By Simone Francescato
This e-book examines the function and the which means of gathering within the fiction of Henry James. rising as a polished consumerist perform on the finish of the 19th century, accumulating not just set new ideas for appreciating artwork, but in addition helped to form the classy tenets of significant literary events resembling naturalism and aestheticism. even supposing he befriended a number of the maximum creditors of the age, in his narrative works James maintained a sceptical, if no longer brazenly severe, place in the direction of gathering and its results on appreciation. Likewise, he turned more and more reluctant to stick to the modern pattern of classifying and exhibiting paintings gadgets within the literary textual content, resorting to extra advanced varieties of representation.
Drawing from vintage and modern aesthetics, in addition to from sociology and fabric tradition, this publication fills a niche in Jamesian feedback, explaining how and why James's aversion in the direction of gathering used to be relevant to the advance of his fiction from the start of his occupation to the so-called significant section.
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Extra info for Collecting and Appreciating: Henry James and the Transformation of Aesthetics in the Age of Consumption (Cultural Interactions: Studies in the Relationship between the Arts)
As she remarks in Henry James and the Visual Arts (Charlottesville, VA: University Press of Virginia, 1970), James’s ‘ideal of an organic living relation of the past to the present was his belief that a work of art was seen to its best advantage in its native setting’ (27). In Italy such interplay had also a specific social quality (see 26). 38 CHAPTER 2 objectification which turned observed reality into a consumable representation. e. as in the lower picturesque). James of fers a gallery of characters who can be identified either as collectors or appreciators not only according to their aesthetic but also to their relational ‘openness’.
Hunt (London: Penguin, 1968), 49. 44 Pierre Bourdieu wrote that: ‘The appropriation a work of art is to assert oneself as the exclusive possessor of the object and of the authentic taste for that object, which is thereby converted into the reified negation of all those who are unworthy of possessing it, for lack of the material or symbolic means of doing so, or simply for lack of desire to possess it strong enough to “sacrifice everything for it”’, Distinction: A Social Critique of the Judgement of Taste (Cambridge, MA: Harvard University Press, 1984), 280.
Identifying ‘bibelotization’ as the most typical and modern ‘bourgeois way of apprehending art’,47 Remy G. ’48 The transformation of works of art into rare consumption goods both clashed with and redefined the organic analogy which still dominated the aesthetic theories of the age. This analogy saw the object of art as a living, autonomous thing, embodying and mirroring the immortal values of a religiously, politically, and socially integrated society. 49 As Baudrillard suggests, in the 46 47 48 49 See Belk, Collecting in a Consumer Society, 38.
Collecting and Appreciating: Henry James and the Transformation of Aesthetics in the Age of Consumption (Cultural Interactions: Studies in the Relationship between the Arts) by Simone Francescato