Essay on Philosophy Of Aesthetics, Nietzsche, Avant-Garde Art

â€Å"Pure philosophical writing is the anti-image.† Agamben In exploration of frameworks of both covert and overt manifestations of indeterminacy, these concerns are revealed, as representations, in philosophies of aesthetic iconoclasm and art, artifacts as symbolic, and modern issues related to Being and subjectivity, both of which are analogous to Nietzsche’s model of the relationship.   For example, tragedy, comprised of Dionysian and Apollonian forces which combine in a chiasmic unity of oppositions, according to Professor Fred Ulfers, are characterized by Nietzsche as beautiful, singular and factual on the one hand (Apollonian), and sublime, multiple, and fictional on the other (Dionysian).   What is reflected as desire and unformed wilderness arises as art and various forms of representation. This representation outwardly of what is referred to as a transformation into sign inwardly caused the interior to become visible.   Hegel’s meaning in this instance is transitive, but confronts a ‘signifying act which is double and contradictory;’ the individual is at once ‘the inner individuality and not its expression,’ and ‘something external, a reality free from the inner,’ thus, ‘something quite different from the inner.’† This subject matter here finds its vast concept focused in its grounding in two synthetic parallel models.   The first explores the manifestations of the â€Å"I† as a representative relationship of art and fact, recalling Aristotle’s use of rhythmos (movement) and schema (fixity), in which he taught the meaning of the subject.   The second is modeled on an abstraction of the American Frontier in which, as a metaphorical in-between marks a line of division between history and settlement on one side, and wilderness and future on the other.   This concept is further discussed in relationship to Plato’s methexes, discussed by artist/philosopher Sam Weber as the participle, which partitions, and in doing so, creates a new relationship.   Together these models encompass the autonomous meaning shelter in and disclosed by discussion of chronology and topology. Foucault describes a heterotopia as creating either â€Å"a space of illusion that exposes every real space† or â€Å"a space that is other† relating to a frontier.   The imbedded â€Å"I† between art and fact is analogous to that frontier.   Analyses of art/I/fact where I continually gives up its presence to certain otherness of the future and the art factual manifestations of the past is in likeness to the former; thus, the idea of an autonomous I as a sign is fruitless. In art, autonomy in terms of meaning has been an ideal since the period of the Enlightenment, argued here that this ideal reaches its supreme articulation in the avant-garde of the 20th century, and partially as the result of psychology and the widespread acceptance of the subconscious, popularly understood as a complete mind underneath the conscious mind of an individual.   As the avant-garde syntactically represents the advance front of culture, and a break from classicism, the subsequent development of the museum of modern art, which preserves avant-garde genealogy, results in a history of autonomy, the methods of its disclosure, and the development in linking autonomy to idealogy.   In this way, the history of autonomy leads back to the history of display.   One can then, I argue, trace the traditional sequence of religious iconoclasm whereby the text of an event is understood as the productive source triggering a physical aesthetic presence; hence, causing the original ref erent to be destroyed. Donald Preziosi reminds us that materialization reveals the â€Å"fabricatedness of what is claimed as non-fabricated,† this being the basis of iconoclasm.   The material representation of the singular concept becomes subject to endless variations, which ultimately undermine the idea.   It is in relation to this that I discuss the â€Å"will to wilderness† as one tending to be an apparent obfuscation as a tool for making known a deeper meaning which finds its aesthetic salvation and autonomy in the willful disunity of appearance and expectation.   In this way, the I as a hypostatized Apollonian referent of Being gives up its certainty to the Dionysian multiplicity of aesthetic fabrication.   As with Derrida’s difference, complete meaning is continually avoided, leading us to an infinite experience of present time. A unique feature of the unknown is a stable identity, whereas Being and experience are referential.   This is why the definite article is often appended to the specificity of that which cannot be known.   The will to wilderness is thus a will to grant the present this stability only its very undoing and annihilation can accomplish.   