Following French Symbolism and Decadence movements, the late 19th century bore witness to the rise of Aestheticism, defined and promoted by authors such as Théophile Gautier, Walter Pater and Oscar Wilde. As put forward by Pater , life consists of nothing more than “impressions, images (and) sensations” and literature was to maximize these “flickering” moments. Influenced by Gautier and Pater, Wilde declared in his famous preface to The Picture of Dorian Gray that “all art is quite useless” , denying that there was such a thing as an “immoral” book and condemning utilitarianism in literature. While he acknowledged that “the moral life of man forms part of the subject-matter of the artist”, he rigidly opposed the opinion put forward by writers such as Orwell that all art is simultaneously propaganda. Nevertheless, the aforementioned preface was not only written as a reaction against Victorian literature, but also being written a year after the first publication of the book, giving it the appearance of an act of self-defense against harsh criticism and casting a shadow of doubt over its face-value. Furthermore, Wilde does make concessions to different interpretations of a text, even if at the reader’s own risk. In the light of this, the question remains in how far Wilde’s view is applicable to texts written in a different context, bearing in mind both author intentionality and reader interpretation. I will focus on Mansfield’s story The Garden Party and three key passages from Gibbon’s Sunset Song in order to analyze with reference to Wilde’s statement in order to analyze its validity in the context of these two writers.
Table of Contents
1. Introduction to Aestheticism and its Critics
2. Modernist Authors and Artistic Approaches
3. Language, Atmosphere, and Political Implications in Modernist Narrative
4. Synthesis of Aestheticism and Instrumentalism in Literary Interpretation
Research Objective and Core Themes
The primary objective of this work is to critically examine the compatibility between aestheticism and instrumentalism by analyzing the narrative techniques and underlying social-political themes in Katherine Mansfield’s "The Garden Party" and Lewis Grassic Gibbon’s "Sunset Song", ultimately challenging the notion that these two literary modes are mutually exclusive.
- The intersection of modernist aesthetic techniques and political commentary.
- The role of language and rhythm in shaping reader perception and social critique.
- The influence of authorial intent versus reader interpretation in literary value.
- Comparative analysis of modernist literary devices (stream of consciousness, internal focalization).
- The function of symbolism and atmosphere in conveying class and gender distinctions.
Excerpt from the Book
It goes without saying that one of the most striking features of Sunset Song and Mansfield’s stories is the authors’ use of language.
Gibbon, trying to represent the true identity of Scotland and its culture and society was unsatisfied with the choice of previous writers to either use high English or to transcribe a Scots dialect and, thus, created a new, hybrid language. Despite the fact that the number of Scots words is extremely limited, his approach was extremely innovative in terms of replicating the rhythm of Scots and by not only restricting it to direct speech. Moreover, a new feature was his multiple use of “you”, used to address the reader, in its generic meaning and, most significantly, a “you” that refers to Chris herself and, thus, establishing a deep intimacy between the protagonist (and her community) and the reader. In terms of language, the discussion in the Knapp shows Gibbon’s artisitic use of heteroglossia, including eleven shifts in point of view from 7 different perspectives. Language, in Sunset Song, apart from its inherent beauty, serves a clear purpose. It breaks open conventional literary traditions as much as the content tries to break with conventional structures of society.
Mansfield’s style has gained its reputation for her evocation of atmosphere and mood, and, as commented on by critics such as Beach, her “tendency to subordinate incident to mood” manifests itself in the use of symbols and, especially, colors. In The Garden Party eleven different colors are mentioned (most notably the color green, symbolizing nature), leading to an emphasis on sensory perception. Even though The Garden Party follows a slightly more conventional plot structure than other stories, such as The Daughters of the Late Colonel, for instance, its abrupt beginning, that “places us in the middle of a feeling” and its epiphanic ending, in the form of the protagonist’s encounter with death reverse traditional expectations. Both Mansfield’s particular use of language does, thus, not only represent a manifestation of beauty, but also serves a further purpose.
Summary of Chapters
1. Introduction to Aestheticism and its Critics: This chapter contextualizes the emergence of Aestheticism in the late 19th century and introduces Oscar Wilde’s stance against utilitarian interpretations of art.
2. Modernist Authors and Artistic Approaches: This section explores the contrasting artistic backgrounds of Katherine Mansfield and Lewis Grassic Gibbon as modernist writers.
3. Language, Atmosphere, and Political Implications in Modernist Narrative: This chapter analyzes how linguistic innovation and modernist techniques are employed by both authors to convey political and social messages.
4. Synthesis of Aestheticism and Instrumentalism in Literary Interpretation: This concluding analysis argues that literary value and social-political engagement are inextricably linked, refuting the exclusivity of aestheticism.
Keywords
Aestheticism, Modernism, Instrumentalism, Katherine Mansfield, Lewis Grassic Gibbon, Sunset Song, The Garden Party, Literary Theory, Heteroglossia, Stream of Consciousness, Social Commentary, Reader Interpretation, Political Literature, Narrative Technique, Symbolism
Frequently Asked Questions
What is the fundamental focus of this publication?
This work examines the tension and potential convergence between the theory of "art for art's sake" (Aestheticism) and the view that literature should serve a political or social purpose (instrumentalism).
What are the core themes addressed in this study?
Key themes include the use of modernist narrative techniques, the representation of social and class divisions, authorial intention, and the role of the reader in constructing literary meaning.
What is the primary research question?
The study asks to what extent Oscar Wilde’s view of aestheticism remains valid when applied to texts written in different contexts, particularly regarding the political and social undertones in the works of Mansfield and Gibbon.
Which scientific methodology is applied?
The author employs a comparative literary analysis, examining specific passages from "The Garden Party" and "Sunset Song" through the lens of established literary theory and critical feedback.
What topics are covered in the main body?
The main body treats the linguistic innovations of Gibbon, the atmospheric and symbolic techniques of Mansfield, and the overarching debate concerning whether artistic value and political messaging are compatible.
Which keywords define this work?
The primary keywords include Aestheticism, Modernism, Instrumentalism, heteroglossia, stream of consciousness, and the specific literary works analyzed.
How does the author characterize the language in Sunset Song?
The author describes Gibbon's use of a hybrid language that replicates the rhythm of Scots to create intimacy and break conventional literary traditions.
Why does the author argue that Wilde’s views ignore literary theory?
The author argues that Wilde’s view ignores that factors outside an author's control—such as the reader's cultural and social context—inevitably determine the meaning of any text at the moment of reading.
- Quote paper
- Kristina Kolb (Author), 2007, “Books are well written, or badly written. That is all.”, Munich, GRIN Verlag, https://www.grin.com/document/142057
