The Modernismo literary movement was a Spanish-American literary movement, best exemplified by Nicaraguan Rubén Darío, who is respectfully referred to as the "Father of Modernism". In the late 19th century, Modernismo emerged, a poetic movement whose recapitulation was a blending of three European currents: Romanticism, Symbolism and especially Parnassianism. Inner passions, visions, harmonies and rhythms are expressed in a rich, highly stylized verbal music. This movement was of great influence in the whole Spanish-speaking world (including the Philippines), finding a temporary vogue also among the Generación del 98 in Spain, which posited various reactions to its perceived aestheticism.
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Four crucial events—his Japanese experience, his encounter with the American poet Walt Whitman, his discipleship of Svami Ram Tirath, and his meeting with the Sikh saint Bhai Vir Singh—were influential. As a student in Japan, he was impressed with the land and its people, and was greatly influenced by the romantic aestheticism of Okakura Kakuzo, Japanese artist and scholar. Walt Whitman, the American poet, had left a deep impression on his poetics and practice as on his world view. It was in Japan that he met Rama Tirtha, under whose influence he took on the identity of a monk.
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Aestheticism The Aesthetic Movement included Dante Gabriel Rossetti, Burne-Jones, the illustrator Aubrey Beardsley and writer Oscar Wilde. They propounded "Art for Art's sake", claiming that Beauty was an end in itself and that the creation of art should not be bound to any social or moral ideals. The Aesthetic artists were primarily concerned with the creation of that which was beautiful. Because of this, windows created by these artists are often stylistically diverse from each other and from other styles, yet are highly recognisable as the work of a particular designer, rather than of a particular workshop.
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In the early period, his work is mostly unsigned. During 1891 and 1892, he progressed to using his initials A.V.B. In mid-1892, the period of Le Morte d'Arthur and The Bon Mots, he used a Japanese-influenced mark that became progressively more graceful, sometimes accompanied by A.B. in block capitals. The Black Cat, 1894–5 He co-founded The Yellow Book with American writer Henry Harland, and for the first four editions, he served as art editor and produced the cover designs and many illustrations for the magazine. He was aligned with Aestheticism, the British counterpart of Decadence and Symbolism.
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As a result, by 1876 "psychological" had become a term that Oscar Wilde and his peers used to describe anything pertaining to gay sex. At the same time, McKenna writes, "aestheticism seemed to spring to life, fully formed, towards the end of the 1870s." It was "a heady mix of art, idealism and politics, which sought to propagate a new gospel of Beauty." In 1893, shortly after meeting Wilde, George Cecil Ives, a friend of Wilde's whose diaries contain many new details of the writer's life, founded a secret society called the Order of Chaeronea, aimed at promoting 'the Cause'.
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They arrive ready to propose, only to discover their intendeds fawning over Bunthorne, who is in the throes of poetical composition, pretending to ignore the attention of the ladies thronging around him ("In a doleful train"). Bunthorne reads his poem and departs, while the officers are coldly rebuffed and mocked by the aesthetic ladies, who turn their noses up at the sight of their red and yellow uniforms. The Dragoons, reeling from the insult, depart ("When I first put this uniform on"). Sydney Granville as Grosvenor Bunthorne, left alone, confesses that his aestheticism is a sham, and mocks the movement's pretensions ("If you're anxious for to shine").
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The buildings and architecture of Bath, a city in Somerset in the south west of England, reveal significant examples of the architecture of England, from the Roman Baths (including their significant Celtic presence), to the present day. The city became a World Heritage Site in 1987, largely because of its architectural history and the way in which the city landscape draws together public and private buildings and spaces. The many examples of Palladian architecture are purposefully integrated with the urban spaces to provide "picturesque aestheticism". It is the only entire city in Britain to achieve World Heritage status, and is a popular tourist destination.
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Originally published in 1977, this highly influential work, often cited and republished, attempts to define the gay sensibility and to describe camp. Babuscio asserts that the gay sensibility is a creative energy that is formed out an awareness of the world based on social oppression. Given this fact, he believes that the gay sensibility responds to society's need to label and subsequently polarize people, which has resulted in camp. Despite acknowledging a difficulty in defining camp, given it can be subject to one's own view and tastes, he does emphasize consistent features that are basic to camp such as irony aestheticism, theatricality, and humor.
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This work rejects aestheticism in order to produce a new image of beauty. In 1973 at the Galerie Diagramma in Milan, Pane executed Sentimental Action before an audience, the first row of which was exclusively female. Pane twice repeated an action twice, the first time with a bouquet of red roses, and the second time with a bouquet of white roses. Passing progressively from standing to the fetal position, she executed first a back- and-forth movement with the bouquet, before pressing the thorns of a rose into her arms and making an incision with a razor blade on the palm of her hand.
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A poor poet (perhaps Blok himself), his ghost-lady and the third character, subtly hinting with beauty and an article on Dantes, are immersed in authors not in a feast of aestheticism, but in the simple and eternal reality of our sinful world. Exhausted by passions, they are pathetic, they are beautiful in their own way, but how impudent are their impulses, completely fitting into the scheme of the classical love triangle. And only the imagination of the Poet, even spurred by cocaine, can transform this wretchedness into a hymn to the eternal confrontation of two men who have fallen in love with one woman.
