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You can manage your account here. Visit Subscription plans to re-subscribe. Delon, M. Salons, Paris: Harrison, C. Wood and J. Grainger, eds. Holt, E. II, New York: Doubleday Anchor Books. Hume, D. Laver, J. Thames and Hudson. Morini, E. Wilenski, H. Dover Publications.
Woolworths Taste – May 2019
Replace one? Photocopying permitted by licence only. Writing has fascinated and attracted philosophers, artists, musicians. In fact, Fashion and Criticism: Theory and Practice Bloomsbury, Spring it is true to say that its appeal is universal, and this is testified to by and respectively. We do sandamiller btinternet.
Socrates, Plato, and Aristotle all provided definitions of to kalon. Although within her unique quest, the methodology she uses is that employed by philosophy, aesthetics, and the visual arts, she chooses instead to address the arcane complexities of the human need for adornment and embellishment. She does this by selecting a marvelous and vast repertoire of examples gleaned from all of these very disciplines as case studies to corroborate her arguments.
I shall start my book review by dealing with each of them separately, starting with the one I consider the most universal, and therefore the most difficult to debate: Plato also makes a distinction between beauty in art and beauty in nature and it is the latter he takes seriously. This is because he considers beauty to be much too serious a concept to be left to the artists he regarded with such disdain that he wanted them banished from the ideal republic that could only be successfully gov- erned by philosophers—who else?
Beauty for Plato is a means towards an end and as such its physical manifestation becomes less important; rather, instead of residing in certain qualities an object needs to have in order to qualify as beautiful, Plato approaches it from a psychological point of view: Symposium and Phaedrus. This is what it is to go aright, or be led by another, into the mystery of Love: Plato c, d in Cooper In the latter we find Socrates examining beauty in the sense in which it is addressed in philosophical aesthetics Beards- ley In the former, Socrates discusses beauty by offering alter- native possibilities: Even that utensil is fine if finely made.
Socrates appeared to agree by referencing Heraclitus, who argued that: Plato d, e, b in Cooper In the Philebus, Plato gets closer to what properties make an object beautiful: Thus, we find that measure metron and proportion symmetron constitute beauty. At the end of the dialogue: There is little doubt that a puritan such as Plato would have been horrified at the idea of makeup.
In fact we know this for sure because we find him famously ranting against cosmetics.
Surprising as it might seem that a philosopher such as Plato would have even been aware of the existence of cosmetics, he was. Moreover, he wrote about them, not surprisingly, in a derogatory manner. Plato b, c in Cooper This book sets out to examine concepts of female beauty in terms of the ideal and the real; how abstract and real ideas of beauty are represented in art and discussed in a range of texts, and the ways in which beauty is enhanced, possibly even created by cosmetics.
There are inherent tensions in any discussion of ideal and how far they are reflected in reality; how far abstract theories of beauty can be comfortably set beside applied beauty, that is, make-up, has never been considered before. I shall return to this important point beautifully presented by Ribeiro as the conclusion to this brilliant book. The link between beauty and cosmetic arts is analyzed by using two exciting examples, one from the Cinquecento, the other from the twen- tieth century.
In it he discusses the newly emerged profession of the courtier and what it takes to become a proper one, but he remembers to discuss also women, not least because of the three women who are among the distinguished group of interloc- utors listed at the beginning of the book and who take their place in the debate.
The conversation took place in March on four successive evenings at the Palace of the duke of Urbino with the duke himself Gui- dobaldo da Montefeltro taking part in the conversation; among the distinguished interlocutors were the humanists Pietro Bembo and Ber- nardo Dovizi cardinal Bibbiena and Giuliano de Medici.
Now, every woman is extremely anxious to be beautiful or at least, failing that, to appear so. So when Nature has fallen short in some way, she endeavours to remedy the failure by arti- ficial means. That is why we have women beautifying their faces so carefully and sometimes painfully, plucking their eyebrows and forehead, and using all those tricks and suffering all those little agonies which you ladies imagine men know nothing about but which they know only too well. Castiglione Surely you realize how much more graceful a woman is who, if indeed she wishes to do so paints herself so sparingly and so little that whoever looks at her is unsure whether she is made- up or not, in comparison with one whose face is so encrusted that she seems to be wearing a mask and who dare not laugh for fear of causing it to crack… How much more attractive than all the others.
