Pub Date : 2022-02-17DOI: 10.1093/oso/9780197572443.003.0010
Lydia D. Goehr
Chapter 10 explores the friction that makes and breaks the hyphens between Bohemia-Bohemian-Bohème. It begins and ends with the theological and secular winds that bring Shakespeare’s Winter’s Tale into deliberately enigmatic representations of la vie de bohème. A seascape helps then to remake a rural landscape into a cityscape of Paris in its embattled to-and-fro with London. With walking and wandering always at stake, the chapter investigates the many strains of wit in the painting of shoes.
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Pub Date : 2022-02-17DOI: 10.1093/oso/9780197572443.003.0005
Lydia D. Goehr
Chapter 5 brings Kierkegaard’s contrast of a joyful and dismal economics of thinking into contact with the writers of the Parisian bohème, and with Murger most of all. The transfiguration of the commonplace is now a constant reckoning with the marketplace. The common sign, often carved with a knife of prejudice, becomes a shared contribution to a philosophical furniture art and to a modern discourse on property as theft, where the deepest theft is of a person’s selfhood. An existential thesis dominates, whereby, through unresolved patterns and paradoxes about artworks and thoughts, artists and philosophers constantly turn back to how they are living their lives. The patterning turns borrowed materials into thoughts owned, into a property for the self. Once owned, how are the thoughts expressed to render them public for others, if keeping thoughts to oneself cannot be the answer for the one who chooses to be a writer? How does talk about owning one’s self become a claim of one’s liberation from an external possession experienced as a servitude, and with what social and artistic results?
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Pub Date : 2022-02-17DOI: 10.1093/oso/9780197572443.003.0004
Lydia D. Goehr
Part II foregrounds the Red Sea anecdote in contrasting emancipatory narratives: in Murger’s story of Marcel’s painting, in Kierkegaard’s pursuit of a life result, and in Puccini’s La Bohème. The anecdote, being about a painting produced contrary to expectation, offers an explanation. What is the relation between expectation and explanation? What are the modern stakes in the social patterns of art’s production? The many ways of social critique are worked through contra the nasty prejudices of anti-Semitic complaint. Chapter 4 reads Murger’s scenes for la vie de bohème given their constant invocations of the Red Sea Passage. What and who was included and excluded from the life? Far from recommending the life, Murger undercut its possibility before its passage even began. What the chapter’s end reveals about the Red Sea painting proves what the chapter argues first: that no masterpiece could be completed by an artist living for the sake of la vie de bohème.
第二部分以对比鲜明的解放叙事突出了红海轶事:在穆尔热的马塞尔绘画故事中，在克尔凯郭尔对生活结果的追求中，在普契尼的La boh me中。关于一幅与预期相反的画的轶事提供了一个解释。期望和解释之间的关系是什么?艺术生产的社会模式中的现代利害关系是什么?社会批判的许多方式都是与反犹太主义抱怨的讨厌偏见相抵触的。第四章读了穆尔格为《波荷美生活》所写的场景，因为他们不断地引用红海通道。什么人和事被包括在生命之外?穆尔格非但没有推荐这种生活，反而在生活开始之前就削弱了它的可能性。这一章的结尾所揭示的红海画证明了这一章首先提出的论点:一个为了生活而生活的艺术家不可能完成杰作。
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Pub Date : 2022-02-17DOI: 10.1093/oso/9780197572443.003.0001
Lydia D. Goehr
Part I reads the writings of Arthur Danto with the purpose to unpack his Red Squares thought experiment. Chapter 1 presents that experiment within the context of his life work. Why did it begin with a borrowed anecdote of Exodus, the Red Sea Passage? Why the color of red and what significance a square? How did the thought experiment inspire his end of art thesis, of which the philosophical result was an analytical definition of art? Chapter 2 treats his end of art thesis contextualized by his philosophy of history, and Chapter 3, his engagement with others who have used the Red Sea anecdote, including writers of la vie de bohème. The book thereafter investigates what it has long meant to picture freedom with a wit that attends the mind’s constant experimentation with its thoughts, moods, and perspectives.
第一部分阅读阿瑟·丹托的作品，目的是解开他的红方思想实验。第一章在他毕生工作的背景下展示了这个实验。为什么要从《出埃及记》的一段借来的轶事——红海通道开始呢?为什么红色是正方形的颜色，又有什么意义呢?这个思想实验是如何启发他的艺术终结论文的，其哲学结果是对艺术的分析定义?第2章将他的艺术论文的结尾与他的历史哲学联系起来，第3章，他与其他使用红海轶事的人的交往，包括la vie de boh的作家。此后，这本书探讨了长期以来用一种智慧描绘自由的意义，这种智慧参与了思想、情绪和观点的不断实验。
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Pub Date : 2022-02-17DOI: 10.1093/oso/9780197572443.003.0003
Lydia D. Goehr
Chapter 3 asks when and how Danto became acquainted with the Red Sea anecdote. It sifts through his many responses to critics, artists, and earlier writers to explain why he designed his thought experiment with images that were red and square. The explanation continues to rest with his commitment to an emancipation narrative drawn from his American times, of which the result for art’s concept was not a partial but a full inclusion. By stretching the red and by stretching the square, he sought the analytical terms to admit all art to his Promised Land from sea to shining sea. Toward its end, the chapter introduces an art-historical and literary material to prepare for the broader enquiry into the Red Sea Passage and its anecdote.
