Friday, August 05, 2011
Wednesday, August 03, 2011
National Conference on "Trending" Hospitality by t...
National Conference on "Trending" Hospitality by t...: "'Trending” Hospitality is an effort to deliberate and discuss contemporary issues affecting modern hospitality business. The aim i..."
Tuesday, August 02, 2011
Theories of Art after Minimalism and Pop: Michael Fried
Anu James
1124106
Thesis statement: When I was asked to participate in the discussion, it was suggested that I begin with a few words about my essay “Art and Objecthood”, which I wrote almost exactly twenty years ago.
Keyword: Art and Objecthood.
Topic statement: When I wrote it in early 1967, it was the culmination of a series of essays on recent developments in what has come to be called color-field painting, plus the sculpture of Anthony Caro- a body of work that seemed to me then, and continues to do so today, the most important and distinguished painting and sculpture of our time.
Supporting ideas: Observations- minimalist pieces- the art of the painters and sculptures- the radically abstract and antitheatrical art.
Topic sentence: These were part of the series of opposition that the essay attempts to set in place- between “presentness” and “presence”, instantaneous and duration, abstraction and objecthood.
Supporting sentence: The extent to which hostile responses- “Art and Objecthood”- tend not to be deconstructive in approach- but rather to attack the “positive” terms in the interests of “negative” terms.
1124106
Thesis statement: When I was asked to participate in the discussion, it was suggested that I begin with a few words about my essay “Art and Objecthood”, which I wrote almost exactly twenty years ago.
Paragraph 1:
Topic Statement: “Art and Objecthood” has been the focus of a great deal of discussion,
most of it hostile, which in view of the dominant trends of the art world during the past two decades makes perfect sense, but more than a little of it uncomprehending.
Supporting statement: Michael Fried want to make a few remarks about the original motivation of “Art and Objecthood”.
Keyword: Art and Objecthood.
Paragraph 2:
Topic statement: When I wrote it in early 1967, it was the culmination of a series of essays on recent developments in what has come to be called color-field painting, plus the sculpture of Anthony Caro- a body of work that seemed to me then, and continues to do so today, the most important and distinguished painting and sculpture of our time.
Supporting ideas: Observations- minimalist pieces- the art of the painters and sculptures- the radically abstract and antitheatrical art.
Keyword: Literalist art- theatrical.
Paragraph 3:
Topic sentence: These were part of the series of opposition that the essay attempts to set in place- between “presentness” and “presence”, instantaneous and duration, abstraction and objecthood.
Supporting sentence: The extent to which hostile responses- “Art and Objecthood”- tend not to be deconstructive in approach- but rather to attack the “positive” terms in the interests of “negative” terms.
Keyword: Deconstruction.
Paragraph 4:
Paragraph 4:
Topic sentence: Another reason for writing “Art and objecthood” as well as “Shape as Form”, the essay on Frank Stella that proceeded it, might be characterized as at once historical and theoretical.
Supporting Sentence: “Modernist Painting” in particular by its notion- that modernism in the arts involved- a process of reduction according to which dispensable conventions were progressively discarded until in the end one arrived at a kind of timeless and irreducible core.
Supporting Sentence: “Modernist Painting” in particular by its notion- that modernism in the arts involved- a process of reduction according to which dispensable conventions were progressively discarded until in the end one arrived at a kind of timeless and irreducible core.
Keyword: Modernist Painting.
Paragraph 5:
Paragraph 5:
Topic sentence: “Art and Objecthood”’s claim is that what it calls theatre is now the enemy of art; and what I want to insist is that while that may be wrong, the word “now” can’t be overlooked.
Supporting sentence: Earlier art- considered overtly theatrical- but rather proposing that contemporary work that didn’t understand itself.
Supporting sentence: Earlier art- considered overtly theatrical- but rather proposing that contemporary work that didn’t understand itself.
Keyword: Theatrical.
Paragraph 6:
Paragraph 6:
Topic sentence: The whole question is further complicated by the fact the issue of theatricality defined as a pejorative term implying the wrong sort of consciousness of an audience originally arouse around the middle of the 18th century in France.
Supporting statement: The antitheatrical arguments of “Art and Objecthood” belong to a larger historical field than that of abstraction versus minimalist art in 1967.
Supporting statement: The antitheatrical arguments of “Art and Objecthood” belong to a larger historical field than that of abstraction versus minimalist art in 1967.
Keyword: Antitheatrical arguments.
The Painting of Modern Life: Timothy J. Clark
Ritwika Pandey
1124121
1. Paragraph 1:
Topic sentence: The art of Manet and his followers had a distinct 'moral aspect' visible above all in the way it dovetailed an account of visual truth with one of social freedom.
