Relevant bibliographies by topics / English art criticism

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'English art criticism'

Author: Grafiati
Published: 4 June 2021
Last updated: 15 February 2022

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Journal articles on the topic "English art criticism"

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James, Jenny M. "Trends in James Baldwin Criticism, 2015–16." James Baldwin Review 5, no. 1 (September 2019): 143–59. http://dx.doi.org/10.7227/jbr.5.10.

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This review article charts the general direction of scholarship in James Baldwin studies between the years 2015 and 2016, reflecting on important scholarly events and publications of the period and identifying notable trends in criticism. While these years witnessed a continuing interest in the relationship of Baldwin’s work to other authors and art forms as well as his transnational literary imagination, noted in previous scholarly reviews, three newly emergent trends are notable: an increased attention to Baldwin in journals primarily devoted to the study of literatures in English, a new wave of multidisciplinary studies of Baldwin, and a burgeoning archival turn in Baldwin criticism.
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Ternova, M. V. "CONCEPT OF THE STUDY OF ART BY R.J. COLLINGWOOD AS AN OBJECT OF THEORETICAL ANALYSIS." UKRAINIAN CULTURAL STUDIES, no. 1 (6) (2020): 36–40. http://dx.doi.org/10.17721/ucs.2020.1(6).08.

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The article analyzed concept of the study of art by Robin George Collingwood (1889-1943), a well-known English neo-hegelian philosopher. His significant part of the theoretical heritage is connected with the explanation of the nature of art and with the consideration of its condition during the period of the changing Oscar Wilde era to the era of Rudyard Kipling. The circle of problem such as content and form, character, image, mimesis, reflection, emotion, art and "street man" identified. All of them in Collingwood's presentation and interpretation significantly expanded the space of research not only English, but also European art criticism. The concept of study of art is "built" on the basis of an active understanding of historical and cultural traditions accented. The concept of art criticism of R.G. Collingwood – a famous English philosopher of the XIX-XX centuries, on the one hand, has self-importance, and on the other, although based on the traditions of contemporary humanities, still expands art history analysis of aesthetics through aesthetics and psychology. Recognizing the exhaustion of the English model of romanticism, R.G. Collingwood tries to outline the prospects for the development of art in the logic of the movement "romanticism – realism – avant-garde", which leads to the actualization of the problem of "mimesis – reflection". At the same time, the theorist's attention is consciously concentrated around the concept of "subject", the understanding of which is radically changing at the turn of the XIX-XX centuries. Theoretical material in the presentation of R.G. Collingwood is based on the work of Shakespeare, Reynolds, Turner, Cezanne, whose experience allows us to focus on the problem of "artist and audience". It is emphasized that Collingwood's position is ahead of its time, stimulating scientific research in the European humanities. The existence of indicative tendencies, which are distinguished in the logic of European cultural creation of the historical period, is emphasized.
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Saloman, Ora Frishberg. "Continental and English Foundations of J. S. Dwight's Early American Criticism of Beethoven's Ninth Symphony." Journal of the Royal Musical Association 119, no. 2 (1994): 251–67. http://dx.doi.org/10.1093/jrma/119.2.251.

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The reception history of Ludwig van Beethoven's symphonies in America offers striking evidence of multiple, previously unidentified, Continental and English connections to the musical thought of John Sullivan Dwight (1813–93), the first American-born critic of art music, and therefore to early American conceptions of the symphony in the 1840s. These direct links illuminate the history and criticism of the first performance in America of Beethoven's Symphony no. 9 in D minor, op. 125, which took place in New York in 1846. From the many sources associated with Dwight's musical learning and aesthetic education, I have chosen in this article to examine Dwight's literary interest in Johann Christoph Friedrich Schiller's poem ‘An die Freude’ and in Thomas Carlyle's biography of Schiller, to document his knowledge of commentary on the symphony by the German critic Adolf Bernhard Marx, and to describe Dwight's response to the initial American performance of the Ninth Symphony.
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Keating, Heather. "Protecting or punishing children: physical punishment, human rights and English law reform." Legal Studies 26, no. 3 (September 2006): 394–413. http://dx.doi.org/10.1111/j.1748-121x.2006.00022.x.

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This paper assesses the current state of English criminal law in relation to the use of physical force by parents as a means of disciplining their children. It does so in the light of the Children Act 2004, the European Convention for the Protection of Human Rights and Fundamental Freedoms 1950, Art 3, pressure from bodies such as the United Nations Committee on the Rights of the Child and the law in other parts of Europe. It acknowledges that parents should have a large degree of autonomy in relation to parenting. However, the defence of ‘discipline’ or ‘reasonable chastisement’ is outdated, vague and potentially dangerous to children. It is argued that the response of the British Government to criticism of our law has been far from satisfactory. The reform which was incorporated into the Children Act 2004 as a result of pressure upon the government aims to avoid criminalising ‘ordinary families’ for minor smacks. However, the statement of principle is so diluted that parents might understandably be confused and enforcement may be difficult. Moreover, the pressure for reform has continued unabated. The paper concludes that what is needed is an outright ban, combined with an educational campaign, which can lead the way in changing the cultural tradition of physical punishment.
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A, Vasuki. "THE POEMS OF WILLIAM WORDSWORTH: AN ECOCRITICAL OVERVIEW." Kongunadu Research Journal 4, no. 1 (June 30, 2017): 55–58. http://dx.doi.org/10.26524/krj178.

