dunnettreader + high_culture   12

Philip Connell - British Identities and the Politics of Ancient Poetry in Later 18thC England (2006) | The Historical Journal on JSTOR
The Historical Journal, Vol. 49, No. 1 (Mar., 2006), pp. 161-192 - This article examines the scholarly recovery and popular reception of 'ancient poetry' in later eighteenth-century England, with a view to elucidating the relationship between cultural primitivism and more overtly politicized discourses of national identity. The publication of the poems of Ossian, in the early 1760s, gave a new prominence to the earliest cultural productions of Celtic antiquity, and inspired the attempts of English literary historians, such as Thomas Percy and Thomas Warton, to provide an alternative 'Gothic' genealogy for the English literary imagination. However, both the English reception of Ossian, and the Gothicist scholarship of Percy and Warton, were complicated by the growing strength of English radical patriotism. As popular political discourse assumed an increasingly insular preoccupation with Saxon liberties and ancient constitutional rights, more conservative literary historians found their own attempts to ground English poetic tradition in some form of Gothic inheritance progressively compromised. The persistence of ancient constitutionalism as a divisive element of English political argument thus curtailed the ability of Gothicist literary scholarship to function as an effective vehicle for English cultural patriotism.
article  jstor  18thC  English_lit  literary_history  British_history  British_politics  politics-and-literature  political_culture  political_discourse  Gothic  ancient_constitution  liberty  radicals  conservatism  antiquity  antiquaries  history_of_England  popular_culture  high_culture  downloaded 
july 2016 by dunnettreader
Candide / Selected Writings | Sobdheim Guide
Collection of articles on Bernstein or Candide generally including a Teachout in n Commentary piece, occasioned by 2 biographies, on Bernstein's multi-dimensional career, how hits against him are being revised as musical tastes change, and his messy personal life.
post-WWII  high_culture  cultural_history  musical_theater  music_history  20thC  composers 
april 2016 by dunnettreader
HEATHER ELLIS - 'This starting, feverish heart': Matthew Arnold and the Problem of Manliness | JSTOR: Critical Survey, Vol. 20, No. 3, Victorian Masculinities (2008), pp. 97-115
Fascinating re Victorian obsession with sturdy, active "manliness" uncorrupted by effeminate activities like poetry or scholarship - Arnold greatly influenced by Cardinal Newman's revaluation of Christian manliness with what were feminine stereotypes - love of poetry, contemplation, etc. But Arnold also quasi idolized his father, Thomas Arnold, arch critic of Newman and promoter of all the vigorous manly virtues. Lots of quotes across much of 19thC from the literary journals, where conflicts over cultural ideals were waged re education, literary form and style, appropriate models for exemplary history and so on. Among Arnold's critics James Fitzjames Stephen. Leslie Stephen's brother was a nasty piece of work. -- downloaded pdf to Note
article  jstor  cultural_history  literary_history  English_lit  19thC  British_history  Victorian  masculinity  culture_wars  Newman_JH  Arnold_Matthew  cultural_critique  Tractarians  Oxford  education-higher  education-civic  Stephen_Leslie  literary_journals  poetics  High_Church  high_culture  downloaded 
october 2014 by dunnettreader
Alex Ross - The Naysayers: Walter Benjamin, Theodor Adorno, and the critique of pop culture | The New Yorker - September 15 2014
Benjamin, whose dizzyingly varied career skirted the edges of the Frankfurt collective, receives the grand treatment in “Walter Benjamin: A Critical Life” (Harvard), by Howard Eiland and Michael W. Jennings, who earlier edited Harvard’s four-volume edition of Benjamin’s writings. The Frankfurt School never presented a united front.... One zone in which they clashed was that of mass culture. Benjamin saw the popular arena as a potential site of resistance, from which left-leaning artists like Charlie Chaplin could transmit subversive signals. Adorno and Horkheimer viewed pop culture as an instrument of economic and political control, enforcing conformity behind a permissive screen. The “culture industry,” as they called it, offered the “freedom to choose what is always the same.” A similar split appeared in attitudes toward traditional forms of culture: classical