Key Ideas: The artists depended for its force on something more than painterly hedonism or simple appetite for sunshine and colour.
2. Paragraph 2:
Topic Sentence: In its unconventionalized, unregulated vision, in its discovery of a constantly changing phenomenal outdoor world of which the shapes depended on the momentary position of the casual or mobile spectator, there was an implicit criticism of symbolic social and domestic formalities, or at least a norm opposed to these.
Key Ideas: We have many pictures in Early Impressionism of informal and spontaneous sociability, of breakfast, picnics, promenades, boating trips, holidays and vacation travel – projection of bourgeois recreation in 1860s and 1870s – also reflect the new aesthetic devices and the conception of art as a medium of individual enjoyment.
3. Paragraph 3:
Topic Sentence: The Contexts of bourgeois sociability shifted from community, family and church to commercialized or privately improvised forms – the streets, the cafes and resorts – the resulting consciousness of individual freedom involved more and more an estrangement from older ties; and those imaginative members of the middle class who accepted the norms of freedom, but lacked the economic means to attain them, were spiritually torn by a sense of helpless isolation in an anonymous indifferent mass.
Key Ideas: Individual enjoyment becomes rare in Impressionist art – private spectacle of nature is only left – social groups break into isolated spectators.
4. Paragraph 4:
Topic Sentence: The actual bourgeois’s being brought to enjoy the Impressionist painting, and to revel in its consonance with his day-to-day experience, is no doubt marvellous; but it does not seem to me much more than a metaphor, and is surely not warranted by what we know of this painting’s first purchasers and enthusiasts.
Key Ideas: Schapiro believes that once upon a time the bourgeoisie, or at least its enlightened members, really did delight in an ‘informal and spontaneous sociability’ – later estrangement and isolation came – ‘commercialized or privately improvised forms’ – informal and spontaneous sociability depicted in Manet’s Dejeuner sur L’herbe.
5. Paragraph 5:
Thesis Statement: The form of new art is inseparable from its content.
6. Paragraph 6:
Topic Sentence: Any social order consists primarily of classifications.
Key Ideas: Society is a set of means for solidarity, distance, belonging and exclusion – things needed pre-eminently for the production of material life – fix an order in which men and women can make their own living – have confidence in what they do – trivialize the concept of ‘social formation’ – the ‘economic life’ – the ‘economy’, the economic realm, sphere, level, instance, or what-have-you – is in itself a realm of representations.
7. Paragraph 7:
Topic Sentence: Social practice is that complexity which always outruns the constraints of a given discourse; it is the overlap and interference of representations.
Key Ideas: Social practice – the notion of social activity outlined so far can be sustained only if the world of representations does not fall into systems or ‘signifying practices’. – society is the battle field of representations – representations are continually subject to the rest of a reality – test of social practice – a test that consolidates or disintegrates our categories and eventually makes and unmakes a concept.
8. Paragraph 8:
Topic Sentence: In capitalist society, economic representations are the matrix around which all other organized.
Key Ideas: The class of an individual – his or her effective possession of or separation from the means of production - is the determinant of social life – in the nineteenth century often the presence of class as the organizing structure is gross and palpable – it is possible to expand the concept of class and include facts other than the economic facts – here we are clearly dealing with a class and a set of ‘class characteristics’ still in the making.
9. Paragraph 9:
Topic Sentence: It is clear that reality designated at the time – in the 1870s, say – as petit bourgeois included men and women whose trades had previously allowed them a modicum of security in the city’s economic life, but who had been robbed of that small safety by the growth of large scale industry and commerce.
Key Ideas: Class will in any case necessarily be a complex matter – there is never only one ‘means of production’ in society for individuals to posses or be denied – a shift of attention from putting stress on the material means occurred – new set of proposals was possible without the effect of bad faith – Mallarme said that painting shall be steeped again in its cause.
10. Paragraph 10:
Topic Sentence: Doubts about vision became doubts about almost everything involved in the act of painting; and in time the uncertainty became a value in its own right; we could almost say it became an aesthetic.
Key Ideas: In the Symbolist magazines of the late 1880s – in which the preference of painting for the not known, the not arranged, and the not interpreted was taken largely as an article of faith – painting has a subject – art seeks out the edges of things, of understanding – its favorable modes are thus irony, negation, deadpan, the pretence of ignorance or innocence – highest wisdom is knowing that things and pictures do not add up.
11. Paragraph 11:
Topic Sentence: The terms of modernism are not to be conceived as separate from the particular projects – the specific attempts at meaning – in which they are restated.
Key ideas: Notorious history of modernism’s concern for ‘flatness’ – two dimensions of the picture surface every time the painters after Courbet recover them – that literal presence of surface went on to become an form of art.