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Eco-criticism emerged in the 1990’s and the critics changed their angles of vision and examined the works of art by focusing on the relationship between man and Nature. William Words worth, in particular, became the key icons of eco-critical studies. Wordsworth was a major English Romantic poet who has beenconsidered as a forerunner of English Romanticism. His views towards Nature and man’s treatment of Nature have supported his position as an important icon of eco-critical studies. His fame lies in the general belief that he has been viewed as a Nature poet who viewed Nature superior to humans. In other words, his views about Nature and his poems seek to heal the long-forgotten wounds of Nature in the hope of reaching unification between man and Nature. With the emergence of Eco-criticism as a new critical approach in the 1990’s, Romantic poetry, in general, and William Wordsworth, in particular, became the icons of eco-critical studies. He was the foremost Romantic poet who cared for the creation of symbiosis between man and Nature. William Wordsworth was a major English Romantic poet who is considered as a forerunner of English Romanticism. His contributions to the repository of English literature are undoubtedly a token of hisgreatness among his contemporaries. His views towards Nature and man’s treatment of Nature have supported his position as an important icon of eco-critical studies. His fame lies in the general belief that he has been viewed as England’s greatest Nature poet who viewed Nature superior to human being whosesurvival is dependent upon Nature. Wordsworth intends to show the value of survival of human being in Nature. Though literary critics talked about the eco-critical concepts in the past, the present paper highlights a recent literary approach to Eco-criticism studies, “the relationship between literature and physicalenvironment” in the poems of William Wordsworth.
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Cvejić, Žarko. "Anxieties over technology in Yugoslav interwar music criticism: Stanislav Vinaver in dialogue with Walter Benjamin." New Sound 53, no. 1 (2019): 37–52. http://dx.doi.org/10.5937/newso1901037c.

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In Paris in late 1935, the exiled German-Jewish philosopher Walter Benjamin completed the first version of his well-known 'artwork essay', The Work of Art in the Age of Its Technological Reproducibility. In that essay, Benjamin famously welcomed the loss of 'aura' in art, the mystique, quasi-religious quality of unique, original, authentic, and aesthetically autonomous works of art, due to the advent of mass reproduction of artworks on an industrial scale, especially in the new arts of photography and cinema, rendering many of those quasi-religious qualities of 'auratic' art obsolete. Benjamin welcomed this in accordance with his leftist, anti-fascist political agenda, hoping that the loss of 'aura' would open art to politicization, communism's (or, at any rate, Benjamin's) response to fascism's aestheticisation of politics. That same year, 1935, in Belgrade, the capital of what was then the Kingdom of Yugoslavia, the Serbian-Jewish poet, intellectual, and literary and music critic Stanislav Vinaver wrote an essay titled Mehanička muzika (Mechanical Music). In his essay, Vinaver focused on the advent of technical reproduction in and its effects on music, an art largely ignored by Benjamin. Unlike his more famous contemporary, Vinaver was alarmed by the new technologies of radio and the gramophone record and their perceived negative impact not only on traditional music, performed live on traditional, acoustic instruments, but on organic life in general, replacing it with a mechanical surrogate carried by the waves of a dehumanizing technology. Vinaver's views were probably shaped by his passionate championing of modernism in Serbian and Yugoslav literature and music alike, which is evident not only in Mehanička muzika, but also in his criticism in general. Two more important factors may have also been the influence of the French philosopher Henri Bergson, Vinaver's one-time professor at the Sorbonne, and his valorisation of intuition in thought and artistic creativity, as well as Vinaver's somewhat nostalgic view of music as the only true and self-referential art, a view reminiscent of the re-conception of music in the early German Romantics such as E. T. A. Hoffmann, F. W. J. Schelling, and Arthur Schopenhauer, later taken up and elaborated by such disparate figures as the German music theorist Eduard Hanslick, English essayist Walter Pater, and Vinaver's own modernist hero Arnold Schönberg. Ironically, although Vinaver shared much of Benjamin's leftist politics, he did not see such a positive potential in the mechanical reproduction of music, but, perhaps, only another sign of humanity's headlong March toward self-destruction in a total war, on the wings of an aestheticised technology and instrumental reason run amok, no longer serving humanity but turning against it.
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Pageot, Edith-Anne. "L’art autochtone à l’aune du discours critique dans les revues spécialisées en arts visuels au Canada. Les cas de Sakahàn et de Beat Nation." Article quatre 9, no. 1 (October 17, 2018): 81–94. http://dx.doi.org/10.7202/1052629ar.

