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advanced practical theory on yiffy-art
Abstract:
“During the 17th century, the French fabulist Jean de La Fontaine (1621-1695) saw the soul of the fable in the moral — a rule of behavior. Starting with the Aesopian pattern, La Fontaine set out to satirize the court, the church, the rising bourgeoisie, indeed the entire human scene of his time. In modern times, the fable has been trivialized in fine art. Yet it has also been fully adapted to modernist sex-subculture. For instance, Bajusz Osolya used the young style in her, unicorn paintings and post-postmodern dance and amateur-webporn-auction-sites. Michael Wilhelm’s photography series “yiffy djihad” satirizes 21th centuries gender maintaining in particular, and scizophrenian capitalistic mechanisms in general, in the guise of yiffy artwork. Anthropomorphism in the form of personification consists of creating imaginary persons who are the embodiment of an abstract concept such as lust, war, or death.
In classical rhetoric, personification is a figure of speech, or more specifically, a trope, that employs the deliberate use of anthropomorphism, usually in attempt to make an emotional appeal. In rhetorical theory, a distinction is often drawn between personification (anthropomorphism of inanimate, but real, objects) and figures such as apostrophe, in which an absent people or abstract concepts are addressed. Using anthropomorphized caricatures or projecting human qualities on conceptual entities or inanimate objects in reasoning is also known as committing a pathetic fallacy (in logical reasoning, this is not a pejorative term).”
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A.A.R.L.: Stecker, 2007: hot measures, yiffy djihad series
Download:
yiffy_art_project.pdf
(password required, > aarl@anorak.at)
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