12. Paragraph 12:
Topic Sentence: Flatness was constructed as a barrier put up against the viewer’s normal wish to enter a picture and a dream, to have it be a space apart from life in which the mind would be free to make its own connections.
Key Ideas: Painting would replace or displace the real world – flatness was considered a part of modernity.
13. Paragraph 13:
Topic Sentence: Flatness was therefore in play – as an irreducible, technical fact of painting – with all of these totalizations, all of these attempts to make it a metaphor.
Key Ideas: The painters we most admire insisted also on its being awkward, empirical quiddity; but ‘also’ is the key word here- their particularity was what made flatness a matter to be painted.
14. Paragraph 14:
Topic Sentence: Circumstances of modernism were not modern and only became so by being given the forms called ‘spectacle’.
Key Ideas: Are we to take Impressionism’s repertoire of subjects and devices as merely complicit in the spectacle – lending it consistency or even charm – or as somehow disclosing it as farce or tragedy.
15. Paragraph 15:
Topic Sentence: Rediscover the force of these terms – light, looking, strict adherence to the facts of vision – since they have nowadays become anodyne.
Key Ideas: Are we supposed to give up believing in the ‘painting of light’? – simple determination of these artists to look and depict without letting the mind interfere too much? - wondering since where the traditional notion of impressionism gone.
16. Paragraph 16:
Topic Sentence: A matter of looking at Impressionist pictures again and being struck by their strangeness.
Key Ideas: It gives the impression of something seen and translated by the feeling rather than with every form defined.
17. Paragraph 17:
Topic Sentence: These criticisms are ungenerous, but they point to things in the paintings which truly are odd and ought to be recognized as such.
Key Ideas: The painters job is representing in a way which barely makes sense – the individual marks are scratched and spread into one another as if they had been worked overlaid almost cancelled out - even the painter would find it obscure.
18. Paragraph 18:
Topic Sentence: A space had to be kept between painting and representing: the two procedures must never quite mesh.
Key Words: The word ‘painting’ in a crude material way, would stand for the notion of what the paint could stand for effectively – the established equivalents in paint are always false – they are short cuts for the hand and eye and brain which tell us nothing that we do not already know; and what we know already is not worth rehearsing in paint.
19. Paragraph 19:
Topic Sentence: Painting was now supposed to be about seeing and the painter determined to stick to the look of a scene at all cost.
Key Ideas: Realist intentions are at work here – it involved a set of fragile and unprecedented equations between the painted and the visible.
20. Paragraph 20:
Topic Sentence: Painting is not uniquely an archaeological art and that it accommodates itself without effort to “modernity’.
Key Ideas: This writer’s confidence somewhat misses the point of the pictures he is describing – we must allow art to effect its own naturalization to costume – It is yet to be seen what the attractive new category meant and what kind of accommodation can art make with it.
1124121
1. Paragraph 1:
Topic sentence: The art of Manet and his followers had a distinct 'moral aspect' visible above all in the way it dovetailed an account of visual truth with one of social freedom.
Key Ideas: The artists depended for its force on something more than painterly hedonism or simple appetite for sunshine and colour.
2. Paragraph 2:
Topic Sentence: In its unconventionalized, unregulated vision, in its discovery of a constantly changing phenomenal outdoor world of which the shapes depended on the momentary position of the casual or mobile spectator, there was an implicit criticism of symbolic social and domestic formalities, or at least a norm opposed to these.
Key Ideas: We have many pictures in Early Impressionism of informal and spontaneous sociability, of breakfast, picnics, promenades, boating trips, holidays and vacation travel – projection of bourgeois recreation in 1860s and 1870s – also reflect the new aesthetic devices and the conception of art as a medium of individual enjoyment.
3. Paragraph 3:
Topic Sentence: The Contexts of bourgeois sociability shifted from community, family and church to commercialized or privately improvised forms – the streets, the cafes and resorts – the resulting consciousness of individual freedom involved more and more an estrangement from older ties; and those imaginative members of the middle class who accepted the norms of freedom, but lacked the economic means to attain them, were spiritually torn by a sense of helpless isolation in an anonymous indifferent mass.
Key Ideas: Individual enjoyment becomes rare in Impressionist art – private spectacle of nature is only left – social groups break into isolated spectators.
4. Paragraph 4:
Topic Sentence: The actual bourgeois’s being brought to enjoy the Impressionist painting, and to revel in its consonance with his day-to-day experience, is no doubt marvellous; but it does not seem to me much more than a metaphor, and is surely not warranted by what we know of this painting’s first purchasers and enthusiasts.
