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Aesthetic judgment does not require defense, because moral judgment saturates our language and our experience. In the first part of this essay, I look at the writings of Iris Murdoch, Stanley Cavell, and G. E. M. Anscombe to show how judgments shape our most intimate dealings with the world. In the second part, I examine a strong instance of practical criticism: the writings of Clement Greenberg on Impressionism and Henri Matisse. Greenberg's Kantian attempt to separate aesthetic judgment from moral judgment breaks down in practice, a testimony to the depth of his engagement with art and the ubiquity of moral judgment. [ABSTRACT FROM AUTHOR]

On "Woolf's literary impressionism," Ann Banfield asserts, "Katherine Mansfield was the decisive influence yet exemplified Impressionism's limits" ("Time Passes" 471) Mansfield never achieved "a post-impressionist 'modern fiction,'" not even in "Prelude" or "At the Bay." But Banfield overlooks Mansfield's elaboration of an alternative postimpressionism that consists not in Woolfian design in which moments are crystallized and kaleidoscopically arranged, but rather in visions of an incipient, preternatural motility. Mansfield's postimpressionism, less formally complex than Woolf's, is more metaphysical. Its most vibrant instance lies within the tidal pool in "At the Bay," a tidal pool taken over, stilled, and solemnized by Woolf for the beach-combing scene in To the Lighthouse. [ABSTRACT FROM AUTHOR]

Araba Sevdası, written by Recaizade Mahmut Ekrem and one of the most important novels in Ottoman-Turkish literature, criticises the "European snob type" who despises his own culture and desires everything Western. Based on Alphonse Daudet's impressions of his trip to Algeria in 1861, Tartarin of Tarascon criticises the "Provencal type of Southern France" who is overly fond of the exotic and looks quite comical in Eastern clothes. Both Daudet's and Ekrem's protagonists are alienated from their own identities and are caricatured with their incompatible, ridiculous, and exaggerated aspects. Ekrem himself states that these two texts, which have parallel aspects, are similar to each other, especially in terms of style. This article argues that the stylistic similarities between the two texts are based on the methods and techniques of impressionist painters and that Ekrem exemplifies Daudet's impressionist style. [ABSTRACT FROM AUTHOR]

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 article focuses on literary realism and literary naturalism are the movements that make the geologic eras defined by deliberate ruptures that tell the story of modern literature; and mentions that like impressionism in music, literary impressionism names the attempt to evoke something of the style and substance of Impressionist painting through an entirely separate medium.

This article argues that sonic consciousness structured the time of the First World War for Ford Madox Ford. Sound was the primary medium of apprehension for trench soldiers, producing physical and psychic injury while signaling duration and eventfulness. Ford's frontline "notes on sound" to Joseph Conrad in 1916 explore the narrative possibilities of an auditory impressionism. As a shellshocked veteran, Ford discovered sound's inextricability from the sudden eruptions and lasting reverberations of trauma. Ford redeployed this convergence of sound, event, trauma, and temporality in the writing of the third novel of Parade's End, A Man Could Stand Up (1926). [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]

A literary criticism of the book The Good Soldier by Ford Madox Ford is presented. It examines in particular the character of John Dowell, the narrator in the story, and the possibility that he was the murderer of his wife in the story. It details Dowell's impressionism based on how he presents himself to people differently from who he really is.

Mankind has always thought about the different opinions regarding the world and its ultimate consequence over the history. Gradually, these thoughts have been established in testing criterion of other works so that the nationality of the thinking never paid attention in this regard. In addition, Abol-aala Moaari and Omar Khayam Neishabouri were considered as the most sophisticated scholars of the literary and thinking fields because the thoughts of these scholars had the most potential influence on the next generation efficiently; one of the most outstanding influences of these works was subjected to Abumazi poems. Abumazi the contemporary Lebanon-Mohjari poet as "Tasavol and Tafavol" has written many various poems regarding to the philosophical subjects in terms of the Iranian famous poet Omar Khayam Neishabouri. For the reason, the main purpose of the present study was to investigate the affection aspects of Abumazi poems from Omar Khayam Neishabouri; this has been also achieved as comparative in this study. [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]

The article focuses on the poetry of Irish Poet W. B. Yeats in Alice McDermott's book "Charming Billy." Topics discussed include relation between Yeat's poetry and the character Billy's life, truth of Billy's life and charges of life lived in fancy, in alcohol and Yeats and embellished memory that has affected many Irish Americans.

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]

The article discusses the author's bibliographical experiences starting with his bibliographical work proper to a broader analysis in book history he hopes will guide into thinking more deeply about the relationship between physical object and text. Topics cited include the number of editions of poet Virgil that were published between 1469 and 1850, his investigation of the Italian editions and the challenge of the relatively low survival rate of early printed books.

