estheticize

Related to estheticize: aestheticize

es·thet·i·cize

 (ĕs-thĕt′ə-sīz′)
v.
Variant of aestheticize.
References in periodicals archive ?
Both images possess a power of directing the further course of the narrative, as the prevalent discourses in both stories are inevitably conditioned by the moments when the need to estheticize the object of love reaches its peak.
For Adorno it was obscene to attempt to estheticize the horror of the concentration camp and any attempt to impose artistic coherence on such monstrosity was as barbaric as the crime itself.
traveler's gaze, while the traveler tends to estheticize the
They could supply the cultural forms necessary to estheticize the separation and give it character and authenticity.
His protagonist Edouard is so anguished by Olivier's suicidal attempt and Boris' death, that he refuses to estheticize these events as novelistic material (1246).
Krupat, for instance, points out that when "literary people estheticize science, accuracy and authenticity are inevitably lost in some degree; when anthropologists scientize art, its charm, force, beauty are inevitably lost in some degree.
The one is Fantasia, a profound portrayal of Algerian history as seen by a woman and entwined with her biography, a work with an outstanding style that does not estheticize the cruel facts and still is a poetic account of the ambiguity of human perception.
With Cop Sculpture, in the absence of any actual sculpture to deem good or bad, we witnessed the construction of conspiracy, or of conspiracies--the initial conspiracy to estheticize evidence of crime, and the encompassing conspiracy between Tobier and Byfield, and between them and us.
For example, in Deanna Jane Miesch's 1991 black and white photograph, the words, "Rape isn't beautiful" are typed across an image of Bernini's 17th-century sculpture, The Rape of Proserpina, questioning the tendency of traditional art-historical accounts to iconize and estheticize without examining a work's ideological implications.
In the '20s, Man Ray and Laszlo Moholy-Nagy viewed the photogram as a means of subverting the mechanicity of photography because it provided a means of creating a photograph without the technological eye of the camera; Fuss exploits it more for its capacity to estheticize, to transform objects and substances into ghostly and ephemeral silhouettes of the "real.
Such witnessing may take place through works of art (enter Cueto and Roncagliolo), although Kaplan carefully distinguishes her understanding of the role of literature, film and other cultural production from a Caruth-derived view, often attacked on the grounds that it estheticizes trauma (see examples in Agamben 36, and LaCapra 183).