Key Ideas: Schapiro believes that once upon a time the bourgeoisie, or at least its enlightened members, really did delight in an ‘informal and spontaneous sociability’ – later estrangement and isolation came – ‘commercialized or privately improvised forms’ – informal and spontaneous sociability depicted in Manet’s Dejeuner sur L’herbe.
5. Paragraph 5:
Thesis Statement: The form of new art is inseparable from its content.
6. Paragraph 6:
Topic Sentence: Any social order consists primarily of classifications.
Key Ideas: Society is a set of means for solidarity, distance, belonging and exclusion – things needed pre-eminently for the production of material life – fix an order in which men and women can make their own living – have confidence in what they do – trivialize the concept of ‘social formation’ – the ‘economic life’ – the ‘economy’, the economic realm, sphere, level, instance, or what-have-you – is in itself a realm of representations.
7. Paragraph 7:
Topic Sentence: Social practice is that complexity which always outruns the constraints of a given discourse; it is the overlap and interference of representations.
Key Ideas: Social practice – the notion of social activity outlined so far can be sustained only if the world of representations does not fall into systems or ‘signifying practices’. – society is the battle field of representations – representations are continually subject to the rest of a reality – test of social practice – a test that consolidates or disintegrates our categories and eventually makes and unmakes a concept.
8. Paragraph 8:
Topic Sentence: In capitalist society, economic representations are the matrix around which all other organized.
Key Ideas: The class of an individual – his or her effective possession of or separation from the means of production - is the determinant of social life – in the nineteenth century often the presence of class as the organizing structure is gross and palpable – it is possible to expand the concept of class and include facts other than the economic facts – here we are clearly dealing with a class and a set of ‘class characteristics’ still in the making.
9. Paragraph 9:
Topic Sentence: It is clear that reality designated at the time – in the 1870s, say – as petit bourgeois included men and women whose trades had previously allowed them a modicum of security in the city’s economic life, but who had been robbed of that small safety by the growth of large scale industry and commerce.
Key Ideas: Class will in any case necessarily be a complex matter – there is never only one ‘means of production’ in society for individuals to posses or be denied – a shift of attention from putting stress on the material means occurred – new set of proposals was possible without the effect of bad faith – Mallarme said that painting shall be steeped again in its cause.
10. Paragraph 10:
Topic Sentence: Doubts about vision became doubts about almost everything involved in the act of painting; and in time the uncertainty became a value in its own right; we could almost say it became an aesthetic.
Key Ideas: In the Symbolist magazines of the late 1880s – in which the preference of painting for the not known, the not arranged, and the not interpreted was taken largely as an article of faith – painting has a subject – art seeks out the edges of things, of understanding – its favorable modes are thus irony, negation, deadpan, the pretence of ignorance or innocence – highest wisdom is knowing that things and pictures do not add up.
11. Paragraph 11:
Topic Sentence: The terms of modernism are not to be conceived as separate from the particular projects – the specific attempts at meaning – in which they are restated.
Key ideas: Notorious history of modernism’s concern for ‘flatness’ – two dimensions of the picture surface every time the painters after Courbet recover them – that literal presence of surface went on to become an form of art.
12. Paragraph 12:
Topic Sentence: Flatness was constructed as a barrier put up against the viewer’s normal wish to enter a picture and a dream, to have it be a space apart from life in which the mind would be free to make its own connections.
Key Ideas: Painting would replace or displace the real world – flatness was considered a part of modernity.
13. Paragraph 13:
Topic Sentence: Flatness was therefore in play – as an irreducible, technical fact of painting – with all of these totalizations, all of these attempts to make it a metaphor.
Key Ideas: The painters we most admire insisted also on its being awkward, empirical quiddity; but ‘also’ is the key word here- their particularity was what made flatness a matter to be painted.
14. Paragraph 14:
Topic Sentence: Circumstances of modernism were not modern and only became so by being given the forms called ‘spectacle’.
Key Ideas: Are we to take Impressionism’s repertoire of subjects and devices as merely complicit in the spectacle – lending it consistency or even charm – or as somehow disclosing it as farce or tragedy.
15. Paragraph 15:
Topic Sentence: Rediscover the force of these terms – light, looking, strict adherence to the facts of vision – since they have nowadays become anodyne.
Key Ideas: Are we supposed to give up believing in the ‘painting of light’? – simple determination of these artists to look and depict without letting the mind interfere too much? - wondering since where the traditional notion of impressionism gone.
16. Paragraph 16:
Topic Sentence: A matter of looking at Impressionist pictures again and being struck by their strangeness.
Key Ideas: It gives the impression of something seen and translated by the feeling rather than with every form defined.
17. Paragraph 17:
Topic Sentence: These criticisms are ungenerous, but they point to things in the paintings which truly are odd and ought to be recognized as such.
