Examines the links between the unprecedented visual inventiveness of the Romantic period in Britain and eighteenth-century theories of the sublime.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Hélène Ibata is Professor of English and Visual Studies at the University of Strasbourg
Inhaltsangabe
Introduction Part I: From the Enquiry to the Academy 1 The Philosophical Enquiry, theories of the sublime and the sister arts tradition 2 Presenting the unpresentable: the modernity of Burke's Enquiry 3 Reynolds, the great style and the Burkean sublime 4 The sublime contained: academic compromises Part II: Beyond the 'narrow limits of painting' 5 Immersive spectatorship at the panorama and the aesthetics of the sublime 6 Frames, edges and 'unlimitation' 7 'Sublime dreams': ruin paintings and architectural fantasies Part III: Relocating the sublime: Blake, Turner and creative endeavour 8 Against and beyond Burke: Blake's 'sublime Labours' 9 Turner: from sublime association to sublime energy Conclusion Index
Introduction Part I: From the Enquiry to the Academy 1 The Philosophical Enquiry, theories of the sublime and the sister arts tradition 2 Presenting the unpresentable: the modernity of Burke's Enquiry 3 Reynolds, the great style and the Burkean sublime 4 The sublime contained: academic compromises Part II: Beyond the 'narrow limits of painting' 5 Immersive spectatorship at the panorama and the aesthetics of the sublime 6 Frames, edges and 'unlimitation' 7 'Sublime dreams': ruin paintings and architectural fantasies Part III: Relocating the sublime: Blake, Turner and creative endeavour 8 Against and beyond Burke: Blake's 'sublime Labours' 9 Turner: from sublime association to sublime energy Conclusion Index
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