EMAIL<\/a> | SYLLABUS<\/a> | POLICIES<\/a> | QUESTIONS<\/a> | PRESENTATIONS<\/a> | JOURNALS<\/a> | PAPER<\/a> | FINAL<\/a><\/strong><\/p>\n\n\n\n Assigned: from The Painter of Modern Life.<\/em> (680-90 in Leitch, Vincent B. and William E. Cain, eds. The Norton Anthology of Theory and Criticism.<\/em> 2nd ed. New York: Norton, 2010. ISBN 978-0-393-93292-8).<\/p>\n\n\n\n 1. On 680-81 (\u201cBeauty, Fashion, and Happiness\u201d), how does Baudelaire\u2019s analysis of beauty compare with and depart from Kant\u2019s treatment of aesthetic experience, which as you\u2019ll recall involves a kind of disinterested, \u201cdry\u201d pleasure in the objects we declare beautiful and which also partly involves our relationship to the natural world? (680-81)<\/p>\n\n\n\n 2. On 680-81 (\u201cBeauty, Fashion, and Happiness\u201d), according to Baudelaire, Stendhal\u2019s definition of beauty as \u201cnothing else but a promise of happiness\u201d (une promesse de bonheur<\/em>) breaks cleanly with \u201cthe academic error.\u201d What does he apparently mean by the latter term? In your own words, what does Baudelaire think is the problem with Stendhal\u2019s definition, and what\u2019s the error involved in \u201cthe academic error\u201d? (680-81)<\/p>\n\n\n\n 3. On 682-84 (\u201cThe Artist \u2026\u201d), in the section \u201cThe Artist \u2026,\u201d Baudelaire treats the obscure artist Constantin Guys as the type of the artist as \u2018\u2018fl\u00e2neur.\u2019\u2019 What are the defining characteristics of this type? How is Guys the embodiment of \u201cgenius\u201d as Baudelaire defines it?<\/p>\n\n\n\n 4. On 682-84, (\u201cThe Artist \u2026\u201d), how does Baudelaire\u2019s definition and treatment of \u201cgenius\u201d compare with Kant\u2019s explication of that concept (445-49)?<\/p>\n\n\n\n 5. On 682-84 (\u201cThe Artist \u2026\u201d), what inferences can you make about the status of the individual artist in Baudelaire\u2019s theory? In his description of the fl\u00e2neur<\/em> (and later the dandy), is Baudelaire offering all of us a model for perceiving the world afresh, or is he implying that this kind of power is limited to an elite artistic few? (see 684 especially)<\/p>\n\n\n\n 6. On 684-86 (\u201cModernity\u201d), how does Baudelaire define \u201cmodernity\u201d? Is this a phenomenon he claims is new in human history, or is it a recurring one? Why is it vital for artists (or critics) to attend to the details, the ephemera,<\/em> of their own times? What would they miss if they did not do that?<\/p>\n\n\n\n 7. With regard to Baudelaire\u2019s interest in \u201cmodernity\u201d on 684-86, how would you characterize the fashion industry\u2019s relation to such a concept in twenty-first-century America? Do Baudelaire\u2019s comments that touch upon fashion seem like a good description of the American\/European fashion industry\u2019s workings and operative principles today? Why or why not?<\/p>\n\n\n\n 8. On 686-88 (\u201cThe Dandy\u201d), how does Baudelaire characterize the \u201cdandy\u201d? What are the dandy\u2019s main characteristics and interests, and how does this type differ from the fl\u00e2neur<\/em> in his comportment towards his fellow citizens and their habits and beliefs?<\/p>\n\n\n\n 9. On 688-90 (\u201cIn Praise of Cosmetics\u201d), what fault does Baudelaire find with his predecessors and contemporaries who appeal to nature as the foundation of morals and beauty? Why is artifice (including cosmetics) a better foundation for both morals and beauty? How does Baudelaire\u2019s approach to the concept of nature mark a significant departure from that of the English romantics? Which treatment of nature and beauty do you prefer, and why?<\/p>\n","protected":false},"excerpt":{"rendered":" CHARLES BAUDELAIRE QUESTIONS FOR E256 LITERARY THEORY AND CRITICISMCHAPMAN UNIVERSITY, FALL 2012 Assigned: from The Painter of Modern Life. (680-90 in Leitch, Vincent B. and William E. Cain, eds. The Norton Anthology of Theory and Criticism. 2nd ed. New York: Norton, 2010. ISBN 978-0-393-93292-8). From The Painter of Modern Life From I: \u201cBeauty, Fashion, and Happiness\u201d 1. On […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_eb_attr":"","footnotes":""},"wf_page_folders":[18],"class_list":["post-1110","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/www.ajdrake.com\/academic\/wp-json\/wp\/v2\/pages\/1110","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.ajdrake.com\/academic\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.ajdrake.com\/academic\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.ajdrake.com\/academic\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.ajdrake.com\/academic\/wp-json\/wp\/v2\/comments?post=1110"}],"version-history":[{"count":2,"href":"https:\/\/www.ajdrake.com\/academic\/wp-json\/wp\/v2\/pages\/1110\/revisions"}],"predecessor-version":[{"id":4797,"href":"https:\/\/www.ajdrake.com\/academic\/wp-json\/wp\/v2\/pages\/1110\/revisions\/4797"}],"wp:attachment":[{"href":"https:\/\/www.ajdrake.com\/academic\/wp-json\/wp\/v2\/media?parent=1110"}],"wp:term":[{"taxonomy":"wf_page_folders","embeddable":true,"href":"https:\/\/www.ajdrake.com\/academic\/wp-json\/wp\/v2\/wf_page_folders?post=1110"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}From The Painter of Modern Life<\/em><\/h3>\n\n\n\n
From I: \u201cBeauty, Fashion, and Happiness\u201d<\/h3>\n\n\n\n
From III: \u201cThe Artist, Man of the World, Man of the Crowd, and Child\u201d<\/h3>\n\n\n\n
From IV: \u201cModernity\u201d<\/h3>\n\n\n\n
From IX: \u201cThe Dandy\u201d<\/h3>\n\n\n\n
XI: \u201cIn Praise of Cosmetics\u201d<\/h3>\n\n\n\n