Here I may argue that the I, the frontier, the present, and the obscure work of art each give up their certainty to the unknown before them.   This is a partial insight into Nietzsche’s aphorism, â€Å"Being begins in every now.† 1 Nietzsche’s aesthetics application for the formed and the unformed as a parallel to frontier and wilderness is equally illuminated by Plato’s methexes, as described Weber.   The idea of the later being the â€Å"with† in parting with found its relationship to the discussion of difference by Heidegger in Identity and Difference.   His â€Å"clearing† provided another parallel to the frontier, when considered as the ground which allows a relationship between past and future; I found Hegel’s â€Å"plasticity† particularly connective.   This then overlapped with Heidegger’s simile of the â€Å"clearing† in which dasein presents itself.   In trying to understand the relationship of the embedded subject as a material phenomenon, I found the persistent, inexorable challenge with Wolfgang Schumacher’s â€Å"homo generator.†Ã‚   The more exploration, the more I found myself uncovering territory that already existed by former thinkers.   The more I understood what they had to convey, the more it was revealed to me that the answers to the questions plaguing me throughout my scholastic career lie within these ideas. Pivotal to my philosophical queries regarding self discovery during this process led to this very simple question:   If Dionysian and Apollonian forces are bound in chiasmic unity, a figure eight of sorts according to Ulfers, then where is the very limit where one force can become the other? The answer that they are bound in tragic unity leads to the belief that one can be found in the other. As example, accept for a moment that in the process of mappingwhether a landscape, a canvas, or a universea prepositional relationship between bodies is produced.   As though a process of mitosis were taking place, the singular divides into the multiple with a frontier in between.   Space is encroaching into frontier, moving its horizon forward and outwardly expanding.   This would provide a new shape for wilderness which, in turn, would provide a (new) understanding of the known world.   But wilderness, by its very character, cannot be known, thus, cannot be mapped.   If we allow the known of its relational identity by allowing uncertainty, its definite article, then we might immediately begin to understand the process by which each one of us univocally travels from moment to moment by giving up the certainty of the present to the future.   It is for this reason that what is expected in the unknown is the eternal return of the same. Real examples include the search for the original Garden of Eden and the Fountain of Youth in wilderness, the myths of Ancient Egypt of a heaven beyond life in which individuals remain eternally young, and the discovery of biographical meaning beyond the indeterminacy of the artistic surface. What originated as two separate investigationsone into historical understandings of wilderness and how these affected pictorial and textual depictions of place on the American Frontier, and the other into the meaning of artistic creations designed to capsize meaningended up as this singular exploration of the brink of spatial and temporal horizons where the systematic intersections before/after and cause/effect are conflated. To bring these abstract concepts together has been an enormously daunting task in the face of the innumerable parallels uncovered in the philosophical traditions utilized by me as author of this work.   What was accomplished is my understanding that difference is not otherness, but eternally returning to the same, the origin.   In a theoretical sense, this is the true meaning of tragic unity, according to Nietzsche.   While this work originally sought to discover the limitations of such a unity through an investigation of real-world examples, what was uncovered is something more insidious†¦within the frameworks that shelter and reveal autonomous meaning, I was continually brought back to the question of why we might hold a concept of sovereignty in the first place, and, what might be lost in this rejection of the amorphous multiple? The answer arrived through a study of the compelling urge to reveal the autonomy of meaning in the anti-aesthetics of the iconoclastic surface.   The will to wilderness is, ultimately, a death drive, to uncover even in multiplicity a meaning that brings itself to its own grave. ___________________________________ 1 Quoted in Tom Darby, Bela Egyed, and Ben Jones, Nietzsche and the rhetoric of nihilism: essays on interpretations, language and politics (Ottawa: Carleton UP, 1989) pg. 43.