music, painting, literature. Benjamin, in his resonant sentence linking culture and barbarism, saw the treasures of bourgeois Europe as spoils in a victory procession, each work blemished by the suffering of nameless millions. -- Between them, Adorno and Benjamin were pioneers in thinking critically about pop culture—in taking that culture seriously as an object of scrutiny, whether in tones of delight, dismay, or passionate ambivalence. The worst that one Frankfurt School theorist could say of another was that his work was insufficiently dialectical. The word “dialectic,” as elaborated in the philosophy of Hegel, causes endless problems for people who are not German, and even for some who are. In a way, it is both a philosophical concept and a literary style. --It “mediates,” to use a favorite Frankfurt School word. And it gravitates toward doubt, demonstrating the “power of negative thinking,” as Herbert Marcuse once put it. Such twists and turns come naturally in the German language, whose sentences are themselves plotted in swerves, releasing their full meaning only with the final clinching action of the verb.-- Although Marx was central to their thought, they were nearly as skeptical of Communist ideology as they were of the bourgeois mind-set that Communism was intended to supplant. “At the very heart of Critical Theory was an aversion to closed philosophical systems,” Martin Jay writes, in his history “The Dialectical Imagination” (1973).
books  biography  intellectual_history  20thC  entre_deux_guerres  Germany  Frankfurt_School  critical_theory  Benjamin  Adorno  cultural_critique  mass_culture  high_culture  aesthetics  literary_history  lit_crit  art_history  music_history  cinema  dialectic  bourgeoisie  capitalism  culture_industries  EF-add 
september 2014 by dunnettreader
Thomas Hunkeler - Dante à Lyon : des « rime petrose » aux « durs épigrammes » | Italique IX, 2008, p. 9-27
Journal - Italique: poèsie italienne de la Renaissance -- Dante traverse le seizième siècle français de façon spectrale, à l’ombre quasi totale de son plus célèbre confrère et compatriote Pétrarque. Au succès de ce dernier semble répondre négativement ce qu’Arturo Farinelli a appelé, de façon certes un peu schématique, la sfortuna di dante : l’infortune de Dante en France.En effet, l’écart entre ces deux couronnes d’Italie ne cessera de se creuser : tandis que le poète du canzoniere est en passe de donner naissance à une dynamique véritablement européenne, Dante au contraire se trouve relégué, et cela pour de longues années encore, dans la préhistoire poussiéreuse de la seule littérature italienne. Aux yeux des poètes de la Pléiade, Du Bellay et Ronsard en tête, Dante doit être écarté des modèles à imiter ; précisément, pourrait-on dire, parce que son œuvre, et peut-être surtout la divine comédie, paraissent inimitables et inassimilables. Le canzoniere de Pétrarque, en revanche, semble se prêter à merveille à des usages visant en fin de compte l’appropriation de sa substance et de son prestige, et la transformation de ce qui paraît étrange ou étranger en un corpus de référence désormais maîtrisé. Dans la grande entreprise de défense et illustration de la culture française engagée par la Pléiade, Dante ne peut pas avoir de place puisque son œuvre résiste, contrairement à celle de Pétrarque, à toute forme de translatio – même lorsqu’elle est traduite. Mais ce qui est vrai pour la France en général ne l’est pas forcément pour Lyon -- downloaded pdf to Note
article  revues.org  French_lit  16thC  Renaissance  Italian_lit  Dante  Petrarch  imitation  Pléiade  poetry  poetics  cultural_change  cultural_authority  cultural_history  French_language  vernacular  literary_history  literary_language  elite_culture  high_culture  downloaded  EF-add 
september 2014 by dunnettreader
Lord Kames, Elements of Criticism, 2 vols. [1762], ed. Peter Jones - Online Library of Liberty
Henry Home, Lord Kames, Elements of Criticism, Edited and with an Introduction by Peter Jones (Indianapolis: Liberty Fund, 2005). 2 vols. 07/11/2014. <http://oll.libertyfund.org/titles/1860> -- A two volume work on the “science of criticism” by one of the leading figures of the Scottish Enlightenment. Kames argues that criticism of art and literature is a rational science as well as a matter of taste. In volume 1 he explores the nature and causes of the emotions and passions. In volume 2 he explores the principles of rhetoric and literary appreciation, and discusses the formation of our standards of taste.
