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.
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
’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
Adamowicz and Storchi, Back to the Furutists.indd 70
La bomba-romanzo esplosivo
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
Richter, H. (1965). Dada: Art and Anti-art, trans. D. Britt (London: Thames and
Rugh, T. F. (1982
(eco)feminist interpellations of Chineseness in the work of Yuk King Tan,
Cao Fei, and Wu Mali
Jane Chin Davidson
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
, 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.
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,
Daniel Dezeuze and China from scroll to (TV) screen
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,
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
Art, Global Maoism and the Cultural Revolution
Jacques Broyelle’s Apocalypse Mao (Paris: Grasset, 1980) typically revises
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
The New Playwrights Theatre and American radical Constructivism
, 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
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