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From Burke’s Philosophical Enquiry to British Romantic art

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.

decorative artist has put his last touches to its ornaments, and it is filled with “gems rich and rare” from the four quarters of the world, one can only imagine: we must wait to see’, wrote a commentator in the Art Journal.15 Anticipation ran high in the lead-up to the Palace’s opening, ‘what is to become of the crystal palace?’ 7 and the press presented it as a site worthy of pilgrimage. Alighting at the newly completed Low Level railway station, the Crystal Palace experience began before entering the building. Eager visitors peering through the train windows for a

in After 1851
Abstract only
Jonathon Shears

they respectively belonged, and organised for the occasion into companies like a regiment of militia. They paid 1s. 6d. each towards the expenses of the trip, the rest being defrayed by the gentry of the neighbourhood; and, notwithstanding the weather, they were conveyed to the Exhibition and back again to their homes in a very expeditious manner, and with the utmost care for their comfort. The railway station was reached by wagons and from London-bridge terminus to Westminster they were brought up by steamer. Thence, after seeing Westminster-hall, they proceeded on

in The Great Exhibition, 1851
Open Access (free)

handwritten account of their honeymoon trip in Europe, in the course of which the couple visited the English branch of the Norr family (whose spelling of the name was ‘Noar’). Jacob’s oldest brother, Joseph, had emigrated to England in 1886, and worked as a tailor in Manchester. Israel, Eli, Dora and Maurice – mentioned in Henry’s diary – were four of Joseph’s seven children. Maurice Noar was my maternal grandfather. He came to England as an infant, and would have been about twenty-four when he met his American cousin at the railway station in 1909. It was Henry’s son

in Austerity baby
Creativity at a time of institutional decline

Greiner (elected in 1988) planned to raise revenue from the sale of government MUP_Stein_Printer2.indd 161 10/08/2016 15:39 162 Challenges and creative resilience assets: power stations, coal mines, railway infrastructure and printing offices.7 Workers were not oblivious to these transitions, and, rather than radicalising them, the disappearance of manufacturing often produced in them polarised and individualised responses; they sought merely to survive, not necessarily to overthrow the system.8 The making of foreign orders enabled subtle subversions, rather than

in Hot metal
Abstract only
Labour, design and culture

Premier in 1988, the economic rationalist ideals on which he campaigned were already entrenched within the management of the state public service.44 Beset by negative predictions for the health of the NSW economy, the new state government became increasingly interested in MUP_Stein_Printer2.indd 20 10/08/2016 15:39 Introduction 21 raising revenue by the sale of government institutions: power stations, coal mines, railway infrastructure and printing offices. No longer was there a faith that centralised, government-controlled departments ensured efficiency, security

in Hot metal

. Among other positive changes, we may look forward to an increasingly important role for railway stations and other mass-transportation hubs in cities as they regain their historical role as primary focal points within dense, lively Recasting the extended self EXSELF.indb 233 233 30/07/2014 13:39:44 10.3  Project by Alfie Arcuri, University of New South Wales, 2010, for an integrated, mixed-use town center and lower-level railway station for Leppington, Sydney 10.4  Rendering from the masterplan of Masdar City, Abu Dhabi, 2007, by Foster & Partners 234

in The extended self

distributed among the performers. In Time-Table Music, performed with Kaprow and other students of the Cage class in Grand Central Station in 1959, participants used the time indications of railway timetables (‘in terms of minutes and seconds [e.g. 7:16 = 7 minutes and 16 seconds]’), and stopwatches, to calculate the duration of their selected actions (figure 21). The rows or columns of timetable times served to randomly determine the sequence of the actions. Although Brecht would continue to use random number tables when choosing materials for some of his works, and when

in Almost nothing
Abstract only

early as 1921, radio stations could not match the salaries that comedians and variety artists were earning in vaudeville. Moreover, many vaudevillians who tried radio found it an uncomfortable experience, with no audience to react to and with no visual props and gestures to help their act. Slapstick antics that were funny on the vaudeville stage simply did not work on radio. The most successful radio

in Laughing matters

fountain within a pool with a dozen little pots arranged on the pool’s edge (Figure 5.9). A working woman, her dress differentiating her from the group of women-activists, operates machinery in the background, indicating that the design work of obshchestvennitsy complements the woman’s factory work. This labour of design also manifested itself in the project of “creating a flower garden in front of the passenger platform” of a train station (Figure 5.10). Here, in a photograph carefully framed by an overhead railway bridge, obshchestvennitsy crouch with their hands in or

in Modernism and the making of the Soviet New Man