By Jeffrey Meyers
This outstanding quantity collects, for the 1st time, essays representing greater than 4 a long time of scholarship by means of one of many world's major professionals on George Orwell. In transparent, lively prose that exemplifies his indefatigable consciousness to Orwell's existence paintings, Jeffrey Meyers analyzes the works and reception of 1 of the main extensively learn and sought after twentieth-century authors. Orwell: lifestyles and paintings covers the novelist's painful youth and provides debts of his autobiographical writings from the start of his occupation during the Spanish Civil warfare. Meyers keeps with analyses of Orwell's significant works, together with Animal Farm and Nineteen Eighty-Four, in addition to his variety, precise satiric humour, and method of the artwork of writing. Meyers ends with a scrupulous exam of six biographies of Orwell, together with his personal, that embodies a consummate grab and mastery of either the paintings of biography and Orwell's lifestyles and legacy. Writing with an expert born of a long time of concentrated scholarship, visits to Orwell's houses and places of work, and interviews along with his survivors, Meyers sculpts a dynamic view of Orwell's enduring impact on literature, paintings, tradition, and politics. Jeffrey Meyers has written broadly on literature, movie, and artwork. he's the writer of forty-eight books, together with The Genius and the Goddess: Arthur Miller and Marilyn Monroe and biographies of Katherine Mansfield, Joseph Conrad, Ernest Hemingway, and F. Scott Fitzgerald.
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Sample text
The term “ko’i” was by no means applied monolithically, however. Melinda Takeuchi points to one clear case in Japanese art-historical writing where “ko’i” was reinterpreted to allow for artistic license. ”31 For Gyokush≥, then, ko’i did not entail a servile adherence to original antique paintings. In terms of the Chinese concept guzhuo, known in Japan as kosetsu, its meaning is given in English as “antique simplicity” and “clumsiness,” but essentially kosetsu refers to artworks that follow traditional models.
55 Gyokush≥’s and Kenkad≤’s motives in delineating a distinctly Japanese literati style of painting—as well as their search for earlier origins of a Southern school reaching back beyond the generation of Gion Nankai—must be set in the context of their times and against the backdrop of multifold activities of social and political elites. The personalities involved in such activities had as their goal the creation of a distinctly Japanese tradition realized in part through collecting, recording, copying, and reevaluating works of art and literature.
Heinrich Wölfflin and offer a critical analysis of the discourse surrounding classicism in Japan, Western Europe, and the United States. The Chinese art historian John Hay (b. ”3 One might add that a Eurocentric bias informs the academic exercise of locating equivalents for classicism in a non-Western context. As we shall see, however, aesthetic and ideological concepts that are similar to classicism did exist in Japan during the Tokugawa period and later. Such concepts played a role in setting standards and establishing canons, as critics chose to appraise certain artists and schools of art while they disqualified others.