Search

Political scientists are wary of engaging with 'the public' on mainstream and social media because they fear those mediums fail to get across the deep and nuanced argument they develop in their own research. This article suggests a way of justifying public engagement that begins not with debates about the ethical and political concerns of doing this in practice (of which there are many), but how we as political scientists justify public media engagement to ourselves on the basis of the ethical and political process of 'doing' political science. As such, this article identifies the disciplinary basis upon which we may justify media-driven public engagement as an integral part of political science as an academic enterprise. Drawing on current epistemological debates in political science, the article characterises moments of political research as impressionistic exercises, which require public engagement. This means making the public aware of the deep and valuable insights of political science, in a way that sketches out how the discipline can shed light on important social and political phenomena, thereby informing our own scholarly thinking, and that of those we engage with. [ABSTRACT FROM AUTHOR]

The aim of this article is to test whether the comparative cultural analysis of a critical text can provide a greater understanding of why Nyugat's editor, Miksa Fenyo?, chose impressionistic criticism's highly aesthetic, yet seemingly quixotic approach to promote modern literature in Hungary, as opposed to selecting more conventional means. [ABSTRACT FROM AUTHOR]

The article is focused on the analysis of the aspects of intermediality in the novels "The Waves" and "To the Lighthouse" by Virginia Woolf within the context of the aesthetics of Impressionism. The interaction between two arts -- literature and painting -- is seen at micro- and macro levels of the texts that is the aim of the current scientific research. Macro-level expresses worldviews, paradigms, and philosophical approaches and concepts in the interpretation of the phenomena of the surrounding reality both of the characters and the author as the artists in narrow and wide meanings of this word. Micro-level is revealed by the using of painting techniques and pictorial markers while designing visual images, as well as the using of allusions of art movements. The author pays attention to the meaning of colors, light and shadow effects which create an additional semantic layer in the novel and have a symbolic meaning. Thus, the microsemantics connections are realized in the creation of the literary texts in accordance to the semantic dominant of the impressionistic aesthetics (painting themes and forms expressed with words, moreover with poetical tools). At the same time the interaction can be seen at the level of genre (landscapes and portrait made in the style of impressionists in the novel "The Waves" or cubists in the novel "To the Lighthouse"). The writer uses a lot of pictorial markers (canvas, touches, brushstrokes, names of colors etc.) that helps the reader to recognize the world of another art and is the material for thoroughly studying of literature criticism. [ABSTRACT FROM AUTHOR]

This study attempts a reading of Ford Madox Ford's 1915 novel, The Good Soldier, as sample of the much-neglected modernist interest in the ethics of narration. Starting from a definition of the ethics of narration as an investigation by means of fictional representation of the essentially intersubjective and relational character of the act of telling, it examines the effects that Ford's choice of narrative voice (which constructs point of view exclusively through the discourse of a radically unreliable narrator, whose moral and intellectual authority are highly questionable) has on the emergence of an "impressionistic" worldview that exploits what Dorothy Hale has termed fiction's "inherent capacity for otherness.". [ABSTRACT FROM AUTHOR]

Ian McEwan's use of Fordian elements and techniques in his novella On Chesil Beach- specifically allusions to The Good Soldier; impressionism as an epistemological and narrative strategy; and elements of narrative discourse such as perspective, time, and order - direct our attention to the narrativization of intimacy, what is sayable and unsayable in the representation of intimacy, and to what kinds of knowledge narrative provides access. These moves teach us a form of ethical reading generated by the thinking of Emmanuel Levinas: how to navigate McEwan's representation of desire, intimacy, and alterity in order to recognize the epistemological and ethical commitments and problems engendered by narrative. [ABSTRACT FROM AUTHOR]

In the post-Commune period, visual representations of bourgeois leisure on the Seine exemplified an historical forgetfulness that Renan believed was inherent to nation-building. This article explores the relationship between riverine leisure as depicted in Impressionist painting and the construction of national and cultural identities in the early Third Republic. Idealised views of pleasure-boating on the Seine, symbolic heart of the capital, celebrated the affluent middle classes on whom the new Republic depended and located them in an iconic national riverscape. Such painting was also perceived to embody the modern Republican values of secularism and science, and it was consequently invoked in support of the developing Republican nation. [ABSTRACT FROM AUTHOR]