The Great Gatsby By F. Scott Fitzgerald Essay - 978 Words

Film Character Compare Contrast Introduction Throughout the American History, there has been impacting literature that has brought a motion to Americans. Some of the best literatures were written during the Modernist movement. One of those great writings includes â€Å"The Great Gatsby†, a story written by Francis Scott Fitzgerald. In this fictional story, Jay Gatsby who is one of the main characters, proves to have great characteristics. These characteristics are also portrayed in another story that was written in the same time by William Faulkner. Characters Comparison Jay Gatsby is a character in the novel â€Å"The Great Gatsby†, and he has great characteristics throughout the story. However, at the beginning of the film, Fitzgerald gives Gatsby a delayed introduction of his character. Francis puzzles the mind of the viewer, and opens a wide door of imagination, in curiosity to figure out who Gatsby really is. Inclusively, Nick Carraway starts questioning who Gatsby really is and he gets told that he is â€Å"a cousin of Kaiser Wilhelm s†¦a German spy during the war†¦Kaiser’s assassin†¦a Prince† (Fisher, Knapman, Martin, Wick, Luhrmann, 2013). Therefore, one of his characteristics is being a mysterious person. He does not want people to know who he really is and keeps the truth hidden. In the story â€Å"A Rose for Emily†, written by William Faulkner, the protagonist, Emily, has a similar characteristic to Gatsby. In a quick description, she is a woman who lived her life isolated inShow MoreRelatedThe Great Gatsby by F. Scott Fitzgerald1393 Words   |  6 PagesF. Scott Fitzgerald was the model of the American image in the nineteen twenties. He had wealth, fame, a beautiful wife, and an adorable daughter; all seemed perfect. 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The usage of the literary theories of both Biographical and Historical lenses provide a unique interpretation of the Great Gatsby centered aroundRead MoreThe Great Gatsby by F. Scott Fitzgerald845 Words   |  3 PagesIn F. Scott Fitzgerald’s novel, The Great Gatsby, colors represent a variety of symbols that relate back to the American Dream. The dream of being pure, innocent and perfect is frequently associated with the reality of corruption, violence, and affairs. Gatsby’s desire for achieving the American Dream is sought for through corruption (Schneider). The American Dream in the 1920s was perceived as a desire of w ealth and social standings. Social class is represented through the East Egg, the WestRead MoreThe Great Gatsby By F. Scott Fitzgerald Essay970 Words   |  4 Pagesrespecting and valuing Fitzgerald work in the twenty-first century? Fitzgerald had a hard time to profiting from his writing, but he was not successful after his first novel. 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Scott Fitzgerald1607 Words   |  7 Pages The Great Gatsby is an American novel written in 1925 by F. Scott Fitzgerald. One of the themes of the book is the American Dream. The American Dream is an idea in which Americans believe through hard work they can achieve success and prosperity in the free world. In F. Scott Fitzgerald s novel, The Great Gatsby, the American Dream leads to popularity, extreme jealousy and false happiness. Jay Gatsby’s recent fortune and wealthiness helped him earn a high social position and become one of the mostRead MoreThe Great Gatsby By F. Scott Fitzgerald1592 Words   |  7 PagesMcGowan English 11A, Period 4 9 January 2014 The Great Gatsby Individuals who approach life with an optimistic mindset generally have their goals established as their main priority. Driven by ambition, they are determined to fulfill their desires; without reluctance. 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Two Restaurants Free Essays

Food That Tastes Wonderful Is it Olive Garden’s friendly and hospitable service or is it the appetizing and blazing not entrees ll Foranio’s that reminds me of the Italian heritage? Before deciding which restaurant leaves my mouth watering for more, I compare and contrast between taste, service and cost must be considered. For me, choosing which restaurant to recommend to family members is as hard as cutting the perfect pink rose for a floral arrangement. The whole world would be a better place if you could choose a restaurant that always had food that tasted wonderful. We will write a custom essay sample on Two Restaurants or any similar topic only for you Order Now At ll Fornaio’s, I feel like a chef in Italy has just prepared my meal. Their pasta melts in your mouth and is always accompanied by hearty and rich sauce. My eyes pop out of head when I see the delectable dessert tray. Then both carry a wide selection of freshly prepared desserts like creamy tiramisu. On the contrary, at Olive Garden, your dinner always comes with all you can eat salad and piping hot breadsticks. Yet, ll Fornaio’s you must order a salad separate from your entree. On the other hand, ll Fornaio’s offers its customers staple sourdough bread served with olive oil and balsamic vinegar spiced with herbs. Similarly, the