books  etexts  18thC  intellectual_history  Enlightenment  Scottish_Enlightenment  Kames  aesthetics  lit_crit  literary_history  art_history  art_criticism  human_nature  emotions  passions  psychology  moral_psychology  rhetoric  rhetoric-writing  taste  high_culture  EF-add 
july 2014 by dunnettreader
JENNIFER BATT - From the Field to the Coffeehouse: Changing Representations of Stephen Duck | JSTOR: Criticism, Vol. 47, No. 4 (FALL 2005), pp. 451-470
Vol. 47, No. 4, Special Issue: Learning to Read in the Long Revolution: New Work on Laboring-Class Poets, Aesthetics, and Politics (FALL 2005) -- covers 2 presentations of Duck, both awkward in their own way - 1. Joseph Spence who thought Duck was an extraordinary individual, and supported his transformation to poet patronized by Queen Caroline, but presents him in his laboring milieu in agriculture Wiltshire 2. Grub-Street Journal report of an encounter with Duck in a Richmond coffeehouse after Queen Caroline had granted him a small house in Richmond - the paper was opposition and often mocked the patronage choices of the court - presenting Duck as a (undeserving? ) fish out of water -- see bibliography of political and literary journals, especially opposition, in 1730s including the Craftsman -- downloaded pdf to Note
article  jstor  18thC  1730s  English_lit  poetry  elite_culture  print_culture  patronage  Queen_Caroline  political_press  literary_journals  Craftsman  opposition  Whigs-oligarchy  Whigs-opposition  high_culture  lower_orders  downloaded  EF-add 
may 2014 by dunnettreader
Beauty, Art, and Darwin | Roger Sandall (2009)
Review essay of Roger Scruton, Beauty and Denis Dutton, The Art Instinct - both 2009. Very nicely done, though gets a bit cranky about the 1960s with Kristol and Bell. And he's a stitch on Scruton's fatuous attempt to turn Titian's odalesque into conjugal contentment and Manet's into a money grubbing prostitute.
books  reviews  art_history  aesthetics  evo_psych  sexuality  high_culture  Modernism  EF-add 
february 2014 by dunnettreader
Mary Waters, review: April London, Literary History Writing, 1770–1820 | Eighteenth-Century Studies (2011)
Project MUSE -- downloaded pdf to Note -- London rejects the widely held notion that literary history writing was relatively homogenous in form and that literary historians have concerned themselves primarily with constructing a transcendent literary canon. Rather, she argues that, originating in opposition to such hegemonic efforts as Samuel Johnson’s Lives of the Poets, early instances of literary history take an array of forms, including biography, autobiography, memoir, antiquarianism, bibliography, specimens, anecdotes, and “secret history” (5). This variety accommodated a diverse readership much broader than the traditional reading audiences among the learned classes while allowing literary historians to embed into discussions of Britain’s literary past implicit or even overt stances on the nation’s political culture...... The book’s entire third section, “Isaac D’Israeli and Literary History,” reads D’Israeli’s forty-year literary career as engaging questions of historiographic method and text reception from a vantage point of progressive political disillusionment. Its two chapters show that D’Israeli’s emphasis on opinion and anecdotal material undermines classical historiographic methods and brings questions about evidence and the grounds of knowledge into the construction of literary history. Initially espousing a belief that intellectual change precedes social change, D’Israeli reveals in his late career greater consciousness of limits on the remediating power of literary history and a solemn prognosis for the future reputations of socially marginalized writers like him.
books  reviews  literary_history  cultural_history  18thC  19thC  biography-writing  anecdotes  lit_crit  literary_journals  popular_culture  high_culture  readership  publishing  downloaded  EF-add 
september 2013 by dunnettreader

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