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From Burke’s Philosophical Enquiry to British Romantic art
Author: Hélène Ibata

The challenge of the sublime argues that the unprecedented visual inventiveness of the Romantic period in Britain could be seen as a response to theories of the sublime, more specifically to Edmund Burke’s Philosophical Enquiry into the Origin of our Ideas of the Sublime and Beautiful (1757). While it is widely accepted that the Enquiry contributed to shaping the thematics of terror that became fashionable in British art from the 1770s, this book contends that its influence was of even greater consequence, paradoxically because of Burke’s conviction that the visual arts were incapable of conveying the sublime. His argument that the sublime was beyond the reach of painting, because of the mimetic nature of visual representation, directly or indirectly incited visual artists to explore not just new themes, but also new compositional strategies and even new or undeveloped pictorial and graphic media, such as the panorama, book illustrations and capricci. More significantly, it began to call into question mimetic representational models, causing artists to reflect about the presentation of the unpresentable and the inadequacy of their endeavours, and thus drawing attention to the process of artistic production itself, rather than the finished artwork. By revisiting the links between eighteenth-century aesthetic theory and visual practices, The challenge of the sublime establishes new interdisciplinary connections which address researchers in the fields of art history, cultural studies and aesthetics.

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Joseph McGonagle

Education Lionel Jospin reinstated the students – a decision later upheld by the Conseil d’État, which ruled that wearing religious insignia did not per se constitute an act of proselytism and therefore did not contradict French laws on laïcité. Instead it found the headmaster at fault for not respecting the young women’s right to profess their religious faith, a right guaranteed by the Republic. The subject resurfaced in 1994 when the Education Minister François Bayrou – a member of the centre-right Édouard Balladur government elected the previous year – issued a

in Representing ethnicity in contemporary French visual culture
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F. T. Marinetti’s Il tattilismo and the Futurist critique of separation
Pierpaolo Antonello

narrative prologue or overture; then it moves to a programmatic and normative central part; it is finally sealed by a rhetorical gesture, which aims at consensus and proselytism. Highly symbolical also was the venue in which the text was presented: the Théâtre de L’Œuvre in Paris, very much in the same way the first manifesto was published in France on the front page of Le Figaro. The official date of publication of Il tattilismo is also symbolically charged: 11 January 1921; it was reprinted a year later in the journal Il Futurismo (11 January 1922). Marinetti

in Back to the Futurists
Hélène Ibata

, with all its cattle, human and bestial, unmoved by the phenomenon. Constantinople, with its bearded and turbanned multitudes, quietly pitched beside a Christian thoroughfare, and offering neither persecution nor proselytism. Switzerland, with its lakes covered with sunsets, and mountains capped and robed in storms; the adored of sentimentalists, and the refuge of miry metaphysics; the Demisolde of all nations, and German geology –​stuck in a corner of a corner in London, and forgotten in the tempting vicinage of a cook-​shop; and now Pompeii, reposing in its slumber

in The challenge of the sublime