Henry James’s tale “The Jolly Corner” is singularly evocative and worthwhile for the insight it offers into the American artistic personality. With the wisdom of hindsight, James shows the consequences of a fundamental and early divergence in American aesthetic sensibility. “The Jolly Corner” reflects, in its most general sense, awareness. It is essentially a work of art about art itself, and, more particularly, about the teasingly ambivalent relationship between art and life. Just as the notions of life and death are existential polarities, the dichotomy between life and art is a central one in the history of aesthetic reflection. Art may be a representation of life, but it is emphatically not life itself. The variance is one of form. However, art can be seen as an intensified and finer kind of life in that its beauty of form transcends time and thus bestows on life its own immortality. By freezing the living moment into the formal timelessness of art, the artist disrupts the very purposes of life by leaving its processes exasperated. In this sense, art can be seen as a way of death in life. “The Jolly Corner” epitomizes this paradox. The structure of the tale is a perfect vehicle for its theme of the double agency of both art and life. Rarely have form and content been so inseparably fused. Furthermore, just as parables persuade us through the recognizable authenticity of the situations they describe, it would not be a contradiction to interpret James’s tale as a parable, not only of the artist as an international man of letters, but also as a parable of the artist as an unmistakable American. James extends duality further into the two personas of Spencer Brydon. Aside from the question of legitimacy, both the European and Amer... ... middle of paper ... ...e means by which defective vision is corrected. Spencer Brydon sports a “charming monocle,” but the alter ego needs a double eyeglass, a “great convex pince-nez” (101). The European aesthetic perception of life, James implies, may be a more finely trained and acute one, but in the comparatively narrowed scope of its vision, it is as surely damaged as the American perspective which has taken in more of life. The advancement, and also the injury, to each perspective and also the irrevocable divorce between them finally emerges from Alice’s last words to Spencer Brydon: “And he isn’t—no, he isn’t—you! (101). Spencer actualizes a cognizance of visual beauty and of himself, as one complete person, via his dueling identities as both an American and a European. The alter ego may not truly be Spencer Brydon, but he has been raised by Brydon in the house on the jolly corner.
Bearskin: An unwanted ex-soldier desperately makes a grueling deal with the devil receiving all the money he desires, at the price of his human form.
Modris Eksteins presented a tour-de-force interpretation of the political, social and cultural climate of the early twentieth century. His sources were not merely the more traditional sources of the historian: political, military and economic accounts; rather, he drew from the rich, heady brew of art, music, dance, literature and philosophy as well. Eksteins examined ways in which life influenced, imitated, and even became art. Eksteins argues that life and art, as well as death, became so intermeshed as to be indistinguishable from one another.
Art and literature work independently of each other, however, they can be linked together to help a reader or observer understand in new ways and create new possibilities. Within this context, the perspective of Jacob Lawrence and the authors address that it takes work to build the ideal society and family. However, the authors give the stark reality of both society and family demonstrating that our reality is nothing like the ideal.
“The Trusty” is a work of fiction, written by Ron Rash, that tells the story of a man and a woman who try to escape their lives. In this short story, Sinkler is depicted as a scandalous but also as a distressed character. Many painted events lead to the illustration of a peculiar setting in which Sinkler is experiencing some abnormal instances. Sinkler is not dead, and his characterization has lead the audience to believe his flawed mental state is the reason why.
We had long thought of them as a tableau, Miss Emily a slender figure in white in the background, her father a spraddled silhouette in the foreground, his back to her and clutching a horsewhip, the two of them framed by the back-flung front door. So when she got to be thirty and was still single, we were not pleased exactly, but vindicated; even with insanity in the family she wouldn 't have turned down all of her chances if they had really materialized.’ (25) This complete sheltering leaves Emily to play into with in her own deprived reality within her own mind, creating a skewed perception of reality and relationships”(A Plastic Rose,
Human nature is filled with curiosity, imagination, the desire to learn, and constant change. Jeannette Walls, the author of The Glass Castle, has a childhood filled with all of the above, but it is constantly disrupted by greed, drugs, and fear. This memoir takes the reader on a journey through the mind of a maturing girl, who learns to despise the people who she has always loved the most. Always short on cash and food, Jeannette’s dysfunctional family consisting of father, Rex, mother, Rose Mary, brother, Brian, and sisters, Lori and Maureen, is constantly moving from one location to another. Although a humorous tone is used throughout the whole novel, one can observe the difficulty that encompasses the physical challenge
The story “The Veldt” by Ray Bradbury is a science fiction short story that has themes connecting to what is happening now, and what will happen in the future. “The Veldt” was written in 1950, where notable technological advances were made. Things such as the first TV remote control and credit cards (although, known as the “travel and entertainment” card at the time) were made. 8 million televisions were also being used in homes around the US (The People History. Retrieved from http://www.thepeoplehistory.com/1950.html). As technology is advancing, things are getting easier; people are starting and continuing to become more leisurely. The story “The Veldt” is showing how our future might end up as technology advances, and people themselves
John Gardner: Making Life Art as a Moral Process. Baton Rouge: Louisiana State University Press, 1988. 86-110. Rpt. in Twentieth-Century Literary Criticism. Ed.