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A precocious child, at age 13, her reading list included the works of Oscar Wilde, Edgar Allan Poe, Kyōka Izumi, Nagai Kafū, Ryūnosuke Akutagawa, and especially Jun'ichirō Tanizaki, whose sado-masochistic aestheticism particularly fascinated her. From 1918 to 1922, she attended the girl's middle school of Japan Women's University, but was forced to abandon her studies due to health. However, her interest in the theatre was encouraged by her father, and as a young woman, she attended the lectures of Kaoru Osanai, the founder of modern Japanese drama. Her plays took inspiration from Osanai Kaoru, and many of her later plays focused on revolutionary movements and intellectual conflicts.
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His writings on literature were inseparable from these moral judgments. Belinsky believed that the only realm of freedom in the repressive reign of Nicholas I was through the written word. What Belinsky required most of a work of literature was “truth.” This meant not only a probing portrayal of real life (he hated works of mere fantasy, or escape, or aestheticism), but also commitment to “true” ideas — the correct moral stance (above all this meant a concern for the dignity of individual people): As he told Nikolai Gogol (in a famous letter) the public “is always ready to forgive a writer for a bad book [i.e.
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The interior paint scheme conformed to the prevailing fashion, similar to aestheticism and medieval styles through the use of mid tertiary colours (olive greens and dull reds) contrasted with chocolate and olive browns for the joinery and vellum and parchment for the ceilings. Due to the size of Booloominbah the principle mode of painted decoration was discreet panels on the faces of archways and pilasters, for the main, with vases, birds, plants and flowers. The dining room, which has been restored, is one of the most elaborately decorated rooms. On a field of olive green for the walls and vellum for the ceiling Wells painted gold stars.
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Andrew Young was born to the stationmaster of Elgin in Scotland in 1885. Two years later his father moved to Edinburgh, where young Andrew attended the Royal High School and later took an arts degree at the University of Edinburgh. The disappearance of his brother David in discreditable circumstances in 1907 so affected him that he gave up his intention to become a barrister and instead studied theology at the local New College. Old habits died hard, however, and his first collection of poems, Songs of Night, a work of Swinburnean aestheticism, was published in 1910 at his father's expense - pillar of the presbytery though he was.
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Portrait of Vivian Forbes by Glyn Philpot Vivian Forbes (August 8, 1891 – December 24, 1937) was an English soldier, painter and poet in the early 20th century, and the longtime partner of painter Glyn Philpot. Vivian Forbes - The Echoing Valley Forbes was enlisted in the Royal Fusiliers and met Philpot at a training in Aldershot in 1915. He was involved in business in Egypt after the war, and before beginning a more serious relationship with Philpot. Like Philpot, Forbes' work was affected by concern over the rise of fascism in Europe, and he was influenced by the 19th century Aestheticism movement, and painters like Charles Ricketts and Charles Haslewood Shannon.
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Once again, it is Ivanov who is rewarded with this joyous skill of observation, watching the passersby and cars, and then inside noting the "marble surfaces aglitter with green and gold scent bottles". The Soviet says and sees little in the story, another contrast that emphasises where the author's affections lie. But this is not quite aestheticism for the sake of it - they are not extraneous things but are observations that shape and determine Ivanov's world. The barber notices the glittering wheels of the cars; a few minutes later he notices the Soviet's "minuscule eyes that glittered like the tiny wheels of a watch movement".
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Iordan Datcu, "Profesorul Alexandru Dima", in România Literară, Nr. 39/2005 Initially, with Opinions sincères, Iorga offered a historian's manifesto against the whole cultural establishment, likened by historian Ovidiu Pecican with Allan Bloom's 1980s critique of American culture. Before 1914, Iorga focused his critical attention on Romanian Symbolists, whom he denounced for their erotic style (called "lupanarium literature" by Iorga) and aestheticism—in one instance, he even scolded Sămănătorul contributor Dimitrie Anghel for his floral-themed Symbolist poems.Ornea (1998), p. 77 His own theses were ridiculed early in the 20th century by Symbolists such as Emil Isac, Ovid Densusianu or Ion Minulescu,Sandqvist, pp.
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But while modernism was to become an important literary movement in the early decades of the new century, there were also many fine writers who, like Thomas Hardy, were not modernists. During the early decades of the 20th century the Georgian poets like Rupert Brooke (1887–1915), Walter de la Mare (1873–1956), and John Masefield (1878–1967, Poet Laureate from 1930) maintained a conservative approach to poetry by combining romanticism, sentimentality and hedonism, sandwiched as they were between the Victorian era, with its strict classicism, and Modernism, with its strident rejection of pure aestheticism. Edward Thomas (1878–1917) is sometimes treated as another Georgian poet.
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Ionel Gherea, also known as Ioan Dobrogeanu-Gherea or Ion D. Gherea (Francized J. D. Ghéréa; 1895 – November 5, 1978), was a Romanian philosopher, essayist, and concert pianist. The son of Constantin Dobrogeanu-Gherea, a Marxist theoretician and critic, and the brother of communist militant Alexandru "Sașa" Gherea, he discarded their political and literary influence, being more interested in the aestheticism of his brother-in-law, Paul Zarifopol. As a youth, Zarifopol took him to meet playwright Ion Luca Caragiale and his family. Gherea's debut as a writer was a 1920 novel written jointly with Luca Caragiale, which was also his only contribution to the genre.
