Abstract: This book investigates how art writing in the long Edwardian period, c.1895–1914, functioned as an active agent in the construction of embodiedAesthetic experience embodied, performative viewing experiences. Any attempt to trace how spectators encountered and responded to art needs to account for the ways in which this occurred beyond a physical confrontation between a spectator and an art work. Utilizing joint phenomenological-semioticPhenomenology perspective, this book outlines a methodology for analysing the rhetorical loci of aesthetic encounter, and focuses on how art writing intervenes in the viewer-object exchange, shaping and conditioning the attitudes and behaviors of spectators. It argues for the need to attend to the diversity of such art writing, with a range of works providing the source material for this investigation, often texts that are otherwise absent from art-historical study. The methodology herein has implications for how we understand the conditioned or constructed nature of aesthetic experience more broadly, allowing us to identify its performative qualities: its basis in bodily response; its contingencyAudience contingency on on social context; and the importance of space and environment in shaping experience.
Publication Year: 2019
Publication Date: 2019-01-01
Language: en
Type: book-chapter
Indexed In: ['crossref']
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