Although Hume’s writing frequently treats moral and aesthetic beauty as analogous, he does not di... more Although Hume’s writing frequently treats moral and aesthetic beauty as analogous, he does not directly discuss the process through which art might lead to morality. I thus attempt to trace this process from painting to moral deed by first examining how the arts develop one’s delicacy of taste, which is crucial to one’s ability to perceive and feel moved by beauty—both aesthetic and moral beauty. I then discuss how art develops one’s moral judgment and, consequently, his ability to act on these judgments to choose the moral course of behaviour. Finally, by way of summing these up, I examine the figure of the True Critic who embodies the ideal character of a man refined by his engagement with the art, and who also possesses all the qualities necessary for moral living.
The appropriation of place and language is a key strategy by which post-colonial writers represen... more The appropriation of place and language is a key strategy by which post-colonial writers represent the identity of the individual. These two tasks go hand-in-hand because, in order to establish one’s bond with the land and re-write it from one’s perspective, language must also be stripped of its British connotations and adapted to the individual’s consciousness. Because of Singapore’s unique experience of post-colonialism and nation-building, various other presences besides the British coloniser also influence the way that language and place are conceived. These include the homelands of China and India and the government of Singapore, among others. Examining the works of poets from three different periods of the nation's history, I discuss how each practices appropriation through different means and to different ends as they respond to their specific historical circumstances. The three poets I will focus on are Wang Gungwu (pre-independence), Edwin Thumboo (early independence) and Alfian Sa’at (late independence). Each articulates an identity that is a hybrid of its various influences and unique to its moment of utterance.
Although Hume’s writing frequently treats moral and aesthetic beauty as analogous, he does not di... more Although Hume’s writing frequently treats moral and aesthetic beauty as analogous, he does not directly discuss the process through which art might lead to morality. I thus attempt to trace this process from painting to moral deed by first examining how the arts develop one’s delicacy of taste, which is crucial to one’s ability to perceive and feel moved by beauty—both aesthetic and moral beauty. I then discuss how art develops one’s moral judgment and, consequently, his ability to act on these judgments to choose the moral course of behaviour. Finally, by way of summing these up, I examine the figure of the True Critic who embodies the ideal character of a man refined by his engagement with the art, and who also possesses all the qualities necessary for moral living.
The appropriation of place and language is a key strategy by which post-colonial writers represen... more The appropriation of place and language is a key strategy by which post-colonial writers represent the identity of the individual. These two tasks go hand-in-hand because, in order to establish one’s bond with the land and re-write it from one’s perspective, language must also be stripped of its British connotations and adapted to the individual’s consciousness. Because of Singapore’s unique experience of post-colonialism and nation-building, various other presences besides the British coloniser also influence the way that language and place are conceived. These include the homelands of China and India and the government of Singapore, among others. Examining the works of poets from three different periods of the nation's history, I discuss how each practices appropriation through different means and to different ends as they respond to their specific historical circumstances. The three poets I will focus on are Wang Gungwu (pre-independence), Edwin Thumboo (early independence) and Alfian Sa’at (late independence). Each articulates an identity that is a hybrid of its various influences and unique to its moment of utterance.
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Drafts by Joelle Lynn