Jonah Siegel
Biographic Data
| ID | 3869128 |
|---|---|
| NAME | Jonah Siegel |
| GIVEN NAMES | Jonah |
| FAMILY NAME | Siegel |
| SIGNATURE | SIEGEL J |
| AFFILIATIONS | Rutgers Sexual and Reproductive Health and Rights |
| ORCID | 0000-0003-0798-2812 |
| VERIFIED | Yes |
| TOTAL WORKS | 10 |
| TOTAL CITATIONS | 1 |
| AUTHOR COUNT | 10 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 1999 |
| LATEST PUBLICATION YEAR | 2026 |
| H-INDEX | 1 |
The Cambridge Companion to Walter Pater
This is the first and only comprehensive introductory study of Walter Pater, novelist, short story writer, literary critic, and philosopher. One of the late nineteenth century's most important and least understood writers, Pater evinced a new mode of hedonism that presented a fundamental challenge to the prevailing moral and social norms of his contemporaries, responding to post-Darwinian sensibility, waning faith, and new philosophies in ethics …
Relationality, Agency, and Injury
This essay traces Isobel Armstrong's achievement in The Radical Aesthetic (2000) to her commitment to reflecting on difficult states of being — necessarily imperfect, inevitably incomplete — that have been inadequately addressed in some of the most influential accounts of the intersection of politics and culture. Drawing on work by Elizabeth Barrett Browning, Felicia Hemans, Henry James, Alfred Tennyson, and William Butler Yeats, as well as on th…
The Point of Vanishing
This article addresses the importance of perspective in the work of Walter Pater by putting his treatment of the topic in Plato and Platonism and The Renaissance in relation to its place in art history and to the work of some of Pater’s immediate Victorian predecessors. The classic formulations of Erwin Panofsky prove useful in identifying the gains and losses to the perceiving self entailed in the evocation of perspective in relation to a mutabl…
Haunted Museum
Beauty
Alfred Tennyson's poem “The Palace of Art” (1832/1842) is liable to strike the modern reader as all too clear in its meanings. Yet the author evidently feels the need to gloss the theme of the work and to elaborately preview its narrative in a brief poem that he includes with the piece when he sends it to his friend Richard Trench. “I send you here a sort of allegory (For you will understand it),” Tennyson writes in a peculiar formulation that mu…
Michael Fried. What Was Literary Impressionism? Cambridge, Mass
Custodial Parole Sanctions and Earnings after Release from Prison
Although the labor market consequences of incarceration in prison have been central to the literature on mass incarceration, punishment, and inequality, other components of the growing criminal justice system have received less attention from sociologists. In particular, the rise of mass incarceration was accompanied by an even larger increase in community supervision. In this paper, we examine the labor market effects of one frequently experienc…
Victorian Aesthetics
Although the field of aesthetics was consolidated in the nineteenth century, its study has been shaped by two contradictory tendencies: (1) the insistence that the aesthetic realm needs to be autonomous, independent of the world of common experience; (2) the ethical or political insistence that autonomy is impossible. Starting from this characteristic antinomy, and tracing it back to early theoretical formulations in Kant and Schiller, this chapt…
Desire and Excess
Black Arts, Ruined Cathedrals, and the Grave in Engraving
T O SPEAK ABOUT JOHN RUSKIN’S anxious figures for engraved reproduction is to speak about his troubled relationship to a modernity in which excess and impermanence present complex and interrelated challenges. The ruined cathedral in my title occurs in lectures Ruskin delivered in 1857, and published the same year as The Political Economy of Art. Invited to speak at Manchester on the occasion of the Art-Treasures Exhibition, at the height of his f…
Black Arts, Ruined Cathedrals, and the Grave in Engraving
T O SPEAK ABOUT JOHN RUSKIN’S anxious figures for engraved reproduction is to speak about his troubled relationship to a modernity in which excess and impermanence present complex and interrelated challenges. The ruined cathedral in my title occurs in lectures Ruskin delivered in 1857, and published the same year as The Political Economy of Art. Invited to speak at Manchester on the occasion of the Art-Treasures Exhibition, at the height of his f…
Black Arts, Ruined Cathedrals, and the Grave in Engraving
T O SPEAK ABOUT JOHN RUSKIN’S anxious figures for engraved reproduction is to speak about his troubled relationship to a modernity in which excess and impermanence present complex and interrelated challenges. The ruined cathedral in my title occurs in lectures Ruskin delivered in 1857, and published the same year as The Political Economy of Art. Invited to speak at Manchester on the occasion of the Art-Treasures Exhibition, at the height of his f…
Desire and Excess
Victorian Aesthetics
Although the field of aesthetics was consolidated in the nineteenth century, its study has been shaped by two contradictory tendencies: (1) the insistence that the aesthetic realm needs to be autonomous, independent of the world of common experience; (2) the ethical or political insistence that autonomy is impossible. Starting from this characteristic antinomy, and tracing it back to early theoretical formulations in Kant and Schiller, this chapt…
Custodial Parole Sanctions and Earnings after Release from Prison
Although the labor market consequences of incarceration in prison have been central to the literature on mass incarceration, punishment, and inequality, other components of the growing criminal justice system have received less attention from sociologists. In particular, the rise of mass incarceration was accompanied by an even larger increase in community supervision. In this paper, we examine the labor market effects of one frequently experienc…
Michael Fried. What Was Literary Impressionism? Cambridge, Mass
Beauty
Alfred Tennyson's poem “The Palace of Art” (1832/1842) is liable to strike the modern reader as all too clear in its meanings. Yet the author evidently feels the need to gloss the theme of the work and to elaborately preview its narrative in a brief poem that he includes with the piece when he sends it to his friend Richard Trench. “I send you here a sort of allegory (For you will understand it),” Tennyson writes in a peculiar formulation that mu…
Haunted Museum
The Point of Vanishing
This article addresses the importance of perspective in the work of Walter Pater by putting his treatment of the topic in Plato and Platonism and The Renaissance in relation to its place in art history and to the work of some of Pater’s immediate Victorian predecessors. The classic formulations of Erwin Panofsky prove useful in identifying the gains and losses to the perceiving self entailed in the evocation of perspective in relation to a mutabl…
Relationality, Agency, and Injury
This essay traces Isobel Armstrong's achievement in The Radical Aesthetic (2000) to her commitment to reflecting on difficult states of being — necessarily imperfect, inevitably incomplete — that have been inadequately addressed in some of the most influential accounts of the intersection of politics and culture. Drawing on work by Elizabeth Barrett Browning, Felicia Hemans, Henry James, Alfred Tennyson, and William Butler Yeats, as well as on th…
The Cambridge Companion to Walter Pater
This is the first and only comprehensive introductory study of Walter Pater, novelist, short story writer, literary critic, and philosopher. One of the late nineteenth century's most important and least understood writers, Pater evinced a new mode of hedonism that presented a fundamental challenge to the prevailing moral and social norms of his contemporaries, responding to post-Darwinian sensibility, waning faith, and new philosophies in ethics …
Art (7 works) · Aesthetics (5 works) · Philosophy (5 works) · Epistemology (4 works) · Literature (4 works) · Art history (3 works) · Historical Art and Culture Studies (3 works) · History (3 works) · Modernist Literature and Criticism (3 works) · Visual arts (3 works)