MARC Record from Library of Congress

LEADER: 03618cam a2200373 i 4500
001 2013015888
003 DLC
005 20140419081057.0
008 130417s2013 mnua b s000 0 eng
010 $a 2013015888
020 $a9780816676026 (hardback)
020 $a9780816676033 (pb)
040 $aDLC$beng$erda$cDLC$dDLC
042 $apcc
050 00 $aN6853.M33$bC76 2013
082 00 $a759.4$223
084 $aART015100$aPHI001000$2bisacsh
100 1 $aCronan, Todd.
245 10 $aAgainst affective formalism :$bMatisse, Bergson, modernism /$cTodd Cronan.
264 1 $aMinneapolis :$bUniversity of Minnesota Press,$c[2013]
300 $axi, 324 pages :$billustrations ;$c27 cm
336 $atext$2rdacontent
336 $astill image$2rdacontent
337 $aunmediated$2rdamedia
338 $avolume$2rdacarrier
520 $a" For nearly fifty years the humanities have been confined by a series of critiques: of the subject, of representation, of the visual, of modernism, of autonomy, of intention, of art itself. In their place various "materialities" have appeared: signs, identities, bodies, history, and works. Against Affective Formalism challenges these orthodoxies. "What I am after, above all, is expression," Henri Matisse declared. Matisse believed that through the careful arrangement of line and color he could transmit his feelings directly to the minds and bodies of his viewers. Yet Matisse continually struggled with the reality that his feelings were misunderstood--or simply ignored--by viewers of his art. Matisse oscillates between a desire for expressive command over the viewer and a sense of the impossibility of making himself known. Against Affective Formalism confronts modernism's dissatisfactions with representation. As Todd Cronan explains, a central tenet of modernist thought turns on the effort to overcome representation in the name of something more explicit in its capacity to generate bodily or affective experience. Henri Bergson was one of the most influential advocates of the antirepresentational impulse; his novel theories of memory and freedom gripped a generation of writers, philosophers, psychologists, and artists. Matisse and Bergson worked within and against the context of form and expression that remains in force today. Writing in opposition to prevailing theories and assumptions about the relation of intention and form--most of which accept the "death of the author" as a basic fact of interpretation--Cronan argues that the beholder's response to art, outside a framework of intentionality, is irrelevant to a work's meaning. Intentions are not a matter of method at all: no letter, biography, document, archive, or key will recover an intention. What matters is that intentions make works of art different from objects in the world. "--$cProvided by publisher.
504 $aIncludes bibliographical references.
505 8 $aMachine generated contents note: -- Contents -- Acknowledgments -- List of Illustrations -- Introduction: Modernism against Representation -- 1. Painting as Affect Machine -- 2. Freedom and Memory: Bergson's Theory of Hypnotic Agency -- 3. The Influence of Others: Matisse and Personnalite -- 4. Matisse and Mimesis -- Conclusion. From Art to Object: The Case of Paul Valery -- Notes -- Index.
600 10 $aMatisse, Henri,$d1869-1954$xCriticism and interpretation.
600 10 $aBergson, Henri,$d1859-1941.
650 0 $aModernism (Aesthetics)
650 0 $aRepresentation (Philosophy)
650 7 $aART / History / Modern (late 19th Century to 1945).$2bisacsh
650 7 $aPHILOSOPHY / Aesthetics.$2bisacsh