Key Ideas: The painters job is representing in a way which barely makes sense – the individual marks are scratched and spread into one another as if they had been worked overlaid almost cancelled out - even the painter would find it obscure.
18. Paragraph 18:
Topic Sentence: A space had to be kept between painting and representing: the two procedures must never quite mesh.
Key Words: The word ‘painting’ in a crude material way, would stand for the notion of what the paint could stand for effectively – the established equivalents in paint are always false – they are short cuts for the hand and eye and brain which tell us nothing that we do not already know; and what we know already is not worth rehearsing in paint.
19. Paragraph 19:
Topic Sentence: Painting was now supposed to be about seeing and the painter determined to stick to the look of a scene at all cost.
Key Ideas: Realist intentions are at work here – it involved a set of fragile and unprecedented equations between the painted and the visible.
20. Paragraph 20:
Topic Sentence: Painting is not uniquely an archaeological art and that it accommodates itself without effort to “modernity’.
Key Ideas: This writer’s confidence somewhat misses the point of the pictures he is describing – we must allow art to effect its own naturalization to costume – It is yet to be seen what the attractive new category meant and what kind of accommodation can art make with it.
Monday, August 01, 2011
The Muse-An International Journal of Poetry (ISSN 2249–2178) call for submissions
'The Muse-An International Journal of Poetry' (ISSN 2249–2178) is calling for submission of original and unpublished (both print and online) poems, research papers on poetry and book reviews of latest poetry books for December 2011 issue. Last date of Submission is November 10, 2011. Website : www.themuse.webs.com, Email:
themuseindia AT gmail.com .
Submission Guidelines:
1. Work submitted for publication must be original, previously unpublished (both print and online, not even published on blogs,literary or discussion forums or social networking sites), and not under consideration for publication elsewhere.
2. Send 1 to 5 poems and a brief biodata. A cover letter would be nice but is not mandatory.
3. The research papers should be not less than 3000 words. References should be prepared strictly following MLA Stylesheet (7th edition).
4. E-mail your poems, essays and research papers to themuseindia AT gmail.com . Response time varies from 2 to 12 weeks.
5. With poem/ research paper the poet/author is requested to submit a statement of originality of work.
for more details visit : www.themuse.webs.com
Pradeep Chaswal
Chief Editor
The Muse-An International Journal of Poetry (ISSN 2249–2178)
www.themuse.webs.com
themuseindia AT gmail.com .
Submission Guidelines:
1. Work submitted for publication must be original, previously unpublished (both print and online, not even published on blogs,literary or discussion forums or social networking sites), and not under consideration for publication elsewhere.
2. Send 1 to 5 poems and a brief biodata. A cover letter would be nice but is not mandatory.
3. The research papers should be not less than 3000 words. References should be prepared strictly following MLA Stylesheet (7th edition).
4. E-mail your poems, essays and research papers to themuseindia AT gmail.com . Response time varies from 2 to 12 weeks.
5. With poem/ research paper the poet/author is requested to submit a statement of originality of work.
for more details visit : www.themuse.webs.com
Pradeep Chaswal
Chief Editor
The Muse-An International Journal of Poetry (ISSN 2249–2178)
www.themuse.webs.com
MPhil Research Methodology Class - Management Cluster
Today's Class
Sunday, July 31, 2011
M.Phil:Structural Research Methodology and Research Writing. Session I
Following note prepared by Lissy Mathew based on the first session of Unit 4: Structural Research Methodology and Research Writing of Ph.D. Management cluster group taught by Anil Pinto
------------------------------
Expectations from the sessions
Why research
How to do the literature review – how to identify what is the right literature
How to do the abstract – for research and for article / paper
Table of content, proposal writing
Bibliography – citation and references
Style of writing – MLA- APA , Harward style
Historical shifts in research, publication style
Choice of methods
Methodology, research plan
Hypothesis
Certain things will have to be discussed with the guides concerned.
Why Research ?
Main reasons :
1. Career development
2. to solve the concerns of humanities, in order to evolve in the society,
3. to be serve the desire of the state to be technologically ahead
Research question determines what kind of methodology is required
Historical shifts in research
Most of contemporary research practices do not have a history of more than 50 years. Most of the practices were developed after WW II.
Communication model was also developed in 1948. Many modern ideas were
developed after WW II. E.g Psycho metric tests .
States realized the need to reduce the time required to do research. As a result methodologies and norms evloved.Citations styles are part of such tendencies.
The strenght of the research depends on literature review and methodology.
Knowledge should be democratic.
What is scientific research /
Karl Popper – suggested that to call scientific, it should predict, and it should be falsifiable.
Epistemology: branch of philosophy dealing with knowledge
What is knowledge ?
What contributes knowledge ?
