Suchergebnisse

"Austerity Baby might best be described as an 'oblique memoir'. Janet Wolff's fascinating volume is a family history – but one that is digressive and consistently surprising. The central underlying and repeated themes of the book are exile and displacement; lives (and deaths) during the Third Reich; mother-daughter and sibling relationships; the generational transmission of trauma and experience; transatlantic reflections; and the struggle for creative expression. Stories mobilised, and people encountered, in the course of the narrative include: the internment of aliens in Britain during the Second World War; cultural life in Rochester, New York, in the 1920s; the social and personal meanings of colour(s); the industrialist and philanthropist, Henry Simon of Manchester, including his relationship with the Norwegian explorer, Fridtjof Nansen; the liberal British campaigner and MP of the 1940s, Eleanor Rathbone; reflections on the lives and images of spinsters. The text is supplemented and interrupted throughout by images (photographs, paintings, facsimile documents), some of which serve to illustrate the story, others engaging indirectly with the written word."

This essay accepts David Frisby's invitation to take seriously the method of sociological impressionism employed by Georg Simmel, and the related strategies of Walter Benjamin (sequences of quotations, selection of key aspects of modernity – dialectical images). To that end, it proposes Manchester, instead of Paris, as the 'capital of the nineteenth century', through the presentation of examples of its paradigmatic figures and events: the 1857 exhibition, the collector and the art dealer, the discovery of a synthetic colour, a certain historic desk, and the warehouse and the mill. Through this writing strategy, the 'fragments of modernity' take on a rather different aspect.

The 'return to beauty' raises a number of questions for feminism. This paper begins by suggesting that there is no real reason for a feminist distrust either of beauty or of the discourses of beauty. The more difficult question is how to comprehend the bases of aesthetic judgement more generally, given feminist and other critiques of aesthetics and art criticism. The paper proposes looking at the cognate 'value' fields of ethics and political philosophy, in order to develop an approach to aesthetics that recognizes aesthetic criteria as grounded in community. It has been argued that uncertainty is the necessary basis for morality and for political judgement after the demise of ideologies of universalism. For the same reasons, an 'aesthetics of uncertainty' can be developed which refuses both the new universalism of the 'return to beauty' and the temptation to abandon principled criteria of judgement.