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Alongside Nagisa Oshima, Shōhei Imamura became one of the more famous of the Japanese New Wave filmmakers. Imamura's work was less overtly political than Oshima or several filmmakers who emerged later in the 1960s. Nevertheless, Imamura in many ways became a standard-bearer for the Japanese New Wave: through his very last feature (Warm Water Under a Red Bridge, 2001), Imamura never lost interest in his trademark characters and settings. Imamura had once been an assistant of Yasujirō Ozu, and had – in his youth – developed an antipathy towards Ozu's (and Kenji Mizoguchi's) finely crafted aestheticism, finding it to be a bit too tailored to approved senses of "Japanese" film.
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The period of publication was sandwiched between the Victorian era, with its strict classicism, and Modernism, with its strident rejection of pure aestheticism. The common features of the poems in these publications were romanticism, sentimentality and hedonism. Later critics have attempted to revise the definition of the term as a description of poetic style, thereby including some new names or excluding some old ones. W. H. Davies, a contemporary, is sometimes included within the grouping, although his "innocent style" differs markedly from that of the others. In the 1930s, Henry Newbolt "estimated there were still at least 1000 active poets" in England, and that "the vast majority would be recognisably 'Georgian'".
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Many late works examine the social or other conditions behind the art, and are unconcerned with valuations that would place it in a period of decline. Novelist Jun'ichirō Tanizaki was critical of the superior attitude of Westerners who claimed a higher aestheticism in purporting to have discovered ukiyo-e. He maintained that ukiyo-e was merely the easiest form of Japanese art to understand from the perspective of Westerners' values, and that Japanese of all social strata enjoyed ukiyo-e, but that Confucian morals of the time kept them from freely discussing it, social mores that were violated by the West's flaunting of the discovery. Manga histories often find an ancestor in the Hokusai Manga.
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She wrote: "If woman is the same as man then she has the same rights, if she is distinct from man then she has a right to the ballot to help make laws for her government." In 1894 she presented "History and Science of Teaching" before the American Association of Educators of Colored Youth in Baltimore, Maryland. On April 15, 1892, Britton presented a speech to the joint Railroad Committee of the Kentucky General Assembly on behalf of a delegation of women protesting the Separate Coach bill. In her speech, she questioned the white supremacists' assumptions about their monopoly on virtue, intelligence, and aestheticism - reminding the legislators of the horrors of slavery and atrocities by whites that were allowed.
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Can Crispin (the artist, the poet, Stevens) hope to be something more than "the intelligence of his soil"? Can the "Socrates of snails" leave his homeland for the sea, and refocus his imagination and refashion himself > On porpoises, instead of apricots, > And on silentious porpoises, whose snouts > Dibbled in waves that were mustachios, > Inscrutable hair in an inscrutable world. The intense word play of "Comedian" is the indirection Stevens needs to address the struggle to grow, which is indeed underway in the poem itself. (Another interpretation would dismiss the word play as Stevens's aestheticism and dandyism/hedonism.) The sea journey causes his old poetic self to be "dissolved", "annulled", leaving only a problematic "starker, barer self", an "introspective voyager".
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The most typical trait of Balantič's poetry is his unique blend of personalist and eschatological visions, in which a messianic sense of the tragic dissolution of civilization and the end of time is intertwined with premonitions of his own death and a strong erotic feeling. Most of his poems are a search towards a personal vision of Divinity, in connection with the tradition of Catholic mysticism. He developed a complex metaphorical-hermetical style, verging on manierism. In many ways, Balantič continued the tradition of Slovene Christian expressionism, whose main exponents were Anton Vodnik and Edvard Kocbek, which, following the example of the writer Ivan Pregelj, he connected with elements of Baroque aestheticism.
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Portrait of a nihilist student by Ilya Repin From the period 1860–1917, Russian nihilism was both a nascent form of and broad cultural movement which overlapped with certain revolutionary tendencies of the era, for which it was often wrongly characterised as a form of political terrorism. Russian nihilism centered on the dissolution of existing values and ideals, incorporating theories of hard determinism, atheism, materialism, positivism, and rational egoism, while rejecting metaphysics, sentimentalism, and aestheticism. Leading philosophers of this school of thought included Nikolay Chernyshevsky and Dmitry Pisarev. The intellectual origins of the Russian nihilist movement can be traced back to 1855 and perhaps earlier, where it was principally a philosophy of moral and epistemological skepticism.
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Both the objective and subjective form of the Hungarian film, developed in the sixties, goes through the process of stylization in the seventies. Objective films try to compose a closer, sociological description of social processes (marked by the trend of documentarism), the subjective, overstepping biographical elements, try to stress the individual side of its form (marked by the slightly pejorative term aestheticism). In both cases, the classical forms of narration fell into the background, and parallel to the loosening of the story, pictorial effects were strengthened, often using allegorization. The two definitive trends of the seventies became the documentarism, meant to introduce a new aspect and change in form, and continuing from the sixties, the directorial films.
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Although Pisarev was among those who celebrated the embrace of nihilism, the term realism may have done away with the connotations of subjectivism and nothingness that burdened nihilism while retaining the rejection of metaphysics, sophistry, sentimentalism, and aestheticism. In a notably later political climate, Alexander Herzen instead presented nihilism as a product of the that the had adopted. Contemporary scholarship has challenged the equating of Russian nihilism with mere skepticism, instead identifying it with the fundamentally character of the nihilist movement. In fact, the nihilists sought to liberate the Promethean might of the Russian people which they saw embodied in a class of prototypal individuals, or new types in their own words.
