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Titlebook: British Aestheticism and the Urban Working Classes, 1870-1900; Beauty for the Peopl Diana Maltz Book 2006 Palgrave Macmillan, a division of

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https://doi.org/10.1007/978-3-319-93602-4ry aestheticism existed within a constellation of social activities one might call aesthetic. One might attend a gallery opening at the institutional center for aestheticism, the Grosvenor Gallery (1877–1890), return home to one’s Norman Shaw house in the aesthetic suburb of Bedford Park, and the ne
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Intermediate-State Representation (ISR)racted not through material charity, but through one-to-one friendships between the rich and poor, and the dissemination of a bourgeois culture that the poor had been denied. Students and graduates came down from Oxford to live at Toynbee Hall, where they gained access to the poor in East London by
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J. Paldus,L. Pylypow,B. Jeziorskiher’s faith. Looking back, he characterizes the early growth of his intellect as ‘a plant on which a pot has been placed, with the effect that the centre is crushed and arrested, while shoots are straggling up to the light on all sides.’. These shoots, whether they represent childish fancy or writer
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Philippe A. Martin,François Rothenc Movement. For instance, Jonathan Freedman has illustrated how middle-class parvenus claimed the role of arbiters of taste as a means for their own upward mobility and cultural enfranchisement.. Regenia Gagnier has shown how dandiacal aesthetes of the 1890s rejected ‘Victorian utility, rationality,
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Many-Body Methods in Quantum ChemistryNear the conclusion of Compton Mackenzie’s . (1913), the protagonist Michael Fane wonderingly observes the working-class criminal, Barnes, during an East End church service:.Implicit in his assessment of Barnes is an intuition, quickly stifled, that the Mass might uplift a fallen, jaded nature through its own materiality.
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British Aestheticism and the Urban Working Classes, 1870-1900978-0-230-50405-9Series ISSN 2634-6494 Series E-ISSN 2634-6508
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