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Pub Date : 2022-02-17DOI: 10.1093/oso/9780197572443.003.0015
Lydia D. Goehr
Chapter 15 presents a philosophy of proverbial wisdom written into and out of the spirit of the dialectic. Its colors are black, white, and grey. The proverbial wisdom engages what the ancients called contraries: binaries of values and qualities twisted and turned in the pursuit of truth and knowledge. In its middle, the chapter reads from Hegel’s two great prefaces, to the Phenomenology of Spirit and to the Philosophy of Right. In one preface, we meet cows and cats in a contest of black with grey; in the other, the owl of Minerva in a contest with a pure dove, presumably white. The philosophical issue is monochromatic formalism, that is, a tendency of a theory, associated with a picturing of a freedom, to give, in contrary senses, nothing away.
{"title":"Proverbs on the Path to the Absolute","authors":"Lydia D. Goehr","doi":"10.1093/oso/9780197572443.003.0015","DOIUrl":"https://doi.org/10.1093/oso/9780197572443.003.0015","url":null,"abstract":"Chapter 15 presents a philosophy of proverbial wisdom written into and out of the spirit of the dialectic. Its colors are black, white, and grey. The proverbial wisdom engages what the ancients called contraries: binaries of values and qualities twisted and turned in the pursuit of truth and knowledge. In its middle, the chapter reads from Hegel’s two great prefaces, to the Phenomenology of Spirit and to the Philosophy of Right. In one preface, we meet cows and cats in a contest of black with grey; in the other, the owl of Minerva in a contest with a pure dove, presumably white. The philosophical issue is monochromatic formalism, that is, a tendency of a theory, associated with a picturing of a freedom, to give, in contrary senses, nothing away.","PeriodicalId":62574,"journal":{"name":"红树林","volume":"48 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-02-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84828474","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-02-17DOI: 10.1093/oso/9780197572443.003.0016
Lydia D. Goehr
Chapter 16 moves between thought experiments and puzzles regarding epigraphs in a print culture of black and white. It explores the interaction of the philosophical critique of monochromatic formalism with the monochrome technique broadly applied to the one-colored, non-colored, and all-colored canvases and pages of painting, literature, and history. It offers more twists and turns of perspective drawn from the Red Sea anecdote to connect the red of a sea, square, and thread to the red corner of a room redesigned for the living.
{"title":"Thought Experiments in Color","authors":"Lydia D. Goehr","doi":"10.1093/oso/9780197572443.003.0016","DOIUrl":"https://doi.org/10.1093/oso/9780197572443.003.0016","url":null,"abstract":"Chapter 16 moves between thought experiments and puzzles regarding epigraphs in a print culture of black and white. It explores the interaction of the philosophical critique of monochromatic formalism with the monochrome technique broadly applied to the one-colored, non-colored, and all-colored canvases and pages of painting, literature, and history. It offers more twists and turns of perspective drawn from the Red Sea anecdote to connect the red of a sea, square, and thread to the red corner of a room redesigned for the living.","PeriodicalId":62574,"journal":{"name":"红树林","volume":"189 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-02-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73534489","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-02-17DOI: 10.1093/oso/9780197572443.003.0017
Lydia D. Goehr
Pursuing the sources for the Red Thread, chapter 17 presents a literature of high and low wit. Bringing out the double perspective of land and sea, the literature exposes breaches in a society beginning at home. The chapter explores the marine terms of a threaded rope and its strategic adaptation by Goethe most of all. How and why did Goethe turn something foreign and commonplace into a divine or poetic thread for life, thought, and art: invisible and unbroken? What bearing has the twist of the thread in the making of personal relationships, family tapestries, and a nation’s bonding? We know why the thread must be red (as the color of all colors). But why a thread (Faden) and not a line, a yarn, or a fiber?
{"title":"Red Thread","authors":"Lydia D. Goehr","doi":"10.1093/oso/9780197572443.003.0017","DOIUrl":"https://doi.org/10.1093/oso/9780197572443.003.0017","url":null,"abstract":"Pursuing the sources for the Red Thread, chapter 17 presents a literature of high and low wit. Bringing out the double perspective of land and sea, the literature exposes breaches in a society beginning at home. The chapter explores the marine terms of a threaded rope and its strategic adaptation by Goethe most of all. How and why did Goethe turn something foreign and commonplace into a divine or poetic thread for life, thought, and art: invisible and unbroken? What bearing has the twist of the thread in the making of personal relationships, family tapestries, and a nation’s bonding? We know why the thread must be red (as the color of all colors). But why a thread (Faden) and not a line, a yarn, or a fiber?","PeriodicalId":62574,"journal":{"name":"红树林","volume":"49 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-02-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"91324906","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-02-17DOI: 10.1093/oso/9780197572443.003.0007
Lydia D. Goehr
Chapter 7 reads Puccini’s La Bohème to highlight the agonistic leitmotifs and life-motifs that thread the concept of bohème back to the Red Sea. What has the landscape of Marcello’s painting, which starts the opera, to do with the portrait of Mimi’s life and final death? If we answer, nothing directly, we play to the idea that the opera’s true beginning is not its first start but its second, when Mimi climbs the stairs to become a muse in the poet’s garret. Yet why not play to both starts, relating them as they are so related in Murger’s scenes?
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Pub Date : 2022-02-17DOI: 10.1093/oso/9780197572443.003.0019
Lydia D. Goehr
Chapter 19 offers a history of signboards. It pursues a dialectic between sobriety and insobriety that gave wit to the quarrel between philosophy and the arts from the very start. The history of commercial signs and painted boards raises subtle puzzles of social reformation and artistic reclassification in discourses of family and property. The history of signboards affords insight into the emerging modern market of art where artworks-on-sale fed into the first declared public exhibitions. When this happened in London, Hogarth had a particular role to play as a brother laughing and crying in-arms. It was a doubled-up role for a brotherhood later re-dressed by writers of la vie de bohème. By the chapter’s end, something new is known about the London brotherhood that inspired the Red Sea anecdote before the anecdote traveled to Paris.
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