The Sublime in Disaster Cinema

2020 ◽  
Author(s):  
Nikita Mathias
Keyword(s):  
Eighteenth Century ◽  
Motion Pictures ◽  
Theoretical Models ◽  
Analytical Tool ◽  
First Century ◽  
Edmund Burke ◽  
Historical Account ◽  
Cultural Discourses ◽  
Media Technologies ◽  
The Sublime

The film analytical chapter moves along the lines of different key moments of the sublime: the Sublime as somatic excess, subjectivity, transcendence, modality, presentability, the geological sublime, the sublime and the ridiculous, as well as sublime hyperobjects and the ecological sublime. The primary analytical tool applied are Edmund Burke and Immanuel Kant’s theoretical models of the sublime. The application of these eighteenth-century theorems for the analysis of twentieth and twenty-first-century motion pictures is solely justified through their shared historical foundation. This historical account takes into view the broader cultural horizon of the sublime, encompassing aesthetic thought, art historical iconographies, media technologies, aesthetic receptive conventions and strategies, scientific, economic, and cultural discourses, as well as general concepts of man’s relation to nature’s forces.

scholarly journals Helen’s semiotic body: ancient and modern representations

2016 ◽  
Vol 12 (1) ◽  
pp. 187-213
Author(s):  
Konstantinos P. Nikoloutsos
Keyword(s):  
Eighteenth Century ◽  
Female Body ◽  
Theoretical Work ◽  
Edmund Burke ◽  
Physical Vacuum ◽  
Male Gaze ◽  
The Sublime ◽  
Ancient Literature ◽  
The Aesthetic ◽  
A Site

The paper draws on theoretical work on the representation of the female body as an object of the male gaze in modern narrative, in order to decode and analyze Helen’s portrayal as a physical vacuum in ancient literature. I argue that the negation of Helen’s corporeality emphasizes the semiotic duality of her body, allowing it to be deployed both as a sign and as a site for the inscription of signs. The paper, then, proceeds to show how Helen’s Iliadic depiction has provided the eighteenth-century philosopher Edmund Burke with a rhetorical platform upon which to theorize the aesthetic dichotomy between the beautiful and the sublime. I close my analysis by illustrating how the eclecticism, compromises, and pastiches that inform Helen’s cinematic recreations find a parallel in, and thus perpetuate, ancient pictorial techniques.

Gothic and Classical in Eighteenth-Century Criticism

2020 ◽  
pp. 25-54
Author(s):  
James Uden
Keyword(s):  
Original Composition ◽  
Eighteenth Century ◽  
Aesthetic Experience ◽  
Edmund Burke ◽  
The Sublime ◽  
Classical World ◽  
Edward Young

This chapter examines the dynamic and evolving relationship between conceptions of “Gothic” and “classical” in mid-eighteenth-century criticism. It argues that both terms were highly changeable in their content and were rarely imagined as mere opposites. The chapter focuses on three authors, all of whom reinterpreted the classical world as an object of private aesthetic experience rather than as a source of political or ethical examples. In his Conjectures on Original Composition (1759), Edward Young imagines the Roman poets as a giant “spectre,” which threatened to overwhelm modern poets, inhibiting their capacity for original creation. In his Philosophical Enquiry into the Origin of our Ideas of the Sublime and Beautiful (1757), Edmund Burke describes a frightening descent into the Underworld of Virgil’s Aeneid as an opportunity to form homosocial bonds with other male readers. Finally, Richard Hurd in Letters on Chivalry and Romance (1762) describes the classical world as a distant forerunner to a more modern preoccupation with enchantment and imagination. In all three of these authors, the classical world is shifting its meaning and significance. It is becoming, paradoxically, increasingly Gothic.

Mediating the Sublime

2020 ◽  
Author(s):  
Nikita Mathias
Keyword(s):  
Eighteenth Century ◽  
Middle Class ◽  
Visual Arts ◽  
Large Scale ◽  
Edmund Burke ◽  
Technological Innovations ◽  
Moving Images ◽  
The Sublime ◽  
The Media ◽  
Easel Painting

As if accepting Edmund Burke and Immanuel Kant’s rejection of the visual arts as carriers of the experience of the sublime as a productive challenge, artists and craftsmen already in the eighteenth century started to experiment with media technological innovations that would give more dynamic, greater and overwhelming images of sublime disaster events. More precisely, such innovations sought to overcome the spatial and temporal limitations of easel painting, aiming to provide experiences of illusionistic immersion and of sensory, affective, and emotional intensity. The media discussed in this chapter range from the moving images of the Eidophusikon and the Diorama to the large-scale pictures of the Panorama, John Martin’s disaster motifs, and American landscape painting. Moreover, these various media participated in broader popularization processes, as pictorial experiences shifted from being viewed as elite activities toward phenomena of middle class leisure entertainment.

In ‘Milton’s Prison’

2017 ◽  
Author(s):  
Miklós Péti
Keyword(s):  
Eighteenth Century ◽  
Paradise Lost ◽  
English Literature ◽  
First Century ◽  
National Literature ◽  
Samson Agonistes ◽  
Paradise Regained ◽  
The Sublime ◽  
General Preference

This chapter demonstrates the profound and continuous influence that Milton’s works have exerted on Hungarian literature and culture since the first part of the eighteenth century. This chapter surveys the texts and paratexts of Hungarian translations of Paradise Lost and details some of the most successful renderings through the twenty-first century. These translations have significantly shaped Hungarian audiences’ responses to English literature as a whole and engaged them in more general critical debates about the sublime, the role of translation in the development of national literature, and prosody. The chapter concludes noting the curious Hungarian career of Milton’s other works: the dearth of modern translations of Paradise Regained, the two versions of Samson Agonistes from the communist era, a general preference for the shorter poems in recent years, and the several modern attempts to translate Milton’s prose tracts.

