One of the questions that has most bothered me in my reflections on culture is the question of kitsch. Just what is it? When did it begin? And why?
Roger ScrutonRead
Beauty can be consoling, disturbing, sacred, profane; it can be exhilarating, appealing, inspiring, chilling. It can affect us in an unlimited variety of ways. Yet it is never viewed with indifference: beauty demands to be noticed; it speaks to us directly like the voice of an intimate friend. If there are people who are indifferent to beauty, then it is surely because they do not perceive it.
Interpretation
Beauty has a profound impact on our emotions and perceptions, asking us to engage with it deeply.
This quote by Roger Scruton emphasizes the multifaceted nature of beauty and its powerful influence on human emotions and thoughts. Beauty can evoke a wide range of feelings, from joy to discomfort, and it insists upon our attention, acting almost as a friend who reaches out to us. Scruton suggests that those who remain indifferent to beauty simply fail to recognize its presence and significance in life.
In practice
In a speech about the importance of art in education, one could use this quote to illustrate how beauty enriches our lives.
One of the questions that has most bothered me in my reflections on culture is the question of kitsch. Just what is it? When did it begin? And why?
There are big questions science doesn't answer, such as why is there something rather than nothing? There can't be a scientific answer to that because it's the answer that precedes science.
18th century opera is packed with emotion, but contains not a trace of kitsch. Only with the 'thees' and 'thous' of Victorian poetry does the disease begin to grow in our poetic tradition.
The robust English view used to be that the correct response to offensive words is to ignore them, or to answer them with a rebuke. If you invoke the law at all, it should be to protect the one who gives the offence, and not the one who takes it. Now, it seems, it is all the other way round.
For two centuries the English countryside has been an icon of national identity and the loved reminder of our island home. Yet the government is bent on littering the hills with wind turbines and the valleys with high speed railways.
You cannot own a symphony or a novel in the way you can own a Damien Hirst. As a result there are far fewer fake symphonies or fake novels than there are fake works of visual art.
But it's writing, damn it, not washing the car or putting on eyeliner. If you can take it seriously, we can do business. If you can't or won't, it's time for you to close the book and do something else. Wash the car, maybe.
I think it's important that everybody has access to music, and not just people who live in cities or who can afford to drive to the nearest city.
Whenever I write a novel, music just sort of naturally slips in (much like cats do, I suppose).
The real biographies of poets are like those of birds, almost identical - their data are in the way they sound. A poet's biography lies in his twists of language, in his meters, rhymes, and metaphors.
If our titles recall the known myths of antiquity, we have used them again because they are the eternal symbols upon which we must fall back to express basic psychological ideas.
Because the writer must be a participant in the scene, while he's writing it — or at least taping it, or even sketching it. Or all three. Probably the closest analogy to the ideal would be a film director/producer who writes his own scripts, does his own camera work and somehow manages to film himself in action, as the protagonist or at least a main character.
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