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What is Beauty?

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Meghan Ballard

on 18 April 2010

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Transcript of What is Beauty?

What is Beauty? Ancients Renaissance Romantic Aestheticism Modernism by Joseph Devenport, Jessica Waite, Meghan Ballard, Katie Spencer, and Tiffany Mull Discobolos by Myron
around 480-440 BC Lacoon and his sons by Agesander, Athendoros, and Polydorus
around 42-20 BC “First follow Nature, and your Judgment frame
By her just Standard, which is still the same:
Unerring Nature, still divinely bright, [70]
One clear, unchang'd and Universal Light,
Life, Force, and Beauty, must to all impart,
At once the Source, and End, and Test of Art.” (161)

Alexander Pope (1688-1744) Ideal Beauty in the Renaissance “The Elizabethan view of pure beauty was a woman with light hair and a snow white complexion complimented with red cheeks and red lips. A pale complexion could only be achieved by a woman of the upper class. Lower class women were expected to work outside and therefore acquired a suntan!” Mariana by Sir John Everett Millais The Awakening Conscience by William Holman Hunt The new sense of morality and art for art's sake.
Impressionistic and sensory. The Lady of Shallot by John William Waterhouse Artwork in the Renaissance Virginia Woolf Acknowledged the tradition of the past, and proposed new possibilities
Spiritualism over materialism
Admired James Joyce
Admired Russian Writers

“’The proper stuff of fiction’ does not exist; everything is the proper stuff of fiction, every feeling, every thought; every quality of brain and spirit is drawn upon; no perception comes amiss.”
T.S. Eliot Wanted to make sure we did not deny our poetic heritage
Tradition is not a “timid adherence to its [tradition’s] successes”
Involves a historical sense
Impersonal theory of art
The mature poet is “a more finely perfected medium”
Formalism Form is everything
Content (what it says) and form (how it says it) are inseparable
Irony and ambiguity play important roles
“Negative capability”
Literary terms are useful to understanding literature (obviously)
Focus on the text: do not commit affective or intentional fallacies
Chicago School (Neo-Aristotelian) “Form is what gives shape, emotional power, and beauty to the materials of man’s experience out of which the writer has composed his work” R.S. Crane
Make sure you look at the work as a whole
The Many Faces of Picasso Self-Portrait 1896 Self-Portrait 1906 Self-Portrait 1972 Multeity in Unity Capture the Imagination
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