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True, the first settlers of bohemia -- which was then identicalwith the avant-garde -- turned out soon to be demonstrativelyuninterested in politics. Nevertheless, without the circulationof revolutionary ideas in the air about them, they would neverhave been able to isolate their concept of the "bourgeois"in order to define what they were not. Nor, without the moralaid of revolutionary political attitudes would they have had thecourage to assert themselves as aggressively as they did againstthe prevailing standards of society. Courage indeed was neededfor this, because the avant-garde's emigration from bourgeoissociety to bohemia meant also an emigration from the markets ofcapitalism, upon which artists and writers had been thrown bythe falling away of aristocratic patronage. (Ostensibly, at least,it meant this -- meant starving in a garret -- although, as wewill be shown later, the avant-garde remained attached to bourgeoissociety precisely because it needed its money.)
It is a mini-essay (500-550 words) that combines three elements: , and The goal of a Reading Abstract is to effectively summarize the central argument of a given text while at the same time express your own critical response to it (i.
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Of the critical interpretations that do exist, many approach the poem by examining its various manifestations in Blake's manuscripts, reading it against "A Divine Image," a poem w hich was never finally published by Blake, or comparing it to its Innocence counterpart, "The Divine Image." Most critics seem to agree that "The Human Abstract" represents a philosophical turning point in The Songs of Innocence and of Expe rience, and in Blake's work as a whole....
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An "abstract" is usually associated with a paper/thesis in a fairly standard format (e.g. introduction-methodology-results-discussion-conclusion or variants thereof) and will usually try to summarise elements of all of these sections (or at least as far as the results). Its purpose is broadly to allow the reader to decide if the article is truly going to talk about the matter that they're interested in. But depending on the context, an abstract could be a 150-word paragraph at the beginning of a journal article or a 1000-word submission to a conference etc. There's no single 'correct template'. There's also no mystery-- you can look at the abstract of practically any recently-published journal article free on the Internet, so why not just have a look at some actual examples?
In the Middle Ages the plastic artist paid lip service at leastto the lowest common denominators of experience. This even remainedtrue to some extent until the seventeenth century. There was availablefor imitation a universally valid conceptual reality, whose orderthe artist could not tamper with. The subject matter of art wasprescribed by those who commissioned works of art, which werenot created, as in bourgeois society, on speculation. Preciselybecause his content was determined in advance, the artist wasfree to concentrate on his medium. He needed not to be philosopher,or visionary, but simply artificer. As long as there was generalagreement as to what were the worthiest subjects for art, theartist was relieved of the necessity to be original and inventivein his "matter" and could devote all his energy to formalproblems. For him the medium became, privately, professionally,the content of his art, even as his medium is today the publiccontent of the abstract painter's art -- with that difference,however, that the medieval artist had to suppress his professionalpreoccupation in public -- had always to suppress and subordinatethe personal and professional in the finished, official work ofart. If, as an ordinary member of the Christian community, hefelt some personal emotion about his subject matter, this onlycontributed to the enrichment of the work's public meaning. Onlywith the Renaissance do the inflections of the personal becomelegitimate, still to be kept, however, within the limits of thesimply and universally recognizable. And only with Rembrandt do"lonely" artists begin to appear, lonely in their art.