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Unacknowledged Legislators and Art pour Art The oldest and most popular subject of criticism is apparently the role of poetry and the place of the poet in society.
The arguments of Plato and Aristotle are not early but late. Long before their day, on Egyptian papyrus and Babylonian clay tablet and in the Prophetic Books of the Bible, the discussion was going on. As most of you may know, Plato had a very low opinion of poets. Isaiah had a very exalted one.
From those days to the present the debate has continued.
In most cases the dispute has been so disputatious because so many of the participants have had a very inadequate idea of the nature of poetry, what it actually is, how it achieves its effects, what the arts do generally in and with society. In my time anthologists have included everybody from Walter Pater to Vanzetti to Thomas Wolfe amongst the poets, but actually very few people would accept this judgment.
Florid prose is not poetry; in fact it is often very close to being the opposite of poetry, rhetoric. The public seems to sense this.
The Dadaist poetry of Tristan Tzara is considered poetry, even by people who neither like nor understand it. Let us start with a poet whose social responsibility is not very manifest. He wrote during the few brief years that the Roman Republic broke down once and for all and Julius Caesar began the organization of the Empire which came into full existence under Augustus, a period of economic booms and crises, of civil war and the constant threat of social revolution both from the upper and the lower classes.
What have the poems of Catullus to do with either Republic or Empire, with the social collapse and conflict he saw about him? Is there any evidence that he interfered in any way with the society of his time?
Actually, he seems to have belonged to their circle. He certainly did not belong to the Senatorial party. It is always presumed that the Lesbia of his most passionate love poems was Clodia, one of the more notorious evil livers of all time, a multi-millionaire courtesan like those who are always in our own newspapers.
Nobody has ever valued Catullus for such things, from Clodia or Caesar to our own day. This is certainly one of the things poetry does. It communicates the most intense experiences of very highly developed sensibilities.
With whom does it communicate?
Like any published utterance it communicates out into society with anyone who wants to be communicated with. Perhaps this is enough.
As time goes on and the poem is absorbed by more and more people, it performs historically and socially the function of a symbolic criticism of values. A great many of our responses to experience are necessarily dulled. The organism has to protect itself. It cannot be completely raw.
What the arts do, and particularly what the most highly organized art of speech does, is to develop and refine this very rawness and make it selective. Poetry increases and guides our awareness to immediate experience and to the generalizations which can be made from immediate experience.
It organizes sensibility so that it is not wasted. Unorganized sensibility is simply irritability. If every sense impression, every emotion, every response were as acute as it could be, we would soon go to pieces. The arts build in us scales and hierarchies of response.
We become more clearly aware of what is good and bad, interesting and dull, beautiful and ugly, lovable and mean. Experience thus comes to have greater scope, greater depth, greater intensity.
Whatever else the arts do, and amongst them the art of poetry, this is the simplest and most obvious thing. If we stick to this we push aside a great deal of aesthetic argument.
Criticism in the recent past has held that the arts are largely construction, and that it is the architectonics of the construction which provide the criteria of judgment. All the arts were assimilated to the canons of architecture and music. Of course, the answer to this is that Chartres or the Parthenon are not purely construction.A key issue in my view is being convinced that play and creativity have an important role in education, and that as professionals we have a responsibility to nurture these.
The world is changing. Mar 23, · Best Answer: primarily to make money while expressing the artist point of view and fullfilling his self actualization.
the point is up to the individual in your reference as in benjaminpohle.com: Resolved. Role Of Language In Semantics And Society English Language Essay informational, the expressive, the directive, the phatic, the aesthetic.
We use language and that language is a part of society. Actually, any language varies according to, the nature of the society, what kind of people, and their attitudes. The social background of any. Nov 21, · Then, as time has gone on it seems like art and faith have diverged in a sense, and now, I'm seeing them come a little bit closer together with believing artists who aren't doing shlocky stuff.
The role of Christianity in civilization has been intricately intertwined with the history and formation of Western benjaminpohle.comhout its long history, the Christian Church has been a major source of social services like schooling and medical care; inspiration for art, culture and philosophy; and influential player in politics and benjaminpohle.com various ways it has sought to affect Western.
Art does play an important role in society, particularly for those whose life is always connected with art, either artists, musician, composer, and becoming art as their inspiration, even for someone who is not too interested in art, there must be something that make them think art has a role in their life.