Raphael, The School of Athens (1511)
Raphael, The School of Athens (1511)
1,668 words
It is important to realize that “true” and “false,” like “free” and “unfree,” do not stand for anything simple at all; but only for a general dimension of being a right and proper thing to say as opposed to a wrong thing. — J. L. Austin, How to Do Things with Words (1962) (more…)
5,079 words
Part 2 of 2 (Part 1 here)
Monument to George N. Hardinge (1781–1808), 1808
Here we have another Classical piece[1] from St. Paul’s. Very sort of neo-Classical in feel. Idealized. A strong element of narratives creeping into sculpture at this time. (more…)
7,106 words
I want to maintain that after a hundred years of romanticism, we are in for a classical revival, and that the particular weapon of this new classical spirit, when it works in verse, will be fancy.[1] And in this I imply the superiority of fancy—not superior generally or absolutely, for that would be obvious nonsense, but superior in the sense that we use the word good in empirical ethics—good for something, superior for something. (more…)
Wyndham Lewis, “Red Duet,” 1914
Wyndham Lewis, “Red Duet,” 1914
1,095 words
Edited by Alex Kurtagić
Editor’s Note:
The following is an excerpt from Jonathan Bowden’s Heat. (more…)
Wyndham Lewis, Portrait of T. S. Eliot, 1938
Wyndham Lewis, Portrait of T. S. Eliot, 1938
5,352 words
Part 1 of 2
The First World War brought to a climax a cultural crisis in Western Civilization that had been developing for centuries: money overwhelmed tradition, as Spengler would have put it[1] (or, to resort to the language of Marx, the bourgeoisie supplanted the aristocracy).[2] Industrialization accentuated the process of commercialization, with its concomitant urbanization and the disruption of organic bonds and social cohesion. This has thrown societies into a state of perpetual flux, with culture reflecting that condition.
It was—and is—a problem of the primacy of Capital. (more…)