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She had great admiration for the thought of Arthur Schopenhauer, whose works enjoyed renewed attention in the environment of Florentine aestheticism. She published numerous poems in the periodical “Il Marzocco”, founded by :it:Angiolo Orvieto; she hoped for a long time to be able to collect her verses from the publisher Paggi, whose bankruptcy in 1897 painfully broke her expectations. She had a long, passionate relationship with the journalist and professor of English literature Giuseppe Saverio Gargàno, one of the main collaborators of “Il Marzocco”, from 1899 until his death. She spent the remaining years of her life in pain, caused by the tuberculosis that she had contracted at a very young age.
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The story concerns two rival "aesthetic" poets, who attract the attention of the young ladies of the village, who had been engaged to the members of a cavalry regiment. But both poets are in love with Patience, the village milkmaid, who detests one of them and feels that it is her duty to avoid the other despite her love for him. Richard D'Oyly Carte was the booking manager for Oscar Wilde, a then lesser-known proponent of aestheticism, and dispatched Wilde on an American lecture tour in conjunction with the opera's U.S. run, so that American audiences might better understand what the satire was all about. During the run of Patience, Carte built the large, modern Savoy Theatre, which became the partnership's permanent home.
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Chillingly, the Jesuit's failure to protest against this bloody means of architectural preservation signals to his employers that he will serve as a passive accomplice to the predatory and brutal methods of the Pinochet regime. This is the beginning of Bolano's indictment of "l'homme intellectuel" who retreats into art, using aestheticism as a cloak and shield while the world lies around him, nauseatingly unchanged, perennially unjust and cruel. This book represents Bolaño's views upon returning to Chile and finding a haven for the consolidation of power structures and human right violation. It is important to note that this book was originally going to be called Tormenta de Mierda (Shit Storm in English) but was convinced by Jorge Herralde and Juan Villoro to change the name.
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The British decadent writers were much influenced by the Oxford professor Walter Pater and his essays published during 1867–68, in which he stated that life had to be lived intensely, with an ideal of beauty. His text Studies in the History of the Renaissance (1873) was very well regarded by art-oriented young men of the late 19th century. Writers of the Decadent movement used the slogan "Art for Art's Sake" (L'art pour l'art), the origin of which is debated. Some claim that it was invented by the philosopher Victor Cousin, although Angela Leighton in the publication On Form: Poetry, Aestheticism and the Legacy of a Word (2007) notes that the phrase was used by Benjamin Constant as early as 1804.
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Theodore Child of The Fortnightly Review dismissed Hope as "a ghastly and apocalyptic allegory", while the highly regarded critic Claude Phillips considered it "an exquisite concept, insufficiently realised by a failed execution". Despite its initial rejection by critics, Hope proved immediately popular with many in the then- influential Aesthetic Movement, who considered beauty the primary purpose of art. Watts, who saw art as a medium for moral messages, strongly disliked the doctrine of "art for art's sake", but the followers of Aestheticism greatly admired Watts's use of colour and symbolism in Hope. Soon after its exhibition poems based on the image began to be published, and platinotype reproductions—at the time the photographic process best able to capture subtle variations in tone—became popular.
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In an obituary piece written by Coroiu, Ivașcu is referred to as "the greatest Romanian journalist of the postwar era." By July 2006, on Ivașcu's 95th anniversary, Coroiu noted that "there is yet no reason why I should revise that claim". Already in July 1988, Ivașcu's colleagues at România Literară were taking steps toward political independence. A Securitate note on the period reported that Manolescu and Iorgulescu, together with Ion Bogdan Lefter and other writers, were seeking to commit the magazine to pure aestheticism and "reduce the political content", "as the late director would have wanted it".Magdalena Răduță, "«Ils sont tous mes fils!» L'institution du parrainage littéraire et la génération 80", in Studia Universitas Babeș-Bolyai Philologia, LVII:2, 2010, p.
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Featuring odd meters, the Scherzo and Trio imply folk origins, though lacking any unambiguous melodic relationships with a certain folk tune. The symphony's finale develops as a modernist fugue, in which Ristić showcased his conduct of contrapuntal skills (inversions, augmentations, and stretti). Ethereal but effective orchestration and receptiveness of performers and audience, led to international performances of this work (Geneva, orchestra Suisse romande). In 1951, when the symphony was premiered (September 5, 1951, Symphonic Orchestra of the People's Republic of Serbia, conductor Živojin Zdravković), a transition from the dominant socialist realism toward (moderately socialist) modernist—socialist aestheticism took place and "the Second symphony marked the beginning of the 'new epoch' in Serbian music and culture at large" (Mikić 2009, 119).
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All thoughts of hate must be eliminated, enthusiasm and a sense of aestheticism must be cultivated, dreams must be analyzed and metaphysical thought must be stimulated." This new poetry is not inspired by morbid and devastating twentieth century realism but by pure, marble-like sources of imagination from which some poets drink on high volcano peaks with the wings of dreams and clairvoyance, the lucid metaphysical eye of super-consciousness. "Rejecting drugs and their associated disorders, despair and degeneration, as a writer, Brousse only reveals this famous Forth Dimension to investigation by scientific experts to then make it available to all by placing it in the domain of inspiration.Jean-Pierre Wenger, François Brousse l’Enlumineur des mondes (François Brousse, The Enlightener of Worlds).