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This article offers a qualitative and quantitive analysis of the critical reception of two exhibitions, Sakahàn:International Indigenous Art (National Gallery of Canada, Ottawa 2013) and Beat Nation: Art, Hip-Hop and Aboriginial Culture (organised and circulated by the Vancouver Art Gallery, 2013-2014). The study treats articles which appeared between 2012 and 2015 in English and French visual-arts publications. The comparative analysis intends to highlight general trends, in order to identify challenges that contemporary Indigenous arts pose for art criticism. A review of the texts shows that all commentators, whether francophone or anglophone, indigenous or non-Indigenous, have welcomed these two exhibitions warmly. The discrepancy between the number of essays in French and those in English reflects the demographic weight of these two linguistic communities and the geographic distribution of First Nations in Canada. This will qualify, without denying, the hypothesis of Quebec's tardiness on the indigenous question. The authors largely recognize the necessity of initiating indigenization of the museum and emphasize the movement to internationalize contemporary indigenous art. Yet many commentators, particulary Indigenous people, dispute the efficacity of the concept of "strategic essentialism" put forward by the commissioners of the Sakahàn catalog. Despite both a real interest in these two major exhibitions and the quality of the commentary, in the end, for events of such a scale few texts have been published on the subject. The criteria for appreciation rooted in the institutional sociology of art endeavour to fully take into account the challenges posed by certain central aspects of the approach of several Indigenous creators, such as the intangible dimensions of their civic engagement, the dissolution of particular outside venues and the sisterhood of certain projects.
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Cheng, Fung Kei, and Samson Tse. "Thematic Research on the Vimalak?rti Nirde?a S?tra: An Integrative Review." Buddhist Studies Review 31, no. 1 (July 24, 2014): 3–52. http://dx.doi.org/10.1558/bsrv.v31i1.3.

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The current integrative review aims to do the following: first, examine the Chinese and English topical studies on the Vimalak?rti Nirde?a S?tra published from 1900 to 2011; second, analyze the characteristics of those works; third, investigate related study trends through a statistical analysis; and finally, identify research gaps. This review not only offers a comprehensive overview of the available literature on the S?tra retrieved from 25 English and Chinese electronic databases, but also categorizes the 256 selected publications (n=34 English; n=222 Chinese) into eight sub-themes: art (n=36; 14%), book reviews (n=11; 4%), philological studies (n=11; 4%), literature (n=24; 10%), philosophy (n=77; 30%), textual criticism (n=22; 9%), translation (n=56; 22%), and miscellaneous topics (n=19; 7%); thus illuminating different research foci and features between English and Chinese scholars, and also among Chinese researchers in various territories. This project illustrates how an integrative review can be employed in Buddhist studies; it reveals challenges and opportunities related to Buddhist studies, stemming from technology; it suggests collaborative research in Buddhism; and it proposes the application of the philosophy of the S?tra to practical disciplines.
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Belmesova, Maria. "MAIN FEATURES OF THE ART CRITICISM DISCOURSE WITHIN THE TEXTUAL ACTUALIZATION OF THE ENGLISH LINGUO-CULTURAL CONCEPT “PAINTING” (IN THE MONOGRAPH BY G. REYNOLDS. “TURNER. WORLD OF ART.”)." Bulletin of the South Ural State University series Linguistics 13, no. 2 (2016): 62–68. http://dx.doi.org/10.14529/ling160111.

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Yeasmin, Nellufar. "Dirt of Art in Madame Bovary." Journal of English Language and Literature 10, no. 2 (October 31, 2018): 1025–28. http://dx.doi.org/10.17722/jell.v10i2.393.

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Flaubert’s Madame Bovary is a unique literary piece that incorporates aestheticism and witty disposure to Emma’s complex reality. The pronounced acceptance and reputation of the novel despite of a prolonged period of criticism proves that the universal appeal of this French novel lies in the artistic and tactful disclosure (in precisely calculative and measured style) of the dark secrets of a feminine mind. The fact that the English translation of this ingenious creation is so influential attests the superiority of its quality in French. The splendor of the narration overreaches the boundaries of life, experience and death and abounds in the exaltation of becoming a masterpiece. This article illustrates the features that make the manuscript so overwhelmingly “dirty” yet inviting. In course of appreciating the novel, the prospects of readers’ fascination and the author’s intentions are also evaluated from the archive of appreciations of the book. The richness of the story is imparted by the pragmatic effect of the objective correlatives in Falubert’s style and the details of the emotional intensities. This study urges to dismantle the complicated value of literature in realizing life. It also reinforces the poetic justice to prevail where art must exist for its sole sake. Emma, the centre of interest in Madame Bovary, is the ambassador of human beings who fail to achieve the mused state of their existence. Flaubert with his strokes of wisdom and dexterous artistic maneuver reveals the ultimate paradox of anarchy in the social conventions designed to annihilate the self in order to discover it. This study unfolds how the story of shame and guilt turns into an allegory of life by the writer’s magic wand.
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Dissertations / Theses on the topic "English art criticism"

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Diaper, Hilary. "The English reaction to modern French painting circa 1850-1880." Thesis, University of Leeds, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.238657.