Over the decades, art has been used as a weapon against the callousness of various social constructs - it has been used to challenge authority, to counter ideologies, to get a message across and to make a difference. In the same way, classical poetry and literature written by minds belonging to a different time, a different place and a different community have somehow found a way to transcend the boundaries set by time and space and have been carried through the ages to somehow seep into contemporary times and shape our society in ways we cannot fathom.
It appears to me that pictures have been over-valued; held up by a blind admiration as ideal things, and almost as standards by which nature is to be judged rather than the reverse; and this false estimate has been sanctioned by the extravagant epithets that have been applied to painters, and "the divine," "the inspired," and so forth. Yet in reality, what are the most sublime productions of the pencil but selections of some of the forms of nature, and copies of a few of her evanescent effects, and this is the result, not of inspiration, but of long and patient study, under the instruction of much good sense…
perceive the novel in the rational of an eleven-year-old girl. One short, simple sentence is followed by another , relating each in an easy flow of thoughts. Gibbons allows this stream of thoughts to again emphasize the childish perception of life’s greatest tragedies. For example, Gibbons uses the simple diction and stream of consciousness as Ellen searches herself for the true person she is. Gibbons uses this to show the reader how Ellen is an average girl who enjoys all of the things normal children relish and to contrast the naive lucidity of the sentences to the depth of the conceptions which Ellen has such a simplistic way of explaining.
The aesthetic movement was an artistic and literary movement that was centered on the saying “art for art’s sake” and arguing that art was not to be utilitarian or practical. The movement wanted art to exist for the sake of its beauty alone, and that it did not need to serve any political or didactic purpose. The pieces of art created by the artists in the movement did not tell stories or sermons; their art was visual, delightful, hinting at sensual desires; their poetry was pure. The proponents of the movement say that the experience of art is the most intense experience available in life and that nothing should be allowed to restrict it. The intensity of the aesthetic experience is the dominant goal in human life. If there are morally unwanted things of art, they do not really matter in contrast to this all-important experience which art can give.
At first glance, Oscar Wilde’s The Importance of Being Earnest and Lawrence Weschler’s Boggs: A Comedy of Values treat the issue of art’s function in converse ways. Wilde, the quintessential Aesthete, asserts that art should exist for the sake of beauty alone. Boggs, on the other hand, contends that art should serve a practical function: it should wake individuals from their sleepwalking by highlighting essential, overlooked aspects of society. Fascinatingly, neither Wilde nor Boggs firmly adheres to his ostensible artistic purpose. Wilde’s Importance of Being Earnest, although it showcases certain Aesthetic elements, incisively critiques Victorian society. The play is not a functionless work of pure beauty. Conversely, Boggs’ project clearly serves an instructional function while it simultaneously revels in its own beauty. Moreover, Boggs himself is often uncertain of what his art represents and does. When placed side-by-side, The Importance of Being Earnest and Boggs queer the division between Aestheticism and Functionalism, suggesting that both schools are unattainable ideals. In doing so, the two texts elucidate a holistic conception of art that fuses aesthetic value to social critique. Aesthetic beauty coalesces with function.
Expressionism.” The Natural Paradise: Painting in America 1800-1959. Ed. Kynaston McShine. New York: The Museum
James Joyce's A Portrait of the Artist as a Young Man presents an account of the formative years of aspiring author Stephen Dedalus. "The very title of the novel suggests that Joyce's focus throughout will be those aspects of the young man's life that are key to his artistic development" (Drew 276). Each event in Stephen's life -- from the opening story of the moocow to his experiences with religion and the university -- contributes to his growth as an artist. Central to the experiences of Stephen's life are, of course, the people with whom he interacts, and of primary importance among these people are women, who, as his story progresses, prove to be a driving force behind Stephen's art.