A literary criticism of the short story "Wireless," by Rudyard Kipling is presented. It outlines the characters and explores the symbolic significance of these characters. It examines the story's reliance on values associated with realism including social legibility, sympathetic community and authoritative knowledge. It explores the narrator's impressionist style of narration.

An introduction is presented in which the editors discuss various reports within the issue on topics including New Historicism, literary impressionism and New Criticism.

A literary criticism is presented on Fin de Siècle fictional works by Anglo-Irish authors, including the book "Confessions of a Young Man," by George Moore and the short stories “The Childhood of Lucy Newcome,” by Arthur Symons and "A Lost Masterpiece," by George Egerton. An overview of the elements of impressionism, naturalism and symbolism within the Anglo-Irish fiction is provided.

An essay is presented in which the author discusses the literary criticism of Victorian English poet Algernon Swinburne, focusing on his critiques of poet William Blake in his book "William Blake: A Critical Study." Swinburne's influence on critics I. A. Richards and Northrop Frye is discussed, as well as American New Criticism, impressionism in criticism, and formalism.

The present study observes Lucian Raicu's literary criticism, with a twofold goal: first of all, it has the ambition of establishing a literary canon, while it aims at proving that Raicu was, besides Nicolae Manolescu and Eugen Simion, one of the three great literary critics of the postwar period; then, the second (and just as important) objective is that of identifying the arcane method of an apparently impressionistic critic, its primum movens and modus operandi. After carefully surveying Raicu's main works, from his youth to the last ones, the author reaches the conclusion that the critic's "impressionism" has a solid existential foundation, being the expression of a transversal section within the human, getting beyond the purely artistic dimension of the works and opening literature towards what is more-than-literature. [ABSTRACT FROM AUTHOR]

American Literary Minimalism is an important yet largely misunderstood movement. Even though a number of scholars have attempted to describe the mode, it remains poorly defined. Part of the problem is that the roots of the tradition have not been thoroughly explored. The aim of this essay is to examine how Literary Impressionism, a style practiced by authors such as Anton Chekhov and Stephen Crane near the turn of the century, shaped the aesthetic of one of the most prominent practitioners of American Minimalism, Raymond Carver. "Cathedral, "perhaps Carver's most important short story, illustrates the nexus between the modes. The unnamed narrator objectively reports past sensory experiences, an action common in Impressionistic works, but like many Minimalist protagonists is ultimately unable to articulate the significance of the events he describes. [ABSTRACT FROM AUTHOR]

Miguel Hernández's trip to the USSR in 1937 was decisive to his personal and poetic evolution, as well as to his revolutionary theatre of social agitation. The present paper focuses on the young author's impressions through his letters and compositions written within Soviet lands. Although much discussion has been made regarding the possible disappointment he experienced, everything leads us to think otherwise, as the poet had an ideological firmness until the end of his days. [ABSTRACT FROM AUTHOR]

The article discusses Finnish literary criticism as it was applied to Swedish literary impressionism in the late-19th and early-20th centuries. Focus is given to reviews of Swedish literature within Finnish newspapers and the periodical "Finsk tidskrift." More broadly, the author is concerned with the ways in which the 19th-century Finnish press dealt with Scandinavian literature in general. She emphasizes the work of literary critic Gustaf af Geijerstam, in particular his work comparing impressionist art and writing.

The article focuses on the changes in human character and its landscape within the city. It says that the changes are the aggregate assertion in the 1923 essay of Virginia Woolf on the relations between "Mr. Bennett and Mrs. Brown" and insistence of Henri Lefebvre. It discusses Lefebvre's claims on shattering space and use of the word claim to describe his spatial project. Moreover, Woolf's essays explore the overwhelming impression of Mrs. Brown's character.

In my contribution I will focus on the specific essayistic style in Georg Simmel's philosophy Judged by the younger generation (e.g. by Lukàcs and Benjamin) an 'impressionistic' thinker Simmel does correspond to such definition, provided we assume 'impressionism' as a philosophical theory of the surface of reality intimately linked with its profoundest depth. His micrological attention devoted to the most inapparent things, his 'relativism' (based on the extension of the category of reciprocal action, so that no human phenomenon can be reduced to a deterministic doctrine of cause-effect nexus) make his essays (at the same time psychological, sociological and philosophical) paradigmatic of the dialectical exercise of separating and connecting, which since Plato is the core of philosophy itself. [ABSTRACT FROM AUTHOR]

The article focuses on the literary works of Paul de Man that correlates with politics, in which it is hard to determine in his writings. It mentions that de Man's work is a text that does not mention politics, law and economics, as well as, war, unrest and revolution. However, it is a work that features in a concept that are both rhetorical and epistemological in nature.