Philosophy – Kant – that which makes you reflect on one element
Deductive methodology
For Descartes -Proof of existence is thinking
21st century research is of methods,
- developed the writing styles
- there was no proposal, in the olden days
Structured Research Methodology
Developed at Christ University.
Argument was there is sturucture, apparent structure, not necessary. Latent structure is mandatory. In research, it is not only the apparent structure, but latent structure is must. Unravelling of the latent strucure strenthens research.
E.g. of Mungaru Male Kannada movie – Mysore boy and coorgy girl
When does a structure becomes epislomological?
Should have the steps and need to be acceptable and should be logical
Test the validity, methodology should be sound important/
Find out causal structure
Ontology
Nature of existence
Aristotle – categories exist in nature: men, women, water earth
Kant – Categories don’t exist in nature. Humans give it to nature.
Thesis
Statement – proposition to be maintained or proved
One report is supposed to have one thesis.
Reference to the way Karl Marx – unravels the latent structures in the process of understanding Capital
Summary – To constantly look for structure, apparent , latent. See structure that exists, and find latent structures.
Assignment :
Details of five books:
Author , full title, year of publication, place of publication , publisher. one book should be an edited book.
Journals – 2 articles and same information from the articles , plus – vol, no, year, month
Two articles from online. Same information should be taken
------------------------------
Expectations from the sessions
Why research
How to do the literature review – how to identify what is the right literature
How to do the abstract – for research and for article / paper
Table of content, proposal writing
Bibliography – citation and references
Style of writing – MLA- APA , Harward style
Historical shifts in research, publication style
Choice of methods
Methodology, research plan
Hypothesis
Certain things will have to be discussed with the guides concerned.
Why Research ?
Main reasons :
1. Career development
2. to solve the concerns of humanities, in order to evolve in the society,
3. to be serve the desire of the state to be technologically ahead
Research question determines what kind of methodology is required
Historical shifts in research
Most of contemporary research practices do not have a history of more than 50 years. Most of the practices were developed after WW II.
Communication model was also developed in 1948. Many modern ideas were
developed after WW II. E.g Psycho metric tests .
States realized the need to reduce the time required to do research. As a result methodologies and norms evloved.Citations styles are part of such tendencies.
The strenght of the research depends on literature review and methodology.
Knowledge should be democratic.
What is scientific research /
Karl Popper – suggested that to call scientific, it should predict, and it should be falsifiable.
Epistemology: branch of philosophy dealing with knowledge
What is knowledge ?
What contributes knowledge ?
Philosophy – Kant – that which makes you reflect on one element
Deductive methodology
For Descartes -Proof of existence is thinking
21st century research is of methods,
- developed the writing styles
- there was no proposal, in the olden days
Structured Research Methodology
Developed at Christ University.
Argument was there is sturucture, apparent structure, not necessary. Latent structure is mandatory. In research, it is not only the apparent structure, but latent structure is must. Unravelling of the latent strucure strenthens research.
E.g. of Mungaru Male Kannada movie – Mysore boy and coorgy girl
When does a structure becomes epislomological?
Should have the steps and need to be acceptable and should be logical
Test the validity, methodology should be sound important/
Find out causal structure
Ontology
Nature of existence
Aristotle – categories exist in nature: men, women, water earth
Kant – Categories don’t exist in nature. Humans give it to nature.
Thesis
Statement – proposition to be maintained or proved
One report is supposed to have one thesis.
Reference to the way Karl Marx – unravels the latent structures in the process of understanding Capital
Summary – To constantly look for structure, apparent , latent. See structure that exists, and find latent structures.
Assignment :
Details of five books:
Author , full title, year of publication, place of publication , publisher. one book should be an edited book.
Journals – 2 articles and same information from the articles , plus – vol, no, year, month
Two articles from online. Same information should be taken
International Seminar Holocaust Literature: Memories and Losses
A Two –Day International Seminar on
Holocaust Literature: Memories and Losses
September 23-24, 2011
The Department of Studies in English, University of Mysore, Mysore is organizing a two-day colloboration with P E S College of Arts, Science and Commerce , Mandya. Thanks to writers and second generation Holocaust survivors such as Professor Scarlett Epstein, Savyon Liebrecht, Dr. Diti Ronen and Tzippy who volunteered to participate in the Seminar. Dr. U R Ananthamurthy has agreed to deliver the keynote address. Nemichandra, a Holocaust writer in Kannada, is also taking part in the Seminar. The Seminar will be held at P E S College campus, Mandya which is 45 kms. from Mysore on the way to Bangalore. Our other participants are Dr. Neluka Silva, Colombo University, SriLanka; Professor Gurumurthy Neelakantan, I I T Khanpur; Professor Rajendra Chenny, Kuvempu University; Professor K T sunitha, Professor C Naganna, Uni. Of Mysore; Dr. Seema Malik, Mohanlal Sukhadia University, Udaipur; Dr Chitra Panicker, Bangalore University; Dr Kalpana Rao, Pondicherry Central University.