salad at both restaurants are always fresh and is dressed with a tangy and light vinaigrette. In the same way, both restaurants offer their ravished customers a wide selection of beverages including sodas, teas and coffee to wet their whistles. Delicious, freshly prepared food is a must when I am spending a night out with friends or family. Service is something that I value highly when spending my hard earned money on a night out. The service at Olive Garden is a snail trying to win the mile run race. However, when I arrive at ll Fornaio’s I am seated almost immediately, whereas at Olive Garden, I have to sign a waiting list and they hand me a flashing disk. The servers at Olive Garden, in contrast, seem sometimes annoyed when I ask for something like more water or an extra plate to share an item. Equally, both restaurants bring my meal in a timely manner. They both give me service with a smile like a sun shinning in the morning sky. Similarly, both places of business are more willing to trade my order if it is not to my satisfaction. If am not going to receive the service I deserve, I might as well walk right out of the establishment and not look back. Do you like throwing your money down the drain? If not, the maybe ll Fornaio’s is not the most cost effective restaurant for you. I often feel that money is flying out of my purse the minute I sit down at my table. On the other hand, ll Fornaio’s does offer more food for the price. An average bill at Olive Garden is about forty dollars, whereas at ll Fornaio’s the final bill can range from fifty to one hundred dollars based on your choice of entrees, appetizers, drinks and desserts. Unlike Fornaio’s, Olive Garden does offer specials on certain dishes at specific times of the year. In the same way, both restaurants offer drinks that are similar in price and that prices included refills. Also, Olive Garden and ll Fornaio’s both have appetizers that are around the same price for the same generous helping. Value is a huge factor in deciding which restaurant I would choose to refer a friend or family member. Yes, Olive Garden offers more food for the money, but the aroma and taste from ll Fornaio’s entrees are by far superior, not to mention the provide better service for the customer. Based on my evaluation of the two restaurants, I would have to choose ll Fornaio’s. Next time you are in the mood for true Italian cuisine, try Olive Garden and ll Fornaio’s, and then make the choice for yourself! ‘ How to cite Two Restaurants, Papers

Kennedy vs. Nixon free essay sample

â€Å"Peace,† the overall message is about experience and knowing what to do during though times. Nixons campaign tried to convey this seriousness by shooting its commercials of Nixon perched on a desk and speaking directly to the camera. In JFK’s 1960 â€Å"Debate,† political ad, he addresses the people in a snappier way, and by â€Å"facing the issues squarely. † However, neither of the candidates ads was about issues; rather, they were more contrast in styles.The messages focused on the era as a dangerous time; it was really an election about change versus experience. In Kennedy’s ad, he expresses his ideas directly, specifically, and offers â€Å"new American leadership for the country. † His tone is very magnetic and appealing, and it is quite pleasing to an American to hear that Kennedy thinks that America is a great country, but â€Å"it could be a greater† one. Whereas Nixon speaks with such composure and a serious-minded tone in his ad, it almost seems he is not excited (or even cares) to be there. We will write a custom essay sample on Kennedy vs. Nixon or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page The way Kennedy carries himself while giving speeches is an especially confident, poised, and self-assured one, so much that he even comments on whether if people think that America was doing everything satisfactorily, that he agreed with them, that they â€Å"should vote for Nixon†! Furthermore, on the Kennedy-Nixon debate, Kennedy appeared looking â€Å"tanned, confident, and vigorous,† while Nixon was â€Å"wearing no make up and a light-colored suit that blended into the background looking exhausted and pale, and sweated profusely. Also, Mr. Nixon’s tone is exceedingly formal, thus making him look a tad bit uncharismatic, (unlike his likable contender). His way of speaking directly to the camera and giving detailed answers to an offscreen speaker, presented him â€Å"as a though, experienced leader able to stand up to the Communists. † In general, while Nixon was not as charismatic and pleasant as JFK, he was a seasoned, experienced, and mature leader ready to stand up to Khrushchev.Moreover, Nixon kept arguing that while Khrushchev was a â€Å"cold, hard, ruthless man,† that we won’t â€Å"be coerced, that we will not tolerate being pushed around,† that he’d continue to â€Å"deal with Communism and the Soviet leaders†¦firmly, and always with vigilance. † In contrast, Kennedy attempted to turn his youth into an advantage, proclaiming in his acceptance speech at the Democratic Convention, â€Å"We stand today on the edge of a new frontier. †