The article presents information about tribute given by Georg Lukács to his former teacher Georg Simmel. Lukács found that Simmel's wavering commitment to ideas is something, which is to be preserved. Lukács considered Simmel's work transitional and Simmel's writings contributed to the dissolution of idealist and positivist forms of thought and observation.

It is argued that a cultural and sociological understanding of information society benefits from the unique perspective provided by fiction and a sociological impressionism that is sensitive to literary insights. Aesthetic theory is shown to provide a highly useful resource with which to conceptualize the complex relationship between the material world and abstract information. In particular, the work of William Gaddis and William Gibson are used to illustrate negative and dis-empowering aspects of a heavily informationalized culture. Such writers are shown to depict its lived experience in a manner unachievable and unrecognized by various uncritical theorists. [ABSTRACT FROM AUTHOR]

In this essay, I analyze the discourses that American women generated on the subject of the Russian Revolution of 1917, a body of works that has for the most part escaped critical scrutiny. While the First World War slowed tourist traffic to Russia, by 1917 there was a substantial contingent of American women in Petrograd reporting on the revolution. Unlike male narratives of the revolution, women's literature avoids diagnosing the Russian condition, or expertly summing up the Russian character. These correspondents, rather than focusing on abstract political philosophies and political events, recorded the intimate ways that individuals experienced class warfare, political instability, and economic di locations. I argue that this technique of vivid impressionism was perhaps a more suitable method to represent the revolution than as a coherent, logical, and transparent narrative. In this essay, I analyze the gendered travel narratives of the Russian Revolution, a genre that is unique as it is under-theorized, and reveal an unknown dimension to Russian-American relations. [ABSTRACT FROM AUTHOR]

The role of conceptual integration or blending has featured significantly in analyses of contemporary texts. To date, no-one to my knowledge has applied this theory in an early modern context. In the sixteenth century, a historical juncture rich in innovative forms of textual expression, the Reformation generated cognitive and ideological discordances between conceptions of the spiritual and the material, or more specifically, between word and image. These tensions were made manifest in physical acts of iconoclasm by Reformers in response to the 'idolatry' of early modern Catholicism. Many poetic texts of the period attempted to validate and perpetuate the Reformed position, denouncing carnal representations of divinity, focusing instead on the spiritual incarnation of Christ as the 'Word'. Taking one such text, Herbert's poem 'JESU', as the focus of my analysis, I trace the path of a blend through to its emergent structure. I will argue that while the blend coheres conceptually in that it appears to make 'plausible' the Reformed worldview, the reality is that it generates an ideological implausibility. As such, this article aims to demonstrate the greater efficacy and scope of blending than would otherwise be available through strictly metaphorical analyses. I will focus specifically on the correspondence between conceptual and formal integration of expression and meaning. My analysis leads to insights that more impressionistic, literary analyses of the period have not addressed, and that stylistic analyses have only briefly outlined, in that I will consider the material effects of this cognitive linguistic phenomenon in the significantly literary theological context of early modern England. [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]

This article discusses the things that John Dos Passos have done during his journeys in Mexico in late 1920s and early 1930s. Passos frequent travel to Mexico has made him published some impressions about the noise, poverty, and chaos of Mexico City. He also painted several watercolors based on his impressions, Man with Hat and Trio with Straws. During his trip, he met several notable people including the Italian-born photographer Tina Modotti, the poet Salvado Novo, and founder of Estridentrismo Manual Maples Arce. In addition, Passo became an American ambassador of the Estridentista movement wherein his works find a readership among local and foreign intellectuals.

The article discusses the novel of George Moore entitled "A Modern Lover." According to the author, the novel, although mostly set in London, England, offers information about Moore's relationship with French Impressionists. The author believe that Moore did not pay attention to historical accuracy. He asserts that Moore was a plagiarist and a propagator of French culture.

This paper is a case study for examining how a small-corpus-based approach can contribute to research in stylistics. Specifically, we have built small corpora of the two Alice books and retrieved, using WordSmith Tools suite, first, verbs of saying and their adverbials to elucidate how Alice speaks to others in the stories, and secondly, modifiers of `Alice' to get the images of the main character. An analysis of these data reveals that Alice's role in each book is quite distinct: an unexpected visitor thrown into the passive state in Wonderland and an active explorer in Looking-Glass. These findings objectively serve to reinforce our argument over what Alice is called through the perusal of the texts. Alice's roles in the two books are thus interactively supported by the small-corpus-based approach and the non-corpus-based approach, which may explore the validity of the interfaced approach, the collaborative work of quantitative processing and qualitative speculation. [ABSTRACT FROM AUTHOR]

The article focuses on the chromatic language used by dramatist and novelist August Strindberg in the theatrical production "Ett Drömspel/A Dream Play." The dramatist established the expressionistic predominance of image over meaning. According to painter Richard Berg, the novelist's interest in color is evident in his descriptive language. Painter Isaac Strindberg provided insights on Strindberg's progression from impressionism to expressionism.