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His works reflect his dislike for naturalism, and disdain for the commercial tastes of the masses, promoting instead aestheticism and literary impressionism. A good friend of both Ambrose Bierce and H.L. Mencken, Mencken wrote of him warmly in the first series of his work Prejudices, comparing Pollard favorably to contemporary and fellow American aesthete James Huneker. Pollard was also noted as an early advocate of James Branch Cabell and the initial works of Robert W. Chambers. Other works include Dreams of To- day (1907), a book of decadent 'weird tales' in the vein of Chambers' the King in Yellow, the critical study Masks and Minstrels of New Germany (1911), the novels The Imitator (1901) and Lingo Dan (1903), as well as a play written in collaboration with Leo Ditrichstein, The Ambitious Mrs.
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Nordau developed from this premise a critique of modern art, explained as the work of those so corrupted and enfeebled by modern life that they have lost the self- control needed to produce coherent works. He attacked Aestheticism in English literature and described the mysticism of the Symbolist movement in French literature as a product of mental pathology. Explaining the painterliness of Impressionism as the sign of a diseased visual cortex, he decried modern degeneracy while praising traditional German culture. Despite the fact that Nordau was Jewish and a key figure in the Zionist movement (Lombroso was also Jewish), his theory of artistic degeneracy would be seized upon by German National Socialists during the Weimar Republic as a rallying point for their anti-Semitic and racist demand for Aryan purity in art.
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After the stabilization of the political and ideological situation in Yugoslavia after 1950. the conditions were created for opening new avenues of creativity in the field of art. The break with the dogmatic aesthetics of socialist realism has enabled a new generation of artists that had a great impact on the formation of new formal treatments of renewed modernism after World War II. The December Group was certainly at the forefront of these changes in the second half of the 1950s. Although it constituted of artists with different aesthetic views, its place in the history books is clearly defined in the range of "more contemporary modernism" and "socialist aestheticism"—that is the one area in which the artists clearly tended towards the evolution of contemporary representational paintings in the trends of form.
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The poet also removes himself worldly considerations and involvement, thus purifying himself from the transient waves of existence and unveiling aspects of transcendence in harmony with nature. The second period of the poet’s career includes works dating from the 1970s and after, which unburdens itself from the transparent and restrained emotion of his previous poetry to better express the poet’s intense aestheticism. The central characteristics of this period are the desperate resistance shown by even strong men in the face of the death, and the essential futility of mankind magnified by such resistance, and the dramatic expression of human life through the negative influence of superficial vitality. After the mid-1980s, his poetry displays a freedom of spirit that can withdraw and objectively examine the futility of life.
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The anthologist Francis Turner Palgrave, in his work, The Golden Treasury declared that of the modern poets, despite his limited output, O'Shaughnessy had a gift that in some ways was second only to Tennyson and "a haunting music all his own". J. T. Nettleship's illustration to O'Shaughnessy's poem "A Neglected Harp" in Epic of Women (1870) O'Shaughnessy's translations of Parnassian poetry, and the influence of French decadence on his own work, were crucial in setting the stage for English- language decadence in the 1890s. Jordan Kistler writes that he was "instrumental in bridging the gap between the Pre-Raphaelitism practised by poets such as D. G. Rossetti and William Morris in the 1870s and the aestheticism of the 1890s".Jordan Kistler, Arthur O'Shaughnessy, a Pre- Raphaelite Poet in the British Museum (Abingdon: Routledge, 2016) p.
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From September to December, Morrissey embarked on a 53-date Your Arsenal tour in which he varyingly decorated the stage with backdrops of skinhead girls, Diana Dors, Elvis Presley, and Charlie Richardson. One of the performances was recorded and released as Beethoven Was Deaf. By the release of Your Arsenal, Morrissey's image had changed; according to Simpson, the singer had converted "from the aesthete interested in rough lads into a rough lad interested in aestheticism (and rough lads)". According to Woods, Morrissey developed an air of "quietly assured masculinity", representing "a more robust, burlier, beefier version of himself", while the poet and Morrissey fan Simon Armitage described the transition as being one from that of "stick-thin, knock-me-over-with-a-feather campness" to that of a "mobster and bare-knuckle boxer image".
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383–384 One poem, titled Ars poetica (Latin for "The Poetic Art"), is described by the same critic as evidence of Caragiale's Parnassian affiliation, and, although written in imperfect Romanian (verses in line with "cadence", but not "in agreement" with Romanian grammar), similar to the purist approach of the nominally Symbolist author Mihai Codreanu. He also notes that the implicit aestheticism of this credo creates a natural link between Luca and Mateiu, opposing them both to their more practical father. The poem reads: This series of poems offers insight into Luca Caragiale's lyrical perspective on nature. According to Cioculescu, Dintr-un oraș de munte and other nature-themed poems show that Luca had inherited his father's feelings of despair in front of bad weather, that they both found autumn rains to be unbearable.
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As a spokesman for aestheticism, he tried his hand at various literary activities: he published a book of poems, lectured in the United States and Canada on the new "English Renaissance in Art" and interior decoration, and then returned to London where he worked prolifically as a journalist. Known for his biting wit, flamboyant dress and glittering conversational skill, Wilde became one of the best-known personalities of his day. At the turn of the 1890s, he refined his ideas about the supremacy of art in a series of dialogues and essays, and incorporated themes of decadence, duplicity, and beauty into what would be his only novel, The Picture of Dorian Gray (1890). The opportunity to construct aesthetic details precisely, and combine them with larger social themes, drew Wilde to write drama.
