There are many recognisable theories of art in Marxism, but as Marx wrote very little specifically on art, these theories are the extension of his thoughts on art. Althusser, as mentioned earlier, acknowledges the debt of Marx’ ideas in his views on art. He directs towards the Marx’ view of art if “art is to be understood in its true sense”. To him, a proper understanding can come only through the understanding fundamental Marxist conceptions (Althusser 1971,227). From the Marxist perspectives “the purpose of the intellectual activity is not merely to understand the world, but to change it”(123). Althusser expresses this Marxist conception of art as a blend of scientific and ideological elements when he says, “the peculiarity of art is to …show more content…
[20]. In the "Letter on Art," Althusser draws a distinction between art and science on the basis of their respective relation to ideology: "The real difference between art and science lies in the specific form in which they give us the same object in quite different ways: art in the form of 'seeing' and 'perceiving' or 'feeling', science in the form of knowledge (in the strict sense, by concepts" (223). Althusser, as stated in the previous chapters, identifies the significance of art in its attributes of ideology, although what he states here is, seems quite abstruse to many, but he is clear in his perception of art as the carrier of …show more content…
In other words, their work offers no knowledge. It can make us see, perceive and feel, but it cannot let us see knowledge a true knowledge. What he shares with us is the “lived experience' (in the sense defined earlier) of the 'cult of personality' and its effects” (224). Althusser further finds, “this knowledge is the conceptual knowledge of the complex mechanisms which eventually produce the 'lived experience' that Solzhenitsyn's novel discusses” (224). It is also important here to understand what Althusser means by ‘lived experience’. He uses the term to indicate the staleness of experience. In another word, the writer shares what he wants with the reader. What he shares are the premeditated thoughts which Althusser terms as “lived experience”, the stored or
The color way choice, chaotic lines and idea at a glance is meant to “push the experience of the artist” onto the audience and when it actually succeeds in doing so, Tolstoy defines that as “art” (108). He makes the argument that the real purpose of art is beyond creating “pleasure”(43). Connecting his views back to his religion, he believes that “the purpose of true and good art” is meant to “rid ourselves of the pernicious results of harmful art” (174). He lays out his main definition of art, saying the activity of at is “to evoke in oneself a feeling one has once experienced, and having evoked it in oneself, then, by means of movements, lines, colors, sounds, or forms expressed in ivords, so to transmit that feeling that others may experience the same feeling”, all don’t through “external signs” (50). The entire purpose of this text is to try and figure out the purpose and functionality of art. What does art do? What is art made for and how is this proven? With such an abstract idea, Tolstoy manages to give a concrete idea of what art is and from that, a solid distinguishing format can be formed to discern what “good” art really is, instead of basing it solely on execution of realism. He does this in a format that can come off as if he listing requirements for a composition to be considered art. As long as all the requirements or qualifications are met,
... the echoes of intellectuals as Epicurus, Gramsci, Sartre and Picasso, though if we look at each of us more closely our actions do have a weight and consequences in the course of history. It is for this reason that we, as citizens and “not-organic” intellectuals, must try to find our meaning.
Art can mean many different things to many different people and was one of the earliest ways in which man has expressed him or herself to others, whether it was through cave drawings or hieroglyphics. It does not begin or end with just drawing or painting, items typically considered art, or the many other recognized facets of art including architecture, drama, literature, sculpting, and music. My research is based on Vincent van Gogh art, and two art paintings that I choose to study is The Starry Night, 1889, and the second art is The Sower 1888. Vincent van Gogh’s is known for Impressionism, that occurs to us in these times, much more to affirm close links with tradition, and to represent
...critics eyes as it looks at a piece of work and where the eyes follow. Also that the space and time for the LC system, the function is only a basic framework and the division of visual arts are a medium in fundamental antiquarian. Robert’s defense is Arnaldo Momigliano perspective upon early-modern antiquarian to modern historian which is most historian would write in chorological order while antiquaries write in a systematic way. The other perspective is Historian find facts to discover and explanation in multiple ways and an antiquarian examines a research relations connected to the exact subject (The Map of Art History, 32). Overall Robert’s essay was really persuasive to me and it provide enough strong evidence where it convince me to agree with the idea of having art history and disciplines also societies to represents itself through order and classification.
Alexander Solzhenitsyn carefully and tediously depicted what life is like in a prison. Ivans monotonous life prompts the reader initially to think that Ivans day is a living death of tedious details. Yet, in truth, Ivan i...
Through this sympathetic faculty, a writer is able to give flesh, authenticity and a genuine perspective to the imagined. It is only in this manner that the goal of creating living beings may be realized. Anything short of this becomes an exercise in image and in Kundera’s words, produces an immoral novel (3). The antithesis of liv... ...