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Luo, Jian. "The narrative art of modernist fiction : a corpus stylistic and cognitive narratological approach." Thesis, University of Birmingham, 2011. http://etheses.bham.ac.uk//id/eprint/2979/.

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This thesis explores modernist narrative art embodied in modernist style of constructing narrative space. Within Chatman’s conceptual framework, narrative space can be divided into story-space (settings and characters) and discourse-space (focus of spatial attention). In a corpus-stylistic approach, the structuration of the story-space in The Mill on the Floss, The Good Soldier and To the Lighthouse is examined. The findings show that modernist tendency to deemphasise particularity of place shapes a narrative design of spatial detachment. In consequence, the establishment of settings in early modernist fiction is generally sketchy, but sometimes spatially informative. This is a mixed character. By contrast, settings in classic modernist fiction are symbolic of viewers’ psychological states, a clear manifestation of a modernist interest in characters’ interiority. To further trace the style change from early modernism to high modernism, a cross-disciplinary model for character analysis and a cross-axial model for the examination of discourse-space have been constructed. They help detect some similarities and dissimilarities between early and classic modernist styles of spatialisation. As a whole, this thesis has two features. First, it applies corpus stylistic methods to inform cognitive narratological interpretation. Second, it resorts to visualisation as an attempt at a multi-modal study of narrative space.
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Wright, Jarrell D. "Dancing before the Lord| Renaissance ludics and incarnational discourse." Thesis, University of Pittsburgh, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3725605.

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Play is a manifestation of overflowing excess. When applied to the study of discourse, this bounty can be understood in terms of figurativeness and depth. If “degree-zero” discourse is the almost entirely unfigured language of an instruction manual, then verse lies near the other extreme: highly figured and elaborate language open to rich interpretive possibilities. I posit a further pole yet on this continuum: the hyperabundant texts of the Renaissance, when ludics were at a height partially quashed by the Enlightenment preference for the plain style. These ludic texts are not merely decorative but rather reflect the incarnational impulse of Renaissance Christian thought; they attempt to praise and to imitate the power of Divine language, in which Word is made Flesh in the West’s master model of superabundance, grace through Christ’s Incarnation and Sacrifice.

This project conducts three case studies of playfully incarnational discourses during the Renaissance: in speech, in imagery, and in verse. First, it analyzes sermons by John Donne that reflect candidly on the power of Donne’s own ludic speech, concluding that his transgressive, gamelike rhetoric was oriented toward stimulating responsive action. Next, it examines period images through the lens of contemporary popular works that conceive of images as puzzles to be decoded, solved, and read, concluding that period anamorphoses and similar works were efforts to infuse images with lively presence in a way that helps to account for iconophobic and iconophilic strains in English Reformation thought. Finally, it reads George Herbert’s deceptively simple poem, “The Altar,” examining how the piece may be understood as an intervention into the shaped-verse tradition and how it reflects on period debates about Church fabric, concluding that the toylike or tricklike construction evokes the Eucharistic presence of the Divine in Herbert’s worshipful meditation.

At stake are a greater appreciation for Renaissance artistry, a fuller understanding of the complexityof the English Reformation, and a richer vocabularyfor play theorists working with ludic discourses. A conclusion considers these implications and explains whyRenaissance thinkers might have chosen a ludic mode of imitative worship—God’s grace and creation are themselves forms of play.

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Reginio, Robert, David Houston Jones, and Katherine Weiss. "Samuel Beckett and Contemporary Art." Digital Commons @ East Tennessee State University, 2017. https://www.amzn.com/3838210794/.

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This groundbreaking collection from scholars and artists on the legacy of Beckett in contemporary art provides readers with a unique view of this important writer for page, stage, and screen. The volume argues that Beckett is more than an influence on contemporary art―he is, in fact, a contemporary artist, working alongside artists across disciplines in the 1960s, 1970s, and beyond.The volume explores Beckett's formal experiments in drama, prose, and other media as contemporary, parallel revisions of modernism's theoretical presuppositions congruent with trends like minimalism and conceptual art. Containing interviews with and pieces by working artists, alongside contributions of scholars of literature and the visual arts, this collection offers an essential reassessment of Beckett's work. Perceiving Beckett's ongoing importance from the perspective of contemporary art practices, dominated by installation and conceptual strategies, it offers a completely new frame through which to read perennial Beckettian themes of impotence, failure, and penury. From Beckett's remains, as it were, contemporary artists find endless inspiration.
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Brazil, Kevin. "The work of art in postwar fiction, 1945-2001." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:f8102451-09cf-4f92-8e6e-e7c1ced2641c.

