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- W1587040915 abstract "Despite early twentieth century propensity expose impossibility of grounding human knowledge, many prominent modernist aestheticians and poets were obsessed with experiencing and/or understanding ultimate reality, an absolute truth that is mindand culture-independent as well as universally valid.1 For instance, Clive Bell argues in 1914 that Art is most universal and most permanent of all forms of religious expression, because significance of formal combinations can be appreciated as well by one race and one age as by another, and because that significance is as independent as mathematical truth of human vicissitudes (1958, 182).2 Following this line of reasoning, aesthetic truth is as objectively and universally valid as Pythagorean theorem, because, as Roger Fry argues in 1919, an ideal apprehension of aesthetic object is unconditioned by considerations of space and (1947,23).3 Such a based orientation is consistent with T. E. Hulme's aesthetic, which presupposes artist's ability overcome Original Sin and thereby experience an objective that is purified from anthropomorphism (1965,45).4 For T. S. Eliot, who claims that must be extended into spiritual perception, and spiritual perception must be extended into esthetic sensibility (1977a, 103), or thodox Truth exists whether humans apprehend it or not (1934,32), so artist's primary objective is to train people be able think in Christian categories (1977a, 22), for Christianity, more than anything else, provides humans with epistemological access a pre-given orthodox Truth.5 At same time that prominent modernist writers were trying recon struct an aesthetic theory that would enable humans access essential reality (C. Bell 1958, 142) or the nature of reality (Hulme 1965, 4), two concurrent disciplinary developments were radically undermining this aesthetic project. The first split between psychology and philosophy. Toward end of nineteenth century, psychology, which was much more closely affiliated with philosophy than it is today, began emancipate itself as a discipline (Ryan 1991, 2). Such a split had enormous ramifications, for while philosophy" @default.
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- W1587040915 date "2006-01-01" @default.
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- W1587040915 title "D. H. Lawrence's Women in Love: A Tale of the Modernist Psyche, the Continental “Concept,” and the Aesthetic Experience" @default.
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- W1587040915 doi "https://doi.org/10.2307/25670629" @default.
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