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London: Methuen, 1946, , p. 456.Ingo R. Stoehr, German Literature of the Twentieth Century: From Aestheticism to Postmodernism, Camden House History of German Literature 10, Rochester, New York / Woodbridge, Suffolk: Camden House/Boydell & Brewer, 2001, , p. 183. In his overview of National Socialist literature and film, Karl-Heinz Schoeps calls it "the high point, and at the same time the endpoint". Glen W. Gadberry, evaluating the work in 1977, urged that it be re- examined because of its valid message that we will all be judged--as the Nazis were at the Nuremberg trials--and quotes a review of the première which makes that point: the Frankenburger Würfelspiel "gives us all, [we] people who today sit in judgement of the past, the warning that at some point a later time will judge our deeds".
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Throughout the play, Lengel continually references J. R. R. Tolkien's The Lord of the Rings in both its literary and cinematic incarnations. The main character's Trail Name is "Frodo," he carries a copy of The Fellowship of the Ring, and he wears a replica of The One Ring around his neck, which at the end is left hanging from the sign on top of Katahdin. During the second act, the characters remark that "The Lord of the Rings is basically a thru-hike," and Nick/Creature Man refers to the band of hikers as "the Fellowship." Before the climax of the first act, the philosophy of Friedrich Nietzsche is referenced in a monologue comparing Adam/Frodo's Romantically inspired journey with Nietzsche's philosophy of aestheticism: living one's life as a work of art.
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Violet Fane is the literary pseudonym of Lady Mary Montgomerie Currie (née Lamb, 24 February 1843 - 13 October 1905). A poet, a writer, and later an ambassadress, who was active in the British literary scene from 1872 until her death in 1905, Fane was a literary celebrity associated with Aestheticism, Medievalism, whose verses were occasionally set to music by famous composers such as Paolo Tosti. As a well-known figure in London society, Fane's coterie included famous literary personas such as Robert Browning, Algernon Swinburne, A. W. Kinglake, Alfred Austin, James McNeil Whistler, Lillie Langtry, and Oscar Wilde, who praised the oracular bent of Fane's opinions on 'the relation of art to nature' by saying that she ‘live[d] between Parnassus and Piccadilly’.Paul Fortunato, Modern Aesthetics and Consumer Culture in the Writings of Oscar Wilde (London: New York: Routledge, 2013), p. 59.
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The generic range of these early works (poetry, fiction, criticism, biography, translation), as well as their subject matter and themes (female autonomy and agency, anti-theism, aestheticism, the relationship of literary and political radicalism), indicates the aesthetic principles and themes that would characterize the remainder of Blind's career, while emphasizing the cosmopolitan nature of her sensibility and outlook. Despite her diverse literary interests, Blind remained devoted to poetry, as is evident in an 1869 letter to Richard Garnett: "My only real intense life has been for a long time in writing, and when I cannot swim and float about in the enchanted waters of poetry I am like a fish out of water. I gasp and pant for want of the proper element to breathe in."Mathilde Blind ALS to Richard Garnett, 2 July 1869, Blind Correspondence, British Library, Add.
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Sanda Cordoş, "Un tăcut semn de întrebare" , in Apostrof, Nr. 2/2006 (republished by România Culturală ) Also then, just prior to being arrested, Sîrbu made an attempt to group his former university colleagues around his magazine Teatru. His publishing activity at times adapted itself to the exterior requirements of Romanian Socialist Realism and the communist ideology, such as in a 1957 article for Teatru, where he reviewed Papadat- Bengescu's play Batrînul ("The Old Man") exclusively as a progressive social critique of "bourgeois" society. Beginning 1958, the clash between Negoiţescu and the Socialist Realist cultural mainstream reached new proportions: the Communist Party-controlled media, including Scînteia daily, singled him out for having adopted "aestheticism". In this context, his adversary Paul Georgescu wrote about Negoiţescu's earlier "reactionary" stance, and claimed that the author was still failing to adopt "the judicious attitude".
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From its first editorial, The Burlington Magazine presented itself as synthesising opposing traditions – historicist versus aestheticism and academic versus commercial – by defining itself an exponent of "Austere Epicureanism".Anonymous, ‘Editorial Article’, The Burlington Magazine, 1 (March 1903), pp. 5–7 Against the perceived "sameness" of the contemporary art panorama, The Burlington Magazine was to act as a disinterested guide, directing the public's attention to high-quality art on offer both on the market and on institutional settings and educating its readers on the elevating qualities of ancient art.A. Helmreich, ‘The Death of the Victorian Art Periodical’, Visual Resources, 26, no. 3, (September 2010), pp. 242–253 The Burlington Magazine editors and contributors were part of the institutional sphere of museums and academia and yet, unlike their German counterparts, they participated in the emerging world of the commercial galleries.
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During the war against the Axis powers and after their downfall, a new wave of pro-USSR sentiment swept America, as the Soviet army had played a large role in the Allied victory, which deeply disturbed Nabokov, a fierce opponent of Communism. Brian Boyd writes that Nabokov wrote the novel in "an attempt to show that Nazi Germany and Soviet Russia represented fundamentally the same brutish vulgarity inimical to everything most vulnerable and most valuable in human life". In February 1943, Nabokov would give an impassioned speech at a panel discussion at Wellesley, extolling the virtues of democracy while denouncing totalitarian states in the process: Such influences aside, Nabokov was insistent in his aestheticism, disclaiming any interest in the "literature of social comment" and denying "automatic comparisons between Bend Sinister and Kafka's creations and Orwell's clichés".
