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Recommended: Ethical dilemmas
Intellectuals are philosophers, are writers, are artists. They are all those people who work with their minds by questioning the events that touch them and that are touched by them. To recall a Plato's famous allegory, we can say that intellectuals are those who are able to look beyond the shadows and never take concepts for granted. However, some questions as what their role is and, more specifically, whether they should be engaged in politics are still unanswerable. Over the years answers and behaviors towards the engaged culture have been various and we can assume that the intellectuals who cannot separate the two live their lives actively for they want to be part of the events that surround them and let awareness win over apathy. On the contrary, we can assume that those who let apathy win are the intellectuals that look at politics and culture as two different and specific concepts and live a solitary life far from society. However, this is not an appropriate judgment because it would be difficult to consider to which extent solitude can be regarded as cowardliness and to which extent action can be regarded as consciousness.
The word intellectual used thus far does not absolve us, common people, from this dilemma and does not allow us to be devoted to the belief that we do not have any influence on the course of history.
As said before, this is an unanswerable question, but to find a few conclusions it would be essential to look back at what Epicurus thought of what was life all about and to look back at what Gramsci meant about be a partisan. Equally important, is to look back at how these two philosophies influenced literature and art, by reading Sartre's thoughts on the engaged writer and by recalling to our minds some i...
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... 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.
Works Cited
Art for Art's Sake: Its Fallacy and Viciousness. The Art World, Vol.2. May 1917. 98-102
Better Out Than In. 2013. Web. 17 Nov. 2013.
Epicurus. Letter to Menoeceus. The Internet Classics Archive, 1994.
Gramsci, Antonio. I hate the indifferent. Città Futura, 1917.
Sartre, Jean-Paul. What is Literature?. New York: Philosophical Library, 1949. Archive.org.
June 2005. Internet Archive. 12 Nov. 2013.
Smith, Roberta. "Mystery Man, Painting the Town. Banksy Makes New York His Gallery for a Month." The New York Times. Web. 30 October 2013: C1. Web. 17 Nov. 2013.
While this article was written extremely well and understandable it is not very effective, An effective article or essay will have a strong style, language and tone.“Hidden Intellectualism” does not have a clear or strong style mentioned in the essay. The author is clear with his point and opinion but he restates himself multiple times. He does not have a clear style of writing where the reader can collect and group their personal thoughts together. The author’s tone is also very bias and harsh towards the subject. The article states “Give me the student anytime who writes sharply argues, sociologically acute analysis of an issue of source over the students who writes a lifeless explication on Hamlet or Socrates Apology”(Graff 792). The author does not look at the other perspective of others and only focuses on his point of view. The articles detail also is not very adequate or strong,”Hidden Intellectualism” states “I offer my own adolescent experience as a case in point” (Graff 788). The author uses his personal experiences with academics to proves to us his point. Further in the article there is not enough detail or examples to help the reader understand his point of view. Lastly, the article is not effective for the reader and needs to have a clearer style, more detail and examples for others to relate
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.
The next piece of data used is from Harvard. Harvard is known as a home of scholars and highly intelligent individuals. Fridman challenges this connotation by citing the “rampant anti-intellectualism” within the college. This data and the backing that follows has a profound effect on the reader. If even the highest point in America’s intellectual scene has been poisoned by this stigma then the implication is that nowhere is safe for those seeking unbridles
In “Hidden Intellectualism,” Gerald Graff pens an impressive argument wrought from personal experience, wisdom and heart. In his essay, Graff argues that street smarts have intellectual potential. A simple gem of wisdom, yet one that remains hidden beneath a sea of academic tradition. However, Graff navigates the reader through this ponderous sea with near perfection.
Jean-Jacques Rousseau left behind a legacy with all of his works that is still noted today. One of the many people Rousseau influenced is Immanuel Kant. It was said that the only piece of art Kant had in his home was a portrait of Rousseau; the only time he missed his morning walks was when he was reading Emilie. This influence shows in one of Kant’s writings where he describes the correct way to see the universe is from the outside, realizing that all people have a common core. This is similar to Rousseau’s idea of general will, where citizens must see what is truly good by looking from the “outside”, and everyone has a common goodness. Rousseau also can be credited with having some influence on communism and socialism. A leader of the French Revolution, Maximilien Robespierre, was very influenced by Rousseau’s work. Maximilien’s
The article Artists Mythologies and Media Genius, Madness and Art History (1980) by Griselda Pollock is a forty page essay where Pollock (1980), argues and explains her views on the crucial question, "how art history works" (Pollock, 1980, p.57). She emphasizes that there should be changes to the practice of art history and uses Van Gogh as a major example in her study. Her thesis is to prove that the meaning behind artworks should not be restricted only to the artist who creates it, but also to realize what kind of economical, financial, social situation the artist may have been in to influence the subject that is used. (Pollock, 1980, pg. 57) She explains her views through this thesis and further develops this idea by engaging in scholarly debates with art historians and researcher, and objecting to how they claim there is a general state of how art is read. She structures her paragraphs in ways that allows her to present different kinds of evidences from a variety sources while using a formal yet persuasive tone of voice to get her point across to the reader.
What are the three principles that Epicurus and Lucretius are arguing for in these passages?
...p from the world they live in, a world of separation and indicate themselves with their own realities. Art is handed over into society’s hands, as in one movement it is suggested - to fixate what is real, live like you create and create like you live; in other – abandon media’s proposed ideas and take the leadership of life in our own hands.
Human beings have been struggling to learn the meaning of life since the first day. Ideologies are born as human’s interpretation of the world and belief system, also an endeavor to seek the truth of human nature. Ideologies emerge throughout the periods of great changes: the Enlightenment, the English “Glorious” Revolution, the American Revolution, etc. They have become the motivations, the standards, and the roots to modern political systems. Their roots are the philosophies developed by famous philosophers throughout the time. However, as each ideology is developed, its own contradiction also grows, takes place in the realm of actions. This, in turn, shows contradiction as human nature.
Barnett, Peter. “The French Revolution in Art”. ArtId, January 7th 2009. Web. 5th May 2013.
“The various disciplines that make up the arts and sciences are the cultural frames in terms of which attitudes are formed and lives conducted. The interpretive study of culture represents an attempt to come to terms with the diversity of the ways human beings construct their lives in the act of leading them.”
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.
Witherbee, A. (2013). Counterpoint: Education, the Masses, and Art. Points Of View: Arts Funding, 6. Retrieved April 19,2014 , from http://search.ebscohost.com/login.aspx?direct=true&db=pwh&AN=12421040&site=pov-live
The “privileged minority” mystifies works of art in order to control people’s view. Berger explains how Hals becomes after he painted the two paintings. According to Berger, “he obtained three loads of peat on public charity, otherwise he would have frozen to death. Those who now sat for him were administrators of such public charity” (158).
Stone, W. F. (1897). Questions on the philosophy of art;. London: Printed by William Clowes and Sons.