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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]

This paper examines the cross-fertilization between different art forms in two of Oscar Wilde's city lyrics: 'Impression du Matin' (1881) and "Symphony in Yellow" (1889). These impressionistic poems epitomise Wilde's synaesthetic sensibility and transformative intertextuality whereby the poet translates his visual and aural experiences into poetry. The paper also investigates the functions of intermediality in Wilde's aesthetic and ideological standpoint, and demonstrates how the Wildean dandy figure, aligned with the Baudelairean "painter of modern life", conveys his perception of metropolitan modernity in these two poems of intermedial significance. [ABSTRACT FROM AUTHOR]

This essay adopts a stylistic approach to delineate the various—and varying—pragmatic effects inherent in the use and interactions of pronouns in Ford's war prose. Ford's singular use of pronouns is shown to be instrumental in his practice of literary impressionism. In particular, the omnipresent second person is granted a variety of referents that coexist along a "continuum of reference" (as defined by Bettina Kluge), from a "you" that is speaker-oriented to one that is addressee-oriented. Sorlin's intersection of Kluge's continuum with a gradient from personalisation to generalisation (2022) is illuminating when examining the manifold significance of Ford's use of the second person, as it brings to light its ethical impact. Ford's war essays shift from the general to the particular and from the collective to the individual in a manner that opposes propaganda rhetorics. Furthermore, the gradient established by Sandrine Sorlin to account for the pragmatic effect of "you" also proves remarkably useful when applied to the pronoun "one". Scrutinising the interplay between these various pronouns allows us to investigate the multifarious relationships that Ford establishes in his war essays between the persona, the reader, those he often called "my men", and the collective ethos of wartime Britain. [ABSTRACT FROM AUTHOR]

The article explores how literary impressionism, particularly in the works of Virginia Woolf, offers a unique perspective on the external world and its objects. It challenges notions of solid objects, their boundaries, and their interaction with the perceiving self. It highlights that the view of the world beyond consciousness aligns with recent ecocritical theories, emphasizing the fluidity and trans-corporeal nature of objects, with a focus on color as a key element in Woolf's exploration.

The article explores the connection between literary impressionism and the works of W. H. Hudson and Edward Thomas. It suggests that although Thomas may not be straightforwardly affiliated with literary impressionism, there are close kinship in ideas between their writings, influenced by Hudson's impressionist style. It mentions that the connection reveals a clash between ego and detail, flamboyance and austerity, and temperament and scrutiny within literary impressionism.

The article explores the differing attitudes of W. B. Yeats and George Moore towards impressionism in literature and painting. Moore, an advocate of impressionism, drew from his experiences in Paris and championed impressionist painting, while Yeats, despite some later acceptance, initially held a strong aversion to impressionism, reflecting his evolving relationship with modern art.

The article offers literary criticism on the use of impressionism in spy fiction, focusing on Erskine Childers' thriller "The Riddle of the Sands." It explores how impressionist techniques are employed to examine themes of intelligence, surveillance, and security in the spy novel, highlighting the insecurities and uncertainties associated with national security.

The article explores the concept of "impressionism" in literary discourse and how it impacts the relationship between writers, their works, and readers. It highlights how various authors, such as Thomas Hardy, Virginia Woolf, and Henry James, used the rhetoric of impressions to convey the authenticity of their narratives. Richard Wright's use of impressionism, is discussed as it plays a crucial role in his novel "Native Son" and shapes his approach to defending his work.

The article offers literary criticism of Ford Madox Ford's impressionistic novel "The Good Soldier" and May Sinclair's war narrative "Tasker Jevons." It discusses how both authors employ impressionism in their works, exploring the complexities of perception and memory, and how Sinclair's response to Ford's impressionism introduces the idea of a single, real version of events.

The article offers literary criticism of Henry James' "The Portrait of a Lady," emphasizing the role of impressions in the novel. It explores how impressions serve as a means to acquire knowledge and freedom, drawing connections between idealism and empiricism in James's work, with a focus on the compromise between these concepts in the use of impressions in fiction.

The article discusses the intersection of impressionism in literature and the idea of mediation. It explores how E. M. Forster's novel "A Room with a View" exemplifies this concept by using the phrase "across something" to convey the merging of physical and metaphysical elements in the act of perception, ultimately straddling the divide between popular and modernist writing.