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'The Work of Art in Postwar Fiction 1945-2001' explores the responses of postwar novelists to visual art by focusing on the work of Samuel Beckett, William Gaddis, John Berger and W.G. Sebald. In doing so, it opens up a new approach to understanding the relationship between fiction and art in the postwar period as a whole, for what distinguishes these writers is that they use an engagement with visual art in order to historicize their own work as distinctly 'postwar' fiction. This thesis shows that in the writings of these novelists, long running aesthetic issues in the study of the relationship between text and image are reformulated and transformed: medium specificity; ekphrasis; and visual representation as a model for literary realism. Drawing throughout on original archival research, The Work of Art in Postwar Fiction 1945-2001 traces what T.J. Clark terms the 'processes of conversion and relation' between art, its contexts and its commentators, and it is by studying these mediations that the literary consequences of the work of art for these writers are shown. With a historicizing approach throughout, and an interest in the ways in which postwar novelists mediate their engagement with art through history, this thesis contributes to a new understanding of the literature and art of the postwar era, or what Amy Hungerford has called 'the period formerly known as contemporary'. This thesis offers a revisionary account of a relationship previously subsumed under the dominant logic of postmodernism, which according to Fredric Jameson was defined by a 'waning of historicity'. In returning historicity as method and theme to the study of the relationship between literature and art since 1945, The Work of Art in Postwar Fiction 1945-2001 shows the diverse ways in which postwar writers historicized their writing, and reflected on their techniques, in dialogue with visual art. Concerning itself with the distinct challenges posed by focusing on what Hannah Ardent called the 'most recent' past, this thesis also develops new ways of thinking more broadly about the relationships between literature, art and history. Chapter 1, 'Reviewing Postwar Fiction', situates this thesis within recent debates in literary studies surrounding what Mark McGurl has termed a discipline-wide 'hegemony of history'. Chapter 2, on Samuel Beckett, argues that Beckett's postwar art criticism responds to a specific strand of Marxist humanist aesthetics developed after the war, and it studies Beckett's manuscripts to show the relationship between this criticism and the composition of The Unnamable. Chapter 3 discusses William Gaddis's 1955 novel The Recognitions, arguing that the novel pivots around some of the central cruxes of postwar American aesthetic debate: Clement Greenberg's theory of abstraction, and Michael Fried's identification of the problem of 'art and objecthood'. Chapter 4 discusses the work of the British art critic and novelist, John Berger. It shows that Berger's critical account of Cubism shaped the narrative forms of his novels A Painter of Our Time and G., and that these narrative innovations were central to his theory of the artistic and revolutionary 'moment'. Chapter 5 focuses on the relationship between photography, painting and aesthetics in the work of W. G. Sebald. It argues that aesthetic concepts such as 'the readymade' and 'objective chance' offer a better account of Sebald's engagement with art than accounts which draw on trauma theory. The thesis concludes with a short discussion of how the writers studied in this thesis have influenced the contemporary fiction of Jonathan Franzen, Teju Cole, and Tom McCarthy.
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Braidwood, Alistair. "Iain Banks, James Kelman and the art of engagement : an application of Jean Paul Sartre's theories of literature and existentialism to two modern Scottish novelists." Thesis, University of Glasgow, 2011. http://theses.gla.ac.uk/3024/.

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Over and above applying Sartrean literary philosophy to Banks and Kelman this thesis therefore also offers a model of literary criticism that can be applied to a number of other contemporary Scottish authors. In conclusion, this thesis suggests that Sartre’s theories of literature can assist in the attempt to better understand the value of the writer in society, and of Kelman and Banks in particular. The comparison and contrast between Banks and Kelman makes clear the importance of contextualising the individual writer not only with the work of their contemporaries, but with the time, place and position in which they are writing. The intention of the thesis is to discover how Sartre’s ideas of existentialism and literature can be applied to writers and their work in a way that allows ‘the critic’ to analyse both the novelist’s fictional technique and to gauge the value of their role in society – in other words, how Sartre’s theories allow us to better understand the individual writer in a social, political and moral context, both nationally and internationally.
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Lokash, Jennifer Faith. "In sickness and in health : romantic art therapy and the return to nature." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=82920.

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This thesis explores the network of relationships among health and healing, the natural environment, and poetry during the Romantic period in Britain, and thus offers a new perspective on the Romantic relation to Nature. The context for this study is both the long and varied history that links literature to ideas of health and disease, and the intersection of the late 18th- and early 19th-century discourses of holistic science and healing that emphasize the synergy between self and world and recognize that our living environments can be either hostile or congenial to body and spirit. For many Romantic poets, illness was a painful reality that became vital to their thoughts about poetry and creativity in general. Through Wordsworth's partnership with Coleridge, a vocabulary of health and disease emerges in relation to poetic production and reception that has influenced critics of the period. It constructs the "natural" as a source of health, and establishes Wordsworth and his poetic celebrations of the therapeutic potential of nature as the often problematic legacy both for Coleridge and for second generation poets like Byron and Shelley. While composing Childe Harold's Pilgrimage Canto III, Byron tests Wordsworth's notion that immersion in the natural world can be spiritually therapeutic from the point of view of poetic production. The intensity of Byron's bodily existence, however, prevents him from fully experiencing the spiritual and metaphysical aspects of Wordsworthian nature. As his attempts to disengage the spirit from the body by meditating on nature actually have the reverse effect of bringing him more in touch with his physical identity, he must reject Wordsworth's methodology as a possible vehicle for healing. In refiguring Wordsworth's ideas about "taste," Shelley conceives of his poetry as healthy food for thought. His frequently used metaphors of "literature as food" have their source in his attitudes towards intake first exp
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Amid, David Jonathan. "Where art meets life in secret : excavating subjects in selected works of Michael Ondaatje." Thesis, Stellenbosch : University of Stellenbosch, 2011. http://hdl.handle.net/10019.1/6556.

