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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.

Maria Elena Versari

debates surrounding the issue of representation, binding theories of painting and poetry. In a circular set of influences, the reworking of Futurist models by August Stramm and the Sturm Wortkunst, as well as the literary references to a metropolitan apocalypse offered by Meidner’s associate Jacob van Hoddis and by Georg Heym, added a new layer of meaning to the contemporary perception, the critical assessments and the historiography of Futurism itself. There is another factor that played a significant role in the codification of the image of Futurist art as a visual

in Back to the Futurists
Representations of Marseille
Joseph McGonagle

’s notion of ‘abjection’, elaborated in her Pouvoirs de l’horreur: essai sur l’abjection (1980). For Kristeva, l’abjection est en somme l’autre côté des codes religieux, moraux, idéologiques, sur lesquels reposent le sommeil des individus et les accalmies des sociétés. Ces codes en sont la purification et le refoulement. Mais le retour de leur refoulé constitue notre « apocalypse  », en quoi nous n’échappons pas aux convulsions dramatiques des crises religieuses (1980: 246–7) (‘For abjection, when all is said and done, is the other facet of religious, moral, and

in Representing ethnicity in contemporary French visual culture
Dafydd Jones

of Adamowicz and Storchi, Back to the Furutists.indd 70 01/11/2013 10:58:38 La bomba-romanzo esplosivo 71 Dada in Paris’, in L. Dickerman and M. S. Witkovsky (eds), The Dada Seminars (Washington: National Gallery of Art), pp. 241–67. Prezzolini, G. (1909). ‘Al lettore’, La Voce, 1:9, 33. Rabinbach, A. (2000). In the Shadow of Catastrophe: German Intellectuals between Apocalypse and Enlightenment (Berkeley and Los Angeles: University of California Press). Richter, H. (1965). Dada: Art and Anti-art, trans. D. Britt (London: Thames and Hudson). Rugh, T. F. (1982

in Back to the Futurists
(eco)feminist interpellations of Chineseness in the work of Yuk King Tan, Cao Fei, and Wu Mali
Jane Chin Davidson

’s 2013 film titled Haze and Fog is a depiction of the airpocalypse of Beijing, the foreboding smog of 2011–12 that kept people indoors and dependent on air quality reports. Cao created a doomsday scenario that was influenced by the American television show The Walking Dead by channeling the anxiety of Beijingers into a character portrayal of the ordinary urban dweller turned flesh-eating zombie in the apocalypse of pollution. Shooting the film in the environs of her Beijing neighborhood, Cao explains how the work was inspired by her ‘observations and imaginations’ of

in Staging art and Chineseness
Tijana Vujošević

, and the femininity of the well-kept visage, with silken hair and curvaceous body, has its double in the figure of the female soldier, the femininity of the apocalypse. At a certain point in their subscription to Obshchestvennitsa, the reader learns that the main point of socialist motherhood, of the art of creating 5.13  Civil defence class, Obshchestvennitsa, 1937. 146 Modernism and the making of the Soviet New Man 5.14  Driving classes wearing gas masks, Obshchestvennitsa, 1937. a well-fed and strong child, is to sacrifice him to the socialist cause, similar

in Modernism and the making of the Soviet New Man
Daniel Dezeuze and China from scroll to (TV) screen
Sarah Wilson

Photo et de l’Audiovisuel de Montpellier (JIPAM). See also Alexandre Joannides and Nathalie Casteilla (eds), Vidéo de création: 10e JIPAM (Montpellier: Télésoleil, 1989). 55 Daniel Dezeuze, La nouvelle imagerie du paysage chinois (Lille: Alain Buyse, 1988), unpaginated. 56 See Marie-Claire Bergère, ‘De la Chine, aujourd’hui’, Vingtième Siècle: Revue d’Histoire, 17 (1988), 126–133, for this impressive new bibliography. Claudie and 183 184 Art, Global Maoism and the Cultural Revolution Jacques Broyelle’s Apocalypse Mao (Paris: Grasset, 1980) typically revises

in Art, Global Maoism and the Chinese Cultural Revolution
Kimberly Lamm

cultural repression of maternal ambivalence is so complete that maternal anger takes on, in this rare representation, the annihilating force of a maternal apocalypse.’ ‘Spero’s Curses,’ 9. 76 Suleiman argued that in the psychoanalytic theorisations of motherhood and creative enterprises, ‘Mothers don’t write; they are written.’ Suleiman, ‘Writing and Motherhood,’ 356. Original emphasis. 77 In 1959, Spero and Golub moved to Paris to escape the pervasive dominance of the New York School. Spero and Golub had lived in Chicago – outside the New York School’s orbit of

in Addressing the other woman
The New Playwrights Theatre and American radical Constructivism
Barnaby Haran

, the short-lived scion of The Masses, Gold enthused about Proletcult as ‘the religion of the new order’ without demonstrating any serious knowledge of the movement and imagining the masses as elemental forces in an apocalyptic, quasi-Transcendentalist realm of being. After his trip to the Soviet Union in 1925 Gold was clearly more familiar with Proletcult and other kinds of revolutionary theatre, although still prone to millennial hyperbole – his account in The Nation tells how ‘a world exploded’ and a ‘proletarian Apocalypse thundered’ against Stanislavsky’s ‘dead

in Watching the red dawn
Caroline Turner and Jen Webb

Hollywood movies such as Born on the Fourth of July and Apocalypse Now combined with black-and-white footage from the Vietnam War showing other realities. He was concerned that the films presented a version in which the Vietnamese seemed absent: ‘It seems as though the readers and the press only wanted the most violent and shocking of images of the war,’ he says; ‘But we had a life back then, even during the Vietnam war.’91 Much of his art is directly connected to human rights. Inspired by a visit to Tuol Sleng Genocide Museum in Phnom Penh in 1994, he produced art about

in Art and human rights