An introduction is presented which discusses article on several topics including impact of impressionism on English literature, examining how writers thought about impressionist art and its relevance to Anglophone literature, while discussing the historical development of literary impressionism.

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]

An interview with French author Nathalie Léger, is presented. Topics include information on impressionism and literary research with radical changes on French literature; and experience of working in contact with the writings of French literary critic Marcel Proust manuscripts related to French culture from research of French novelists of the 20th century.

An interview with French author Philippe Forest, is presented. Topics include essays on Japanese literature with impressionism and direct influence of Proust's biographies; and experience of working in contact with the works on French literary critic Marcel Proust manuscripts related to French culture from research of French novelists of the 20th century.

In 1922, Armando Spadini (1883-1925) appeared at the Fiorentina Primaverile alongside the Valori Plastici group, the most significant advocates for a 'new classicism' in Italy in the early 1920s. Only a few years earlier, Spadini had been criticised for his lustful Impressionism by those same people who would later accept him within the Valori Plastici group. In 1924, Spadini, widely appreciated as one of Italy's best contemporary painters, held his first solo show at the Fourteenth International Venice Biennale. Through a close reading of the critical reception of Spadini's works in the early 1920s, this article reveals a painter more seriously engaged with the artistic debates of the time than is often credited. It further challenges some assumptions about the Valori Plastici group and the early-twentieth century notion of 'classicism' by unveiling how the term 'classical' was not a stable signifier but, rather, a repository of disparate artistic conceptions. [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]

Situating itself in line with Max Saunders' thesis in Self Impression (2010), this paper is a literary-critical reconnaissance of the creative techniques Lytton Strachey employs in Queen Victoria (1921). My essay attempts to elicit the ways in which Strachey executes his modernist argument, intended to debunk Victorian perspectives, via a canny mix of traditional and modernist techniques of narration, usually associated with fiction. Showing how – in the way of an impressionist historian – he both inhabits the frame of his narrative as well as directs its very framing, I discuss his use of free indirect style and cognate methods of characterisation. I also discuss his novelistic 'rhythm', as he negotiates between personal and particular histories and wider more universal history; his psychological and psychoanalytic resources for biographical insight; and formal features of his narrative that make use of choric and stage-like structuring, as well as meta-historical tropes of fate and destiny. Literary critical methods deployed by Strachey, precociously, in the arsenal of his method, at a time before such literary critical methods had been overtly established are also discussed in brief as signifying features of his innovation. This paper hopes to offer a concrete interpretation of Strachey's well-known candidacy as the father, or one of them, of the 'new biography'. Being a concrete analysis of only one of Strachey's works, less examined than others, the paper claims only to put traditional notions of the new biography and of modernism under the lens of this one particular but signal work. [ABSTRACT FROM AUTHOR]

The Present study entitled "Henry James's Art of Employing Imagery: A Study" is to explore Henry James' use of art objects and art imaginary in the delineation of characters. This research also examines how Henry James finds analogy between the art of the Painter and the art of the novelist in his attempt to represent life. The purpose of this study is to delineate how James' use of images and his art of technique is presented in his works. James uses art imagery and art objects to underline his themes. In his works the sight of art and its insight merge as an organic unity of his works. This paper also elucidates how James establishes a balance between real and "romantic". [ABSTRACT FROM AUTHOR]

Although Kierkegaard is known to express himself extraordinarily eloquently, at first glance this doesn't seem to apply to his decidedly religious writings, which appear rather monotonous in many cases. This impression might lead to a one-sided interpretation of the significance of aesthetic devices and aesthetic approaches in Kierkegaard's works. However, close literary readings of his religious writings reveal to which extent the religious texts are not only committed to 'the aesthetic' by applying, integrating and contradicting it--but that they even depend on it with regard to their own functioning. [ABSTRACT FROM AUTHOR]

