Art for Art's Sake & Literary Life: How Politics and Markets Helped Shape the Ideology & Culture of Aestheticism, 1790-1990

By Gene H. Bell-Villada | Go to book overview

NOTES

INTRODUCTION
1.
"Literature shapes itself, and is not shaped externally." Frye, Anatomy of Criticism, p.97.
2.
De Man, Blindness and Insight; White, Metahistory, Levinson, "Law as Literature." See also rebuttal by Graff, "'Keep Off the Grass,' 'Drop Dead,' and Other Indeterminacies: A Response to Sanford Levinson."
3.
Benjamin, "The Work of Art," p.242. For a pertinent discussion of morality and art in narrative, see Booth, The Rhetoric of Fiction, pp. 397-98.
4.
Moore, Confessions of a Young Man, pp.106-7; emphasis added.
5.
Nabokov, Strong Opinions, passim.
6.
As in the case of the otherwise monumental book by Wimsatt and Brooks, Literary Criticism, 2:476-98.
7.
Guérard, Art for Art's Sake, pp.xiv and 34.
8.
Cassagne, La théorie de l'art, pp.6. Rosenblatt, L'idée de l'art, pp.15-43.
9.
Wilcox, "The Beginnings of l'art pour l'art," p. 361.
10.
Egan, The Genesis of the Theory of "Art for Art's Sake" in Germany and England, passim.
11.
Plekhanov, Art and Social Life, pp. 11 and 45; excerpted in Lang and Williams , Marxism and Art, pp. 88 and 94.
12.
See Solomon, Marxism and Art, p.238.

CHAPTER 1
1.
Scott, Francis Hutcheson, pp.149-52.
2.
Shaftesbury, Characteristics. All page references are made in the body of the text.
3.
Abrams convincingly traces both Shaftesbury's ideas and vocabulary to neo-Platonist thought and to early Christian theology, notably to that of St. Augustine. See Abrams, "Art-as-Such," in Doing Things with Texts, pp.154-55. These ancient origins of course do not negate what is new and distinctive in Shaftesbury's ethics.
4.
Hutcheson, An Inquiry into the Original of Our ideas of Beauty and Virtue. Page references are made in the body of the text.
5.
Cited in Burke, A Philosophical Enquiry, p.xxvii.
6.
Cassirer, Philosophy of the Enlightenment, p.347.
7.
Abrams argues that, in spite of its logical baggage and Latin expository prose, Baumgarten's theory of poetry makes him "a Continental Formal-

-293-

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