In “The Wall and the Books”, the essay which belongs to “Other Inquisitions”, Borges mentioned an interesting historical clue. The First Old China Emperor, Shih Huang Ti, burnt all antique books for abolishing the History and the past and, by other hand, he built the long China Wall for the barbarians were being taken off, when they were threatening from North. But this great first essay of this great book ende with an emotive, lightful phrase, “this inminent revealment never happen, perhaps is the aesthetical fact”.Then let´s see the looking fancies that Borges viewed at this smart essay. If we didn´t pay enough attention to this last phrame, perhaps we couldn´t mean the real meaning. If we think of the aesthetical fact (that) never happen we will probably find that that never happen is because it doesn´t have any contain as proper Borges said, and then this fact with no contains would hide something. It means the aesthetical, the aesthetic borned from weird and too familiar causes. The german word “heimlich” referrences to this both significances. That never happen is due to only rests for waiting. Waiting for a symbol or something that would rescue us from the ignorance. According to Schopenhauer the aesthetic is the saving element for reach out from the circle of the Will, for Borges, instead, the aesthetic is almost that never happen, or something we lost for ever and ever, or something that always announcing something that never will occur. For Borges the aesthetic is the dark shades system of the proper shapes, something like a crowded furious ghosts troop, and like this, the shapes nothing have to do, just to behold in the plenty eternal silent, where they nothing can´t change at all. Then, that never happen finds some referrence. That will never come back or, we wouldn´t recognize it or we never met each other. The aesthetical fact is an operation which serves for fading the sex and death away the main myths of Humanity. Otherwise the aesthetical fact serves to own the place and time and all things belongs to the uncertain as Todorov said, where is too easy to fork. However this wide world keeps on the same. According to Borges the aesthetical fact is used to hide, to sham the unknown bedimmed rules that conform the reality. But Borges called aesthetical in some sense, in an inversed mode. In this case the aesthetic isn´t mere, gentle and delicate shapes.
Although both Fragonard’s and David’s work convey different ideals through their style of painting, they are still able to use light in a very similar form. The viewer’s attention is directed on a specific point in the painting through the use of light. Both artists cast a spotlight on the figure or action in the painting that they want the viewer to especially notice. It is what each artist decides to focus on that makes his work is different from the other. A young woman on a swing who enjoys the pleasures of life is clearly where Fragonard wants to direct the viewer’s attention. However, David focuses attention on a male figure, specifically Socrates. How does the use of light help the viewer understand the ideals of each form of art? While Fragonard chooses to focus on a female and David chooses to focus on a male, the viewer now understands how Rococo can be a feminine form of art and Neo-Classicism the opposite. In addition, other stylistic elements like color and form depict how each art form differs from the other. By using all this visual evidence, we will later see how the concept of deciding...
Kate Chopin’s “The Story of the Hour” and Charlotte Perkins Gillman’s “The Yellow Wallpaper” are viewed from a woman’s perspective in the nineteenth century. They show the issues on how they are confined to the house. That they are to be stay at home wives and let the husband earn the household income. These stories are both written by American women and how their marriage was brought about. Their husbands were very controlling and treated them more like children instead of their wives. In the nineteenth century their behavior was considered normal at the time. In “The Story of the Hour” and “The Yellow Wallpaper,” both women explore their issues on wanting to be free from the control of their husband’s.
The life of a lady in the 19th century is painted in a romantic light. Pictured in her parlor, the lady sips tea from delicate china while writing letters with a white feathered quill. Her maid stands silently off in the background, waiting for orders to serve her mistress. What is not typically pictured, is the sadness or boredom echoed on the lady’s face. Perhaps the letter is to a dear friend, not seen in ages, pleading with the friend to visit, in hopes that the friend will fill the void in the lady’s life made from years spent in a loveless marriage. Possibly the lady isn’t writing a
Furthermore, resonation can be found in Preziosi exploration of the establishment of female identification through aesthetics. Within Preziosi chapter on aesthetics he addresses main issues including “Kant’s Critique of Judgment, judgment about beauty, and perception of perfection.” Aesthetics was addressed in the perception of how the female body is formed and encased while a male looks at the female body. In this case the male would be Degas gazing at his ballerina while either sketching his model or doing a sculpture of the ballerina. Preziosi states that “there should be two kinds of theory or sciences of knowledge corresponding to each logic and aesthetics.” This concept of two kinds of theory made more apparent as every sculptor Degas made is presented as a different theory, yet the two theories are different, Degas’s artwork deals with both logic and aesthetics. Logic can be applied to Degas’s____, works of art. Where as aesthetics deals with____. Later on in Preziosi chapter on aesthetics, he brings up the issue of “the idea that sensory knowledge could have its own perfection-and, further, that an aesthetic judgment about beauty or beautiful objects.” When viewing Degas’s sculptor the
"The Yellow Wallpaper" is a short story that follows part of the life of a woman in the 1800 's in a diary-like format. The story follows a woman who has moved into a house while waiting for the previous one to be remodeled. She has just had a baby that she is not allowed to see, and her husband continues to keep her locked in a room unless she has an escort. In this era women were seen as delicate objects that were prone to intense emotion and in need of constant control by their husbands the escorts and ability to lock her away were, at that time, deemed appropriate ways to deal with his wife’s depression after birth. Strangely the wife was not forced to run the house, but the husband had his sister come and do this as well as take care
In general, Martin is not supportive of defining a governing rule of characteristics as only Baroque. However, in order for him to establish a basis to discuss the Baroque, certain major characteristics must be reluctantly defined. Martin organizes the book into different "essential characteristics" which describe art during the Baroque in order to help the reader. These characteristics include Naturalism, The Passions of the Soul, The Transcendental View of Reality and the Allegorical Tradition, Space, Time, Light, and Attitudes to Antiquity. Each chapter subsequently describes in further detail these characteristics.