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Thesis (MA (English))--University of Stellenbosch, 2011.
ENGLISH ABSTRACT: In re-imagining the relationship between words and life, or alternately between self and world, the novelist is in a unique position not merely to reproduce these interlinked relationships through the practice of writing, but to use the unique possibilities extended by the form and content of the novel as literary genre to reveal this interpenetration of ontological and epistemological domains; to render visible what is normally regarded as separate. To disclose how the imaginative domain of fiction writing mirrors the novelistic character of material reality, this dissertation discusses three Michael Ondaatje works, The English Patient, Anil’s Ghost and Divisadero. Through a careful close reading it explores the manner in which Ondaatje‘s form of philosophical thought juxtaposes many genres and expressive forms into a highly complex, playful and self-referential metafictional whole. With a focus on close reading supplemented rather than determined by critical theory, this dissertation then sets out to demonstrate how the author‘s work advances the provocative central thesis that fictional texts not only reflect upon events, thoughts and emotions, but that philosophical works of literature and art are necessarily performative and interrogative, able to question aspects of the self, and ultimately able to present ethical ways of being and therapeutic escape to readers.
AFRIKAANSE OPSOMMING: Deur die voorstelling van die verhouding tussen woorde en die lewe, of alternatiewelik tussen self en wêreld, is die outeur uniek geposisioneer om nie net hierdie verwikkelde verhoudings deur die skryfproses weer te gee nie, maar ook om die unieke moontlikhede wat die roman as literêre genre bied, te ontgin. Eenvoudig gestel, die vorm en inhoud van die roman maak dit moontlik om hierdie wisselwerking van ontologiese en epistomologiese gebiede oop te vlek, om wat gewoonlik as afsonderlik beskou word, te beklemtoon en op die voorgrond te plaas. Om dan ten toon te stel hoe die verbeeldingryke gebied van fiksieskryfwerk die romankarakter van die materiële werklikheid weërspieel, fokus hierdie studie op ‘n bespreking van drie werke van Michael Ondaatje, naamlik The English Patient, Anil’s Ghost en Divisadero. Deur kritiese stiplees ondersoek hierdie verhandeling die wyse waarop Ondaatje se konkretisering van abstrakte en filosofiese idees teenoor verskeie ander genres en beeldende denkvorme geplaas word, en sodoende ‘n self-verwysende, uiters komplekse metafiktiewe geheel skep. Hierdie studie fokus op stiplees van die tekste, maar word ook aangevul deur literêre en filosofiese teorie. Uiteindelik poog hierdie studie om uit te beeld hoe die outeur se werk die uitdagende argument dat fiksie nie net gebeurtenisse, denke en emosies bepeins nie, maar dat filosofiese en literêre tekste en kunsvorme noodwendig dramatiserend en ondersoekend is. Tekste soos dié van Ondaatje beskik dan oor die vermoëns om eienskappe van die self te bevraagteken, en om eindelik etiese vorme van menswees en terapeutiese ontvlugting aan lesers te bied.
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Kwok, Yin-ning, and 郭燕寧. "Concepts of realism and the reception of John Constable's landscape paintings." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2007. http://hub.hku.hk/bib/B39707301.

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McDermott, Lydia Eva. "Gerard Manley Hopkins's poetic art as "current language heightened" : (with reference to selected sonnets and in the light of contemporary stylistic theory)." Thesis, Rhodes University, 1985. http://hdl.handle.net/10962/d1002019.

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The aim of this thesis is twofold: To examine Hopkins's writings on poetics and to relate these to modern theories of poetic stylistics; and to show, through an examination of two sets of Hopkins sonnets, the ways in which Hopkins's writings on language and poetics are reflected in his verse (Introductory outline, p. 5)
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Books on the topic "English art criticism"

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Puttenham, George. The art of English poesy. Ithaca, NY: Cornell University Press, 2006.

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Ebbatson, Roger. Tennyson's English idylls: History, narrative, art. Lincoln [England]: Tennyson Society, 2003.

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Naked emperors: Criticisms of English contemporary art from the London evening standard. London: Quartet, 2012.

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The art of contemporary English culture. New York: St. Martin's Press, 1991.

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The art of contemporary English culture. Houndmills, Basingstoke, Hampshire: Macmillan, 1991.

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Jonathan Richardson: Art theorist of the English Enlightenment. New Haven: Published for the Paul Mellon Centre for Studies in British Art by Yale University Press, 2000.

