Abstract
John Ruskin’s attention to details in art has generally been viewed in terms of objectivity and the rise of realism. This essay traces as an alternate trajectory linking detail with a liberated, individualist subjectivity. It traces this arc from Ruskin’s Gothic ornamental details to a range of modernist details, from Marcel Proust’s madeleine to Prufrock’s coffee spoons, by way of Hegelian theory. It aims to vivify reflection on the place of detail in aesthetics, which, though discussed by writers from Roland Barthes to Jacques Rancière, has yet to receive its full due.
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