How much more attractive than all the others is a pretty woman who is quite clearly wearing no make-up on her face, which is neither too pallid nor too red, and whose own colouring is natural and somewhat pale but who occasionally blushes openly from embarrassment or for some other reason , who lets her unadorned hair fall casually and unarranged, and whose ges- tures are simple and natural, betraying no effort or anxiety to be beautiful.
Nev- ertheless, a middle way is also acceptable, whereby cosmetics are used discreetly so as to be not noticed, so that the enhanced face replicates nature with the intention of deceiving, and that can be argued to be also morally wrong.
We have however a famous refutation of the view that nature is pref- erable to culture with all that it brings, including the artifice of using makeup, coming several centuries later from none other than Charles Baudelaire. With his characteris- tic irony and charm, Baudelaire brings into discussion two topics hitherto considered too frivolous to deserve even a mention: By predicat- ing charm—which he purloined from his own literary writings—on fashion, he is in fact pioneering a critical vocabulary for fashion writing, whereby charm is used as an evaluative concept in an analo- gous way to that of art criticism see McNeil and Miller forthcoming.
Baudelaire For Baudelaire, however, the use of makeup does not only improve on nature, but it helps create the decadent effect of the women he writes about with such passion in Les fleurs du mal: Thus, if I have been properly understood, painting the face is not to be used with the vulgar, unavowable intention of imitating the fair face of nature, or competing with youth.
It has, moreover, been observed that artifice does not embellish ugliness, and can only serve beauty. Who would dare assign to art the sterile func- tion of imitating nature? Make-up has no need of concealment, no need to avoid discovery, on the contrary, it can go in for display, if not with affectation, at least with a sort of ingenuous- ness. Ducasse in Alperson The remedy, Ducasse argues, must reside in cosmetics: Unbelievable things can be done to the eyes, making them seem larger, brighter and more umbrous than nature ever thought of creating them.
LT, I: Individual self-actualization, class identity and national character are instituted and supported by the moral value of habit. Ellis in introducing her work on domestic habit. Smith, Self-Help, Ellis, The Women of England, vi. Bourdieu, Distinction, The sewing machine can take on the plain sewing, freeing up more time for fancy-work and making fancy-work patterns and more culturally significant. Pullan, xiii. For a different treatment of the relationship between nature and culture in the domestic sphere, see Thad Logan, The Victorian Parlour, Janice Carlisle, Common Scents, Wilkinson, On Colour, See also Deborah Cohen, Household Gods: The British and their Possessions.
EDM, II: EDM, V: Logan, The Victorian Parlour, Critics have often dismissed the Victorian bourgeois hope that taste is appropriable at all. Merish, Sentimental Materialism, 5.
EDM, IV: For a more sustained discussion on attention, see Jonathan Crary, Suspensions of Perception, The Spectator.
Gregory Smith. Peter Smithers. Reprint, London and New York: Everyman, Agnew, Jean-Christophe. Domestic Interiors and the Commodity Aesthetic. Accumulation and Display of Goods in America, ed. Simon J. New York and London: Beetham, Margaret. A Magazine of her Own? Routledge, Manufacturing Culture: Vindications of Early Victorian Industry.
Charlottesville and London: University of Virginia Press, Bourdieu, Pierre. A Social Critique of the Judgment of Taste. Translated by Richard Nice.
Harvard University Press, Briggs, Asa, The Age of Improvement. London, New York, and Toronto: Longman, Green, and Co, Burnett, John. A Social History of Housing — Newton Abbot: David and Charles, Carlisle, Janice. Common Scents: Comparative Encounters in High-Victorian Fiction. Oxford and New York: Oxford University Press, Cohen, Deborah.
Household Gods: New Haven and London: Yale University Press, Crary, Jonathan. Suspensions of Perception: Attention, Spectacle, and Modern Culture.
Diners developing a taste for table-for-one trend
Cambridge and London:For an interesting counter-point on the images and metaphors used to aestheticize industry, see Joseph Bizup, Manufacturing Culture: There are inherent tensions in any discussion of ideal and how far they are reflected in reality; how far abstract theories of beauty can be comfortably set beside applied beauty, that is, make-up, has never been considered before.
He proceeded to tell a story involving two of his kinsmen. Merish, Sentimental Materialism, 5. Oxford University Press,