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D.H. Lawrence: Life into art. Athens: University of Georgia Press, 1985.

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D.H. Lawrence: Life into art. Harmondsworth, Middlesex, England: Viking, 1985.

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Vendler, Helen Hennessy. The art of Shakespeare's sonnets. Cambridge, Mass: Belknap Press of Harvard University Press, 1997.

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Bullen, J. B. The pre-Raphaelite body: Fear and desire in painting, poetry, and criticism. Oxford: Clarendon Press, 1998.

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Book chapters on the topic "English art criticism"

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Atkins, J. W. H. "The Art of Poetry: Gascoigne, Harvey, ‘E. K.’, Webbe, Puttenham." In English Literary Criticism, 139–78. Routledge, 2021. http://dx.doi.org/10.4324/9781003166474-6.

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"5. English Disegno." In Words for Pictures: Seven Papers on Renaissance Art and Criticism. Yale University Press, 2003. http://dx.doi.org/10.37862/aaeportal.00179.007.

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Scholar, John. "James’s Criticism of Existing Theories of the Impression, 1872–88." In Henry James and the Art of Impressions, 25–58. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198853510.003.0002.

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Chapter 1 explores the anomaly that while James was critical of French impressionist painting and literature, he nevertheless made the impression the centrepiece of his representation of the novelist at work in ‘The Art of Fiction’ (1884). It addresses this anomaly by reading some of James’s early art criticism, literary criticism, and travel writing as a remaking of existing models of the impression, arguing that James’s impression combines the best of the French novel’s attention to sensation with the English novel’s attention to reflection. It also places the impressions of James’s criticism in dialogue with those of painterly impressionism. It observes that James attributes as much importance to the making of impressions as to the receiving of them. It thus introduces a distinction, fundamental to the argument in later chapters, between ‘performative’ impressions and ‘cognitive’ impressions.
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Schoenfeldt, Michael. "Impractical criticism: close reading and the contingencies of history." In Texts and readers in the Age of Marvell, 17–32. Manchester University Press, 2018. http://dx.doi.org/10.7228/manchester/9781526113894.003.0002.

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Over the last seventy years, the discipline of English literature has been marked by an unnecessary and largely counterproductive tension between aesthetics and history. For many politically oriented critics, aesthetics was either uninteresting or implicated in the elite practices they deliberately opposed. And for those who focused on aesthetics, history frequently seemed like a distraction from what made the work of art a special kind of utterance, separate from other modes of language. This chapter revisits some of the signal literary engagements in the latter half of the long twentieth century, in order to consider what has been accomplished, what we have left out, and where we may be going next. With reference to writers from Donne and Herbert to John Milton, the chapter suggests, finally, that our analyses have too frequently ignored the decidedly impractical pleasure that emerges from literary activity, and argues that by bringing our own pleasure out of the closet, we can begin to restore to literary criticism some of the visceral thrill that drew us to it in the first place.
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Schramm, Jan-Melissa. "Ecce Homo, ‘Real Presence’, and the Word Made Flesh." In Censorship and the Representation of the Sacred in Nineteenth-Century England, 123–62. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198826064.003.0004.

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Whilst censorship kept sacred drama off the English stage, other genres were not subject to the same legal regulation. Fiction, poetry, and visual art all meditated on the meaning of the sacred body and the ways in which its ongoing spiritual or metaphorical presence might be conjured from its material absence by members of a community of believers. The ways in which scriptural narrative and the liturgy sought to conjure up the dead, to resurrect the martyr, to reanimate the past, were urgent questions; for mid-Victorian writers, these same issues—which foregrounded the capacity of linguistic incantation to effect transformative change—were central not only to the inherited national faith that was under such pressure from nascent scientific methodologies and biblical criticism but also to the types of assent offered by the reader or spectator to the work of art.
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Bromley, James M. "Epilogue." In Clothing and Queer Style in Early Modern English Drama, 186–94. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198867821.003.0006.

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This Epilogue addresses the historicist criticism that theoretical and presentist approaches to literature are narcissistic. It responds to these critiques by showing that defenses of historicism engage in the obscurations and suppressions of difference that presentist approaches are accused of. It draws on the work of Michael Warner to identify a queer idealism within Freudian narcissism, and this idealism can motivate literary criticism’s engagement with the literature of the past. The Epilogue also reflects on why a queer rethinking of sexuality remains necessary in light of recent legal victories for the LGBTQ population in some countries and what role the sartorial plays in our thinking about toleration for nonnormative sexuality.
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Harrison, Stephen, and Fiona Macintosh. "Introduction." In Seamus Heaney and the Classics, 1–13. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198805656.003.0001.