While literary critics do attempt to elaborate or develop ideas articulated by Karl Marx, it is important and necessary to make a distinction between Marx's specific socio-economic and political agenda and the body of literary theory which emerged years later. Marxist literary criticism proceeds from the fundamental philosophical assumption that "consciousness can never be anything else than conscious existence...Life is not determined by consciousness, but consciousness by life" (Marx 568-9). Marxist critics use this challenge to the notion of an innate, prefigured, individual human nature to reexamine the nature of creative or literary authority.
Traditional interpretation of literature from a psychoanalytic standpoint has relied extensively upon the work of Sigmund Freud. In the case of Dostoevsky, however, this method is both anachronistic and inadequate. Dostoevsky's great works, considered individually or holistically, though fictional, established him as one of the forefathers of psychoanalysis, and a predecessor to Freud.3 Indeed Freud himself acknowledged that "the poets" discovered the unconscious before he did,4 stating further in a letter to Stefan Zweig, "Dostoevsky 'cannot be understood without psychoanalysis- i.e., he isn't in need of it because he illustrates it himself in every character and every sentence.'"5 There is, however, a complementary relationship between Dostoevsky and Freud brought about through the striking clinical accuracy of psychological traits exhibited both individually in Dostoevsky's characters, as well as in reflecting the author's own mental processes. Thus, it is necessary first to examine Freud as a point of departure before looking at modern alternatives of psychoanalytical method.
In Confronting Images, Didi-Huberman considers disadvantages he sees in the academic approach of art history, and offers an alternative method for engaging art. His approach concentrates on that which is ‘visual’ long before coming to conclusive knowledge. Drawing support from the field of psycho analytics (Lacan, Freud, and Kant and Panofsky), Didi-Huberman argues that viewers connect with art through what he might describe as an instance of receptivity, as opposed to a linear, step-by-step analytical process. He underscores the perceptive mode of engaging the imagery of a painting or other work of art, which he argues comes before any rational ‘knowing’, thinking, or discerning. In other words, Didi-Huberman believes one’s mind ‘sees’ well before realizing and processing the object being looked at, let alone before understanding it. Well before the observer can gain any useful insights by scrutinizing and decoding what she sees, she is absorbed by the work of art in an irrational and unpredictable way. What Didi-Huberman is s...
Among the many theories of art that have emerged over time, the theory I will defend in this paper is the Neo-Wittgensteinian theory of Art. I will defend this view against the following (two) objections: a) The “open concept” idea of art is too expansive, and b) the “family resemblance” theory of artworks is also too expansive.
Marxist criticism concerns itself with class differences and the modes of production that produce oppression. Class conflict will be reflected in different forms of art because the marxist school believes that everything in a society is based on the current modes of production. A change to the mode of production will bring change to politics, law, philosophy, religion, and art. Max Horkheimer, Theodor W. Adorno and Walter Benjamin are three of the most notable critics of Marxism. They write about the production of cultural subject in capitalist societies, agreeing that reproduction of art has drastically changed due to mechanization. Horkheimer and Adorno’s The Culture Industry: Enlightenment as Mass Deception and Benjamin’s The Work of Art in the Age of Mechanical Reproduction are two texts that to depict how technology, the modes of production, have allowed the mechanical reproduction of works of art to change our culture society. Horkheimer and Adorno evolve from the works of Benjamin to to create the idea of the business ideology being formed from this mass production and consumption.
Stone, W. F. (1897). Questions on the philosophy of art;. London: Printed by William Clowes and Sons.
For over two thousand years, various philosophers have questioned the influence of art in our society. They have used abstract reasoning, human emotions, and logic to go beyond this world in the search for answers about arts' existence. For philosophers, art was not viewed for its own beauty, but rather for the question of how art and artists can help make our society more stable for the next generation. Plato, a Greek philosopher who lived during 420-348 B.C. in Athens, and Aristotle, Plato’s student who argued against his beliefs, have no exceptions to the steps they had to take in order to understand the purpose of art and artists. Though these two philosophers made marvelous discoveries about the existence of art, artists, and aesthetic experience, Plato has made his works more controversial than Aristotle.
Both ways of knowing can be associated with teleological or deontological arguments; the ethics are based on either an objectives-focused or obligations-focused mindset. In this essay, I will be discussing the limitations set on both the arts and the natural sciences as areas of knowledge. To what extent do ethical implications hinder the way art can be produced or the methods involved in expanding society’s knowledge of science? To begin with, what is the definition of art? Art can be anything that expresses something, embodies artistic or aesthetic intention, or demonstrates creative choice.
He is known worldwide for his numerous theories and ideas in regards to society, economics and politics. His outlook on these subjects is known as Marxism. Marxism focuses on the imbalance and struggle between classes and society. Marx’s theories stem from the concept of materialism based society and the implications thereof. These concepts leads to the Marxist theory of the failure of capitalism. Marx had a number of specific reasons for the downfall of capitalism yet capitalism remains very real and successful. Marxism covers a wide range of topics and theories, but an in depth analysis of his criticism to capitalism and how it is not relevant to modern day will be explored.