Visual Advocacy in the Early Decades of Humanitarian Cinema
Valérie Gorin (accessed 26 December 2020 ). Shusterman , R. ( 2012 ), ‘ Photography as Performative Process ’, The Journal of Aesthetics and Art Criticism , 70 : 1 , 67 – 77 . The Times ( 1921 ), ‘ The Question of Guarantees ’ ( 10 September ), 9 . Torchin , L. ( 2006 ), ‘ Ravished Armenia: Visual Media, Humanitarian Advocacy, and the Formation of Witnessing Publics ’, American Anthropologist , 108 : 1 , 214 – 20 . Tusan

Journal of Humanitarian Affairs
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The interest in aesthetics in philosophy, literary and cultural studies is growing rapidly. This book contains exemplary essays by key practitioners in these fields which demonstrate the importance of this area of enquiry. New aestheticism remains a troubled term and in current parlance it already comes loaded with the baggage of the 'philistine controversy' which first emerged in an exchange that originally that took place in the New Left Review during the mid-1990s. A serious aesthetic education is necessary for resisting the advance of 'philistinism'. Contemporary aesthetic production may be decentred and belonging to the past, but that is not a reason to underestimate what great works do that nothing else can. Despite well-established feminist work in literary criticism, film theory and art history, feminist aesthetics 'is a relatively young discipline, dating from the early 1990s'. The book focuses on the critical interrogation of the historical status of mimesis in the context of a gendered and racial politics of modernity. Throughout the history of literary and art criticism the focus has fallen on the creation or reception of works and texts. The book also identifies a fragmentary Romantic residue in contemporary aesthetics. The Alexandrian aesthetic underlies the experience of the 'allegorical'. 'Cultural poetics' makes clear the expansion of 'poetics' into a domain that is no longer strictly associated with 'poetry'. The book also presents an account of a Kantian aesthetic criticism, discussing Critique of Pure Reason, Critique of Aesthetic Judgement and Critique of Judgement.

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Design and material culture in Soviet Russia, 1960s–80s
Author: Yulia Karpova

The major part of this book project was funded by the European Union’s Horizon 2020 research and innovation programme under the Marie Sklodowska-Curie grant agreement No. 700913.

This book is about two distinct but related professional cultures in late Soviet Russia that were concerned with material objects: industrial design and decorative art. The Russian avant-garde of the 1920s is broadly recognised to have been Russia’s first truly original contribution to world culture. In contrast, Soviet design of the post-war period is often dismissed as hackwork and plagiarism that resulted in a shabby world of commodities. This book identifies the second historical attempt at creating a powerful alternative to capitalist commodities in the Cold War era. It offers a new perspective on the history of Soviet material culture by focusing on the notion of the ‘comradely object’ as an agent of progressive social relations that state-sponsored Soviet design inherited from the avant-garde. It introduces a shared history of domestic objects, handmade as well as machine-made, mass-produced as well as unique, utilitarian as well as challenging the conventional notion of utility. Situated at the intersection of intellectual history, social history and material culture studies, this book elucidates the complexities and contradictions of Soviet design that echoed international tendencies of the late twentieth century. The book is addressed to design historians, art historians, scholars of material culture, historians of Russia and the USSR, as well as museum and gallery curators, artists and designers, and the broader public interested in modern aesthetics, art and design, and/or the legacy of socialist regimes.

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Going on without in Beckett
John Pilling

is really a non-category rendering all categorisation whatsoever suspect. Beckett knows full well that the dots are not ‘nice’ (in the ‘agreeable’ sense of the word), but a kind of obstruction, or (as in the postwar art criticism on Geer and Bram van Velde) an empêchement.17 Any attempt to transform a looming and shapeless absence into a cut-and-dried presence, a nothing into a something, is foreclosed. In the non-category ‘neither’ one is ‘without’ (in a state of need, or outside any category), but without what? Perhaps the 1969 text we know in English as Lessness

in Beckett and nothing
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Frank O’Hara
David Herd

better; early technical exercises giving way to the surrealist slabs of such poems as ‘Second Avenue’, giving way in turn to the ‘I do this, I do that’ poems, and then to the Odes, and then to the Love Poems. O’Hara worked harder, and went further, and what resulted was not just a style, but a series of radically different practices. In gratitude for their example, O’Hara took every opportunity, in his art criticism, to document the painters’ value. Thus, for example, ‘Despite the high level of ambition and Circulating: Frank O'Hara 139 execution witnessed in almost

in Enthusiast!
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An epilogue
Saurabh Dube

early twentieth-century developments in Germany through to its 1960s manifestations in North America and Europe; and finally, the challenges posed to established procedures of art criticism by these distinct modalities of Dalit and expressionist artistic production. 20 Here, I turn to what such considerations can suggest about Savi as a modernist creator, a modern subject, and a subject of modernity

in Subjects of modernity
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Aesthetics, fragmentation and community
Simon Malpas

art criticism the focus has fallen, as Jean-Luc Nancy argues, on the creation or reception of works and texts. Theories of genius, authorial psychology and the material or historical conditions of production have revalued the creative processes that give rise to art in a range of different ways. Equally, important questions about reception that deal with notions of canonicity, ideology and the construction of subjectivities in texts have been generated by critical movements that seek to investigate the politics of literature, art and culture. Stripped down to a

in The new aestheticism
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James Schuyler
David Herd

6 Relishing: James Schuyler More than any other writer discussed in this book – more, even, than Thoreau – James Schuyler’s enthusiasm is to be found in his language. So while there are ways in which this closing discussion could be front-loaded – through Schuyler’s art criticism or his consistently exuberant correspondence, with a consideration of his more manic episodes, or in terms of the traditions he managed so gracefully to absorb – the place to start is among the words themselves: in his poems, but also in The Diary, a work of exceptional quality in its

in Enthusiast!
Open Access (free)
Jonathan Atkin

, it was important that thinkers and commentators (people who could ‘keep their heads’) conferred with Writers at war 81 one another from time to time, if only to reassure themselves that it was they who were sane and the outer world given over to madness. Hence Shaw’s advice to Clive Bell concerning Bell’s tribunal adjudicating over his declared conscientious objection (recognising that Bell would suffer from Shaw’s public support due to the built-up prejudice against him and that the tribunal would not accept Bell’s art criticism as work of national importance

in A war of individuals
Yulia Karpova

, that what they were witnessing was by no means the return of Stalinist grandeur: The problem of the late 1940s–early 1950s was not the creation of unique objects, but the extension of the principles of uniqueness, figurativeness and, eventually, easel-ness [stankovosti] on to the whole sphere of decorative art, including mass production, which led to superficial application of decoration [prikladnichestvo] of all sorts. The situation in 1970 was very different, Makarov continued, because now not only art criticism, but ‘real life’ demanded that there be differences

in Comradely objects