Holocaust is whatever it is. An attempt is made to come to terms with it by Holocaust writers. A legacy as it is, it has been kept up very high by the three successive generations of writers. Beginning with the Letters and Diaries it has encompassed all forms of Literature. A bird’s eye view of the ever-growing list of the Holocaust writers includes the three Nobel Laureates – Elie Wiesel, Nelly Sachs, Ketesz and others like Anne Frank, Leslie Epstein, Primo Levi, Nava Semal, Ida Fink, Savyon Liebrecht, Diti Ronen, Daniel Mendel Sohn, Thane Rosebaum, Joseph Skibell, Jonathan Safron Foer and many more.
Seminar Objectives
- To explore the history and the beginning of Holocaust Literature
- To debate and discuss the contemporary trends and themes in Holocaust Literature
Seminar Theme:
The Seminar explores the complex relationship between the Holocaust and its ever deepening
impact on its victims and humanity; the depiction of trauma and the contemporary response; Holocaust
and identity, race and religion.
They invite seminar paper proposals in not more than 300 words and seminar papers to be readable
in 15-20 minutes (10- 15 pages in A4 size).
The last date for receipt of proposals is August 31, 2011.
The last date for receipt of complete papers is September 15, 2011.
Registration fee: Rs. 200.
E mail papers and proposals, queries and clarifications to: mahadev_kunderi AT yahoo.co.uk /
Mobile: 94481 94470.
Friday, July 29, 2011
MA English-Western Aesthetics CIA2 - Mapping Essays
Following are the write ups by I Semester MA English Students done as part of their Continuous Internal Assessment 2. The write ups map the seminal essays on Western Aesthetics.
5. Amol Kadam (1124101) : The Other Story; Rasheed Araeen
6. Krishna Kanchith (1124103) : Feminism Inside: Toward a Black Body Politic; Bell Hooks
7. Sajith Cyriac (1124104) : The Tangled Skein: On Re-reading Heresies; Moira Roth
8. Siju Paul (1124105) : A Global Counter–Culture; Susan Buck–Morss
9. Anu James (1124106) : Theories of Art After Minimalism and Pop; Michael Fried
10. Chandna Nirwan (1124107) : Preliminaries to a Possible Treatment of 'Olympia' in 1865; Timothy J. Clark
11. Diana Joseph (1124108) : Post-Partum Document by Mary Kelly; Laura Mulvey
12. Jordanna Rachel Drego (1124109) :
13. Gurekta Sethi (1124110) : Mobilizing Pasts: Ground Zero, Representation and 'Outrageous Art'; Francis Franscina
14. Margrett Abraham (1124112) : Theories of art after minimalism and pop: Periodizing critics; Benjamin H. D. Buchloh
15. Neethu Ann Jose (1124113) : Making Space:image events in an extreme state; Johanna Drucker
16. Neha Dhawan (1124114) : 'On Non Objective Painting' & 'Popularity and Realism'; Bertolt Brecht
17. Nitya Santosh (1124115) : Subversive signs; Hal Foster
18. Poonam Vaidya (1124116) : Modernity and Femininity: Griselda Pollock
19. Puja (1124117) : Orientalism; Edward Said
20. Radhika Shenoy (1124119) : Painting: The Task of Mourning; Yve-Alain Bois
21. Reshma (1124120) : Using Psychoanalytic Theory; Parveen Adams, Rosalind Delmar and Sue Lipshitz
22. Ritwika (1124121) : The Painting of Modern Life; Timothy J. Clark
23. Riya Thomas (1124122) : Mystifying Theory; Margot Waddel and Michelene Wander
24. Sadhana Shanbhag (11241123) : Modernism, Post Modernism and the Problem of the Visual in Afro American Culture; Michele Wallace
25. Sangeeta Nath (11241124) : In The Name of Picasso: Rosalind Krauss
26. Shreya Mahto (11241125) : Literalism and Abstraction: Frank Stella's Retrospective at the Modern; Philip Leider
27. Shrutika Ghorpade (1124126) : Barbara M. Reise Greenberg and the Group: A Retrospective View
28. Sowparnika (1124127) : The Museum of Modern Art as Late Capitalist Ritual: An Iconographic Analysis; Carol Duncan and Alan Wallach
29. Tanya Tomar (1124128) : Politics and the Intelligentsia; Noam Chomsky
30. Tara Thomas (1124129) : Taking Stock (Unfinished); Hans Haacke
31. Teena George (1124130) : Abstract Expressionism, Weapon of the Cold War; Eva Cockroft
32. Trishna Rai (1124131) : Frida Kahlo and Tina Mondotti; Laura Mulvey and Peter Wollen
33. Yukta (1124132) : Writing (And Righting) Wrongs: Feminist Art Publications; Carrie Rickey
34. Joseph Mathew (1124133) : Modernism Postmodernism
and the problem of the visual in Afro-American culture; Michele Wallace
and the problem of the visual in Afro-American culture; Michele Wallace
36. Jayalakshme (1124135) : Pictures of Innocence; David Newnham and Chris Townsend
37. Angelin Sanchez (1124136) : The F-111: An interview with James Rosenquist; Gene R. Swenson