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Among their Florentine circle could be counted the sculptor Adolf von Hildebrand, the writer Isolde Kurz, the English architect and antiquary Herbert Horne, the Dutch Germanist André Jolles and his wife Mathilde Wolff- Mönckeberg, and the Belgian art historian Jacques Mesnil. The most famous Renaissance specialist of the time, the American Bernard Berenson, was likewise in Florence at this period. Warburg, for his part, renounced all sentimental aestheticism, and in his writings criticised a vulgarised idealisation of an individualism that had been imputed to the Renaissance in the work of Jacob Burckhardt. During his years in Florence Warburg investigated the living conditions and business transactions of Renaissance artists and their patrons as well as, more specifically, the economic situation in the Florence of the early Renaissance and the problems of the transition from the Middle Ages to the early Renaissance.
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From these connections, he began to meet other surrealist artists such as Leonora Carrington and Alice Rahon to become a member of Los Hartos (The Fed- Up), in 1961. This group was based on Dadaist principles: the creation of anti-art for art's sake, rejecting political and social painting. This group’s influence led Friedeberg to believe in the autonomy of aestheticism. Later, he and Javier Giron organized a “movement” called “Chinchismo” from the Mexican Spanish world “chinche” which means bug. They asked thirty artists to create bug words and called Pita Amor their muse, with the idea of ridiculing “-isms” or movements in art. Friedeberg’s reputation for eccentricity has been lifelong, not only linked to surrealist artist but other eccentrics such as Edward James and Antonio Souza. Friedeberg has had a tendency to protect and defend those who have lost their fame and fortune, such as Pita Amor did in her old age, when she was ridiculed by elements of Mexican society.
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Aubrey Beardsley: "The Death of Pierrot", The Savoy, August 1896.In the England of the Aesthetic Movement, Pierrot figured prominently in the drawings of Aubrey Beardsley; various writers--Henry Austin Dobson, Arthur Symons, Olive Custance --seized upon him for their poetry ("After Watteau" [1893], Poem first published in December 1893 number of Harper's Magazine. "Pierrot in Half- Mourning" [1896], "Pierrot" [1897], respectively); and Ernest Dowson wrote the verse-play Pierrot of the Minute (1897, illustrated by Beardsley). (The American poet William Theodore Peters, who commissioned Dowson's piece and would play Pierrot in its premiere, published a poetic "Epilogue" for it in 1896, and the composer Sir Granville Bantock would later contribute an orchestral prologue [1908].) One of the gadflies of Aestheticism, W. S. Gilbert, introduced Harlequin and Pierrot as love-struck twin brothers into Eyes and No Eyes, or The Art of Seeing (1875), for which Thomas German Reed wrote the music.
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He was also, as a young man, an enthusiastic child of Modernism, both in terms of his religion and more broadly. This was apparent from his contributions to Il Rinnovamento (loosely "Renewal"), a short-lived Milan-based literary and cultural bi-monthly magazine which he co-founded with Tommaso Gallarati Scotti and Antonio Aiace Alfieri, and which was launched in January 1907. It was a magazine produced by and for angry youth: Scotti described Rinnovamento as "not simply a reaction against religious conservatism ... [but] also a reaction against the neo-paganism, the neo-aestheticism, the positivism and the scepticism that were corrupting the Italian soul". During these early years of the twentieth century Casati was also a significant contributor to Leonardo, a literary magazine (which was described as a monthly publication and appeared slightly irregularly between 1903 and 1907) and La Voce, a more influential magazine produced (also rather irregularly) in Florence between 1908 and 1916.
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The Besht stressed the immanence of God and his presence in the material world, and that therefore, physical acts, such as eating, have an actual influence on the spiritual sphere and may serve to hasten the achievement of communion with the divine (devekut). He was known to pray ecstatically and with great intention, again in order to provide channels for the divine light to flow into the earthly realm. The Besht stressed the importance of joy and contentment in the worship of God, rather than the abstinence and self-mortification deemed essential to becoming a pious mystic, and of fervent and vigorous prayer as a means of spiritual elation instead of severe aestheticism, but many of his immediate disciples reverted in part to the older doctrines, especially in disavowing sexual pleasure even in marital relations.David Biale, The Lust for Asceticism in the Ha-sidic Movement, in: Jonathan Magonet, Jewish Explorations of Sexuality.
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His agile imagination transformed that drab old country into beautiful landscapes." Aestheticism is addressed in the story "Queen of the Black Coast" when Conan expresses his personal philosophy of life: This echoes the Rubaiyat of Omar Khayyam, which was one of Howard's favourite works of poetry (describing it as one of the most powerful pieces of literature), and one of its most famous quatrains: Howard's unique addition to Khayyám's vision of paradise is "the mad exultation of battle", or violent action as an ideal equal to food, drink and romantic company (see Hate and violence). Scepticism regarding human rationality and achievement is clear in a letter Howard wrote to his friend Tevis Clyde Smith on August 28, 1925: "There is so much of the true and false in all things. Sometimes I believe that the whole is a monstrous joke and human accomplishment and human knowledge, gathered slowly and with incredible labor through the ages, are but shifting, drifting wraiths on the sands of Time, the sands that shall some day devour me.