This essay discusses the impressionist remodeling of modernism around the turn of the nineteenth century by litterateurs Joseph Conrad and Ford Madox Hueffer. There has been a collaboration between Joseph Conrad and Hueffer, which has been otherwise neglected, between 1898 and 1908. It was during these years in which many of Conrad's most well-known works appeared. Hueffer says that it was through their collaboration that a shared "impressionist" aesthetic was evolved. According to Hueffer, impressionism is a reaction to the internal plight of modernity caused by urbanization and by the various technological and social changes that accompany it.

This research examined how firsthand impressions of other people differ from those based on secondhand information. Several studies have shown that people who receive secondhand information (listeners) make more extreme impressions (positive and negative) than people (tellers) who learn the information firsthand, directly from the actor. Three studies examined the role of merely hearing personal descriptions presented firsthand (in "I" form) or secondhand (in "She" form) on boasting and liking impressions. Studies 1 and 3 proposed and found that firsthand perceivers saw the actor as more boastful and unlikable than secondhand perceivers who heard the identical information in "She" form. Study 2 showed that these differential perceptions of boasting explained why secondhand perceivers made more extremely favorable judgments of kind actors than did firsthand perceivers. This boasting explanation provided a better explanation of judgment differences than two prior explanations. Perceptions of boasting did not explain why secondhand perceivers made more unfavorable judgments of unkind actors. Theoretical and social implications are discussed. [ABSTRACT FROM AUTHOR]

Virginia Woolf's experiments begin with Impressionism. But knowing Roger Fry's criticism of Impressionism as analyzing commonsense appearances but destroying design, she adopted Fry's dualist aesthetic. Paul Cézanne's "Post-Impressionism" constructed a geometry in Impressionism's sensible world, combining "vision" and "design." Literature's counterpart to the geometry of spatial relations were the temporal relations of Cambridge time philosophy. Contrary to a common assumption, Woolf adopted not Henri Bergson's philosophy but G. E. Moore and Bertrand Russell's realism. Time passes not as durée but as a series of still moments. Temporal relations connect moments as spatial ones unify Impressionism's atomized color, with the mathematical theory of continuity playing a crucial role. Woolf's literary impressionism developed through short story experiments, each a moment, an Impressionist canvas. Katherine Mansfield was the decisive influence yet exemplified Impressionism's limits. "The mere expression of things adequately and sensitively, is not enough," Woolf quotes Mansfield. As the painter transformed vision into design, Woolf turned story into novel via continuity of moments through "the interlude." According to this hypothesis, "The Window" and "The Lighthouse" in To the Lighthouse are short stories uncannily reminiscent of Mansfield's "Prelude" and "At the Bay." The interlude "Time Passes" transforms story into novel by relating past to future in a time-series, creating a post-impressionist "modern fiction." [ABSTRACT FROM AUTHOR]

Subjects in a positive or a neutral mood were engaged in an impression formation task (Experiment 1), and in a word fragment completion task (Experiment 2). A self-referent versus other-referent sentence completion task was used to induce a positive mood state. As a result, the subjects exhibited mood congruent effects on impression ratings in the self-referent but not in the other-referent mood induction condition. Word completion data, however, indicated that relevant traits (i.e., friendly traits) had been equally activated across the two mood induction conditions. It was also demonstrated that the self-referent induction procedure was effective in enhancing the level of self-esteem, whereas the other-referent one was not. The results converged to suggest that the enhancement in state self-esteem accompanying the self-referent procedure might be relevant to positive mood effects on person impression. This indicates the limitation of the mood priming model. [ABSTRACT FROM AUTHOR]

Considers writer Paul Bourget's and Jules Laforgue's presentation of Impressionism as a potent metaphor for cultural as well as aesthetic transformation, and as a radical envisioning of the self in modern French society. Major stimulus for Laforgue's exposition of Impressionist aesthetics; Clear correspondence between Laforgue's emphasis on Impressionist fragmentation and Bourget's links between analytic vision and Decadent forms.

Examines the meanings and content of idea as the act of conception. Role of the theory of belief in understanding the meanings; Origin of idea; Relationship between impressions and ideas; Reason for the accordance of special status to all impressions for the moral question.