The purpose of this paper is to understand whether we may or not talk about a conflict between Modernism and Postmodernism. These trends are not always seen as opposed; they may even be seen as a continuation of each other. Hassan (1987:25-33) offers his views on Modernism and Postmodernism as not clearly delimited from one another. Modernism may be a continuation of Postmodernism. They may also be seen as coexisting. The ideal postmodern author should not totally move away from previous fiction, according to John Barth. Postmodernism is not viewed as a continuation or as an opposition of Modernism, according to Barth, but as a synthesis: "Barth thinks that postmodernism is neither extension of modernism, nor on the contrary the wholesale subversion of either modernism or postmodernism, or traditional bourgeois realism. Only combining the ideas together can help to get the whole story. This is where his idea of synthesis is from". (Liang) Peter Brooker states that Modernism and Postmodernism represent in fact several trends, not just one unitary trend. The paper will examine common features between the two trends found in Virginia Woolf's and Graham Swift's novel and discuss how the cultural context influences their novels. [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.

The article discusses the developing field of study of general theory of lyric. It cites that lyris approach are reputedly stuck in with the impasse of an impressionistic and narrowly formalistic critical debate. The article also cites on the problems of the analysis of lyric whic have been influenced by generic models and approaches drawn from the theories of drama and narrative.

This statement does not challenge Jonathan Culler's argument that lyric is not dramatic monologue but primarily »an event in the lyric present, a time of enunciation« (Culler 2014, 68; cf. Culler 2015). But it poses an alternative view of lyric ism, at least for Modernist poetry. The essay asks, in other words, not what lyric is, but what poets seeking to participate in a genre are doing and why. In »The Love Song of J. Alfred Prufrock«, for example, T.S. Eliot deliberately creates a clash between expectations born of dramatic monologue and those sustained by the staging of a lyric ego whose modes of presence cannot be contained within ironic distance. Similarly, when Yeats and Auden write lullabies, they are not content with individual instances of lullaby but want to capture the essence of lullaby as one aspect of levels of feeling inseparable from ideas of genre, not just uses of the genre. Lyricism also emphasizes, more than do studies of lyric as a genre, that poetry has a distinctive relationship to musicality. The essay develops two extended examples - in the form of a contrast between two poems in the first Imagist anthology Des Imagistes, namely H.D.'s (Hilda Doolittle's) »Sitalkas« and Ezra Pound's »Doria« - as an example of what Pound called »patterned music«, which Pound opposed to the »emotional music cultivated by the spirit of Impressionism«. Finally it turns to the contemporary poet Lisa Robertson's »Sunday« as an instance of cultivating the power of indexicals as an alternative to any kind of overt »speaking situation« with its inevitably damaged versions of subjectivity. [ABSTRACT FROM AUTHOR]

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]

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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.

This article considers drawings and paintings made by the American artists Edmund Tarbell and John Sloan in relation to the art of the seventeenth-century Dutch Republic. Claims about, interpretations of, and enthusiasm for 'Dutch Pictures' were prominent features of the transatlantic artworld in the years around 1900. Art critics, including George Moore, Charles Caffin, James Gibbons Huneker and Frank Jewett Mather, discussed the relationship between historical Dutch painting and contemporary art, while American collectors and museums purchased and displayed large numbers of paintings by Rembrandt, Hals, Vermeer and their contemporaries. The article connects specific seventeenth-century Dutch ideas and objects to such paintings as Tarbell's New England Interior (1906) and Sloan's Scrubwomen, Astor Library (1910-11) and thinks more broadly about modern art's relationship to nationalism and to the past. [ABSTRACT FROM AUTHOR]

This article explores the complex relationship between the yankee, the Impressionist and the minoritarian in Laforgue's work and suggests that Deleuze's notions of the minor and of stuttering, and his analysis of the characteristics of Anglo-American writing, are particularly pertinent to our understanding of Laforgue's poetics. There is a nineteenth-century context for the minor, but there is a danger that we capitulate to a ‘majoritarian’ criticism if we too quickly espouse lines of filiation. The article constructs an account of Laforgue's developing perception of, and relationship with, verse prosody by examining how he scumbles the outlines and activity of syllables, how he pushes line-structure into aterrain vague, how he re-orientates accent towards the qualitative and tunes the acoustic to Hartmann's Unconscious. His uses of the imperative and infinitive, and their associated punctuations, are related to his responses to Impressionism. The argument ends with reflections on Deleuzian becoming in Laforgue. [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]

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.