HOW TO WRITE ABOUT INFLUENCE: ASSESSING EDMUND BURKE'S CONSERVATIVE LEGACIES

2019 ◽  
Vol 63 (2) ◽  
pp. 495-505
Author(s):  
CLAIRE RYDELL ARCENAS
Keyword(s):  
Eighteenth Century ◽  
French Revolution ◽  
Edmund Burke ◽  
The Sublime ◽  
Late Eighteenth Century ◽  
Late Eighteenth ◽  
Open Question ◽  
The French Revolution ◽  
The Revolution

Edmund Burke is difficult to classify. Born in Ireland in 1730, he entered parliament in 1765 having already achieved literary distinction for several philosophical works, including On the origins of the sublime and beautiful (1757). His subsequent career as a Whig statesman, politician, and reformer spanned the tumultuous decades of the late eighteenth century and culminated, less than a decade before his death, in his famous polemic against the French Revolution, Reflections on the revolution in France (1790). Over the course of his life, Burke opined with such frequency on so many topics that the nature of his ‘philosophy’ remains an open question, and scholars continue to offer strikingly different interpretations of his life and legacies. ‘Burke's legacy to history’, historian Richard Bourke summarized, ‘has been a complicated affair’.

The Deliberative Sublime: Edmund Burke on Disruptive Speech and Imaginative Judgment

2017 ◽  
Vol 112 (2) ◽  
pp. 267-279 ◽  
Author(s):  
ROB GOODMAN
Keyword(s):  
Eighteenth Century ◽  
Theory And Practice ◽  
Linguistic Theory ◽  
Edmund Burke ◽  
The Sublime ◽  
The Uncanny ◽  
Rhetorical Practice

Is there a case to be made for the value, amidst relatively settled institutions, of unsettling speech—speech characterized by excess, impropriety, and even the uncanny? Much of contemporary deliberative theory would answer in the negative. This article, however, proposes that we can derive a defense of the deliberative value of immoderate speech from an unlikely source: Edmund Burke's theory and practice of the rhetorical sublime. Burke's account of the sublime was developed in response to an eighteenth-century discourse of civility that anticipated the anti-rhetorical strand of contemporary deliberative theory. By reconstructing Burke's response, we can recover a forceful defense of rhetoric in the present. For Burke, the disruptive practice of sublime speech can provoke circumstantial judgment, overcoming deliberators’ aversions to judging. Drawing on Burke's rhetorical practice alongside his aesthetic and linguistic theory, this article upholds a central role in deliberation for rhetoric, even in its unruly and excessive aspects.

A history of botanical collections in the Luangwa Valley, Zambia

1998 ◽  
Vol 25 (2) ◽  
pp. 283-291
Author(s):  
P.S.M. PHIRI ◽  
D.M. MOORE
Keyword(s):  
Eighteenth Century ◽  
Environmental Impact ◽  
Impact Assessment ◽  
Vascular Plants ◽  
Central Africa ◽  
Peak Activity ◽  
Historical Account ◽  
History Of ◽  
The 1960S ◽  
Made In

Central Africa remained botanically unknown to the outside world up to the end of the eighteenth century. This paper provides a historical account of plant explorations in the Luangwa Valley. The first plant specimens were collected in 1897 and the last serious botanical explorations were made in 1993. During this period there have been 58 plant collectors in the Luangwa Valley with peak activity recorded in the 1960s. In 1989 1,348 species of vascular plants were described in the Luangwa Valley. More botanical collecting is needed with a view to finding new plant taxa, and also to provide a satisfactory basis for applied disciplines such as ecology, phytogeography, conservation and environmental impact assessment.

Locating the Historical and Contemporary Context of Women’s Imprisonment

2018 ◽  
Author(s):  
Anastasia Chamberlen
Keyword(s):  
Eighteenth Century ◽  
The Body ◽  
Historical Account ◽  
Women’S Experiences ◽  
Contemporary Research ◽  
Women's Experiences ◽  
Women's Prisons ◽  
Women's Imprisonment ◽  
Contemporary Context

This chapter sketches the broader context of the study presented in this book. It starts with a historical account of imprisonment, focusing particularly on women’s imprisonment, and attempts to trace the centrality of prisoner bodies in the delivery of punishment via the prison since the eighteenth century. Through this brief historiography, it examines how the body has been the object and subject of punishment and, since the start, has been part and parcel of the delivery of imprisonment. More specifically, the chapter argues that, since its establishment, women’s imprisonment has been gendered and embodied. The second half of the chapter looks at more contemporary research on women’s experiences in prison, and unpacks the punishment–body relation by connecting the study’s objectives to extant research on women’s prisons.

‘Levelling the Sublime’

2017 ◽  
Author(s):  
Aaron Shapiro
Keyword(s):  
Eighteenth Century ◽  
Young People ◽  
Paradise Lost ◽  
English Poetry ◽  
English Prose ◽  
The Sublime ◽  
The Status

The eighteenth century saw the curious tradition of translating Milton’s Paradise Lost into normative English prose and verse. The status of these translations as literary curiosities belies their serious ambition: to secure a universal readership of this English classic, an ambition also articulated in contemporary works of criticism and commentaries. Rather than treating this cluster of works as adaptations, this chapter conceives of them as intralingual translations, thus positioning them in the terms with which their authors describe them and within the earlier tradition of translation-as-commentary. Milton’s English translators aim at making his epic accessible to women, ‘foreigners’, ‘young people’, and ‘those of a capacity and knowledge below the first class of learning’, even if that accessibility requires some rewriting. Borrowing methods from the teaching of Latin, these authors established a practice that persists to this day in student-friendly translations of English poetry.

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