By Lisa A. Dickson, Maryna Romanets
This quantity explores the connection between attractiveness, violence, and illustration in a huge variety of inventive and cultural texts, together with literature, visible paintings, theatre, movie, and track.
Charting diversifying pursuits within the topic of violence and wonder, facing the a number of inflections of those questions and representing a spectrum of voices, the quantity takes its position in a becoming physique of contemporary severe paintings that takes violence and illustration as its item. This assortment deals a distinct chance, even though, to handle an important hole within the serious box, for it seeks to interrogate in particular the nexus or interface among good looks and violence. whereas different texts on violence utilize regimes of illustration as their material and view the results of aestheticization, good looks as a severe type is conspicuously absent. additionally, the ebook goals to "rehabilitate" attractiveness, implicitly conceptualized as politically or ethically regressive by means of postmodern anti-aesthetics cultural positions, and additional facilitate its come-back into serious discourse.
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Extra resources for Beauty, Violence, Representation
In Negative Dialectics (1966), Theodor Adorno poses the question about the boundary between what is aesthetically and humanly imaginable and the unimaginable dimension of violence, returning to the question of aesthetics after Auschwitz which he had been reformulating and reiterating since 1951. He writes that “[p]erennial suffering has as much right to expression as a tortured man has to scream; hence it may have been wrong to say that after Auschwitz you could no longer write poems” (Adorno, Negative Dialectics 362–63).
Beauty, then, was not exclusively in the eye of the beholder—although it might exist in a meaningful way only when disclosed to and perceived by a knowing subject. Albertus Magnus in “De Pulchro et Bono” considered beauty to be independent of human perception: a transcendental property, beauty might exist where objects and images were never observed or known by men (Eco, Art 24–26). Thomas Aquinas, however, believed beauty is actualized only when an object comes into relation with and is known by a mind; therefore, beauty is dependent on human perception.
Their experience of the original event would have been as represented in other images, in works of art in the present. In Aquinas’s cognitive model, experiences of these representations would constitute the phantasms retained in the artists’ and spectators’ imaginations and understood through the workings of the intellect. As it happens, a frequently noted characteristic of the biblical cycle plays is their meta-mimetic nature; the plays seem obviously and consciously to reference and represent events as already depicted in other familiar “beautiful” artistic forms.