38. Anshuman Manur (1124137) : Culture Wars; Richard Bolton
39. Krishnendu Basu (1124138) : A Collage of Indignation; Max Kozloff
Thursday, July 28, 2011
Mahto 1 Shreya Mahto 1124125 Mr.Anil Pinto MEL: 132: Western Aesthetics 13 July 2011 Philip Leider Literalism and Abstraction: Frank Stella's Retrospective At the Modern Thesis statement: Also, a picture isn't abstract just because the artist doesn't know when it's finished. Pollock's message wasn't 'Go Wild'; it was (1) keep the field even and without dominant image or incident; (2) be careful about colour; (3) keep the space as free from the space needed to depict three-dimensional forms as possible; (4) eliminate gesture, let the method chosen seem to generate the picture. Paragraph (1) Topic Sentence: Both abstraction and literalism look to Pollock for sanction; it is as if his work was the last achievement of whose status every serious artist is convinced. Key words: Pollock, Stella, Cubist grid. Paragraph (2) Topic sentence: The literalist view of Pollock emerged somewhat more hazily, less explicitly, more in argument and conversation than in published criticism. Key words: paint, canvas, handprints, cigarette butts. Paragraph (3) Topic sentence: In short, the greatness of the abstraction is in large measure a function of the literalness of Pollock's approach. Key words: objectness of painting, Paragraph (4) Topic sentence: Abstraction was discovering that objectness was the thing to beat, and that the breakthrough to look for was a breakthrough to an inspired two – dimensionalism, and that the way to do it was through colour, and, as much as possible, through colour alone. Key words: abstraction Paragraph (5) Topic sentence: One college student, Stella, saw in John a way to an advanced all overness. Key words: possibilities of a centred image. Paragraph (6) Topic sentence: Stella was crucially interested in keeping his pictures flat because he was crucially interested in making abstract pictures that could survive as post Pollock art. Key words: Stella's anti literalist ideas, abstract pictures. Paragraph (7) Topic sentence: Thus if you are going to make an abstract painting, then you cannot make it in the kind of space used for non-abstract painting. Key words: abstract painting, non abstract painting. Paragraph (8) Topic sentence: The main criticism of the pictures seems to have been that they had nothing to say Key words: none Paragraph (9) Topic sentence: The incipient move into three dimensions implied in Stella's paintings is made manifestly clear in Andre's work of the early 1960s,most explicitly in a work like the 1959-60 untitled construction. Key words: literal objectness of Stella's paintings, three dimensions, presumption of literalism, literalist. Paragraph (10) Topic sentence: The differences between Andre and Judd emerged slowly and steadily all through the 1960s; Andre was to consistently limit himself to solutions that were respectful of, and consonant with, the problems of sculpture, while Judd's indifference to sculpture and its problems would become more obvious every day. Key words: Minimal Art Paragraph (11) Topic sentence: The minimal art craze set everyone back for years; the job of criticism now would seem to be patiently undo the damage and carefully begin the work of revealing the development of a literalist art in America which extends quite unbrokenly from about 1959 to the present and which, in one way or another, involves in its network at least part of the work of artists as diverse as Andre, Judd, Flavin, Serra, Heizer, Morris. Key words: anti form process or anti illusion. Paragraph (12) Topic sentence: The abstractionist critics- mainly Clement Greenberg, then Michael Fried ,William Rubin and others in greater or lesser degree- had, by the mid -1960s,done monumental work. Key words: Literalism, abstractionist criticism Paragraph (13) Topic sentence: Abstractionist criticism tended to ignore the literalists except when it had to deal with Stella. Key words: Abstractionist criticism Paragraph (14) Topic sentence: As the 1960s drew to a close, the relationship between literalism and abstraction in American art changed considerably. Key words: Abstract expressionists of the mid -1940s Paragraph (15) Topic sentence: Certainly by 1969 and 1970, Stella had thoroughly loosened the overall design structure and seems to have systematically turned more and more of the authority of the paintings over to colour. Key words: design structure, Stella's art. |
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