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The recent death of Seamus Heaney is an appropriate point to honour the great Irish poet’s major contribution to classical reception in modern poetry in English; this is the first volume to be dedicated to that subject, though occasional essays have appeared in the past. The volume comprises literary criticism by scholars of classical reception and literature in English, from both Classics and English, and has some input from critics who are also poets and from theatre practitioners on their interpretations and productions of Heaney’s versions of Greek drama; it combines well-known names with some early-career contributors, and friends and collaborators of Heaney with those who admired him from afar. The papers focus on two main areas: Heaney’s fascination with Greek drama and myth, shown primarily in his two Sophoclean versions but also in his engagement in other poems with Hesiod, with Aeschylus’ Agamemnon and with myths such as that of Antaeus, and his interest in Latin poetry, primarily in Virgil but also in Horace; a version of an Horatian ode was famously the vehicle of Heaney’s comment on 11 September 2001 in ‘Anything Can Happen’ (District and Circle, 2006).
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Bowen, John R. "Shariʿa in English Law." In On British Islam. Princeton University Press, 2016. http://dx.doi.org/10.23943/princeton/9780691158549.003.0010.

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This chapter focuses on the fears and accusations about the English law's recognition of shariʻa. In his February 2008 remarks, Archbishop of Canterbury Rowan Williams explored ways in which the legal system might “recognise shariʻa.” Despite the storm of media criticism, he was joined later that year by Britain's highest justice, Lord Phillips, in saying that English law should recognize certain elements of shariʻa. It is in the domain of family law where suggestions that private Islamic bodies might take on a function of the civil courts raise the greatest degree of legal and social concern. Although some Islamic scholars have urged Parliament to create formal linkages between law courts and Islamic shariʻa councils, these councils carry out no actions that have the force of state law. For the moment, then, the main possibility for legal “recognition” of Islamic law in England would be if civil courts were to act on some elements of an Islamic divorce proceeding.
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Allen, Craig. "Conclusion." In Univision, Telemundo, and the Rise of Spanish-Language Television in the United States, 248–68. University Press of Florida, 2020. http://dx.doi.org/10.5744/florida/9781683401643.003.0011.

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Univision celebrates the 50th anniversary of Spanish-language television in 2012. The moment is occasioned by the first widespread public awareness of Spanish-language television and the large U.S. population is reaches and impacts. The first extensive criticism ensues. Conservative politicians attack the endeavor for dividing traditional U.S. society and for an alleged liberal bias. Believing it impedes Latinos’ success in the U.S., Governor Arnold Schwarzenegger urges them to turn off the Spanish TV set. Closer observers complain that banal and distant foreign programming fails to address the interests and needs of U.S. Latinos. They scorn Univision and Telemundo for reconfiguring U.S. Latinos of diverse nationalities into a “Pan Latinidad.” Many of the criticisms are not supported by the endeavor’s history. Yet at the time of the anniversary, more pertinent than the criticisms are unresolved questions. Latinos’ increasing preference for interactive digital media is fragmenting the audiences that Univision and Telemundo as traditional media once had amassed. Slowly foreseen is potentially the largest challenge, that the preponderance of younger “third generation” Latinos increasingly are inclined to speak English. Regardless of the future, the history of Spanish-language television will remain important as a light on a “television age” that is essential to understanding a U.S. that changed during a highly formative period in the nation’s history.
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Wilson, Steve, Helen Rutherford, Tony Storey, and Natalie Wortley. "16. Criminal and civil appeals." In English Legal System. Oxford University Press, 2018. http://dx.doi.org/10.1093/he/9780198808152.003.0016.

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This chapter introduces readers to the appeals process in criminal and civil cases. It explores the grounds upon which appeals may be based in criminal cases, including the concepts of ‘fresh evidence’ and ‘lurking doubt’. If a criminal appeal has been dismissed, the Criminal Cases Review Commission (CCRC), which was set up to examine potential miscarriages of justice, may refer a case back to the appeal court in certain circumstances. The chapter highlights some of the criticisms of the CCRC’s role and effectiveness. The avenues of appeal in civil cases are also discussed.
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Conference papers on the topic "English art criticism"

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Gamarli, Saida, and Diana Ukleyn. "TEACHER ROLES IN CLASSROOM MANAGEMENT." In Proceedings of the XXVII International Scientific and Practical Conference. RS Global Sp. z O.O., 2021. http://dx.doi.org/10.31435/rsglobal_conf/25032021/7465.

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This paper deals with teacher roles in classroom management. It begins with two outlines used in teaching process. They concern the teacher, what they can do, and aspire to, and a discussion of classroom management techniques. The outlines are followed by an expansion of many of the points made. Classroom management is included in a course on ESP because most of students will, at some point in their lives, teach English in school. The material is based on our own personal experience of struggling to become a teacher, and our interaction with students and our colleagues. Teacher’s roles take account of teacher’s classroom language, teacher’s responsibilities, and the criticism and the evaluation of teacher’s performance. The teacher who makes great activation of his roles in classroom, tends to be the top and the most first factor that improves classroom management and enriches learners’ knowledge. Quantitative method has been chosen because it provides statistical data from English teachers using questionnaire. Factual information was collected and arranged in graphs. The results were analyzed and compared with previous studies. The participants’ responses provided supportive evidence and were fully consistent with this study
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