Roger Angell 's "Over the Wall" is a memoir that he wrote about his wife that she passed away, leaving him alone in this world. The memoir is filled with his experience with his wife and his feelings towards his wife. When he starts talking about his wife, he realized that people whom he knew no longer lives in this world. Roger Angell made the readers imagine he is in front of them and talking about his personal experience. He wanted us to know that people that we love is gone in the blink of an eye. Literary nonfiction form of his memoir shows the readers that he missed his wife, but grief won 't help anything. “Over the wall” is an emotional story, as it reaches out to us with few deep messages of loneliness, feelings, and memories.
of aesthetic towards life like other artwork does. It accomplished this by tearing the conventional
Can a story contain more than one antagonist? In “The Yellow Wallpaper” by Charlotte Perkins Gilman there is an overwhelming amount of conflict the unnamed narrator must endure. The protagonist of “The Yellow Wallpaper” is the narrator who is suffering from depression and is taken to a house for the summer to rest. In “The Yellow Wallpaper”, the wallpaper is the antagonist because it causes the narrator to have a breakdown at the end of the short story; John, the narrator’s husband, cannot be the antagonist because he is doing what he believes is best for her, and the narrator cannot be the antagonist because she wants to improve her mental state.
“The Yellow Wallpaper” tells the story of a woman who is trapped in a room covered in yellow wallpaper. The story is one that is perplexing in that the narrator is arguably both the protagonist as well as the antagonist. In the story, the woman, who is the main character, struggles with herself indirectly which results in her descent into madness. The main conflicts transpires between the narrator and her husband John who uses his power as a highly recognize male physician to control his wife by placing limitations on her, forcing her to behave as a sick woman. Hence he forced himself as the superior in their marriage and relationship being the sole decision make. Therefore it can be said what occurred externally resulted in the central conflict of” “The Yellow Wallpaper being internal. The narrator uses the wallpaper as a symbol of authenticy. Hence she internalizes her frustrations rather then openly discussing them.
“The Yellow Wall Paper” is the story about a journey of a woman who is suffering from a nervous breakdown, descending into madness through her “rest cure” treatment. Basically, the woman is not allowed to read, write or to see her new-born baby. Charlotte Perkins Gilman captures the essence of this journey into madness by using the first person narration. The story plot’s is by taking the reader through the horrors of one woman’s neurosis to make strong statements about the oppression faced by women in their marriage roles. The narrator’s mental condition is characterized by her meeting with the wallpaper in her room. In addition to the story’s plot, the use of symbolism and irony throughout her story also show how males dominate during her time.
Philosophies of Art and Beauty Edited by Hofstadter and Kuhns, (Chicago: University of Chicago press, 1976) chapters one and two for an overview of the aesthetics of Plato and Aristotle.
A story that caught my attention in particular was that of “The Dead Man.” On the surface a simpler story; violent, fast-paced, and in a typical Borges fashion, a surprise ending where we realize the connection between the title and the protagonist’s fate is revealed. However, upon a second or third reading, it becomes evident that Borge’s famed puzzles and subtle commentary are indeed at work here.
One of the greatest philosophers to contribute the philosophy is Plato, who was a student of Socrates. Plato introduced the Theory of Forms, which states that what is real is not the objects we see, but rather the idea of Forms (Moore and Bruder, n.d., 35). Plato’s theory states that the objects we see in life, such as a chair, are not real and are only an object noticeable because it participates in the idea of a Form. The idea of Forms is what defines and makes an object such as a chair real. Further, in the book Philosophy The Power of Ideas by Brooke Noel Moore and Kenneth Bruder, the authors use an example of two beautiful objects to help explain Plato’s Theory of Forms. In the example, a beautiful statue and a beautiful house are used and it is expressed that they both have something in common, beauty. Moore and Bruder state that beauty is a type of form a...
This is the state of contemplating a subject with no other purpose than appreciating it. For most authors, thus, the aesthetic attitude is purposeless: we have no reason to engage in it other than finding aesthetic enjoyment. Aesthetically, we appreciate beauty by using our senses by appreciating fine art in a museum say the Mona Lisa, taking a walking in garden filled with our favorite flowers and trees, devouring our favorite meal; or even finding an oasis in the dessert. Nevertheless, our imagination can also aid with our aesthetic attitude. Finding ourselves happy when we think of our family and friends is a beautiful thing, love is beauty, and beauty is love.