this interactive art piece has a primary focus on colors, it has great ties to Edmund Burke’s aesthetic concepts of the beauty of colors. Written in A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful, Burke detailed several matters when judging the beauty of an object through the use of color (Burke, A Philosophical Enquiry, 120). He begins with the concept that colors must not be muddy or dull, but fair. Lewin’s The Pool piece fits this criterion well as the light adds
paper will concentrate primarily on defining the two aspects of Romantic literature. These two aspects are called Romantic nature and the sublime; the paper will look at the main purpose of these definitions by literary scholars. The review will also compare and contrast different methodologies used by the critics when defining 'Nature' and the 'Sublime'. When, and if appropriate, the review may make brief references to some canonical Romantic texts. In addition, the reason why the paper
consideration of Edmund Burke’s writing on the sublime.
novel and burkes book show different interpretations of romanticism. Sources of “sublime” and sources of the “beautiful” according to burke show that there he was also responsive in most of the activities regarding beauty. Regarding love, burke was able to explain that perfection was not a major cause of beauty in the society and obscurity is created when we see danger clearly. Fear comes out as a result of facing our dangers and this is shown in Frankenstein whereby there is fear of the unknown created
movement away from the Romantic idea of the natural sublime, towards a more subject-dependent definition of the same. This essay, however, attempts to establish the difficulty of coming to any such conclusion, by exploring various literary and philosophical representations of the idea. While Romantics did seek inspiration in solitude and the grandeur of nature, it is difficult to say whether there is only one Romantic notion of the sublime. It is doubtful that the sublime we encounter in Shelley’s ‘Ode
The Sublime in "Tintern Abbey" Lifting from Longinus, Burke, and Kant -- authors whose works Wordsworth would have read or known, perhaps indirectly, through Coleridge -- I want to look at how our reading of this nuanced term is necessarily problematic and difficult to pin down. Is the sublime a stylistic convention of visual representation? Is it a literary trope? Is it a verbal ruse? Or is the sublime a conceptual category defying, or at least interrogating the validity of verbal representation
considered the highest manifestation of sublimity. "Indeed," writes Edmund Burke in his Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful (1757), "terror is in all cases whatsoever, either more openly or latently, the ruling principle of the sublime."(1) In Section VII of his aesthetic treatise, Burke tries to explain why this is so: "Whatever is fitted in any sort to excite the ideas of pain, and danger, that is to say, whatever is in any sort terrible, or is conversant
The industrial revolution in 19th century England saw one of the biggest changes in terms of social, cultural and philosophical values and in turn saw big reaction in the arts. The period brought with it advancements in materials, progression in scientific theory and change in social structure. Art and Architecture broke away from political and religious powers whom previously dictated the artistic genre, allowing artists greater freedom to express themselves. Along with this prosperity and excitement
extended beyond a certain boundary are vicious…All excess is vicious; even that sorrow, which is amiable in its origin, becomes a selfish and unjust passion, if indulged at the expense of our duties. […] The indulgence of excessive grief enervates the mind, and almost incapacitates it for again partaking of those various innocent enjoyments which a benevolent God designed to be the sun-shine of our lives. My dear Emily, recollect and practice the precepts I have so often given you […]. (20) The kinds
‘Sublime’ is a word which defies definition in many ways. Originally derived from the latin ‘sublimis’ the fusion of ‘sub’ meaning ‘up to’ and then either ‘limus’ meaning ‘a boundary or limit’ [Morley, 2010] or others argue ‘limen’ meaning ‘the heavy wooden or stone beam that holds the weight of a wall up above a doorway or window.’ [Riding and Llewellyn, 2013] This sense of pushing upwards against an overbearing force or against a limit is an important connotation for the word sublime. [Riding and
I began my inquiry into the "techno-sublime" by keying the term "techno-sublime" into Googe to see if the term had been coined before. Whilst there was no exact match, the first site that opened was http://www.sublime.net.au/chillout.html, 'The Chillout . clubbing is a planetary experience'. I had long been interested in the event of the techno-dance party, that total awesome experience where there is a collapse of individuality and a loss of individual boundaries as "I" become part of the collective
In Emily Bronte’s, Wuthering Heights, and Mary Shelley’s, Frankenstein, the utilization of nature-related imagery to symbolize shifts in moods of different characters, allude to underlying themes, and signify approaching tonal shifts. The two main characters, Victor Frankenstein and Heathcliff, display both a romantic and contrasting aggressive individualism with nature within their characterizations throughout both novels. This is shown in their inherent, initial behavior, and their after look when
Perhaps more than any other writer, Ann Radcliffe strengthened, enriched, and ultimately developed the Gothic novel form in British fiction during the late eighteenth and early nineteenth centuries. Through the creative use of innovative ideas and theories, Radcliffe established a unique writing style which has earned her critical attention and respect throughout previous and future generations. Thus, Radcliffe is considered to be the pioneer of the Gothic novel, despite the fact that she was not
"The invaluable works of our elder writers re driven into neglect by frantic novels, sickly and stupid German Tragedies, and deluges of idle and extravagant stories in verse. The human mind is capable of being excited without the application of gross and violent stimulants.." William Wordsworth, Preface to The Lyrical Ballads, 1802. "..Phantasmagoric kind of fiction, whatever one may think of it, is not without merit: 'twas the inevitable result of revolutionary shocks throughout Europe