As war broke out across Europe in 1914 the Vorticist painter Wyndham Lewis advised: ‘You must not miss a war, if one is going! You cannot afford to miss that experience’. He may have been playfully ironic, but he recognised that the Great... more
As war broke out across Europe in 1914 the Vorticist painter Wyndham Lewis advised: ‘You must not miss a war, if one is going! You cannot afford to miss that experience’. He may have been playfully ironic, but he recognised that the Great War presented a set of complex challenges, that might make or break reputations at a critical juncture in British art. Many artists, poets and writers have had to live with the uncomfortable recognition that conflict fuels their muse, invigorating the imagination and honing their creativity.
This book explores a diverse group of those artists and their work, from the conservative draughtsmanship of Scottish etcher Muirhead Bone to the irreverent angularity of the young gunner William Roberts; from the publicity-soaked antics of Richard Nevinson to the deluded ambitions of Sir William Orpen. In it, Paul Gough examines the work of those who were made famous by the war, and those whose reputations were almost irretrievably damaged. He explores in detail the wartime lives of fifteen artists – many of whom saw active service -- who are central to the way we now visualize the War on the Western Front and on more distant battlefields in Macedonia and Gallipoli.
Si acudiéramos al filósofo y sociólogo Karl Marx (1818-1883), nos diría que el “conflicto se da a causa de la existencia y diferencia de clases” (Cadena,1993), esto quiere decir, entre ricos y pobres o como lo hubiera dicho él mismo:... more
Si acudiéramos al filósofo y sociólogo Karl Marx (1818-1883), nos diría que el “conflicto se da a causa de la existencia y diferencia de clases” (Cadena,1993), esto quiere decir, entre ricos y pobres o como lo hubiera dicho él mismo: “entre burguesía y proletariado; plantea que el conflicto reside en que una clase domina sobre otra” (Cadena,1993), Marx solo ve al conflicto como algo negativo, ya que considera que no deben existir los conflictos porque la aspiración de toda sociedad debe ser llegar a un estado de hombres y mujeres libres que no sean gobernados por nadie.
Like many discussions on the pros and cons of epistemic foundationalism, the debate between CI Lewis and H. Reichenbach dealt with three concerns: the existence of basic beliefs, their nature, and the way in which beliefs are related. In... more
Like many discussions on the pros and cons of epistemic foundationalism, the debate between CI Lewis and H. Reichenbach dealt with three concerns: the existence of basic beliefs, their nature, and the way in which beliefs are related. In this paper we concentrate on the third ...
Owen Barfield’s position in his “Great War” with C. S. Lewis, as articulated in his book Poetic Diction and in his letters with Lewis, holds that the imagination can both perceive and create truth via poetry. While Lewis concedes that the... more
Owen Barfield’s position in his “Great War” with C. S. Lewis, as articulated in his book Poetic Diction and in his letters with Lewis, holds that the imagination can both perceive and create truth via poetry. While Lewis concedes that the imagination may perceive truth, he contends that the imagination is incapable of creating truth. Lewis objects because he believed that Barfield held imagination as superior to reason. Barfield’s theory of imagination, however, places imagination equal to reason. This paper explicates Barfield’s position and Lewis’s objections in order to demonstrate that Lewis’s objections do not hold and, as a result, Barfield’s arguments and position should be considered superior.