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Entitled Bocca Baciata ("the mouth that has been kissed") after a theme in Boccacio's Decameron, Rossetti's picture (1859) was described by William Holman Hunt, another member of the Pre-Raphaelite Brotherhood, as "remarkable for gross sensuality of a revolting kind ... I see Rossetti as advocating as a principle the mere gratification of the eye."Letter to Thomas Combe, 12 February 1860, quoted in As Cooper has remarked, this "after-life" of Sophie Gray demonstrated its "erotic potential." The two pictures, by Millais and Rossetti, hung side-by-side in the exhibition "Pre-Raphaelites: Victorian Avant-Garde" when the exhibition was on view at the National Gallery of Art in Washington, D.C., demonstrating two strands of Pre-Raphaelite conceptions of female beauty in, respectively, the forms of realism and Aestheticism. Pre- Raphaelites: Victorian-Avant Garde, National Gallery of Art, Washington, D.C., 17 February - 19 May 2013, installation view of gallery 6, "Beauty" In 2012 Autumn Leaves and Sophie Gray, the latter from a private collection, were displayed alongside each other in Tate Britain's major exhibition of Pre- Raphaelites, Victorian Avant-Garde.
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Immigrants like Eduardo Schiaffino, Eduardo Sívori, Reynaldo Giudici, Emilio Caraffa, and Ernesto de la Cárcova left behind a realist heritage influential to this day. Impressionism did not make itself evident among Argentine artists until after 1900, however, and never acquired the kind of following it did in Europe, though it did inspire influential Argentine post- impressionists such as Martín Malharro, Ramón Silva, Cleto Ciocchini, Fernando Fader, Pío Collivadino, Cesáreo Bernaldo de Quirós, Realism, and aestheticism continued to set the agenda in Argentine painting and sculpture, noteworthy during this era for the sudden fame of sculptor Lola Mora, a student of Auguste Rodin's. As Lola Mora had been until she fell out of favor with local high society, monumental sculptors became in very high demand after 1900, particularly by municipal governments and wealthy families, who competed with each other in boasting the most evocative mausolea for their dearly departed. Though most preferred French and Italian sculptors, work by locals Erminio Blotta, Ángel María de Rosa, and Rogelio Yrurtia resulted in a proliferation of soulful monuments and memorials made them immortal.
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This was a further development of the concept of social systems of the Berkeley school mentioned above, with the intent to prevent that its applications in systems design be reductively transformed into other approaches such as communicative action in the Kantian tradition, participatory design or co-design in the liberal tradition, conflict in the Marxian tradition or, lately, phenomenological and post- phenomenological postmodernism (and perspectivism, as in postmodern philosophy), social networks, actor-network theory (and its "non-modernism"), and design aestheticism.Ivanov's criticisms are found, for instance, in Ivanov (1991) and Ivanov (2001) Regarding design estheticism that followed and replaced Marxian trends in Scandinavia, Ivanov adduces the critique of post- Marxian aestheticism by especially pp. 16-30, 77-133, 263-282.) Ivanov perceives trends in computer and information science (where the design concept is grounded in design theory rather than systems theory) as related to variants of the intuitionism impersonated by Henri Bergson, or to problematic revisions of Aristotelian phronesis as expounded by Aubenque, P. (1993). La prudence chez Aristote, avec un appendice sur la prudence chez Kant [Prudence according to Aristotle, with an appendix on prudence according to Kant]. Quadrige/PUF.
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Retrieved 17 November 2012Katz, David (2006) People Funny Boy: The Genius of Lee "Scratch" Perry, Omnibus Press, , p. 16Salewicz, Chris (2012) "Duke Vin: 'Soundman' who brought sound systems to Britain", The Independent, 21 November 2012. Retrieved 1 December 2012 At the time he was known as 'Shine-Shoes Vinny' due to his smart appearance.Hutton, Clinton (2007) "Forging Identity And Community Through Aestheticism and Entertainment: The Sound System and The Rise Of The DJ", Caribbean Quarterly, 1 December 2007. Retrieved 1 December 2012 After travelling to England in 1954 as a stowaway on a boat from Kingston, he found work as an engine cleaner for British Rail, becoming an electrician two years later.Burrell, Ian (2009) "The Duke of Notting Hill", The Independent, 4 September 2009. Retrieved 1 December 2012 George built his first sound system in 1955 using a second-hand turntable bought from a shop in Edgware Road, a speaker bought for £15 and an amplifier built for £4, soon establishing 'Duke Vin the Tickler's', in Ladbroke Grove, London, the first Jamaican-style sound system in the UK.Barrow, Steve & Dalton, Peter (2004) The Rough Guide to Reggae, 3rd edn., Rough Guides, , p.
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Etty remained a prominent painter of nudes, but from 1832 onwards made conscious efforts to reflect moral lessons. Despite this he continued to be regarded as a pornographer by many, long after his death in 1849; as late as 1882 Vanity Fair was able to comment, "I know only too well how the rough and his female companion behave in front of pictures such as Etty's bather. I have seen the gangs of workmen strolling round, and I know that their artistic interest in studies of the nude is emphatically embarrassing." alt=Dishevelled and distressed naked woman tied to a tree, being cut free by a man in armour Interest in Etty declined after his death as new movements, particularly the Pre-Raphaelites and Aestheticism, came to characterise painting in Britain, and by the end of the 19th century the cost of all his paintings had fallen below their original prices. Very few subsequent artists have been influenced by Etty, and one of the few later works on which Candaules can be considered an influence is The Knight Errant, painted by John Everett Millais in 1870, which depicted the rescue of a distraught woman who has been stripped and tied to a tree.
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