Fitzgerald-Wilson-Hemingway: Language and Experience
In this study, Ronald Berman examines the work of the critic/novelist Edmund Wilson and the art of F. Scott Fitzgerald and Ernest Hemingway as they wrestled with the problems of language, experience, perception and reality in the "age of jazz." By focusing specifically on aesthetics - the ways these writers translated everyday reality into language - Berman challenges and redefines many routinely accepted ideas concerning the legacy of these authors.
The Aesthetics of the OppressedIn The Aesthetics of the Oppressed (2006), his sixth book, Augusto Boal provides us with the set of principles underlying his Theatre of the Oppressed. Boal’s deft fingers explore a vast array of subjects, plucking ideas like candies from a bowl and then letting us suck on the sugared morsels until we understand his background, beliefs, and the points he tries to get across.
Following the spirit of Walter Benjamin’s Arcades Project, this volume acts as a kaleidoscope of change in the 21st century, tracing its different reflections in the international contemporary while seeking to understand both individual and collective reactions and adjustments to change through a series of questions: Is there something significantly different about the way in which ‘change’ occurs in the 21st century?; Is change mainly reflected in the material and visual environment surrounding us or someplace else?; What are the sensibilities through which we perceive change, and more importantly, have those sensibilities been increased or dulled by modern technology?
Didacticism, romanticism, and classicism are the possible schemata for the knotting of art and philosophy, the third term in this knot being the education of subjects, youth in particular. What characterizes the century that has just come to a close is that, while it underwent the saturation of these three schemata, it failed to introduce a new one. Today, this predicament tends to produce a kind of unknotting of terms, a desperate dis-relation between art and philosophy, together with the pure and simple collapse of what circulated between them: the theme of education.
Over the last decade, aesthetic and art theory has played an increasingly significant role in the way work and its organization has come to be understood. Bringing together the work of an international spectrum of academics, this collection contributes, in an overall more critical vein, to such emerging debates. Combining both empirical and theoretical material, each chapter re-evaluates the emerging relationship between art, aesthetics, and work, exploring its potential as both a medium of critical analysis, and as a site of conflict and resistance.
